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Movies & TV Buddy

Buddy Takes Barney’s Premise to a Hilariously Bloody Conclusion

The latest in a bumper crop of meta horror movies that are actually fun to watch.

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Published on August 28, 2026

Credit: Roadside Attractions

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<p class='syndicationauthor'>Posted by Leah Schnelbach</p><p class="ljsyndicationlink"><a href="https://reactormag.com/movie-review-buddy/">https://reactormag.com/movie-review-buddy/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856335">https://reactormag.com/?p=856335</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/movies-tv/" class="inline-block link-no-animation" aria-label="Link to term or tag Movies &amp; TV 0"> Movies &amp; TV </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/buddy/" class="inline-block link-no-animation" aria-label="Link to term or tag Buddy 1"> Buddy </a> </span> </div> <h2 class="post-hero-title text-h1"><em>Buddy</em> Takes <em>Barney</em>’s Premise to a Hilariously Bloody Conclusion</h2> <div class="prose post-hero-description prose--post-hero">The latest in a bumper crop of meta horror movies that are actually fun to watch.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/leah-schnelbach/" title="Posts by Leah Schnelbach" class="author url fn" rel="author">Leah Schnelbach</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 28, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&#038;_a]:link"><p>Credit: Roadside Attractions</p> </div> <div 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9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img fetchpriority="high" decoding="async" width="740" height="502" src="https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still-740x502.png" class="w-full object-cover" alt="Buddy, an orange unicorn kid character with an axe and a bandaged face, not looking happy, in the movie BUDDY" srcset="https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still-740x502.png 740w, https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still-1100x747.png 1100w, https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still-768x521.png 768w, https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still-1536x1043.png 1536w, https://reactormag.com/wp-content/uploads/2026/07/BUDDY-Still.png 1600w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&#038;_a]:link"><p>Credit: Roadside Attractions</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">My favorite thing in art is when someone creates a work that is completely itself. When someone has an idea and follows that idea wherever it needs to go.</p> <p class="wp-block-paragraph">Whether it’s obsessively recreating dozens of Brillo boxes to make a point about art and commerce, or writing a novel that forces you to flip between the “main” text and the “ancillary” text until it becomes clear that the things happening in the “ancillary” text are the most important bits, or a short story that tells you about the end of the civilization as we know it through a series of PowerPoint slides, or a play that tells us about the end of civilization as we know it through people’s attempt to remember an episode of <em>The Simpsons</em>.</p> <p class="wp-block-paragraph">I like it when people commit to the bit.</p> <p class="wp-block-paragraph">One of the best bit commitments in recent memory was Casper Kelly’s “Too Many Cooks”, a longform surreal Adult Swim sketch that blew up after it was posted on Youtube in 2014. It went viral, partially I think because people watched it late at night, possibly in enhanced states of being, and freaked out, and partially because dorks like myself were so excited that someone had drilled down into the dark heart of television and come back with a nightmare. In case you don’t remember it: “Too Many Cooks” starts out as a fun, chirpy parody of ‘90s TGIF-style sitcoms, complete with the adorable Cook family (cartoonist Dad, stay-at-home Mom, Teen Daughter, Tween Son, Little Sister, Grandma, an Infant played by twin babies, a Random Hot Older Girl who appears in Little Sister’s room, and <em>A Second</em> <em>Infant</em> played by one baby) and the overbright color scheme, improbably huge house, and terrible oversaturated lighting that sitcom sets all had. Over 11 minutes, it highlights more and more characters (chefs, a puppet cat named “Smarf” who could speak, nosy neighbors leaning into the house with binoculars) as part of what was ostensibly an opening credits sequence, until it veers into horror by introducing a leering murderer with a machete who stalks the other characters. (The actor who played the murderer friended my beloved colleague Natalie Zutter on Facebook after she wrote about the sketch! Imagine the screaming in the office on that day!). Then it breaks into parodies of basically every TV genre you can imagine (cop show, kids’ military cartoon, <em>Dallas</em>-esque primetime soap, medical drama, sci-fi dystopia, etc. etc.) recasting the actors from the original show in new roles, all while the murderer continues to stalk, kill, and eat them, before it deconstructs itself completely.</p> <p class="wp-block-paragraph">It’s perfect.</p> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="617" src="https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-1100x617.jpg" alt="" class="wp-image-856339" srcset="https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-1100x617.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-740x415.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-768x431.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-1536x861.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/Too-Many-Cooks-2048x1148.jpg 2048w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Adult Swim</figcaption></figure> <p class="wp-block-paragraph">For <em>Buddy</em>, Casper Kelly and co-writer Jamie King have focused on one especially creepy genre: over-lit children’s edutainment. The DNA of <em>Dora The Explorer</em>, <em>Thomas the Tank Engine</em>, <em>Fred Rogers, Pee-Wee’s Playhouse, Care Bears</em>, and <em>Howdy Doody</em> all show up in one way or another—but the biggest touchstone is Barney The Dinosaur.</p> <p class="wp-block-paragraph">Because I am what I am, I’ve hated Barney for the majority of my time on Earth. I hated the look, the song, the lessons, the set design, the, again, <em>migraine-inducing lighting</em>. I hated the sappiness. I hated the lack of edge. As a Pittsburgher, my loyalty must lie with Fred Rogers, but that gets complicated for me because, I have to admit, Child Leah recoiled away from the goodness radiating from the man. (Not great, Child Leah!) My person was Levar Burton—the lessons were a little meta, refracted through whatever book was being read that week, and thus easier to swallow, and while the show was steeped in a beautiful morality, it felt <em>heavier</em> to me than Mr. Rogers’.</p> <p class="wp-block-paragraph">I should probably write about this eventually. But all that aside, Barney was a demon sent from hell. And <em>Buddy</em> understands that.</p> <p class="wp-block-paragraph">The movie drops us straight into Buddy’s world. A group of upbeat children are in a fenced-in yard, with a house, a talking mailbox, a treehouse, a wishing well, a nurse’s office, and a jungle gym. When they call out to “Oh, <em>Bud</em>dyyyy!”, the plush unicorn that always seems to be sitting nearby comes to life to teach the kids lessons like how to make chores fun, triumph over social anxiety, or process fear. But when one kid refuses to play along because he just wants to read his book, things get ominous.</p> <p class="wp-block-paragraph">For the first third of the film, we’re trapped with the kids in the world of <em>Buddy</em>, a claustrophobic Purgatory that feels like the natural evolution of “Too Many Cooks”. It looks sickly, in that particular way that cheap TV often does, where the colors are too bright and everything looks flimsy to the point of uncanniness, like reality itself will fall over if you give a good enough push. Which is kind of what the movie&#8217;s about: At a certain point, another plot breaks in and the movie becomes a sort of picaresque adventure-horror. To one way of thinking, this disrupts the maddening tone that Kelly created in the beginning. To another, this adds a plot that allows the film to go in a new direction that’s slightly more conventional, but also more sustainable. I think both of these ways of thinking are correct. I still don’t know whether the shift was really the right choice for the film, but I also know that if it hadn’t shifted, I might have thrown up on myself in the theater.</p> <p class="wp-block-paragraph">But <em>Buddy</em> as it stands completely works for me. It’s funny and dark and really gory, and I think anyone whose brain lights up at the phrase “blood-soaked <em>Barney</em> episode” should see it in as full a theater as they can find. But I am still curious about the other film, the one that never let any other reality break in.</p> <p class="wp-block-paragraph">The cast is uniformly amazing. All of Buddy’s co-stars nail the exact mix of “cloying kids’ TV actor” and “person who’s trapped in a hell dimension”. Cristin Milioti joins the film as one of Buddy’s co-stars who becomes a central character, and continues being one of the best actors we have right now. Sergey Zhuravsky and Johnathon Yurco express both pathos and menace through different forms of Buddy’s awkward, lumbering body. And Keegan-Michael Key, who is Buddy’s voice, and, I guess we could say, his <em>soul</em>, shades beautifully between his jollity, his homicidal rage, and the panic that sets in as his reality falls apart—all while maintaining a nasal chirruping children’s character voice. His performance makes me giddy every time I think about it.</p> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="820" src="https://reactormag.com/wp-content/uploads/2026/08/Buddy--1100x820.jpg" alt="" class="wp-image-856340" srcset="https://reactormag.com/wp-content/uploads/2026/08/Buddy--1100x820.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/Buddy--740x551.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/Buddy--140x105.jpg 140w, https://reactormag.com/wp-content/uploads/2026/08/Buddy--768x572.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/Buddy--1536x1144.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/Buddy-.jpg 1800w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Roadside Attractions</figcaption></figure> <p class="wp-block-paragraph">This film rises and falls with its kid actors, and they’re all <em>perfect</em>. Delaney Quinn plays Freddy Gardner, who becomes the ostensible leader of the group (with help from her plucky backpack, Strappy, voiced by Patton Oswalt). Caleb Williams plays Wade Lyons and Tristan Broders play Oliver Brownlee, her first co-stars who begin to notice that things aren’t all sunshine in the world of <em>Buddy</em>. Madison Skyy Polan plays Hannah Hartbeck, who joins the cast later and has to catch up <em>fast</em>, Tory Jacqui Malone plays an even later addition named Tyler, and Luke Speakman plays the rebellious reader, Josh. They all nail the specific&nbsp;“90s TV kid acting” at the beginning, with the right blend of snark, whine, belligerence, and vulnerability. As the horror kicks in all of that falls away, and they each give nuanced performances of young, frightened children in danger, trying to be brave but making the kinds of mistakes terrified kids would actually make, as the story follows each of its themes and plot points to their inevitable, horrific conclusions.</p> <p class="wp-block-paragraph">This has been an incredible year for people reckoning with the horror they imprinted on in their own youths, and the things that were marketed to kids as wholesome: <em>The Bone Temple</em> with Teletubbies and Jimmy Savile, <em>Teenage Sex and Death at Camp Miasma</em> with its reverence for Jason and <em>Sleepaway Camp</em> and <em>The X-Files</em> along with a lotta other stuff, <em>Backrooms</em> literally being about the detritus of the 90s, <em>Camp</em> with its mix of current and retro tech, and its dedication to a certain kind of late ‘90s early ‘00s goth/witch vibe, Even <em>Obsession</em> and <em>Widow’s Bay</em>—they tell modern stories, but they’re largely disconnected from social media and modern tech.</p> <p class="wp-block-paragraph">While I’ve loved or appreciated each of these works. I think <em>Buddy</em> might be the most pure <em>fun</em> I’ve had in a theater so far this year. It takes what could have been a one-joke premise, and turns that into a commentary on media and loneliness and gaslighting and how we use stories to give ourselves strength, but it doesn’t overdo any of it. There is room in <em>Buddy</em> for all the obvious winking TV references, and for a story about mothers and daughters giving each other courage. And Kelly and King give the jokey premise some depth without taking things so seriously that we lose sight of the pure joy of watching a sentient backpack go through an existential crisis. I love <em>Buddy</em>, and I&#8217;m pretty sure <em>Buddy </em>loves me.[end-mark]</p> <p>The post <a href="https://reactormag.com/movie-review-buddy/">&lt;em&gt;Buddy&lt;/em&gt; Takes &lt;em&gt;Barney&lt;/em&gt;’s Premise to a Hilariously Bloody Conclusion</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/movie-review-buddy/">https://reactormag.com/movie-review-buddy/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856335">https://reactormag.com/?p=856335</a></p>
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Posted by Matthew Byrd

News Bang Bang Bodhisattva

Lilly Wachowski Still Wants to Adapt Bang Bang Bodhisattva

There is some good news on the Lilly Wachowski production front, though

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Published on August 28, 2026

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<p class='syndicationauthor'>Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/lilly-wachowski-bang-bang-bodhisattva/">https://reactormag.com/lilly-wachowski-bang-bang-bodhisattva/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856334">https://reactormag.com/?p=856334</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/bang-bang-bodhisattva/" class="inline-block link-no-animation" aria-label="Link to term or tag Bang Bang Bodhisattva 1"> Bang Bang Bodhisattva </a> </span> </div> <h2 class="post-hero-title text-h1">Lilly Wachowski Still Wants to Adapt <i>Bang Bang Bodhisattva</i></h2> <div class="prose post-hero-description prose--post-hero">There is some good news on the Lilly Wachowski production front, though</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/matthew-byrd/" title="Posts by Matthew Byrd" class="author url fn" rel="author">Matthew Byrd</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 28, 2026 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div 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class="wp-block-paragraph">Over on Bluesky, <em>Bang Bang Bodhisattva</em> author Aubrey Wood recently shared that Lilly Wachowski has been trying to adapt <a href="https://reactormag.com/an-interview-with-three-finalists-for-the-lambda-literary-award-for-lgbtq-speculative-fiction/" target="_blank" rel="noreferrer noopener">her acclaimed 2023 cyberpunk novel</a>.</p> <p class="wp-block-paragraph">&#8220;I have the go-ahead to talk about this finally,&#8221; the <a href="https://bsky.app/profile/briewoodfiction.bsky.social/post/3mu3wcvh2ss2k" target="_blank" rel="noreferrer noopener">author shared</a>. &#8220;Lilly Wachowski optioned <em>Bang Bang Bodhisattva </em>for a feature film soon after its release, paying for the rights out of her own pocket. Unfortunately the project fell apart right around the same time the <em>Manhunt </em>show was canned, for similar reasons.&#8221;</p> <p class="wp-block-paragraph">Wood seems to be referring to Wachowski&#8217;s attempt to adapt Gretchen Felker-Martin&#8217;s <em>Manhunt</em> novel into a TV series. While there has been no official word regarding that project&#8217;s status recently, Wachowski did <a href="https://deadline.com/2026/08/lilly-wachowski-hollywood-wont-make-next-film-trans-cast-1237032338/" target="_blank" rel="noreferrer noopener">recently say</a> that she can&#8217;t get her political thriller film <em>The Hunted </em>going because of her insistence on a &#8220;wall-to-wall trans cast.&#8221; It&#8217;s possible that Wachowski&#8217;s other recent projects have faced similar production hurdles.</p> <p class="wp-block-paragraph">Wood does go on to note that she and Wachowski are still interested in working together on this project down the line but that the &#8220;market is hostile&#8221; at the moment. She encourages people to continue to support her work in order to increase the chances of that adaptation ever happening. </p> <p class="wp-block-paragraph">The author shared this information in response to a fan who shared a 2023 quote from Wachowski in which the director said that she is increasingly focused on supporting and mentoring &#8220;up-and-coming trans talent.&#8221; </p> <p class="wp-block-paragraph">If you&#8217;re unfamiliar with <em>Bang Bang Bodhisattva</em>, the novel follows a futuristic gig worker who navigates a noir murder mystery with the help of a private investigator she sometimes works with. The story has been praised for its writing, futuristic world-building, and incorporation of noir storytelling into a cyberpunk setting that utilizes and challenges the ideas of both genres. Perhaps you can see why Lilly Wachowski might be so interested in this project and why many believe she&#8217;d be a perfect fit for the material.</p> <p class="wp-block-paragraph">There is some good news on the Lilly Wachowski project front, though. It was recently announced that Wachowski will produce <em>Cassie Workman Is Witchy AF</em>: an upcoming eight-part YouTube comedy documentary series starring Cassie Workman that explores the history of various aspects of the occult. Described as a show &#8220;created in a lab specifically to make Ron DeSantis angry,&#8221; it sounds like it&#8217;ll be more than worth a watch when it debuts on September 16.[end-mark]</p> <p>The post <a href="https://reactormag.com/lilly-wachowski-bang-bang-bodhisattva/">Lilly Wachowski Still Wants to Adapt &lt;i&gt;Bang Bang Bodhisattva&lt;/i&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/lilly-wachowski-bang-bang-bodhisattva/">https://reactormag.com/lilly-wachowski-bang-bang-bodhisattva/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856334">https://reactormag.com/?p=856334</a></p>
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Posted by Sarah

Books role playing games

Four Roleplaying Games That Did Something Right

A few key innovations and improvements that made gameplay more enjoyable…

By

Published on August 28, 2026

Dragonbane cover art by Johan Egerkrans

detail from the cover of Dragonbane; 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.

RuneQuest CultsRuneQuest by Steve Perrin & Ray Turney (1978)

cover of RuneQuest RPG rulebook

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.

Champions scale — Champions by Steve Peterson and George MacDonald (1981)

cover of Champions RPG rulebook

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.

Dragonbane Box Set — Dragonbane: Mirth & Mayhem Roleplaying by Tomas Härenstam (2023)

cover of Dragonbane RPG rulebook

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.

Functional PDF layout — Fabula Ultima by Emanuele Galletto (2023)

cover of Fabula Ultima RPG rulebook

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]

  1. Which, because I am old and grumpy about having to specify tabletop versus (grinds teeth) video games, I will simply refer to as RPGs. ↩
  2. Not that there had been much time for there to have been prior art when RQ first appeared way back in 1978. ↩
  3. The Legion of Superheroes encountered two manifestations of Time itself: one representing entropic time and the other cyclic time. Then the Legion made the manifestations fight each other. As one does. ↩
  4. In US terms, that would be a giraffe as large as a warm boulder. ↩
  5. In US terms, that would be the weight of the aroma of a banquet in a square banquet hall 20 kilometers on each edge. ↩
  6. Except for the gamemaster’s screen, which is sold separately. It will fit in that box, however. ↩
  7. No Big Book of Magic Items thus far, which may be because the details of how permanent magic items are created in DB makes them intrinsically expensive in personal terms—each has a little piece of soul in it—and accordingly very rare. Or maybe the Big Book of Magic Items will turn up in a 2027 Kickstarter. In my DB campaign, I came up with a workaround for the little piece of soul issue that I think was every bit as evil as the vibrating toothbrushes’ dark backstory in my Fabula Ultima game. ↩
  8. I actually bought a tablet so I could comfortably read all 200+ GB of my RPGs. How many have I actually read? Shut up, that’s how many. ↩

The post Four Roleplaying Games That Did Something Right appeared first on Reactor.

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Posted by Vanessa Armstrong

Movies & TV Dark Matter

Dark Matter: Jennifer Connelly & Joel Edgerton on How First Episode Tees Up Season 2

The Apple TV series had its season two premiere on August 28, 2026.

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Published on August 28, 2026

Credit: Apple TV

 

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<p class='syndicationauthor'>Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/">https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856177">https://reactormag.com/?p=856177</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/movies-tv/" class="inline-block link-no-animation" aria-label="Link to term or tag Movies &amp; TV 0"> Movies &amp; TV </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/dark-matter/" class="inline-block link-no-animation" aria-label="Link to term or tag Dark Matter 1"> Dark Matter </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Dark Matter</i>: Jennifer Connelly &amp; Joel Edgerton on How First Episode Tees Up Season 2</h2> <div class="prose post-hero-description prose--post-hero">The Apple TV series had its season two premiere on August 28, 2026.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 28, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&#038;_a]:link"><p>Credit: Apple TV</p> <p>&nbsp;</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewBox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path 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2 of Dark Matter" srcset="https://reactormag.com/wp-content/uploads/2026/08/Dark_Mater_Photo_020201-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Mater_Photo_020201-1100x734.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Mater_Photo_020201-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Mater_Photo_020201-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Mater_Photo_020201.jpg 1600w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&#038;_a]:link"><p>Credit: Apple TV</p> <p>&nbsp;</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph"><strong><em>Warning: This post contains spoilers for the first episode of</em> Dark Matter, <em>season two.</em></strong></p> <p class="wp-block-paragraph"><a href="https://reactormag.com/dark-matter-season-2-trailer/" target="_blank" rel="noreferrer noopener">Season two of Apple TV’s <em>Dark Matter</em> </a>doesn’t take long to see Jason One (Joel Edgerton), Daniela (Jennifer Connelly), and Charlie Dessen (Oakes Fegley) once again on the run after Daniela shoots another Jason who had tracked them down. That moment is a major one, and not just because it forces the family back into the box to find another reality where they can build a life.</p> <p class="wp-block-paragraph">“Everything she experiences [is] compounded by what happens at the beginning of season two,” Connelly told me in a joint interview with Edgerton. Shooting the other Jason, Connelly explained, shocked Daniela. “She really doesn’t know how to process it. I think everything that she built in her life that she wanted to build is now in question. And she’s asking herself questions about who she trusts, what she can trust, and whether she trusts herself.”</p> <p class="wp-block-paragraph">Edgerton added that being on the run again made something clear for the whole Dessen family. “There’s no real safe place for them,” he said, adding that they decide that “one way to make it safe is to get somewhere that might be okay, and potentially [ask,] should we get rid of this technology?”</p> <figure class="wp-block-image size-large"><img decoding="async" width="1100" height="550" src="https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109-1100x550.jpg" alt="Jennifer Connelly looking concerned and scared in season two of Dark Matter" class="wp-image-856181" srcset="https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109-1100x550.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109-740x370.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109-768x384.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109-1536x768.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/Dark_Matter_Photo_020109.jpg 1600w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Apple TV</figcaption></figure> <p class="wp-block-paragraph">Connelly and Edgerton explained how that question and Daniela shooting the other Jason places a strain on Daniela and Jason’s relationship. &nbsp;</p> <p class="wp-block-paragraph">“I think she’s really struggling,” Connelly said. “She takes it upon herself to go on a journey and try to tease those things apart and take responsibility for her own actions, and what she might be bringing to the relationship… &nbsp;some of the characters are thinking about the path not taken and where they want to go, and I think she just really wants to get back to the path she was on because she loves her family and she loved the life she had built, and she doesn’t know how to quite be there anymore.”</p> <p class="wp-block-paragraph">Edgerton said that Jason One has his own issues to grapple with. “What he hasn’t answered for himself is how another version of himself created this technology… the final answers or stages of that creation are elusive to him, and his self-serving need to answer those questions overrides his promise to the family to the point where things become problematic.”</p> <p class="wp-block-paragraph">He added that we’ll see “how Jason One could become closer to what Jason Two was in season one… those two characters almost show glimpses of the opposite.”</p> <p class="wp-block-paragraph">New episodes of <em>Dark Matter</em> season two premiere every Friday through October 30, 2026.[end-mark]</p> <p>The post <a href="https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/">&lt;i&gt;Dark Matter&lt;/i&gt;: Jennifer Connelly &amp; Joel Edgerton on How First Episode Tees Up Season 2</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/">https://reactormag.com/dark-matter-jennifer-connelly-joel-edgerton-on-how-first-episode-tees-up-season-2/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856177">https://reactormag.com/?p=856177</a></p>
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Posted by Matthew Byrd

News A Nightmare on Elm Street

Jane Schoenbrun Isn’t the Only Director Who Wants to Reboot A Nightmare on Elm Street

Still, please let Jane Schoenbrun do it

By

Published on August 27, 2026

Photo Credit: New Line Cinemas

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<p class='syndicationauthor'>Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/jane-schoenbrun-nightmare-on-elm-street-reboot-directors/">https://reactormag.com/jane-schoenbrun-nightmare-on-elm-street-reboot-directors/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856265">https://reactormag.com/?p=856265</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/a-nightmare-on-elm-street/" class="inline-block link-no-animation" aria-label="Link to term or tag A Nightmare on Elm Street 1"> A Nightmare on Elm Street </a> </span> </div> <h2 class="post-hero-title text-h1">Jane Schoenbrun Isn&#8217;t the Only Director Who Wants to Reboot <i>A Nightmare on Elm Street</i></h2> <div class="prose post-hero-description prose--post-hero">Still, please let Jane Schoenbrun do it</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/matthew-byrd/" title="Posts by Matthew Byrd" class="author url fn" rel="author">Matthew Byrd</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical 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2.89605 9.41364 0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="413" src="https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger-740x413.png" class="w-full object-cover" alt="Freedy Krueger in A Nightmare on Elm Street" srcset="https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger-740x413.png 740w, https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger-1100x614.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger-768x429.png 768w, https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger-1536x857.png 1536w, https://reactormag.com/wp-content/uploads/2026/08/Freddy-Krueger.png 1600w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&#038;_a]:link"><p>Photo Credit: New Line Cinemas</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">After years of thorny rights battles, we appear to be inching closer to a new <em>Nightmare on Elm Street</em> movie. Well, two, technically, as both Paramount and Warner Bros. have <a href="https://deadline.com/2026/07/a-nightmare-on-elm-street-paramount-1236980882/">expressed an interest</a> in developing a new <em>Nightmare on Elm Street </em>movie with their respective shares of their rights. Does that really make any sense when you consider that Paramount is engaged in a highly public attempt to acquire Warner Bros.? Of course not! Things, much like the <em>Nightmare on Elm Street</em> franchise, stopped making sense ages ago.</p> <p class="wp-block-paragraph">Whatever comes of all of this, it&#8217;s clear that there is a <em>ton </em>of interest in this reboot among some of the most notable names in horror today. That&#8217;s hardly a surprise given both the franchise&#8217;s cultural prominence and the number of potentially very interesting, and very weird, ideas you could sneak through the system so long as it&#8217;s for a <em>Nightmare on Elm Street</em> film.</p> <p class="wp-block-paragraph">But with Jane Schoenbrun recently throwing their hat (an old, slightly burned fedora, we assume) in the ring for this reboot, it&#8217;s a good time to take a look at some of the more notable names that have expressed an interest in joining the <em>Nightmare on Elm Street </em>reboot<em> </em>once it finally gets off the ground.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Jane Schoenbrun</strong></h3> <p class="wp-block-paragraph">Fresh off the <a href="https://reactormag.com/tag/teenage-sex-and-death-at-camp-miasma/" target="_blank" rel="noreferrer noopener">brilliant <em>Teenage Sex and Death at Camp Miasma</em></a>, Jane Schoenbrun confirmed their interest in directing Paramount&#8217;s <em>Nightmare on Elm Street</em> movie. While the director only <a href="https://www.phantasmag.com/articles-4/jane-schoenbrun-nightmare-on-elm-street-reboot" target="_blank" rel="noreferrer noopener">mentioned the project in passing</a>, the idea of a Schoenbrun <em>Nightmare on Elm Street</em> film has already excited quite a few fans of their work. Schoenbrun&#8217;s genre knowledge is beyond reproach, while their ability to tell a more meta story could work well for this series that has notably dabbled in that arena before. As for whether or not Paramount would ever find the courage to let Schoenbrun direct this movie&#8230; well, that may sadly be another matter entirely.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Curry Barker</strong></h3> <p class="wp-block-paragraph">As you&#8217;d probably imagine, Curry Barker is one of the hottest names in Hollywood right now following the historic success of <em>Obsession</em>. In fact, Barker is already scheduled to direct a <em>Texas Chainsaw Massacre</em><strong> </strong>reboot for A24. While the director has said <a href="https://www.polygon.com/curry-barker-new-nightmare-on-elm-street-movie/" target="_blank" rel="noreferrer noopener">he&#8217;d love to &#8220;take a crack&#8221;</a> at a new <em>Nightmare on Elm Street </em>(he also acknowledges that &#8220;everybody&#8221; wants to helm the project), he&#8217;s really a name on a list at the moment. That said, if <em>Texas Chainsaw Massacre</em> is a hit and Barker is available, you have to imagine he&#8217;d be considered one of the top names on any list. </p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Mike Flanagan</strong></h3> <p class="wp-block-paragraph">For years, Mike Flanagan has been telling everyone <a href="https://collider.com/mike-flanagan-nightmare-on-elm-street-comments/" target="_blank" rel="noreferrer noopener">how interested he is</a> in directing the <em>Nightmare on Elm Street </em>reboot. What&#8217;s especially interesting about his situation is that he has claimed he was actively pursuing this project before <em>Nightmare on Elm Street</em>&#8216;s rights issues were sorted out. To hear Flanagan tell it, he&#8217;s basically told his agents to let him know the moment they can get a real meeting with someone and to be sure to make it happen. It&#8217;s impossible to tell how these things will go so far out, but in theory, Flanagan has the chops, the clout, and that certain &#8220;just approachable and recognizable enough&#8221; quality a studio like Paramount might value when it comes time to give this dream project to someone. He&#8217;s definitely a name to watch.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Rob Savage </strong></h3> <p class="wp-block-paragraph">Rob Savage (<em>Host, Other Mommy</em>) admittedly doesn&#8217;t have a major hit to his name quite yet. But with his recent horror works, the director has showcased undeniable promise and the ability to incorporate visceral horror scares into more surreal and surprising premises. In other words, he&#8217;s <a href="https://movieweb.com/the-boogeyman-rob-savage-wants-a-nightmare-on-elm-street-remake/" target="_blank" rel="noreferrer noopener">a pretty fascinating name</a> for this particular series if Paramount decides to give the reins to a younger director who could potentially helm multiple future entries. A bit of a dark horse candidate to be sure, but one to keep an eye on.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Lee Cronin</strong></h3> <p class="wp-block-paragraph">Like the other directors on this list, Lee Cronin has expressed his interest in making <a href="https://www.scifinow.co.uk/news/lee-cronin-wants-to-make-a-nightmare-on-elm-street-film/" target="_blank" rel="noreferrer noopener">a new <em>Nightmare on Elm Street</em> movie</a>. Unlike the other directors on this list, there is <a href="https://www.dreadcentral.com/news/583350/warner-bros-is-reportedly-racing-paramount-to-make-its-own-a-nightmare-on-elm-street-movie-lee-cronin-to-direct/" target="_blank" rel="noreferrer noopener">a loose report</a> that suggests that Warner Bros. is interested in bringing Cronin on board to take a crack at their version of the movie. While that report is unconfirmed, it does highlight the interesting dilemma this project could eventually run into. Is there a world where Cronin or another director begins working on a reboot for Warner Bros. only to have the whole thing be absorbed (or cancelled) by Paramount? Is it possible that a director who starts working on that project would have an inside track, or would Paramount prefer to handle the whole thing themselves? It&#8217;s a bit of a mess, but it&#8217;s a fascinating mess.[end-mark]</p> <p>The post <a href="https://reactormag.com/jane-schoenbrun-nightmare-on-elm-street-reboot-directors/">Jane Schoenbrun Isn&#8217;t the Only Director Who Wants to Reboot &lt;i&gt;A Nightmare on Elm Street&lt;/i&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/jane-schoenbrun-nightmare-on-elm-street-reboot-directors/">https://reactormag.com/jane-schoenbrun-nightmare-on-elm-street-reboot-directors/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856265">https://reactormag.com/?p=856265</a></p>
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Posted by Stefan Raets

Excerpts Romantasy

Read an Excerpt From Daughter of the Dark by R.J. Valldeperas

From the flesh of a fallen god, a demon slayer rises.

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Published on August 27, 2026

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<p class="syndicationauthor">Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/">https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856097">https://reactormag.com/?p=856097</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/fictions/excerpts/" class="inline-block link-no-animation" aria-label="Link to term or tag Excerpts 0"> Excerpts </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/romantasy/" class="inline-block link-no-animation" aria-label="Link to term or tag Romantasy 1"> Romantasy </a> </span> </div> <h2 class="post-hero-title text-h1">Read an Excerpt From <i>Daughter of the Dark</i> by R.J. Valldeperas</h2> <div class="prose post-hero-description prose--post-hero">From the flesh of a fallen god, a demon slayer rises.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/r-j-valldeperas/" title="Posts by R.J. Valldeperas" class="author url fn" rel="author">R.J. Valldeperas</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 1.3 1.3v10.8a1.3 1.3 0 0 1-1.3 1.3h-5.698l-.146.147-3.324 3.333a.417.417 0 0 1-.282.12H6.3a.4.4 0 0 1-.4-.4v-2.7Z" /> </g> </svg> 0 </a> <details class="relative quick-access-details"> <summary class="quick-access-share flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 22 22" aria-label="share" role="img" aria-hidden="true" aria-labelledby="icon-share-new-quick-access-"> <title id="icon-share-new-quick-access-">Share New</title> <g fill="none" fill-rule="evenodd"> <circle cx="11" cy="11" r="11" fill="#FFF" fill-rule="nonzero" /> <circle cx="11" cy="11" r="10.5" stroke="#000" /> <path fill="#FFF" d="M5.993 13.464c.675 0 1.323-.266 1.806-.743l4.11 2.396a2.639 2.639 0 0 0 .368 2.451 2.583 2.583 0 0 0 2.227 1.043 2.59 2.59 0 0 0 2.09-1.3 2.64 2.64 0 0 0 .08-2.477 2.58 2.58 0 0 0-4.292-.54L8.344 11.94c.28-.616.31-1.319.086-1.958l3.952-2.303a2.564 2.564 0 0 0 4.263-.537 2.623 2.623 0 0 0-.078-2.46 2.573 2.573 0 0 0-2.075-1.293 2.566 2.566 0 0 0-2.213 1.033 2.622 2.622 0 0 0-.37 2.433L7.96 9.158a2.573 2.573 0 0 0-4.316.603 2.632 2.632 0 0 0 .172 2.501 2.58 2.58 0 0 0 2.178 1.202Z" /> <path fill="#000" d="M6.936 9.577c.322 0 .631.137.859.383.228.245.355.577.355.924 0 .347-.127.68-.355.925a1.172 1.172 0 0 1-.859.383c-.322 0-.63-.138-.858-.383a1.36 1.36 0 0 1-.356-.925c0-.347.129-.679.356-.924.228-.245.536-.383.858-.383Zm6.17-3.837c.323 0 .631.138.86.383.227.245.355.578.355.924 0 .347-.128.68-.356.925a1.172 1.172 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.924.227-.245.536-.383.858-.383Zm0 7.883c.323 0 .631.138.86.383.227.245.355.578.355.925 0 .346-.128.679-.356.924a1.171 1.171 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.923.227-.245.536-.383.858-.384Zm-6.17-.681c.499 0 .978-.21 1.334-.586l3.036 1.888a2.194 2.194 0 0 0 .272 1.93c.385.555 1.003.863 1.645.822.641-.04 1.221-.425 1.544-1.024a2.203 2.203 0 0 0 .059-1.952c-.286-.62-.841-1.044-1.48-1.13-.637-.085-1.272.18-1.69.705l-2.984-1.854c.207-.486.23-1.04.064-1.543l2.92-1.815c.415.522 1.046.784 1.68.7.633-.086 1.184-.507 1.468-1.123a2.188 2.188 0 0 0-.058-1.938c-.32-.595-.895-.977-1.532-1.018-.638-.041-1.251.264-1.635.813a2.179 2.179 0 0 0-.273 1.917L8.389 9.55c-.423-.534-1.07-.798-1.715-.702-.645.096-1.2.54-1.472 1.177a2.194 2.194 0 0 0 .126 1.97c.352.59.958.948 1.61.947Z" /> </g> </svg> Share </summary> <div class="quick-access-bubble"> <ul class="flex gap-6 text-black list-none"> <li class="flex"> <a class="flex items-center hover:text-red" href="https://twitter.com/intent/tweet?text=Read an Excerpt From &lt;i&gt;Daughter of the Dark&lt;/i&gt; by R.J. 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17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark-header-740x407.jpg" class="w-full object-cover" alt="Cover of Daughter of the Dark by R.J. Valldeperas." srcset="https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark-header-740x407.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark-header-1100x605.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark-header-768x422.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark-header.jpg 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">We&#8217;re thrilled to share an excerpt from <em><a href="https://us.macmillan.com/books/9781250427953/daughterofthedark/" target="_blank" rel="noreferrer noopener"><strong>Daughter of the Dark</strong></a></em>, the start of a new romantasy series by R.J. Valldeperas, out from Bramble on September 15th. We&#8217;re thrilled to also include an excerpt from the <a href="https://us.macmillan.com/books/9781250472205/daughterofthedark/" target="_blank" rel="noreferrer noopener">audiobook edition</a> of <em>Daughter of the Dark</em>, read by Lee Osorio. <a href="https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/#daughter-of-the-dark-audio-excerpt">Click here to jump straight to the audio excerpt!</a></p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Supay lives under a curse of eternal death. For the greed of their god, the people are damned to live as human… and then again as muki.<br><br>For Solana, survival means staying sharp and staying alone. Armed with only a blood-forged dagger, she&#8217;s carved out a life as Supay&#8217;s fiercest slayer, freeing souls even as she&#8217;s trapped by duty.<br><br>But when a twist of fate offers her the title of Royal Demon Hunter, Solana finally finds a path to the freedom she&#8217;s always craved&#8230; but it draws her closer to the darkness threatening Supay—darkness that calls to her soul alone.<br><br>Torn between turning her back on a fight she never asked for and the pull of loyalties old and new—including an irresistible connection to a man who should be her enemy—Solana must decide&#8230;<br><br>Choose fate and freedom?<br><br>Or death, destruction… and revolution.</p></blockquote></figure> <section class="wp-block-shop-the-book shop-the-book"> <h2 class="shop-the-book-headline">Buy the Book</h2> <div class="shop-the-book-content"> <figure class="shop-the-book-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark.jpg" class="attachment-full size-full" alt="Cover of Daughter of the Dark by R.J. Valldeperas." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <!-- <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark.jpg" class="attachment-full size-full" alt="Daughter of the Dark" /> --> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Daughter-of-the-Dark.jpg" class="attachment-full size-full" alt="Cover of Daughter of the Dark by R.J. Valldeperas." role="presentation" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">Daughter of the Dark</h3> <p class="shop-the-book-author">R.J. 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Its nightmarish body rippled, ropy muscles covered with slimy black flesh coiling with tension, skin glistening like a jewel. That was the only warning Solana got. Between one blink and the next, it pounced, nothing but a shift of mist and shade.</p> <p class="wp-block-paragraph">Solana ran toward it, dropped to her knees, and extended her blade up, pointing at its belly. The muki leaned out of reach at the last moment and landed in a perfectly executed roll. Solana hastily spun around to meet it again, but it had paused in a menacing crouch, head tilted as if listening.</p> <p class="wp-block-paragraph">As if <em>waiting</em> for something.</p> <p class="wp-block-paragraph">Behind it, Sami and the other muki circled each other.</p> <p class="wp-block-paragraph">The dagger in Solana’s hand vibrated with anticipation, with desire. She could feel it urging her to move and begging to part skin and sinew and bathe in blood, and who was she to deny such want?</p> <p class="wp-block-paragraph">Solana launched forward, a roar of fury echoing against the stone walls caging them. The muki bared its teeth in a grim smile and met her halfway. She grimaced as they collided, tucking her chin to protect her head from hitting the ground, but the muki hadn’t thought through the consequences of its actions. How bringing their bodies together meant she was close enough to strike and strike true. Her hand stung as her dagger plunged into the place where the muki’s ribs should have been, as she pulled it out and shoved it back in again and again, the muki looming over her like a dark cloud until its weight fell and almost crushed her.</p> <p class="wp-block-paragraph">“Get <em>off</em>,” she grunted with a shove. It reared back, tossing itself to the side and into the wall, its wide, lidless eyes meeting hers with something like shock or awareness. Some emotion far too human that always made her instincts stutter.</p> <p class="wp-block-paragraph">Solana shook away the doubt and lunged, sinking the dagger deep into the side of its neck and pushing it clean out of the back. Its eyes shuttered. Whatever emotion she thought was there disappeared, and she was left bracing herself for what always came next.</p> <p class="wp-block-paragraph">With one final exhale, the muki fell onto its back, arms and legs splayed wide. She heard Sami and the other muki dancing around each other, but it was distant, buried underneath the weight of emotions that slammed into her and dragged her below the surface of awareness, as if what little remnants of the mortal lives the muki held on to slipped into her.</p> <p class="wp-block-paragraph">There was grief and rage, sorrow so potent it threatened to swallow her whole and forced her to claw her way back to the mortal realm. But sometimes there was gratitude, a rush of cold that made her limbs tingle and her chest expand with burgeoning relief. She imagined that was what it felt like to be truly free of Supay, to be released from the clutches of its curse.</p> <p class="wp-block-paragraph">It punched into the depths of her soul until she wasn’t sure who she was anymore. Until surviving no longer had any meaning.</p> <p class="wp-block-paragraph">Then, little by little, like the dew drying from the heat of the midday sun, her own awareness returned to her body. The sky above was cloudless and moonless, an inky, unending black that mocked her. The sounds of a struggle echoed against the stone walls and slowly slipped past her bubble of oblivion.</p> <p class="wp-block-paragraph">Then she heard her name, sharp and urgent. A ringing in her ears that shook away some of the lingering fog.</p> <p class="wp-block-paragraph"><em>“Solana!”</em></p> <p class="wp-block-paragraph">There it was again. Sami was calling—no, <em>screaming</em>—her name. Her head rolled to the side, and she saw a blurry version of him fall to a knee, the gaping hole of darkness shaped like a muki towering over him. It screeched without a mouth, somehow, a sound that burrowed like needles underneath her skin and finally snapped her out of her daze.</p> <p class="wp-block-paragraph">She watched in horror as the muki shot out a hand and wrapped it around Sami’s neck.</p> <p class="wp-block-paragraph">Solana sat up with a jolt. There was a sharp pull on her side, but she barely noticed the dead muki’s claws ripping out of her flesh in her haste to get to Sami.</p> <p class="wp-block-paragraph">It was sheer panic that gave her the strength to push to her feet, to open her mouth and scream a solitary command. “<em>STOP</em>,” she roared, the force of her voice pressing against her skull and the walls and the demon that snapped its eyeless gaze to her. She had no time to consider that it had obeyed before she slammed into it.</p> <p class="wp-block-paragraph">They hit the ground with a thud that rattled her teeth, and then she scrambled and slipped to pin its body to the ground, one leg on either side to gain enough purchase to drive her dagger into its neck.</p> <p class="wp-block-paragraph">A chill ran through her from the pressure of its unseeing eyes pinned to her. It didn’t so much as blink as she sliced its throat, deep enough to sever its spinal cord and end its miserable life.</p> <p class="wp-block-paragraph">The alley fell quiet. Solana’s chest heaved with ragged breaths, and the world around her tilted. She listed sideways, but it wasn’t the ground that caught her. It was Sami’s arms, his warm, hard body wrapping around her and pulling her away from the rotting, gelatinous corpse.</p> <p class="wp-block-paragraph">“<em>Fuck</em>,” she heard him whisper as he leaned against the wall with her between his legs. He held her while she convulsed with unending torment, flashes of light and shadows racing behind her closed eyes, drowning her every thought in desperate suffering.</p> <p class="wp-block-paragraph">Just when she thought it would kill her, that her punishment for taking a life would be for her own life to be taken, it ended. Sweat rolled down her temples and between her breasts. One of Sami’s hands was wrapped around her forehead, the other around her abdomen, both holding her tight as he swayed and hummed a soothing lullaby into her ear. She matched his breathing, calmed her racing pulse, and reminded herself who she was.</p> <p class="wp-block-paragraph"><em>Solana Grey, the Demon Slayer of Supay.</em></p> <p class="wp-block-paragraph">It was only her that was fast enough to fight and kill, strong enough to weather the onslaught of agony that came with each life she took. It was her atonement for the wrongs her father had committed. A way to prove to herself that she was nothing like the traitor of Supay. A responsibility she had carried for fourteen years. She wondered if she would be strong enough to walk away when the time came.</p> <p class="wp-block-paragraph">It was minutes or hours or days later by the time Solana felt like she could breathe normally again. The wound in her side was throbbing, sending waves of agony up into her chest and down her leg. Would this be the time the poison took her as it took her mother? Had her immunity and her questionable luck finally run out?</p> <p class="wp-block-paragraph">But when she wiggled out of Sami’s hold and lifted her shredded tunic, there was nothing but gaping flesh and tacky red blood. No blackened veins or sizzling skin or putrid smell. Only pain and scars and memories. </p> <p class="wp-block-paragraph">“Gods, Solana,” Sami breathed, his hand coming to cover hers over the wound. “Can we both agree that this was a terrible choice?”</p> <p class="wp-block-paragraph">Solana laughed, and then she groaned. Warm blood trickled between her fingers. “My dagger?” she asked, feeling around with her free hand.</p> <p class="wp-block-paragraph">“I have it,” Sami reassured her. “We need to get you up and over to—”</p> <p class="wp-block-paragraph">But Solana was shaking her head and pulling away, holding in a wince as she tried to push to her feet. “The Medallion, I need to—”</p> <p class="wp-block-paragraph">“You have <em>got</em> to be kidding. Solana, your insides are practically outside of your body. I know the poison doesn’t affect you, but you can still die from blood loss or an infection. The Medallion can wait.”</p> <p class="wp-block-paragraph">“It <em>can’t</em>, Sami. There won’t be another opportunity like this.”</p> <p class="wp-block-paragraph">Sami’s jaw rippled in the moonlight. “You’re so desperate to leave Supay that you’ll kill yourself doing it.” He sighed and ran his hands through his hair. “And you’ll do it with or without my help.”</p> <p class="wp-block-paragraph">“If you come, you can catch me when I pass out.” Solana smiled brightly, but it felt brittle. She had been nothing but honest with him from the moment the plan had begun to form in her mind. Her staying was never an option and still, he chose her.</p> <p class="wp-block-paragraph">She opened her mouth to tell him she had changed her mind, that they could go back to Jacobi’s where he was sure to call in the doctor to stich up Solana’s side, after which she could slip out and follow the trail two drunk men were sure to leave behind, Sami none the wiser.</p> <p class="wp-block-paragraph">But the scuff of a booted foot against stone interrupted the tense silence after battle. Solana was on her knees facing Sami one moment, and then he was up and blocking her body with his back to her in the next, her dagger clenched tightly at his side.</p> <p class="wp-block-paragraph">From out of the shadows emerged one figure, and then two, their heads&nbsp;bowed and their gaits slow and sure. Solana squinted into the dark, trying to decipher whether they were muki or human, and then inhaled sharply once they stepped into the singular block of light between buildings. It was Nikolas and Oskar, as if her thoughts had conjured them out of thin air. The cowards must have been hiding while Solana and Sami fought for their lives.</p> <p class="wp-block-paragraph">Solana staggered to her feet, but Sami stepped backward and into her, further blocking her view of the men she planned to rob. “Sami, what are you—”</p> <p class="wp-block-paragraph">Behind Nikolas and Oskar, another figure appeared. A flash of light caught her attention, and she saw something she hadn’t noticed before. On all their cloaks, over their hearts, was a silver badge, one that she knew had the word <em>Masters</em> engraved into the top over an eye with the king’s profile in the pupil. This time, it was Solana who took a step back, hand pressed to her side to keep as much of her blood in as possible while her heart raced.</p> <p class="wp-block-paragraph">When she glanced at Nikolas, he winked at her. A rush of embarrassment and anger turned her cheeks hot. Her hand clenched into a fist at her side. They had tricked her, but two could play that game.</p> <p class="wp-block-paragraph">“Thank the gods you’re here,” Solana said, feigned relief making her voice high and breathy. “These muki came out of nowhere and attacked us. I don’t think they’re dead, so we should go before they wake.” A believable lie, since their bodies were still there. Solana’s blade not only alerted her to nearby muki, but also gave them a true death, unlike other weapons she had used, which only made them dissipate into thin air like they did with the sun.</p> <p class="wp-block-paragraph">The bodies were an inconvenient trail of breadcrumbs at a time like that.</p> <p class="wp-block-paragraph">It was illegal to kill muki—a false hope masked as a kindness to those who were once loved ones. The king’s gifted military were responsible for detaining and transferring them to a secure facility underneath the castle. There were rumors about the chorus of moans that could be heard at all hours of the night and day, like the drone of bugs in the thick forests by the sea. But the Masters hardly ever made their way so far as Qhilli, and Solana and her people had no way to detain and imprison one monster, much less dozens or hundreds.</p> <p class="wp-block-paragraph">They killed to survive. Solana killed because it was a mercy to the muki and the client. Being haunted by loved ones was a fate she wouldn’t wish on anyone. And it paid well enough—most of the time. If the Masters were there to punish her for <em>that</em>, she would make it as difficult as possible for them.</p> <p class="wp-block-paragraph">“We’ve come just in time, then,” Nikolas said, and his voice was different. Older and rougher. He stepped to the side and the third hooded figure stepped forward and into the light. Sami subtly pushed Solana back another step. She twisted her free hand into the fabric at his waist, ready to yank him out of her way.</p> <p class="wp-block-paragraph">The figure pushed off his hood and stalked toward the first muki Solana had killed, dropping to a knee before the creature. With a gloved hand, he nudged it so that it flopped onto its back, its head practically severed from its body. Most definitely dead.</p> <p class="wp-block-paragraph">Solana’s heart lurched. There was no talking her way out of this, which was just as well—she had never been great at talking. But unfortunately for her, she was gravely injured, and her dagger was currently in Sami’s hand, who seemed frozen to the spot.</p> <p class="wp-block-paragraph">“Silly me, I must have sliced too hard,” she said out loud, proud of her unbothered tone.</p> <p class="wp-block-paragraph">The man looked over his shoulder at her. Solana could just see the hint of silver hair in the moonlight, a flash of teeth as he smiled, a sliver of something victorious in his voice as he said, “How silly of you.” He unfurled to his feet, each of his movements slow and intentional.</p> <p class="wp-block-paragraph">“I think we should run, now,” she whispered to Sami through her teeth. </p> <p class="wp-block-paragraph">“A good idea, for once,” Sami said. He turned and grabbed Solana’s free hand, pulling her several steps down the alley before coming to a screeching halt. Two more figures stepped out from a passageway between buildings, their Masters badges sparkling in the watery light, long blades held at the ready by their sides. Thick hoods and thicker shadows obscured their faces.</p> <p class="wp-block-paragraph">Solana felt the cold point of a sharp blade dig into her upper back and slowly raised her hands in surrender.</p> <p class="wp-block-paragraph">“<em>Fuck</em>,” Sami breathed. Solana agreed. They were entirely, royally fucked.</p> <p class="wp-block-paragraph">“Turn around,” a voice commanded. Solana obeyed slowly, the tip of the blade dragging across her shoulder blade, upper arm, and then her chest, until it came to rest over her heart. She followed the length of it to a hand that belonged to Oskar. In her periphery, she saw Nikolas’s sword tip pointed at Sami’s throat and the glint of her dagger in his upraised hand.</p> <p class="wp-block-paragraph"><em>Fuck, fuck, fuck.</em></p> <p class="wp-block-paragraph">“We can do this the easy way, or the hard way,” the silver-haired man said, slowly stepping forward. Solana pressed her lips together and barely kept from rolling her eyes at his pathetic attempt of intimidation.</p> <p class="wp-block-paragraph">Up close, she could see that his eyes were a murky color that bordered on gray and black, that a fine layer of gray hair covered his jaw and chin and contrasted strangely against the tan of his skin, and that, despite the color of his hair, his face was young and strong, perhaps only a few years older than her twenty-seven.</p> <p class="wp-block-paragraph">His appearance was shocking, made even more so by the swirls of dark ink that peeked out from underneath the collar of his pitch-black cloak.</p> <p class="wp-block-paragraph">The way he stood, hands clasped behind his back, weaponless as if he had nothing to fear and barely sparing a glance for his companions who doled out his every command, told her everything she needed to know about him. This was a man with a silver spoon up his ass. A man who snapped his fingers and expected compliance. Solana wanted to upend that expectation, to rattle his carefully laid plans, whatever they may be, but it wasn’t just her life on the line.</p> <p class="wp-block-paragraph">“He had nothing to do with this,” she said, pointing at Sami with her head at the same time he said, “I killed them.”</p> <p class="wp-block-paragraph">Solana bit back a scream of frustration. The silver-haired man looked between them, amusement carved into the creases of his face. “You’re <em>both</em> under arrest for the murder of ”—he paused and glanced at the dead body lying against the wall—“two muki. If you do not comply, I will be compelled to use lethal force. Your weapon.” He held out a hand to Sami, and Solana watched, belly filled with dread, as Sami gingerly placed her dagger in the stranger’s palm.</p> <p class="wp-block-paragraph">Solana wondered if he would be able to feel the way it pulsed with heat whenever a muki was nearby. If he could intuit its desires the way she could. The urge to snatch it from his hand was almost too much to ignore. She shook with restraint as he turned it this way and that, inspecting first the blade that never dulled or rusted, the hilt that never weathered, then the bloodred stones in the pommel she knew were worth more than everything she owned combined.</p> <p class="wp-block-paragraph">Often, she had considered selling it—her traitor father’s prized possession—but each time, she found herself unable to. It may have been his, but it had come from her mother. A gift she had promised to cherish while her mother lay dying in their small bed.</p> <p class="wp-block-paragraph">Over the years, she had grown unhealthily attached to it. It had aided her in hunting since her very first kill. The calluses of her palm had formed to perfectly fit the hilt. She even slept with it beneath her pillow. Perhaps it had become something of a crutch, and now she was struggling to quell the panic that surged in her chest when the silver-haired man slipped it into a killing grip.</p> <p class="wp-block-paragraph">Metal-gray eyes slowly rose to meet hers, sharpened to a point as they scanned her face, seemingly noting and committing every detail to memory. His head tilted at whatever he saw. “It’s yours, then,” he said, so easily perceiving her weakness. “I’ve been looking for you for a long time.”</p> <p class="wp-block-paragraph">Before Solana could ask what that meant, the silver-haired man lifted her dagger and placed it at Sami’s throat. “On your knees,” he commanded. Nikolas stepped back, his movements well-oiled, as if they had rehearsed this exact scenario a dozen times.</p> <p class="wp-block-paragraph">Solana’s anger simmered.</p> <p class="wp-block-paragraph">“<em>He</em> <em>had nothing to do with this</em>,” she repeated, desperately trying to stay on her feet even as the ground swayed. Blood poured from her side with every panicked beat of her heart.</p> <p class="wp-block-paragraph">“Don’t make this harder than it needs to be,” the silver-haired man said. “I will give you no further chances after this.”</p> <p class="wp-block-paragraph">“Solana, listen to him,” Sami said as he dropped to his knees. </p> <p class="wp-block-paragraph">“Suri, bind his hands, please—”</p> <p class="wp-block-paragraph">“With pleasure,” came the sultry voice.</p> <p class="wp-block-paragraph">Solana took a step forward. “Don’t you <em>dare</em> put your hands on him.” </p> <p class="wp-block-paragraph">“Solana, don’t—”</p> <p class="wp-block-paragraph">But his warning was lost to a knee slamming into her wounded side. Solana crashed to the ground with a groan, ears ringing, the sound of Sami’s voice screaming her name from far, far away.</p> <p class="wp-block-paragraph">Her head spun, and her shoulders screamed as someone pulled them back and shoved her face into the ground. Unnatural cold settled over her wrists and forearms, and then she was being lifted by each arm, pulled forward and out of the alley, her feet dragging on the ground uselessly.</p> <p class="wp-block-paragraph">“Don’t hurt him,” she demanded. “I’ll kill you all.” But her words were pathetically winded, just a scrap of a threat from a wounded and bound woman.</p> <p class="wp-block-paragraph">They spoke a murmured conversation over her head, words that made no sense, and led her down a street that widened and cleared, and she knew they had made it back to the center of the square. The spots of black that had threatened to consume her vision receded enough to see that they approached a group of tethered horses, the saddles on their backs a glossy black leather studded in silver. Giant beasts that huffed with impatience. </p> <p class="wp-block-paragraph">Around them, the street was completely empty. She saw a flicker of movement in a nearby window. Heard the barely audible click of a door cracking open. Solana shook her head, hoping whoever it was saw andunderstood.</p> <p class="wp-block-paragraph">Nobody needed to die for her, including Sami, and after twenty-seven years of living on this godsforsaken land, the Masters would <em>not</em> be the thing to kill her. She was going to free them both if it was the last thing she did.</p> <hr class="wp-block-separator has-alpha-channel-opacity" /> <p class="has-text-align-center wp-block-paragraph" id="daughter-of-the-dark-audio-excerpt"><strong>Listen to the audio excerpt:</strong></p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <p><site-embed id="19276"/></p> <div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/macaudio-2" title="MacmillanAudio" target="_blank" style="color: #cccccc; text-decoration: none;">MacmillanAudio</a> · <a href="https://soundcloud.com/macaudio-2/daughter-of-the-dark-audiobook/s-bEYppwQq8m7" title="Daughter of the Dark - audiobook excerpt" target="_blank" style="color: #cccccc; text-decoration: none;">Daughter of the Dark &#8211; audiobook excerpt</a></div> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <p class="has-sm-font-size wp-block-paragraph">Excerpted from <em>Daughter of the Dark</em>, copyright © 2026 by R.J. Valldeperas.</p> <p>The post <a href="https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/">Read an Excerpt From &lt;i&gt;Daughter of the Dark&lt;/i&gt; by R.J. Valldeperas</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/">https://reactormag.com/excerpts-daughter-of-the-dark-by-r-j-valldeperas/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856097">https://reactormag.com/?p=856097</a></p>
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Posted by Vanessa Armstrong

News Pendulum

Joseph Gordon-Levitt Is On the Worst Retreat Ever in Pendulum Trailer

Writer-director Mark Heyman also wrote the script for Black Swan, so you can guess the vibes

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Published on August 27, 2026

Courtesy of Vertical

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/">https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856302">https://reactormag.com/?p=856302</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/pendulum/" class="inline-block link-no-animation" aria-label="Link to term or tag Pendulum 1"> Pendulum </a> </span> </div> <h2 class="post-hero-title text-h1">Joseph Gordon-Levitt Is On the Worst Retreat Ever in <i>Pendulum</i> Trailer</h2> <div class="prose post-hero-description prose--post-hero">Writer-director Mark Heyman also wrote the script for Black Swan, so you can guess the vibes</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Courtesy of Vertical</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 1.3 1.3v10.8a1.3 1.3 0 0 1-1.3 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9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="493" src="https://reactormag.com/wp-content/uploads/2026/08/P_01502-740x493.jpg" class="w-full object-cover" alt="Patrick (Joseph Gordon-Levitt) and Abigail (Phoebe Dynevor) looking freaked out in Pendulum" srcset="https://reactormag.com/wp-content/uploads/2026/08/P_01502-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/P_01502-1100x734.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/P_01502-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/P_01502-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/P_01502.jpg 1600w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Courtesy of Vertical</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">There’s a trailer out for <em><a href="https://reactormag.com/joseph-gordon-levitt-to-star-in-pendulum-horror-film-from-writer-of-the-boogeyman/" target="_blank" rel="noreferrer noopener">Pendulum</a></em>, the debut feature from writer-director Mark Heyman that, to be succinct, is weird and creepy AF. That vibe makes sense given Heyman wrote the scripts for <em>The Boogeyman</em> and <em>Black Swan</em>, and that Darren Aronofsky is one of the producers.</p> <p class="wp-block-paragraph">Here’s the synopsis:</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Married couple Patrick (Joseph Gordon-Levitt) and Abigail (Phoebe Dynevor) journey to a new-age retreat in New Mexico, drawn by the possibility of healing after a traumatic event. Patrick is willing to do anything to help his wife, but becomes distrustful of the retreat’s enigmatic leader (Jacki Weaver) even as Abigail falls under her spell. As paranoia builds, the couple must determine if the group’s spiritual practices offer genuine healing—or mask a terrifying truth that threatens to consume them both.</p></blockquote></figure> <p class="wp-block-paragraph">The trailer strongly suggests that there <em>might</em> be some supernatural elements involved? Or are all those moments merely in Partick and Abagail’s minds? Heyman said in a statement that the movie “is deeply personal and inspired by my family lore,” which suggests the former. (Or does it???)</p> <p class="wp-block-paragraph">Heyman added, “Shooting it in New Mexico, where I grew up and the real events took place, elevated every scene and made it all the more surreal. Add to that a cast firing on all cylinders, and you have a horror movie I&#8217;m immensely proud of and excited to unleash on audiences come the new year. What better way to ring in 2027 than with a freaky head trip?”</p> <p class="wp-block-paragraph"><em>Pendulum</em>, as Heyman references above, premieres in theaters on January 1, 2027. In addition to Gordon-Levitt, Dynevor, and Weaver, it stars Anna Deavere Smith, Jena Malone, and Norman Reedus.</p> <p class="wp-block-paragraph">If you feel like feeling disturbed, check out the trailer below. [end-mark]</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <site-embed id="19275"/> </div></figure> <p>The post <a href="https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/">Joseph Gordon-Levitt Is On the Worst Retreat Ever in &lt;i&gt;Pendulum&lt;/i&gt; Trailer</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/">https://reactormag.com/joseph-gordon-levitt-pendulum-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856302">https://reactormag.com/?p=856302</a></p>
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Posted by Vanessa Armstrong

News Outlander: Blood of My Blood

Love Faces Temporal & Political Challenges in Outlander: Blood of My Blood Season 2 Trailer

Jamie and Claire’s parents can’t seem to catch a break

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Published on August 27, 2026

Courtesy of Starz

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/">https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856284">https://reactormag.com/?p=856284</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/outlander-blood-of-my-blood/" class="inline-block link-no-animation" aria-label="Link to term or tag Outlander: Blood of My Blood 1"> Outlander: Blood of My Blood </a> </span> </div> <h2 class="post-hero-title text-h1">Love Faces Temporal &amp; Political Challenges in <i>Outlander: Blood of My Blood</i> Season 2 Trailer</h2> <div class="prose post-hero-description prose--post-hero">Jamie and Claire’s parents can’t seem to catch a break</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Courtesy of Starz</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 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6.34171 11.7513C4.78371 10.1926 2.89605 9.41364 0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="493" src="https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp-740x493.jpg" class="w-full object-cover" alt="Hermione Corfield (Julia Beauchamp) and Jeremy Irvine (Henry Beauchamp) at the stones with their baby in season 2 of Outlander Blood of My Blood" srcset="https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp-1100x734.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/BMB2_201_Hermione-Corfield-Julia-Beauchamp-and-Jeremy-Irvine-Henry-Beauchamp.jpg 1600w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Courtesy of Starz</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">The second season of <em><a href="https://reactormag.com/tv-review-outlander-blood-of-my-blood-season-finale/" target="_blank" rel="noreferrer noopener">Outlander: Blood of My Blood</a></em>, the prequel series centered on the parents of the star couple of the OG show, Jamie and Claire, is coming back in September. To get us ready for it, Starz released a trailer today that reveals some of what’s in store, including that Henry Beauchamp passes through the stones while Julia and their baby remain back in the past.</p> <p class="wp-block-paragraph">As for Brian and Ellen, the two are caught up in the 1715 Jacobite Rising, where the clans are in a war where they must choose sides in the rebellion.</p> <p class="wp-block-paragraph">Here’s the official synopsis, which gives more details on what our characters will face in season two:</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>With the fiery crosses lit, Brian and his cousin Murtagh must return to Castle Leathers and pledge to fight beside his father, the scheming Simon Fraser, Lord Lovat. Ellen reluctantly returns to Castle Leoch to find her brothers, Colum and Dougal, feuding over how to respond to the call to arms. She cleverly devises a plan to protect Clan MacKenzie from the Crown regardless of the outcome of the uprising. Meanwhile Henry and Julia Beauchamp, finally reunited after their unexpected journey back in time left them lost and separated, are ready to return back to their time and their daughter, Claire. When their plan goes horribly awry, the couple is parted once again. Separated from his love and hope, Henry must grapple with his mental health, as he fights to find his way back to Julia, who is forced to return to Castle Leathers and contend with her sinister husband, Lord Lovat.</p></blockquote></figure> <p class="wp-block-paragraph"><em>Outlander: Blood of My Blood</em> stars Jeremy Irvine as Henry Beauchamp and Hermione Corfield as Julia Beauchamp, Claire’s parents; and Jamie Roy as Brian Fraser and Harriet Slater as Ellen MacKenzie, Jamie’s parents. The prequel also features Tony Curran as Simon Fraser/Lord Lovat, Séamus McLean Ross as Colum MacKenzie, Sam Retford as Dougal MacKenzie, Rory Alexander as Murtagh Fitzgibbons Fraser, and Conor MacNeill as Ned Gowan. Matthew B. Roberts serves as the showrunner.</p> <p class="wp-block-paragraph">The second season of the show premieres on Starz on September 18, 2026.</p> <p class="wp-block-paragraph">Check out the trailer below. [end-mark]</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <site-embed id="19261"/> </div></figure> <p>The post <a href="https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/">Love Faces Temporal &amp; Political Challenges in &lt;i&gt;Outlander: Blood of My Blood&lt;/i&gt; Season 2 Trailer</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/">https://reactormag.com/outlander-blood-of-my-blood-season-2-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856284">https://reactormag.com/?p=856284</a></p>
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Posted by Matthew Byrd

Movies & TV Watchlist

The Best Sci-Fi, Fantasy, and Horror Movies and Shows Streaming This September

From The Room to Backrooms, we’ve got you covered

By

Published on August 27, 2026

Image credit: MGM Pictures; Walt Disney Studios; Focus Features

Collage of Idris Elba from Three Thousand Years of Longing, The Mandalorian from the Mandalorian and Grogu, and Norman from ParaNorman

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.

Pick of the Month: The Room

(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.

Are You Afraid of the Dark?

(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.

Backrooms

(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.

High Life

(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.

Invasion of the Body Snatchers (1956)

(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.

ParaNorman

(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.

Poor Things

(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.

Star Wars: The Mandalorian and Grogu

(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.

Three Thousand Years of Longing

(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.

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Posted by Vanessa Armstrong

News crouch end

One of Stephen King’s Lovecraftian Short Stories Is Getting a Limited Series Adaptation

Prime Video will release six episodes based on the short story

By

Published on August 27, 2026

Credit: Kevin Payravi, CC BY-SA 4.0 via Wikimedia Commons

 

Stephen King headshot at an event

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.

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Posted by Christina Orlando

Books book reviews

Capitalism and Carnage: The Red Sacrament by Sara Hinkley

Sarah McCarry reviews an “unrepentantly maximalist antidote to much of current literary fiction’s trend toward red-pilled anemia.”

By

Published on August 27, 2026

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<p class='syndicationauthor'>Posted by Christina Orlando</p><p class="ljsyndicationlink"><a href="https://reactormag.com/book-review-the-red-sacrament-by-sara-hinkley/">https://reactormag.com/book-review-the-red-sacrament-by-sara-hinkley/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855609">https://reactormag.com/?p=855609</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/book-reviews/" class="inline-block link-no-animation" aria-label="Link to term or tag book reviews 1"> book reviews </a> </span> </div> <h2 class="post-hero-title text-h1">Capitalism and Carnage: <i>The Red Sacrament</i> by Sara Hinkley</h2> <div class="prose post-hero-description prose--post-hero">Sarah McCarry reviews an &#8220;unrepentantly maximalist antidote to much of current literary fiction’s trend toward red-pilled anemia.&#8221;</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/sarah-mccarry/" title="Posts by Sarah McCarry" class="author url fn" rel="author">Sarah McCarry</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="quick-access 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9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/review-The-Red-Sacrament-740x407.png" class="w-full object-cover" alt="Cover of The Red Sacrament by Sara Hinkley." srcset="https://reactormag.com/wp-content/uploads/2026/08/review-The-Red-Sacrament-740x407.png 740w, https://reactormag.com/wp-content/uploads/2026/08/review-The-Red-Sacrament-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/review-The-Red-Sacrament-768x422.png 768w, https://reactormag.com/wp-content/uploads/2026/08/review-The-Red-Sacrament.png 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">What is it, exactly, about the vampire that so compels us? “Capital is dead labour, that, vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks” and all that. But the handiness of the vampire as a metonym for the endless depredations of capital does not explain her eternal seductive appeal. Even for the radically inclined, the vampire is the ultimate luxury avatar of terminal empire: without scruple, endlessly rich, beautifully dressed, no need of a day job. Capitalism’s final girl, if you will. Who wouldn’t want to be her—unbothered, moisturized, in her lane, flourishing—in this shitty horror-movie present, where the bulk of working artists are staring down the barrel of poverty, even the most privileged among us are living through ecological collapse, and the closest thing we actually get to vampiric glamor is desiccant Ken doll Bryan Johnson flash-freezing his girlfriend’s menstrual blood?</p> <p class="wp-block-paragraph">Sara Hinkley has certainly been considering these questions. In response, her astonishing debut, <em>The Red Sacrament</em>, takes her vampires far from the dreary present, to nineteenth-century France. Paris’s hottest club is the Théatre Saint-Siméon, where the actors are—you guessed it—inhumanly accomplished and don’t come out during the daytime. (They also eat the audience.) Managed by the eldest of their number, Arnault, who’s been playing Mephistopheles for several hundred years, the vampires of the Saint-Siméon survive by sticking to Arnault’s rigorous old-school script: Maintain a low profile, don’t eat those who will be missed, and don’t engage in spectacle offstage. The troupe does not go on holiday; the troupe does not go on tour; the audience is not overly depleted; the audience is always pleased, because happy theatergoers taste better than dissatisfied ones. “The curtain goes up once a week… So it has been for centuries.” </p> <p class="wp-block-paragraph">This ultimately rather dreary equilibrium is interrupted by two very different intruders: Béatrice, a rural witch who pulls a hilariously sticky vampire short con that transforms into a long-term missed connection with Arnault, and the de Rouvrey twins, Victor and Françoise, freshly arrived in Paris from the New World. Oh, also, it’s 1869, and though the vampires can’t know it yet, the Franco-Prussian War—not a good time for Paris—is just around the corner. The writing, though Arnault prefers not to read it, is on the wall, and horrors of all kinds are on their way.</p> <p class="wp-block-paragraph">Arnault and his Théâtre Saint-Siméon are an obvious nod to Anne Rice’s Armand and his Théâtre des Vampires; Arnault, like Armand, spends his early human career as a painter of miniatures and illuminated manuscripts; does time with monks; is turned into a vampire by a traditionalist supercentenarian who collects Books of Hours, Renaissance paintings, and Byzantine glassware; manages a theater; has his head turned by the dashing new vamp in town. But in contrast to Armand, Arnault is an earnest and anxiety-ridden père to his oft-wayward flock, ensuring his vampires are cast in roles that suit their strengths, salaried commensurate to their experience, and offered well-managed pensions. The vampires’ wages are collected from the pockets of their victims and deposited by Arnault into conservative investment portfolios. Despite the blazing potential of the new economy, glutted on the profits of living humans’ traffic in other human beings—“France’s veins are fat with blood and sugar”—Arnault does not speculate; “he won’t gamble with his brethren—not with their livelihoods, their lifetimes of hard work. Low risk and low yields, building over time.” Arnault is no stranger to the vampire’s greatest asset, long-term capital gains. (How <em>does </em>the vampire deal with cost basis on his tax returns? Food for thought.) Unlike Anne Rice’s wanton and avaricious creatures of the night, Arnault—unique among the literature—has got a day job.&nbsp;</p> <p class="wp-block-paragraph">Victor and Françoise, manifestly of the New, strangers to wage labor, and unapologetic beneficiaries of capitalist accumulation, are themselves a subversive remix of <em>Interview</em>’s Louis and Claudia. They shop, they order trendy restaurant meals they literally can’t stomach (“I couldn’t give it up,” says Victor to poor Arnault, who is too old to have ever so much as used a fork, “it’s civilization”), and at least one of them is a very messy eater, endangering Arnault’s precarious family enterprise by strewing the city with prominently mutilated corpses. Arnault is so dazzled by Victor’s urbane sophistication that he elects not to look behind the curtain. However, the engine of the twins’ wealth is clear from the outset to the reader, even if one is ignorant of the plantation-owning background of <em>Interview</em>’s Louis: They are white and hail from Saint-Domingue. </p> <section class="wp-block-shop-the-book shop-the-book"> <h2 class="shop-the-book-headline">Buy the Book</h2> <div class="shop-the-book-content"> <figure class="shop-the-book-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Red-Sacrament-.jpg" class="attachment-full size-full" alt="Cover of The Red Sacrament by Sara Hinkley." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <!-- <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Red-Sacrament-.jpg" class="attachment-full size-full" alt="The Red Sacrament" /> --> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Red-Sacrament-.jpg" class="attachment-full size-full" alt="Cover of The Red Sacrament by Sara Hinkley." role="presentation" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">The Red Sacrament</h3> <p class="shop-the-book-author">Sara Hinkley</p> </div> </div> <button type="button" class="inline-block px-8 py-4 text-center btn tablet:py-3 text-h6 bg-red text-white shop-the-book-button" id=buy_book data-trigger="modal" data-target="#modal-1787854205" aria-open="false" aria-label="Buy Book"> <span class="inline-flex items-center button-label btn-label"> Buy Book </span> </button> </div> </div> <div id="modal-1787854205" class="shop-the-book-modal"> <div class="shop-the-book-modal-inner testclass"> <button class="js-modal-close absolute top-5 right-5 z-10" type="button" aria-label="icon-close"> <svg class="w-[19px] h-[19px]" width="18" height="19" viewBox="0 0 18 19" fill="none" xmlns="http://www.w3.org/2000/svg" aria-label="close" role="img" aria-hidden="true"> <path d="M1 17L17 1" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M1 17L17 1" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> </svg> </button> <div class="shop-the-book-modal-content"> <figure class="shop-the-book-modal-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Red-Sacrament-.jpg" class="attachment-full size-full" alt="The Red Sacrament" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-modal-image-mobile image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Red-Sacrament-.jpg" class="attachment-full size-full" alt="The Red Sacrament" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">The Red Sacrament</h3> <p class="shop-the-book-modal-author">Sara Hinkley</p> </div> </div> <p class="shop-the-book-modal-label">Buy this book from:</p> <ul class="not-prose ebook-links ebook-links-shortcode"><li><a class="btn" target="_blank" href="http://www.amazon.com/exec/obidos/ASIN/B0FV6NWKW7?tag=tordotcomgeneral-20" data-book-title="The Red Sacrament" data-book-store="Amazon"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Amazon</span></a></li><li><a class="btn" target="_blank" href="https://www.barnesandnoble.com/search/?q=9781835410820" data-book-title="The Red Sacrament" data-book-store="Barnes and Noble"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Barnes and Noble</span></a></li><li><a class="btn" target="_blank" href="http://itunes.apple.com/us/book/isbn9781835410837" data-book-title="The Red Sacrament" data-book-store="iBooks"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">iBooks</span></a></li><li><a class="btn" target="_blank" href="https://www.indiebound.org/book/9781835410820" data-book-title="The Red Sacrament" data-book-store="IndieBound"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">IndieBound</span></a></li><li><a class="btn" target="_blank" href="https://www.target.com/s?searchTerm=9781835410820" data-book-title="The Red Sacrament" data-book-store="Target"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Target</span></a></li></ul> </div> </div> </div> </div> </section> <p class="wp-block-paragraph">Even Arnault, naive to the nightmarish workings of capital, is vaguely aware of the unholy transatlantic alchemy that transforms human lives into the sugar and coffee that Victor orders by the bucketful in chic cafés and does not drink. But, besotted by Victor’s elegance, he is willing to overlook his hot new crush’s past life as a plantation overlord. In one of the novel’s most magnificent set pieces, he is even willing to be taken shopping in the new style, to the <em>grand magasin</em>, nineteenth-century Paris’s equivalent to the Mall of America, where an operatic architecture of strut work and dazzle houses an infinite acreage of worldly commodities available for purchase, and where, Arnault notes in a daze, the women are dressed in “identical splendor” that blurs the telltale trappings of class. Anybody can pass as a baroness these days, as long as she has a line of credit. Much of Victor’s pull is thanks to Arnault’s increasing realization that the new world is leaving him in its dust. (“It’s genius, really,” Victor muses on their walk through the grand magasin, which has rendered Arnault nearly witless. “They must make a million a day… [Françoise and I] should invest.”) </p> <p class="wp-block-paragraph">Hinkley does not shy away from the vampires’ glamor, but underneath it all is the relentless smell of rot. If <em>The Red Sacrament </em>owes its bones to Anne Rice, its flesh is inhabited by a seething awareness that someone is always paying the bill for indulgence, and it’s not the happy indulged. <em>Sacrament </em>is a reparative reading, not a fanfiction, of Rice’s gorgeously gory canon. <em>Interview </em>and its sequels, for all their many delights, divest themselves fully from the moral implications of their vampires’ income streams. It’s hard to find Louis’s hand-wringing over his dinners entirely convincing when he’s just burned down the family plantation and murdered his enslaved workforce. </p> <p class="wp-block-paragraph">One of the many pleasures of Hinkley’s novel is its furious refusal to allow the reader the extravagance of seamlessly inserting herself into an imagined world of decadence free from any moral constraints; the reader is reminded at every turn that luxury always comes at a human cost, whether it’s the literal blood that sustains the vampires, Victor’s coffee and sugar, or the lace Françoise shoplifts by the pound at the grand magasin, made by women who go blind in its production. This is a big, brainy, ferociously political novel, which is not at all to say that <em>The Red Sacrament </em>itself is not a luxury. Stylistically decadent, gorgeously written, and filled with delicious lines sharp enough to break the skin, the book is an unrepentantly maximalist antidote to much of current literary fiction’s dispiriting trend toward red-pilled anemia. Arnault and his star-crossed troupe are vivid and funny and thoroughly alive on the page (Clotilde was a particular favorite, but choose your own fighter), and the real-world horrors of the historical period in which they find themselves come to life in Hinkley’s sure hands just as nimbly as the vampires do. </p> <p class="wp-block-paragraph">Hinkley’s own day job is in costume design, and her background in theater is evident throughout, from the vivid details of the vampires’ on-stage performances to the loving and keen-eyed rendering of their backstage squabbles. (Perhaps the real horror of this novel is imagining oneself in Arnault’s shoes, stuck for centuries amidst theater kids.) Hinkley takes rampant and contagious pleasure in the details of the theater—costumes, sets, smells, hair, jewelry, interiors, bookkeeping—but she wears her formidable research lightly: The novel’s setting is firmly rooted in period details and historical events without ever showing off the workings of its gears. </p> <p class="wp-block-paragraph">For Arnault, Victor’s glittering façade is enough to gild the horrors teeming beneath it. At the same time, he gradually enters into a kind of screwball May-December romance with Béatrice, the witch who scammed him, which provides the novel with a fair chunk of its body horror and much of its comic relief. Béatrice—carelessly dirty, hypercompetent, and often slaughtering something—is the novel’s stand-in for the brutally realist pastoral, a feral pre-enclosure homesteader who brings to mind today’s off-grid backwoods queers who thrive on scavenged roadkill and home-distilled spirits, and who offers Arnault a refreshing alternative to the ruthless machinery of modernity so long as he is up for at-home butchery and irregular laundry service. But she is neither idealized nor a caricature; gruesomely sexy, ruthlessly pragmatic, and often very funny, Béatrice provides an inspiring model for aging gracefully outside the annihilating confines of capital. Her hold over Arnault, wildly different from Victor’s, offers a surprising way forward as calamity rains down in the novel’s final act.</p> <p class="wp-block-paragraph">I shan’t spoil it for you, but the novel’s unexpectedly moving closing pages evoke an unlikely comparison—not a vampire classic at all, but Ursula K. le Guin’s masterpiece of middle age, <em>Tehanu</em>, which asks what happens when extraordinary people possessed of extraordinary powers that no longer serve them choose to find the beauty of an ordinary life. If Marx had something to say about capital and vampires, we all know what Ursula had to say about capitalism and kings: “We live in capitalism. Its power seems escapable. So did the divine right of kings.” Who’s better placed to track the fall of empires than a vampire? I, for one, am hoping Hinkley has a follow-up in her. And if the freeloading vampiric lifestyle is a no-go to those of us with a better future in our sights, maybe we’ll at least get to see Bryan Johnson eat Elon in the sequel.[end-mark]</p> <hr class="wp-block-separator has-alpha-channel-opacity"/> <p class="wp-block-paragraph"><em><a href="https://www.penguinrandomhouse.com/books/817973/the-red-sacrament-by-sara-hinkley/" target="_blank" rel="noreferrer noopener">The Red Sacrament</a></em> is published by Titan Books.</p> <p>The post <a href="https://reactormag.com/book-review-the-red-sacrament-by-sara-hinkley/">Capitalism and Carnage: &lt;i&gt;The Red Sacrament&lt;/i&gt; by Sara Hinkley</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/book-review-the-red-sacrament-by-sara-hinkley/">https://reactormag.com/book-review-the-red-sacrament-by-sara-hinkley/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855609">https://reactormag.com/?p=855609</a></p>
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Posted by Stefan Raets

Movies & TV Star Trek: Strange New Worlds

“Starships are also capable of miracles” — Star Trek: Strange New Worlds: “Off-Hour”

Things are tense this week, but it’s hard to understand the stakes…

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Published on August 27, 2026

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<p class='syndicationauthor'>Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/">https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856267">https://reactormag.com/?p=856267</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/movies-tv/" class="inline-block link-no-animation" aria-label="Link to term or tag Movies &amp; TV 0"> Movies &amp; TV </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/star-trek-strange-new-worlds/" class="inline-block link-no-animation" aria-label="Link to term or tag Star Trek: Strange New Worlds 1"> Star Trek: Strange New Worlds </a> </span> </div> <h2 class="post-hero-title text-h1">“Starships are also capable of miracles” — <i>Star Trek: Strange New Worlds</i>: “Off-Hour”</h2> <div class="prose post-hero-description prose--post-hero">Things are tense this week, but it&#8217;s hard to understand the stakes&#8230;</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/keith-decandido/" title="Posts by Keith R.A. DeCandido" class="author url fn" rel="author">Keith R.A. DeCandido</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&#038;_a]:link"><p>Image: Paramount</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewBox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 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in Star Trek: Strange New Worlds, S4E6, &quot;Off Hour&quot;" srcset="https://reactormag.com/wp-content/uploads/2026/08/406-chapel-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/406-chapel-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/406-chapel-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/406-chapel-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/406-chapel-2048x1366.jpg 2048w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&#038;_a]:link"><p>Image: Paramount</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">If I had to pick one word to describe the fourth season so far of <em>Strange New Worlds</em>, it would be <em>polarizing</em>. Every episode that has aired prior to today has had the most extreme of reactions in both directions. There has been very little by way of middle ground, the episodes are either viewed as superb or terrible.</p> <p class="wp-block-paragraph">There also has been a rather tiresome trend toward gimmicky storytelling. How forgivable the gimmicks are depend a lot on how much you like the episode. For example, I was willing to forgive the black-and-white filming and the <em>noir</em> trappings of “<a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-a-case-of-chiaroscuro/">A Case of Ch</a><a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-a-case-of-chiaroscuro/" target="_blank" rel="noreferrer noopener">i</a><a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-a-case-of-chiaroscuro/">aroscuro</a>” because it was a really good vehicle for Number One and just a generally strong story. I was less willing to forgive the <em>Hangover</em> riff that was “<a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-human-best-friend/" target="_blank" rel="noreferrer noopener">Human Best Friend</a>” because I thought the episode was dumb. We won’t even get into the extremes of the reactions to “<a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-level-five-transporter-accident/" target="_blank" rel="noreferrer noopener">Level-Five Transporter Accident</a>,” which were <em>all over</em> the map…</p> <p class="wp-block-paragraph">All this is by way of saying that “Off-Hour” gets us back to basics. No gimmicks, no “wouldn’t it be cool if…?” storytelling, just an adventure in space where our heroes have to science the shit out of things to solve the problem.</p> <p class="wp-block-paragraph">Co-executive producer Bill Wolkoff’s script also has the DNA of a bunch of other episodes, but it’s all in service of an excellent story. We’ve got a little of the original series’ “<a href="https://reactormag.com/star-trek-the-original-series-rewatch-court-martial/" target="_blank" rel="noreferrer noopener">Court Martial</a>,” more than a little of <em>TNG</em>’s “<a href="https://reactormag.com/star-trek-the-next-generation-qdisasterq/" target="_blank" rel="noreferrer noopener">Disaster</a>,” a very little of <em>Voyager</em>’s “<a href="https://reactormag.com/star-trek-voyager-rewatch-threshold/" target="_blank" rel="noreferrer noopener">Threshold</a>,” and a little of <em>Homicide: Life on the Street</em>’s “<a href="https://en.wikipedia.org/wiki/Subway_(Homicide:_Life_on_the_Street)" target="_blank" rel="noreferrer noopener">Subway</a>.”</p> <p class="wp-block-paragraph">And we get another legacy character, but rather than a younger version of someone we know from the original series, instead we get another character from “<a href="https://reactormag.com/star-trek-the-original-series-rewatch-qthe-cageq/" target="_blank" rel="noreferrer noopener">The Cage</a>.” It’s established here that Dr. Philip Boyce—played in 1964 by John Hoyt—was only the interim chief medical officer on the <em>Enterprise</em> when we saw him, as Pike was waiting for M’Benga to be available. Boyce had transferred off the Big E some time between “The Cage” and “<a href="https://www.tor.com/2022/05/05/welcome-back-and-welcome-aboard-star-trek-strange-new-worlds-strange-new-worlds/" target="_blank" rel="noreferrer noopener">Strange New Worlds</a>,” returning more recently as the beta shift medical officer. Here, he’s played by Brian Markinson, who, like Hoyt, is from New York, though he’s appeared mostly in Canadian productions (and ones that film there, like <em>SNW</em>). This is Markinson’s fourth appearance and fifth role in <em>Trek</em>, having played Vorin in <em>TNG</em>’s “<a href="https://reactormag.com/star-trek-the-next-generation-homeward/" target="_blank" rel="noreferrer noopener">Homeward</a>,” Durst in <em>Voyager</em>’s “<a href="https://reactormag.com/star-trek-voyager-rewatch-cathexis/" target="_blank" rel="noreferrer noopener">Cathexis</a>” and “<a href="https://reactormag.com/star-trek-voyager-rewatch-faces/" target="_blank" rel="noreferrer noopener">Faces</a>,” Sulan also in “Faces,” and Giger in <em>DS9</em>’s “<a href="https://reactormag.com/star-trek-deep-space-nine-rewatch-in-the-cards/" target="_blank" rel="noreferrer noopener">In the Cards</a>.” It’s an interesting bit of casting, as he looks younger than Hoyt, although he’s actually five years older now than Hoyt was in 1964; he’s also three inches shorter. Still, the casting works—Markinson’s an excellent actor, and he does a good job with the sour Boyce in a supporting role here.</p> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-1100x733.jpg" alt="Ortegas talking to Uhura in Star Trek: Strange New Worlds, S4E6, &quot;Off Hour&quot;" class="wp-image-856274" srcset="https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/406-ortegas-uhura-2048x1366.jpg 2048w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Paramount</figcaption></figure> <p class="wp-block-paragraph">(This also nicely presages M’Benga’s status quo on the original series, setting a precedent for a previous CMO to return to the ship as the beta-shift medical officer under a new CMO.)</p> <p class="wp-block-paragraph">The plot is pretty straightforward. Just as the <em>Enterprise</em> is switching from alpha to beta shift, they hit a wormhole and wind up in a slipstream that sends them careening at high speeds. There’s no power, many systems are down or malfunctioning, and they are trapped. They have to find a way to restore power to get out of the slipstream of the wormhole, and they have a ticking clock, because they’re approaching the warp threshold (there’s the mercifully tiny “Threshold” reference) and will disintegrate if that happens. Cleverly, they don’t put a number on it, as the <em>Voyager</em> episode posited warp ten as the threshold, but the original series gave us occasional warp speeds in excess of ten; rather than deal with that dichotomy, Wolkoff’s script just avoids the issue all together, thus avoiding the nitpicky fangoober arguments. Plus, because of the power disruptions, people are stuck in limited areas of the ship and it’s tough to move around—made tougher when Scotty has to, in order to conserve power, cut off life support to the corridors. (That’s the similarity to “Disaster,” though at least the crew here are able to communicate with each other around the ship, unlike in the <em>TNG</em> episode.)</p> <p class="wp-block-paragraph">It’s tremendous fun watching the crew deal with the various issues, and I especially like how they make use of already-established stuff, not for the purposes of making the reference, but because it makes sense in the story. My personal favorite example is the use of the pod that’s designed to study ion storms. We previously saw that in “Court Martial,” and the plot of that episode revolved around when Kirk was forced to eject the pod because it built up too much energy to be safe. That pod was never referenced again—until now, when Spock has to go into the pod because sensors are down and an attempt at sending a probe out to do a scan fails. And Pike is confronted with having to eject the pod with Spock still in it or risk the ship.</p> <p class="wp-block-paragraph">There are other crises here and there, from the inertial dampeners—which also provide artificial gravity—going wonky. Several of the crew—among them Number One, Spock, La’an, and Boyce—are in the lounge for a piano recital when the crisis hits. When the gravity goes bad, there’s a control panel that can reset them, but it’s in the part of the room where the gravity is so heavy, it crushed the piano. The genetically enhanced Number One goes over to do it, hoping that she’s stronger than a piano. At one point, her leg is shattered by the high gravity, and it’s brutal.</p> <p class="wp-block-paragraph">Just in general, Wolkoff’s script doesn’t soft-pedal how dangerous everything is. Spock gets a nasty case of radiation poisoning from being in the pod, and La’an gets a slightly less nasty case when she rescues him, Pike is electrocuted getting the shields back up, Number One’s leg is shattered, and Scotty is stuck in a Jefferies Tube (another nifty reference, as I don’t think we’ve seen one of the diagonal access tubes on <em>SNW</em> until now).</p> <p class="wp-block-paragraph">And then there’s the big one: when the ship first falls into the wormhole and everything goes binky-bonkers, the magnetic seal holding a sickbay table in place fails and the table smashes into M’Benga’s torso and impales him. He’s still alive, and will remain so until the table is moved—right now, it’s holding all his organs in place. (This is the <em>Homicide</em> reference, as the episode “Subway” had something similar happen to a character played by Vincent d’Onofrio, where as soon as the subway was moved, he’d die. It was based on a real-life event, allegedly.)</p> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2026/08/406-pelia-1100x733.jpg" alt="" class="wp-image-856273" srcset="https://reactormag.com/wp-content/uploads/2026/08/406-pelia-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/406-pelia-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/406-pelia-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/406-pelia-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/406-pelia-2048x1366.jpg 2048w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Paramount</figcaption></figure> <p class="wp-block-paragraph">As much fun as the various bits of problem-solving are, the real meat of this episode is the characterization. There are small things, like La’an kicking herself for letting Spock be the one to go in the pod (even though as a Vulcan-human hybrid, he stands a better chance of survival). But the big ones are particularly compelling.</p> <p class="wp-block-paragraph">First off, there’s M’Benga and Chapel, whose deep friendship has been seen all over the place, particularly in “<a href="https://reactormag.com/all-wars-are-crimes-star-trek-strange-new-worlds-under-the-cloak-of-war/">Under the Cloak of War</a>.” They get into an argument at the top of the episode because M’Benga is thinking of transferring off, and Chapel makes it clear that she will do the same if he leaves, and he accuses her of always running away when things get too serious. That argument is curtailed—but not completely ended—by the crisis. Chapel then spends the episode trying to figure out how to save M’Benga.</p> <p class="wp-block-paragraph">My only issue with this part of the story is that Chapel disobeys a direct order from Boyce to leave sickbay and join him in the lounge where there are multiple patients who need treating. Chapel pretends the comms aren’t working and stays behind to try to save M’Benga. It reeks <em>way</em> too much of “I don’t care about these extras who don’t have dialogue, I have to stay here and save the opening-credits regular, sorry,” a sociopathic trope that is my least favorite in all dramatic fiction.</p> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-1100x733.jpg" alt="Scotty on the floor of transporter in Star Trek: Strange New Worlds, S4E6, &quot;Off Hour&quot;" class="wp-image-856272" srcset="https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-1536x1024.jpg 1536w, https://reactormag.com/wp-content/uploads/2026/08/406-scotty-01-2048x1366.jpg 2048w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Paramount</figcaption></figure> <p class="wp-block-paragraph">Then there’s Scotty, and this is again where <em>SNW</em> continues to shine in showing us younger versions of the legacy characters from the original series. We know Scotty as a supremely confident miracle worker who can, to quote a Vorta from <em>DS9</em>’s “<a href="https://reactormag.com/star-trek-deep-space-nine-rewatch-rocks-and-shoals/">Rocks and Shoals</a>,” turn rocks into replicators. More to the point, we know Scotty as someone who started a bar fight in “<a href="https://reactormag.com/star-trek-the-original-series-rewatch-the-trouble-with-tribbles/">The Trouble with Tribbles</a>” because a Klingon insulted the <em>Enterprise</em>.But Martin Quinn is playing a Scotty who views the <em>Enterprise</em> as an obstacle, as a glitchy machine that won’t do what it’s told. Pelia reminds him—in one of several magnificent conversations between the two of them over the intercom, as Pelia is trapped in her quarters—that all ships will glitch, but all ships also can perform miracles if you just pay attention and listen to what the ship is telling you.</p> <p class="wp-block-paragraph">I like that the episode gives the entire cast something to do, and I like that it has the usual <em>Trek</em> thing of smart people working to solve a problem. The solution to both M’Benga’s injuries and fixing the ship are something called strong-force neutrinos, which are in abundance in the slipstream they’re stuck in. I have no idea if strong-force neutrinos are a real thing or not—if anyone in the comments who is more of a science nerd than me can speak to that, I’d be grateful—but the discussion of regular neutrinos is, I know, accurate. So even if Wolkoff pulled strong-force neutrinos out of his ass, it works—for the same reason that dilithium and quadrotriticale and tricorder all worked, they take a thing we know about and modify it enough to be something fictional that can do what the plot needs it to do.</p> <p class="wp-block-paragraph">If the episode has a flaw, it’s that the suspense is significantly muted. The characters who face the most danger and the most risk of dying are Spock in the pod, the impaled M’Benga, and Scotty stuck in the Jefferies Tube, and they’re three characters who we know will survive at least to the original series.</p> <p class="wp-block-paragraph">But overall this is a taut, exciting, intense episode that works as a space adventure, works as a characterization vehicle, and just <em>works</em>. Credit especially to director Dan Liu for a good use of split screens. There are several conversations among folks in different parts of the ship, and by using split screens to show them, it ups the intensity without having to wait the half-second for the cut to the other location.</p> <p class="wp-block-paragraph">If you’ve hated this season to date, this episode will restore your faith in it. If you’ve liked this season to date, well, this should keep that streak going. Either way, this is one of <em>SNW</em>’s best.[end-mark]</p> <p>The post <a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/">“Starships are also capable of miracles” — &lt;i&gt;Star Trek: Strange New Worlds&lt;/i&gt;: “Off-Hour”</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/">https://reactormag.com/tv-review-star-trek-strange-new-worlds-off-hour/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856267">https://reactormag.com/?p=856267</a></p>
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Posted by Leah Schnelbach

Books Teen Horror Time Machine

Haves and Have Nots: R.L. Stine’s The Rich Girl

Always double-check the spelling on your counterfeit money, kids.

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Published on August 27, 2026

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<p class='syndicationauthor'>Posted by Leah Schnelbach</p><p class="ljsyndicationlink"><a href="https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/">https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856060">https://reactormag.com/?p=856060</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/teen-horror-time-machine/" class="inline-block link-no-animation" aria-label="Link to term or tag Teen Horror Time Machine 1"> Teen Horror Time Machine </a> </span> </div> <h2 class="post-hero-title text-h1">Haves and Have Nots: R.L. Stine’s <em>The Rich Girl</em></h2> <div class="prose post-hero-description prose--post-hero">Always double-check the spelling on your counterfeit money, kids.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/alissa-burger/" title="Posts by Alissa Burger" class="author url fn" rel="author">Alissa Burger</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 27, 2026 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewBox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 1.3 1.3v10.8a1.3 1.3 0 0 1-1.3 1.3h-5.698l-.146.147-3.324 3.333a.417.417 0 0 1-.282.12H6.3a.4.4 0 0 1-.4-.4v-2.7Z" /> </g> </svg> 1 </a> <details class="relative quick-access-details"> <summary class="quick-access-share flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewBox="0 0 22 22" aria-label="share" role="img" aria-hidden="true" aria-labelledby="icon-share-new-quick-access-"> <title id="icon-share-new-quick-access-">Share New</title> <g fill="none" fill-rule="evenodd"> <circle cx="11" cy="11" r="11" fill="#FFF" fill-rule="nonzero"/> <circle cx="11" cy="11" r="10.5" stroke="#000"/> <path fill="#FFF" d="M5.993 13.464c.675 0 1.323-.266 1.806-.743l4.11 2.396a2.639 2.639 0 0 0 .368 2.451 2.583 2.583 0 0 0 2.227 1.043 2.59 2.59 0 0 0 2.09-1.3 2.64 2.64 0 0 0 .08-2.477 2.58 2.58 0 0 0-4.292-.54L8.344 11.94c.28-.616.31-1.319.086-1.958l3.952-2.303a2.564 2.564 0 0 0 4.263-.537 2.623 2.623 0 0 0-.078-2.46 2.573 2.573 0 0 0-2.075-1.293 2.566 2.566 0 0 0-2.213 1.033 2.622 2.622 0 0 0-.37 2.433L7.96 9.158a2.573 2.573 0 0 0-4.316.603 2.632 2.632 0 0 0 .172 2.501 2.58 2.58 0 0 0 2.178 1.202Z"/> <path fill="#000" d="M6.936 9.577c.322 0 .631.137.859.383.228.245.355.577.355.924 0 .347-.127.68-.355.925a1.172 1.172 0 0 1-.859.383c-.322 0-.63-.138-.858-.383a1.36 1.36 0 0 1-.356-.925c0-.347.129-.679.356-.924.228-.245.536-.383.858-.383Zm6.17-3.837c.323 0 .631.138.86.383.227.245.355.578.355.924 0 .347-.128.68-.356.925a1.172 1.172 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.924.227-.245.536-.383.858-.383Zm0 7.883c.323 0 .631.138.86.383.227.245.355.578.355.925 0 .346-.128.679-.356.924a1.171 1.171 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.923.227-.245.536-.383.858-.384Zm-6.17-.681c.499 0 .978-.21 1.334-.586l3.036 1.888a2.194 2.194 0 0 0 .272 1.93c.385.555 1.003.863 1.645.822.641-.04 1.221-.425 1.544-1.024a2.203 2.203 0 0 0 .059-1.952c-.286-.62-.841-1.044-1.48-1.13-.637-.085-1.272.18-1.69.705l-2.984-1.854c.207-.486.23-1.04.064-1.543l2.92-1.815c.415.522 1.046.784 1.68.7.633-.086 1.184-.507 1.468-1.123a2.188 2.188 0 0 0-.058-1.938c-.32-.595-.895-.977-1.532-1.018-.638-.041-1.251.264-1.635.813a2.179 2.179 0 0 0-.273 1.917L8.389 9.55c-.423-.534-1.07-.798-1.715-.702-.645.096-1.2.54-1.472 1.177a2.194 2.194 0 0 0 .126 1.97c.352.59.958.948 1.61.947Z"/> </g> </svg> Share </summary> <div class="quick-access-bubble"> <ul class="flex gap-6 text-black list-none"> <li class="flex"> <a class="flex items-center hover:text-red" href="https://twitter.com/intent/tweet?text=Haves and Have Nots: R.L. 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17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/teen-horror-rich-girl-header-740x407.png" class="w-full object-cover" alt="cover of The Rich Girl by RL Stine" srcset="https://reactormag.com/wp-content/uploads/2026/08/teen-horror-rich-girl-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2026/08/teen-horror-rich-girl-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/teen-horror-rich-girl-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2026/08/teen-horror-rich-girl-header.png 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">One theme that ‘90s teen horror books address much more effectively than I remembered from my own teen reading is the way in which money and class shape their protagonists’ lives and experiences. While this isn’t often the central focus of the plot—which is much more preoccupied with murder, mayhem, and a wide range of human and supernatural horrors—authors like R.L. Stine, Christopher Pike, and Diane Hoh often include details that highlight the stratified class hierarchy of young adulthood, including the often steep price tag of the “right” clothes and feasible post-graduation possibilities, from a college education to getting a job to help support their family.&nbsp;</p> <p class="wp-block-paragraph">Some of the protagonists of teen horror have never had to worry about money a day in their lives and likely never will: in Christopher Pike’s <em>Weekend </em>(1986), Robin and Lena Carlton are the heirs to a fortune, with a vacation house in Mexico and plenty of money to get Robin the very best medical care when she her kidneys are damaged by a poisoned beer. In R.L. Stine’s Fear Street series, Reva Dalby’s father owns Dalby’s Department Stores; he gives Reva everything she wants and she knows that someday she’ll inherit it all, without ever having to climb the corporate ladder or put in a hard day’s work. In Hoh’s Nightmare Hall book <em>Deadly Attraction </em>(1993), when somebody sets Robert Q. Parker’s sports car on fire, it’s no big deal: his dad just buys him a new one and has it delivered to campus.&nbsp;</p> <p class="wp-block-paragraph">But there are plenty of other teens who aren’t nearly as lucky. Most of the people who live on Stine’s Fear Street have chosen the neighborhood for its low house prices rather than its atmosphere, but even Fear Street is a step up from Shadyside’s Old Village, where down-on-their-luck families, runaway teens, and criminals live in inexpensive apartments and run down homes. And while there are some trust fund kids like Robert Q. Parker attending Salem University in Hoh’s Nightmare Hall series, there are lots of other students who are there on scholarship or working campus jobs to pay their way through school. In the Fear Street book <em>Killer’s Kiss</em> (1997), going to college is Delia’s ticket out of Shadyside, and she’s willing to kill to get the scholarship that will make it happen. Leigh Janiak’s 2021 Fear Street trilogy on Netflix tapped into this class consciousness very effectively in the tension between Shadyside and Sunnyvale.&nbsp;</p> <p class="wp-block-paragraph">While the impact of money and social position are implicit in many of these teen horror books, it is often one part of a larger interpersonal dynamic or series of events. But with Stine’s Fear Street book <em>The Rich Girl</em> (1997) these concerns take center stage. Emma Naylor and Sydney Shue have been best friends for years, but their lives and experiences are very different: “Emma lived in a tiny, run-down house in the Old Village. Sydney’s sprawling mansion sat on five acres of land in North Hills, where everybody had plenty of money [&#8230;] Emma works because she has to, Sydney thought. I work because Mom and Dad don’t want me to be spoiled. They want me to learn responsibility” (4). Emma is being raised by her mom, with no dad in the picture, while Sydney’s parents are happily married. Emma drives a beat up old car that is a hand-me-down from her uncle, while Sydney’s parents bought her a new car for her birthday (though they do make her pay for the insurance). Their lives and the options these young women have available to them are very different and while Emma needs good grades if she has any hope of getting a scholarship to go to college, she needs extra hours at the movie theater even more, because her mom needs knee replacement surgery, will be unable to keep her job as a waitress if she doesn’t get it soon, and they have no health insurance. Sydney listens to Emma’s predicament and has the self-awareness to realize that while they both work the same job, Sydney is the only one who could “walk away from it without worrying about how to pay for food or clothes. Or operations” (4). Sydney, Emma, and the other teens in these books are born into their parents’ circumstances, for better or worse, and like Emma, for many of them their jobs are more than a way to make a little extra spending money or build work experience: they help keep their families financially afloat, a pressure they are rarely ready to handle. But if they’re going to have roofs over their heads, food on the tables, and (in Emma’s case) be able to afford her mother’s operation, they don’t have a choice in the matter.&nbsp;</p> <p class="wp-block-paragraph">At the end of their shift, Emma and Sydney take out the trash and find a duffle bag full of money stashed in the dumpster, bundles of fifty-dollar bills that they estimate to be at least $100,000. While they are both looking at the same duffle bag and gobsmacked with the same disbelief, this discovery carries dramatically different weight for the two girls, which is reflected in their initial reactions. Sydney’s immediate response is that they need to take the money to the police, a course of action that horrifies Emma, who can’t help but think about the way this kind of money could change her life. The money would be more than enough to pay for Emma’s mother’s operation and as Emma tells Sydney, “You know what else I could do with this money? I could go to college. I wouldn’t have to worry about getting that scholarship anymore. And I could buy some decent clothes!” (12-13). Sydney isn’t convinced and as she wrestles with the ethical conundrum of what they should do with the money, Emma loses patience with her in an outburst that shows just how different their worldviews are, saying “You don’t understand what it’s like to be really poor. What it’s like to want something you can’t have. But <em>I </em>do. And I’m telling you, we’ve <em>got </em>to keep this money!” (13, emphasis original). In spite of Sydney’s earlier self-awareness, Emma’s words catch her by surprise, as she wonders “Has Emma always resented me for being rich? [&#8230;] Did I just not see it? I never made a big deal about having money. I never bragged about myself or put her down for being poor” (13). As sensitive as Sydney tries to be to Emma’s vastly different circumstances, she still has some blind spots and as a result of her privilege, will never see the world in quite the same way that Emma does. </p> <p class="wp-block-paragraph">The girls come to a compromise and decide to bury the money, wait a couple of weeks, and if no one has claimed it, they’ll keep it. Neither one of them wants the money in their house in the meantime though, so they bury it under a willow tree in the Fear Street woods, swear one another to secrecy, and call it a night. But of course, it’s never that easy. Sydney’s boyfriend Jason is waiting for her when she gets home and when she’s a bit cagey about where she’s been, he jumps to the conclusion that Sydney has been out with another guy. Sydney is intimidated by his anger (which is a pretty big relationship red flag in and of itself) and placates Jason by letting him in on the secret. Jason and Emma don’t like each other, but Sydney is still shocked and horrified when his immediate response is that they should kill Emma so they can keep the money all for themselves. He laughs it off as a joke, but Sydney starts to wonder about Jason’s true intentions when Emma falls down the stairs at school and says Jason pushed her. He admits that he bumped into Emma by accident and apologizes by doing some work on her car for free, which is a nice gesture … until Emma discovers that her brake lines have been cut, which almost results in Emma and Sydney getting into a bad accident.&nbsp;</p> <p class="wp-block-paragraph">After a couple of near-death experiences, Emma decides that the best path forward is to offer Jason a third of the money, in the hopes that if he’s an equal partner with them, he’ll be more complacent and less murder-y. But why would he settle for a third of the money when he could kill the girls and take it all? Sydney is running back to the car for a sweater while Emma and Jason dig up the money when she hears a struggle: she comes back to find Jason dead and Emma wielding a bloody shovel, claiming self-defense. While Sydney panics, Emma disposes of the body, weighing Jason down with a rock in Fear Lake, shoveling the dirt back over the money, and getting them the heck out of there. They wait for Jason’s body to be found and the questions to start, but instead, his moldering corpse pays Sydney a visit and both girls get anonymous notes calling them murderers. Emma thinks Sydney is losing it and Sydney is too terrified to reach out to anyone else about what’s going on, leaving her alone with her terror and her now-dead boyfriend.&nbsp;</p> <p class="wp-block-paragraph">Except he’s not really dead. Emma and Jason have been seeing one another behind Sydney’s back, pretending they hate each other to keep her from suspecting anything. Emma’s financial need is much more pressing than Jason’s, but he does have a taste for expensive sneakers and high-end electronics that his parents’ middle-class funds can’t quite satisfy. When the girls find the bag full of money, Emma and Jason come up with a plan: they’ll fake Jason’s murder and undead return, play on Sydney’s guilt and horror, and drive her crazy. Emma has no doubt that Sydney’s parents will put her in a really top notch mental health facility, thinking “It will cost them a fortune [&#8230;] But so what? They can afford it” (129).&nbsp;</p> <p class="wp-block-paragraph">Neither Emma nor Jason seem to have any regrets, quickly moving past Sydney’s trauma to hightail it to woods and dig up their bag full of money, then on to the mall for a shopping spree. The first thing Emma wants to buy is a beautiful leather jacket, but as she pulls out some of their ill-gotten cash to pay for it, she gets a nasty surprise: the money is counterfeit. And the counterfeiting isn’t even convincing, with the typo “UNTIED STATES OF AMERICA” and an image of a Benjamin Franklin whose “eyes were crossed and he wore a backwards baseball cap over his wig” (132). Apparently, none of the teens noticed this unsubtle artistic license, with greed and obliviousness leading them down a path of fake murder and shattered sanity.&nbsp;</p> <p class="wp-block-paragraph">In some ways, the chain of events of <em>The Rich Girl</em> reads like an old-school E.C. Comic, in which unscrupulous people get their comeuppance, but it feels incomplete. As the story ends, nothing really bad has happened to Emma and Jason, aside from a snooty salesperson laughing at them, and Sydney is still in bad shape, with no clear indication of whether or not she’ll ever recover from believing she was an accomplice to a murder and haunted by her dead boyfriend. And while Emma’s initial motivation for keeping the money to pay for her mother’s operation is an understandable one, her desire for it and the lengths to which she is willing to go to keep it make her monstrous.&nbsp;</p> <p class="wp-block-paragraph">At the end of <em>The Rich Girl</em>, nobody wins. Emma and Jason have done terrible things in the pursuit of false fortune and Sydney’s future is uncertain. Even the title is open to interpretation: who is “the rich girl” and what is Stine’s lesson (if there is one)? If Sydney is the rich girl, her wealth can’t protect her from the people she thought she could trust, but who are all too willing to betray and destroy her. And if Emma’s the rich girl, lost in her imaginings of the way this money could change her life, that wealth proves meaningless and illusory. In <em>The Rich Girl</em>, all that glitters definitely isn’t gold, and a bag full of money can’t make you rich if it isn’t real.[end-mark]</p> <p class="wp-block-paragraph"></p> <p>The post <a href="https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/">Haves and Have Nots: R.L. Stine’s &lt;em&gt;The Rich Girl&lt;/em&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/">https://reactormag.com/teen-horror-time-machine-r-l-stine-the-rich-girl/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856060">https://reactormag.com/?p=856060</a></p>
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Posted by Sarah

Books Necessary Whimsy

Six Stories About the End of the World That Won’t Bum You Out

Finding humor, hope, romance, and pirates in the post-apocalypse…

By

Published on August 27, 2026

detail from the cover of The Ultimate Hitchhiker's Guide to the Galaxy

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!

The Hitchhiker’s Guide to the Galaxy by Douglas Adams

Cover of The Hitchhiker's Guide to the Galaxy by Douglas Adams

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.


Hollow Kingdom by Kira Jane Buxton

cover of Hollow Kingdom by Kira Jane Buxton

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.


Shades of Grey by Jasper Fforde

cover of Shades of Grey by Jasper Fforde

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, written by Alan Martin and illustrated by Jamie Hewlett

cover of Tank Girl Book One

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.


Love and Monsters

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.

The Ice Pirates

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.

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Posted by Stefan Raets

Books Reading the Weird

Horror Writers Have the Worst Dreams: Marly Youmans’ “The Child and the Night Gaunts”

A memorable pseudobiographical portrait of the artist as a traumatized child.

By ,

Published on August 27, 2026

Cover of Dreams From the Witch House

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. 

Ruthanna’s Commentary

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!

Anne’s Commentary

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.

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Books Martha Wells Book Club

Martha Wells Book Club: The Death of the Necromancer

In which the dead come back to life, a heist goes awry, and several men refuse to go to therapy…

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Published on August 27, 2026

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<p class='syndicationauthor'>Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/martha-wells-book-club-the-death-of-the-necromancer/">https://reactormag.com/martha-wells-book-club-the-death-of-the-necromancer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856113">https://reactormag.com/?p=856113</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a 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9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/death-of-the-necromancer-header-740x407.png" class="w-full object-cover" alt="cover of The Death of the Necromancer by Martha Wells" srcset="https://reactormag.com/wp-content/uploads/2026/08/death-of-the-necromancer-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2026/08/death-of-the-necromancer-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/death-of-the-necromancer-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2026/08/death-of-the-necromancer-header.png 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">In which the dead come back to life, a heist goes awry, several men refuse to go to therapy, and sorcery has dire consequences for everyone involved.</p> <p class="wp-block-paragraph">Wells opens with a heist in progress. Madeline, an actress, is gliding through a noblewoman’s ball on the arm of Reynard, a disgraced military man. However, they aren’t there to party but to play their part in a larger scheme. To most of Ile-Rien, Nicholas Valiarde is a prosperous art importer. Some, like the trusted team of criminals he’s currently breaking into said noblewoman’s house with, know he’s secretly the thief Donatien; only a select few know he’s also the last descendant of someone we met in <a href="https://reactormag.com/martha-wells-book-club-the-element-of-fire/" target="_blank" rel="noreferrer noopener"><em>The Element of Fire</em></a>. Nicholas’ thievery goes badly when he encounters another crew trying to steal something else. This event throws him in the path of Dr. Octave, a spiritualist who claims to commune with the dead, the much more powerful sorcerer who is working with Octave, the revenants and dead fae they keep resurrecting to send after our heroes, and Inspector Ronsarde, the Sherlock Holmes to Donatien’s Moriarty. </p> <p class="wp-block-paragraph">Years before, Nicholas’ adoptive father, the natural philosopher Dr. Edouard Viller, was executed on what Nick believes were trumped up charges of necromancy. All that remained of the sorcerer’s legacy were several mystical metal orbs. Viller’s companion, Dr. Arisilde, helped him construct the orbs, but these days he’s too spaced out on opium to be of much use. Madeline’s grandmother, Madele, is a powerful witch in her own right, and that puts her in the crosshairs of the mysterious sorcerer sending their undead goons after Nicholas. Their life-or-death chase takes them across the city and countryside, through sewers and tunnels, inside grand estates and crumbling ruins.&nbsp;</p> <p class="wp-block-paragraph">The story is set about two centuries after the events of <em>The Element of Fire</em>, and while some characters from book two are mentioned, none actually appear in book two. I don’t know what alchemy was involved in the making of this novel, but I enjoyed my second outing in Ile-Rien much more than my first even though I liked the characters a little less. This time around I stuck entirely to the audiobook, released in 2013 and narrated by Derek Perkins. Perhaps that made it feel more exciting and immediate. Perkins was able to handle a large cast of unique-sounding characters (except for women, but many male narrators struggle to do women well) and keep the pacing tight. </p> <p class="wp-block-paragraph">As with the first book, I think once again Wells has chosen the least interesting man to be the protagonist of this story while a vastly more interesting woman is underutilized. I liked Madeline less than Kade, but that was by dint of her getting less to do than her predecessor. On the other hand, I liked Nick more than Thomas on account of his wily personality, yet also thought him less interesting overall. Once again, the main villain is an arrogant sorcerer who suffered a great personal tragedy and decided to make his refusal to process said trauma everyone else’s problem. And also once again, the plot is extraordinarily complicated and with lots of little fiddly bits—or, in the words of Reynard, “I’m a little confused as to how the master criminal of Ile-Rien ended up hot on the trail of a petty confidence man and his friend the murderer, and I was along from the first.”&nbsp;</p> <p class="wp-block-paragraph">I don’t know how unique the gaslamp-esque fantasy trappings were in 1998 when this was published, but the setting is rare enough these days that it stood out to me. Wells published <a href="https://reactormag.com/the-martha-wells-book-club-city-of-bones/" target="_blank" rel="noreferrer noopener"><em>City of Bones</em></a> between the first two Ile-Rien books, and it’s clear she leveled up in her ability to craft intricate fantasy worlds. The magic in the second book is more innovative than the first. The first feels like “here’s some magic,” while the second feels like she really explored what the consequences would be in a world where powerful magic is lying around for anyone to use. There’s a little hint of magic similar to Kai from <a href="https://reactormag.com/martha-wells-book-club-witch-king/" target="_blank" rel="noreferrer noopener">the Rising World series</a> in this, too; a sorcerer figures out how to use pain to channel and enhance magic.</p> <p class="wp-block-paragraph">Something else that felt different about this book as opposed to the first was its racial and queer diversity. Here, a Parscian man, Isham, plays a small but significant role. He seems to be from a country in the Ile-Rien equivalent to the Middle East. He’s treated as an equal, not a slave or servant. Gay relationships are also not treated as shameful here. This isn’t a queernormative world by any means, but queer and trans people live in this world and are acknowledged as part of society. Another secondary but crucial character is openly gay and accepted without any consternation. It’s pretty cool to see in a fantasy book from the Nineties.&nbsp;</p> <p class="wp-block-paragraph">We’re sticking around in Ile-Rien next month with <em><a href="https://bookshop.org/p/books/the-wizard-hunters-the-fall-of-ile-rien-martha-wells/bc090aa8769172a0?ean=9780380807987&amp;bkshp-astro=t" target="_blank" rel="noreferrer noopener">The Wizard Hunters</a></em>. Based on the cover copy, it seems like it takes place a generation after <em>The Death of the Necromancer</em>, so Wells is keeping with the jumping around thing instead of sticking with the same characters. Not sure how I feel about that, but if nothing else, the premise sounds intriguing.</p> <section class="wp-block-shop-the-book shop-the-book"> <h2 class="shop-the-book-headline">Buy the Book</h2> <div class="shop-the-book-content"> <figure class="shop-the-book-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/the-wizard-hunters-martha-wells.jpg" class="attachment-full size-full" alt="cover of The Wizard Hunters by Martha Wells" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <!-- <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/the-wizard-hunters-martha-wells.jpg" class="attachment-full size-full" alt="The Wizard Hunters" /> --> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/the-wizard-hunters-martha-wells.jpg" 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size-full" alt="The Wizard Hunters" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">The Wizard Hunters</h3> <p class="shop-the-book-modal-author">Martha Wells</p> </div> </div> <p class="shop-the-book-modal-label">Buy this book from:</p> <ul class="not-prose ebook-links ebook-links-shortcode"><li><a class="btn" target="_blank" href="http://www.amazon.com/exec/obidos/ASIN/B000FCKI9Q?tag=tordotcomgeneral-20" data-book-title="The Wizard Hunters" data-book-store="Amazon"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Amazon</span></a></li><li><a class="btn" target="_blank" href="https://www.barnesandnoble.com/search/?q=9780380807987" data-book-title="The Wizard Hunters" data-book-store="Barnes and Noble"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Barnes and Noble</span></a></li><li><a class="btn" target="_blank" href="http://itunes.apple.com/us/book/isbn9780061827518" data-book-title="The Wizard Hunters" data-book-store="iBooks"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">iBooks</span></a></li><li><a class="btn" target="_blank" href="https://www.indiebound.org/book/9780380807987" data-book-title="The Wizard Hunters" data-book-store="IndieBound"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">IndieBound</span></a></li><li><a class="btn" target="_blank" href="https://www.target.com/s?searchTerm=9780380807987" data-book-title="The Wizard Hunters" data-book-store="Target"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Target</span></a></li></ul> </div> </div> </div> </div> </section> <p class="wp-block-paragraph"></p> <p>The post <a href="https://reactormag.com/martha-wells-book-club-the-death-of-the-necromancer/">Martha Wells Book Club: &lt;i&gt;The Death of the Necromancer&lt;/i&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/martha-wells-book-club-the-death-of-the-necromancer/">https://reactormag.com/martha-wells-book-club-the-death-of-the-necromancer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856113">https://reactormag.com/?p=856113</a></p>
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Posted by Vanessa Armstrong

News James Bond

New Report Reveals Top Actors for the Next James Bond

The next movie already has a director and writer; all that’s left is figuring out Bond

By

Published on August 26, 2026

Screenshot: MGM

Daniel Craig as James Bond in No Time to Die

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.

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Posted by Stefan Raets

Excerpts fantasy

Read an Excerpt From The Lost Spectacular by Zoé Duhaime

Noon Bonaventure and Munro Forrest weren’t always rivals chasing each other through the pages of books…

By

Published on August 26, 2026

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<p class='syndicationauthor'>Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-the-lost-spectacular-by-zoe-duhaime/">https://reactormag.com/excerpts-the-lost-spectacular-by-zoe-duhaime/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855969">https://reactormag.com/?p=855969</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/fictions/excerpts/" class="inline-block link-no-animation" aria-label="Link to term or tag Excerpts 0"> Excerpts </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/fantasy/" class="inline-block link-no-animation" aria-label="Link to term or tag fantasy 1"> fantasy </a> </span> </div> <h2 class="post-hero-title text-h1">Read an Excerpt From <i>The Lost Spectacular</i> by Zoé Duhaime</h2> <div class="prose post-hero-description prose--post-hero">Noon Bonaventure and Munro Forrest weren’t always rivals chasing each other through the pages of books…</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/zoe-duhaime/" title="Posts by Zoé Duhaime" class="author url fn" rel="author">Zoé Duhaime</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 26, 2026 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex 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fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular-header-740x407.png" class="w-full object-cover" alt="Cover of The Lost Spectacular by Zoé Duhaime." srcset="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular-header.png 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">We&#8217;re thrilled to share an excerpt from <em><a href="https://www.penguinrandomhouse.com/books/827798/the-lost-spectacular-deluxe-limited-edition-by-zoe-duhaime/" target="_blank" rel="noreferrer noopener"><strong>The Lost Spectacular</strong></a></em> by Zoé Duhaime, a new fantasy novel out from Erewhon Books on September 29th.</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Noon Bonaventure and Munro Forrest weren’t always rivals chasing each other through the pages of books. They grew up listening to stories from Munro’s grandmother and arguing over their favorites. But then one night, they discovered the Spectacular, a mysterious, ever-changing festival glittering with everything lost: lone pearl earrings and apple orchards, abandoned first drafts and shipwrecks, a skyful of umbrellas. This Spectacular, found only by invitation or in the pages of misprints, is the most precious thing in the world. In its wake, stories settle. Noon has always been the sort to move on with grace, and Munro goes into the business of never letting go—their divide starker than ever after a misstep abruptly closes the door on what could have been.<br><br>Now long estranged yet forever drawn to one another, Noon and Munro’s differences have defined their ways of life. Munro, an ambitious museum curator, vows his next exhibit will trap the Spectacular and return its lost treasures, while Noon, queen of cat-and-mouse, has been chosen as the next captain of the show.<br><br>As opening night for Munro’s exhibit draws closer, he and Noon will have to stop running and finally agree on how their story ends—and perhaps, find a way to start again.</p></blockquote></figure> <section class="wp-block-shop-the-book shop-the-book"> <h2 class="shop-the-book-headline">Buy the Book</h2> <div class="shop-the-book-content"> <figure class="shop-the-book-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular.jpg" class="attachment-full size-full" alt="Cover of The Lost Spectacular by Zoé Duhaime." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <!-- <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular.jpg" class="attachment-full size-full" alt="The Lost Spectacular" /> --> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular.jpg" class="attachment-full size-full" alt="Cover of The Lost Spectacular by Zoé Duhaime." role="presentation" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">The Lost Spectacular</h3> <p class="shop-the-book-author">Zoé Duhaime</p> </div> </div> <button type="button" class="inline-block px-8 py-4 text-center btn tablet:py-3 text-h6 bg-red text-white shop-the-book-button" id=buy_book data-trigger="modal" data-target="#modal-1787935676" aria-open="false" aria-label="Buy Book"> <span class="inline-flex items-center button-label btn-label"> Buy Book </span> </button> </div> </div> <div id="modal-1787935676" class="shop-the-book-modal"> <div class="shop-the-book-modal-inner testclass"> <button class="js-modal-close absolute top-5 right-5 z-10" type="button" aria-label="icon-close"> <svg class="w-[19px] h-[19px]" width="18" height="19" viewBox="0 0 18 19" fill="none" xmlns="http://www.w3.org/2000/svg" aria-label="close" role="img" aria-hidden="true"> <path d="M1 17L17 1" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M1 17L17 1" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> </svg> </button> <div class="shop-the-book-modal-content"> <figure class="shop-the-book-modal-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular.jpg" class="attachment-full size-full" alt="The Lost Spectacular" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-modal-image-mobile image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/The-Lost-Spectacular.jpg" class="attachment-full size-full" alt="The Lost Spectacular" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">The Lost Spectacular</h3> <p class="shop-the-book-modal-author">Zoé Duhaime</p> </div> </div> <p class="shop-the-book-modal-label">Buy this book from:</p> <ul class="not-prose ebook-links ebook-links-shortcode"><li><a class="btn" target="_blank" href="http://www.amazon.com/exec/obidos/ASIN/B0GDSKRCFW?tag=tordotcomgeneral-20" data-book-title="The Lost Spectacular" data-book-store="Amazon"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Amazon</span></a></li><li><a class="btn" target="_blank" href="https://www.barnesandnoble.com/search/?q=9781645663348" data-book-title="The Lost Spectacular" data-book-store="Barnes and Noble"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Barnes and Noble</span></a></li><li><a class="btn" target="_blank" href="http://itunes.apple.com/us/book/isbn9781645663386" data-book-title="The Lost Spectacular" data-book-store="iBooks"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">iBooks</span></a></li><li><a class="btn" target="_blank" href="https://www.indiebound.org/book/9781645663348" data-book-title="The Lost Spectacular" data-book-store="IndieBound"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">IndieBound</span></a></li><li><a class="btn" target="_blank" href="https://www.target.com/s?searchTerm=9781645663348" data-book-title="The Lost Spectacular" data-book-store="Target"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Target</span></a></li></ul> </div> </div> </div> </div> </section> <hr class="wp-block-separator has-alpha-channel-opacity"/> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading has-text-align-center">Chapter One</h3> <p class="has-text-align-center wp-block-paragraph"><strong>This Too Shall Pass</strong></p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p><em>In the third chapter entitled “The Wild Wood” in the book </em>The Wind in the Willows <em>(1908) by Kenneth Grahame, the character Mole had an umbrella stand with no umbrella. This is because it was stolen.</em></p></blockquote></figure> <p class="wp-block-paragraph">It had been quite some time since Noon Bonaventure had last seen a book move. Words just didn’t dance for her like they used to, the secret in the margins had gone on holiday.</p> <p class="wp-block-paragraph">She had even forgotten about the man in the charcoal cloak—or something like forgetting—and had been showing customers to their books without care. Even to the shelves of rare landscape fiction, she hadn’t been too concerned. The worst that could happen, after all, was that a client would think they needed glasses, or had stayed up too late, or maybe that they should go to church. There had been no one in years looking on purpose at La Tobaganne, no one since her dad had passed and the households drifted.</p> <p class="wp-block-paragraph">It was a peculiar rainy day in the City Not-Unlike-Montréal when Odette came looking for her usual order of misprints. Odette visiting wasn’t itself odd—she was a spirited retiree who liked to backseat drive the failing English-language bookshop—but already that day things had gone quite wrong. The only other shop hand had given in her two weeks’ notice, a home visit for a private collection had ended with a marriage proposal from a septuagenarian, and the barista next door had visited to warn that their basement had entirely flooded. The misprint of <em>The Wind in the Willows </em>hadn’t raised any alarm bells, it was only a typo in the table of contents. The illustrations were all where they were supposed to be when Noon pulled it off its shelf for one of her only reliable clients.</p> <p class="wp-block-paragraph">Then, clear as day, the foreword stirred. Like sand in a sieve, a sentence percolated and reordered itself.</p> <p class="wp-block-paragraph"><em>The man in the charcoal cloak fumed.</em><em></em></p> <p class="wp-block-paragraph"><em>“Where the hell have you been? The draft is done and Wordsworth is over.”</em><em></em></p> <p class="wp-block-paragraph">Noon closed the book as casually as she could manage it and started to pull its neighbours: the letters of Jules Verne, A. A. Milne, E. T. A. Hoffmann, and other stars of her childhood. Odette, who wasn’t an easy customer at the best of times, watched coolly. Years ago she’d explained she was a retired archivist, and occasionally her temperament betrayed a fierce need for order, usually at the bargaining table or whenever a client of the café brought a coffee to the bookshelves.</p> <p class="wp-block-paragraph">“You know, I’d forgotten, but the Grahame is actually on hold,” Noon tried.</p> <p class="wp-block-paragraph">“That’s bad business, angel. I’d have given five for it yesterday.”</p> <p class="wp-block-paragraph">Five hundred for a typo in the table of contents was outrageous even for Odette. The young shopkeeper drummed her fingers on the cover and weighed a basement flood against the worst-case scenario for a fellow in a charcoal cloak.</p> <p class="wp-block-paragraph">“But I’d give seven today, I’ve got an appointment.”</p> <p class="wp-block-paragraph">“You might be interested in this—here, it’s got “The Sandman” (1816) by Hoffmann, and it’s Desplechin’s signed copy.” That was, she knew, Odette’s weakness—operatic set designers, lush illustrators.</p> <p class="wp-block-paragraph">“He’s intolerably dramatic—absolutely not.” </p> <p class="wp-block-paragraph">“Andersen’s diaries (1871)? It’s got a dedication—”</p> <p class="wp-block-paragraph">As if on cue, it started to thunder. Surely the basement waterline was rising.</p> <p class="wp-block-paragraph">“Seven is a fair price for Grahame and you know it,” Odette continued. The radio was doing nothing to cut the quickly growing tension between the two women. There had only been two customers that morning, and just yesterday there had been a hydro bill. Noon clapped the cover of the book together a few times, hoping maybe she could at least scare off any interlopers. Seven would give her a moment to breathe.</p> <p class="wp-block-paragraph">She hoped they weren’t by the riverbank, in the first chapter—that was her favourite part. But you couldn’t trust storybook characters who’d crawled out of their books to throw a circus, not as far as you could throw them. At this point in her life, however, money meant more than the secrets of others: Money meant a break in the rain for the bookshop.</p> <p class="wp-block-paragraph">“Seven is more than fair,” she agreed. Every receipt she hand-wrote in her dead father’s fountain pen (always). We all know where this is going.</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p class="wp-block-paragraph">The apartment upstairs was only zoned for living by a prayer, but things were easier in the City Not-Unlike-Montréal. Inspectors were rare, and Noon Bonaventure was charming. The visits so far had ended with many comments about how difficult it was to run a business these days, much less as a young woman, and how well did books even sell, anyways. Inspectors were not the problem. The corner of Rue Bader Ginsberg and Blvd Rigaud was not the bookseller’s paradise that it had been, back before Noon’s life had gone to hell. On the bright side, there were now two dentists she could turn to in a pinch, and her smile had never been brighter. She was the last bastion of a dying neighbourhood trade.</p> <p class="wp-block-paragraph">Her tastes were eclectic, but she was the child of a bookshop owner and an apprentice of surrender. Those days she was on a steady march of gardening memoirs, transport history, letter collections, and cookery. Fiction felt those days like an empty hall of mirrors.</p> <p class="wp-block-paragraph">If the basement next door hadn’t been flooding, Noon would have spent the night with her binding tools and a glass of wine, and might have entertained a date. Hell, she might have even sensed something was wrong. But as it was, she was up to her knees in swamp water and helping to haul up buckets. The café owner was beside himself.</p> <p class="wp-block-paragraph">“Ah fuck, there goes the eight ounces— Are you sure your dad didn’t tell you where he kept the pump?”</p> <p class="wp-block-paragraph">Long stacks of paper cups were sailing around the gurgling floor drain, now a whirlpool. The radio from upstairs was reporting on citywide flooding. Even the mayor and her pretty bicycle were lamenting.</p> <p class="wp-block-paragraph">“You know, I forgot to ask,” Noon shouted, a bucket in each hand.</p> <p class="wp-block-paragraph">“Can you call your mom?!”</p> <p class="wp-block-paragraph">Noon nodded and dragged the buckets up the stairs, past frantic baristas. If she’d been more approachable that year, they might all be friends. A napkin plumed by her, the door blew open, all things passed her by. She dialed her mom.</p> <p class="wp-block-paragraph">“<em>Allô</em><em> maman</em>, how’s the dinner crowd?” A rainstorm in that city always meant more bottles of wine. Hardly anyone could keep track of their umbrellas, and everyone in a City Not-Unlike-Montréal looked better with wet hair anyways. Her mom said as much from her popular restaurant that she ran like a newsroom. “Did Dad ever tell you where he kept the storm supplies? The pump? No, I don’t know, he just said the pump. Oh, god—”</p> <p class="wp-block-paragraph">The door to the café burst open. A siren somewhere was joined by another. Noon’s hair was a river down her neck, and a cyclist spun across the intersection. There were a million things she had forgotten to ask when her dad got sick, and they ranged from inconvenient to devastating. Most she had made peace with, and then every so often there was a rainstorm.</p> <p class="wp-block-paragraph">Apparently her dad had lent it out to a friend. Then, of course, he’d gotten sick and died, and in the interim, they’d had bigger fish to fry at La Tobaganne, never mind in <em>la famille Bonaventure</em>. She was personally proud that she had made it out of brain cancer without a one-way ticket anywhere else. Of course, her dad had many friends, and those friends had many businesses, and she would bet that all of them had flooded basements at that very moment. There was a boom of thunder and a split of lightning. The rain was thick as pencils.</p> <p class="wp-block-paragraph">“I’ll add it to the list then, thanks, Mom! <em>Courage</em>!”</p> <p class="wp-block-paragraph">She took a deep breath and turned around. Her neighbour had made one of his employees cry.</p> <p class="wp-block-paragraph">“You know what, Joseph? I have no clue where the pump is, my mom doesn’t know, and I’ve got to get back.”</p> <p class="wp-block-paragraph">There was silence and a crash. </p> <p class="wp-block-paragraph">“Can you call the Lafitte boy?!”</p> <p class="wp-block-paragraph">The Lafitte boy was one degree of proximity too close to a bad time, but years ago, he’d been good with downspouts and drains and all that. Noon didn’t call for help, and she certainly didn’t call in that direction. Instead of answering, she stepped out into the storm.</p> <p class="wp-block-paragraph">Across the street, blurred by water, interrupted by bicycles leaving a wake behind them and children in ladybug jackets, was a man in a charcoal cloak. A mail carrier in yellow galoshes stomped past her.</p> <p class="wp-block-paragraph">She was a character in a story—she knew it, and she hated it.</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p class="wp-block-paragraph">On her desk was a stack of correspondence and bills in a puddle, plus an omen of doom. The notice had the City Not-Unlike-Montréal motif on the corner. All business owners flinched upon receiving one. Notices of road construction had closed the bookshop down the road, her favourite Cajun restaurant, and a florist. It seemed like Blvd Rigaud was under construction so often that Noon wondered if they’d gotten anything right the first time they built it. Only the dentists and lawyers survived.</p> <p class="wp-block-paragraph">Noon took a deep breath and did what had gotten her through the decade.</p> <p class="wp-block-paragraph">“This too shall pass,” she murmured, and shrugged off her jacket. Construction would eventually bring wider sidewalks and better foot traffic. Perhaps she could have a terrace, serve wine, and have also have her bookshop. La Tobaganne needed a paint job too. Maybe she could take advantage of the slower traffic, and the loud noise, and the death knell of flimsier businesses. She’d give her contact at <em>The Gazelle </em>a call and see if they couldn’t do another joint event. Most importantly though, nothing was worse than brain cancer, and besides, she needed to get through the flood—first things first.</p> <p class="wp-block-paragraph">The mobiles her dad had hung up, wooden whales and toboggans and somersaults of flowers spun on their threads. A toy train slowly rolled around a table of locomotive memoirs, each carriage a candleholder. The glass lamps glowed like honey jars in the dark, and the toboggan nailed above the door cast shadows that looked like dentures. A portrait of her dad and Vermillion Forrest was framed behind the front desk. Just out of frame, though she felt their presence constantly, was her as a girl and her best friend, the bad time mentioned above, the king of sour nostalgia and good shoes, museum curator of never letting go, Munro Singh Forrest. Beside that photo was a painting of Millie as a girl, something Noon had inherited after the woman’s death, artist unknown. There were many, many feature pieces from <em>The Gazelle</em>, also framed.</p> <p class="wp-block-paragraph">Along the floor was a thin spiral of sand, leading from the desk to the door.</p> <p class="wp-block-paragraph">Noon looked up again, to be sure of what she had seen on her way over—beyond the blur, through the rain, the man in the charcoal cloak. More than anything, he annoyed Noon, a nuisance from a folktale she tried not to entertain. She didn’t wave, and wondered gloweringly what <em>they </em>wanted this time.</p> <p class="wp-block-paragraph">It was a quiet life, but she was making it work. That was true until she saw beneath the notice of construction a grey envelope.</p> <figure class="wp-block-pullquote"><blockquote><p><em>June Clara Bonaventure, La Tobaganne, proprietor </em><br><br><em>852 Rue Bader Ginsberg</em><br><br><em>A City Not-Unlike-Montréal</em><br><br>***<br><br><em>The Spectacular!</em><br><br><em>9 o’clock this evening, in the garden behind the library.</em><br><br><em>Come as you are.</em></p></blockquote></figure> <p class="wp-block-paragraph">It had been years since she’d last seen the red seal on the back, pressed on a long white feather and dusted with a gold lustre. There were marvellous things just down the street, and luxuries she didn’t look at. The invitation might have been recycled there and then, like the rest of them, if she hadn’t first noticed that her fountain pen was missing, and then lost her damn mind.</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <p class="has-sm-font-size wp-block-paragraph">Excerpted from <em>The Lost Spectacular</em>, copyright © 2026 by Zoé Duhaime.</p> <p>The post <a href="https://reactormag.com/excerpts-the-lost-spectacular-by-zoe-duhaime/">Read an Excerpt From &lt;i&gt;The Lost Spectacular&lt;/i&gt; by Zoé Duhaime</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-the-lost-spectacular-by-zoe-duhaime/">https://reactormag.com/excerpts-the-lost-spectacular-by-zoe-duhaime/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855969">https://reactormag.com/?p=855969</a></p>
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Posted by Christina Orlando

Books book reviews

It’s In the Cards: Ali Trotta’s Offerings for Ordinary Gods

Myths, legends, and arcana are the materials with which Trotta reflects our lives, showing readers how close they might be to the stuff of legends.

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Published on August 26, 2026

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<p class='syndicationauthor'>Posted by Christina Orlando</p><p class="ljsyndicationlink"><a href="https://reactormag.com/book-review-offerings-for-ordinary-gods-by-ali-trotta/">https://reactormag.com/book-review-offerings-for-ordinary-gods-by-ali-trotta/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855577">https://reactormag.com/?p=855577</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/book-reviews/" class="inline-block link-no-animation" aria-label="Link to term or tag book reviews 1"> book reviews </a> </span> </div> <h2 class="post-hero-title text-h1">It’s In the Cards: Ali Trotta’s <i>Offerings for Ordinary Gods</i></h2> <div class="prose post-hero-description prose--post-hero">Myths, legends, and arcana are the materials with which Trotta reflects our lives, showing readers how close they might be to the stuff of legends.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/tobias-carroll/" title="Posts by Tobias Carroll" class="author url fn" rel="author">Tobias Carroll</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 26, 2026 </p> </div> </div> <div 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15.881 11.6787 17.4143H8.67871Z" fill="currentColor"/> <path d="M2.67871 17.4143C2.12871 17.4143 1.65771 17.2183 1.26571 16.8263C0.873713 16.4343 0.678046 15.9636 0.678713 15.4143C0.678713 14.8643 0.874713 14.3933 1.26671 14.0013C1.65871 13.6093 2.12938 13.4136 2.67871 13.4143C3.22871 13.4143 3.69971 13.6103 4.09171 14.0023C4.48371 14.3943 4.67938 14.865 4.67871 15.4143C4.67871 15.9643 4.48271 16.4353 4.09071 16.8273C3.69871 17.2193 3.22805 17.415 2.67871 17.4143ZM14.6787 17.4143C14.6787 15.481 14.312 13.6683 13.5787 11.9763C12.8454 10.2843 11.841 8.80097 10.5657 7.52631C9.29171 6.25164 7.80871 5.24764 6.11671 4.51431C4.42471 3.78097 2.61205 3.41431 0.678713 3.41431V0.414307C3.02871 0.414307 5.23705 0.860306 7.30371 1.75231C9.37038 2.64431 11.1704 3.85664 12.7037 5.38931C14.237 6.92264 15.4497 8.72264 16.3417 10.7893C17.2337 12.856 17.6794 15.0643 17.6787 17.4143H14.6787ZM8.67871 17.4143C8.67871 15.1976 7.89971 13.31 6.34171 11.7513C4.78371 10.1926 2.89605 9.41364 0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2026/08/review-Offerings-for-Ordinary-Gods-740x407.png" class="w-full object-cover" alt="" srcset="https://reactormag.com/wp-content/uploads/2026/08/review-Offerings-for-Ordinary-Gods-740x407.png 740w, https://reactormag.com/wp-content/uploads/2026/08/review-Offerings-for-Ordinary-Gods-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2026/08/review-Offerings-for-Ordinary-Gods-768x422.png 768w, https://reactormag.com/wp-content/uploads/2026/08/review-Offerings-for-Ordinary-Gods.png 1400w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">In an <a href="https://www.tarotassociation.net/tarot-is-story/" target="_blank" rel="noreferrer noopener">essay</a> on Tarot cards and storytelling, Rachel Pollack wrote about the deep connections between the two. “I found I had no interest in any predictions, it was the Tarot itself that fascinated me,” Pollack wrote. “Each card seemed a frozen moment in a story.” Pollack, the author of both compelling stories and authoritative explorations of Tarot cards, possessed plenty of expertise in both fields. And the use of Tarot as a means to explore the place where stories and rituals converge continues in a myriad of forms.</p> <p class="wp-block-paragraph">In the case of Ali Trotta’s <em>Offerings for Ordinary Gods</em>, that takes the form of a series of poems, each of them laced with archetypal figures and the kind of intention that fuels a particularly intense session of divination. In the case of Trotta’s book, that comes in part from the incantatory aspect of these works. “There is no better love spell than a poem,” Trotta writes. “An effective poem is a hand held out into the darkness, a reminder that we are not alone, even when we feel that way.”</p> <p class="wp-block-paragraph">Trotta goes on to describe the way a story is told as “a kind of incantation.” What this means, in practice, are a number of poems in this collection that incorporate the imagery of Tarot cards. Among the titles readers will find within these covers are “The Magician Courts the Hierophant,” “The Page of Wands Is Fickle at Best,” and “The Hanged Man Passes Judgment.” Elsewhere in the book, Trotta incorporates characters from mythology, folklore, and fairy tales, including Athena, Rumplestiltskin, and Little Red Riding Hood.&nbsp;</p> <p class="wp-block-paragraph">In the case of “The Queen of Cups Considers the Magician,” that intersection finds the poem’s narrator recalling a meeting whose occult references go far beyond the characters’ point of origin: “At the crossroads,/ you kissed me goodbye/ but left a secret in my mouth,/ salt and ash, honey and apples—/ the way you said my name/ always felt like a ceasefire,” Trotta writes. The imagery itself is freighted with supernatural abilities, but the overwhelming feeling here is one of weariness: a narrator who has tired of the flaws of a onetime paramour.</p> <p class="wp-block-paragraph">There’s also something of the paradox about these poems—and this book. Part of the very concept of gods is, well, divinity; is an ordinary god much of a god at all? (Terry Pratchett might have <a href="https://reactormag.com/terry-pratchett-book-club-small-gods-part-i/" target="_blank" rel="noreferrer noopener">something to say</a> in this debate, as might <a href="https://comicon.com/2018/01/24/a-movement-a-manner-a-counter-culture-crime-godshaper-sc-collects-the-complete-series/" target="_blank" rel="noreferrer noopener"><em>Godshaper</em></a> collaborators Si Spurrier and Jonas Goonface.) The way Trotta blends archetypes with familiar emotional territory points to one resolution of the dilemma of “ordinary gods.”</p> <p class="wp-block-paragraph">That takes a different form later in the collection, with poems like “Circe Meditates On Betrayal.” The title is the stuff of myths and legends that have endured for thousands of years, but the concerns raised are more mundane: “You pretend you slept well./ You hit the snooze button twice./ You make stronger coffee./ You wear your favorite shoes./ You laugh louder than you should.” And “Love Spell” begins by juxtaposing “madness” and “magick” before concluding “What is this then/ but love?”</p> <section class="wp-block-shop-the-book shop-the-book"> <h2 class="shop-the-book-headline">Buy the Book</h2> <div class="shop-the-book-content"> <figure class="shop-the-book-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Offerings-for-Ordinary-Gods.jpg.png" class="attachment-full size-full" alt="Cover of Offerings for Ordinary Gods by Ali Trotta." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <!-- <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Offerings-for-Ordinary-Gods.jpg.png" class="attachment-full size-full" alt="Offerings for Ordinary Gods" /> --> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Offerings-for-Ordinary-Gods.jpg.png" class="attachment-full size-full" alt="Cover of Offerings for Ordinary Gods by Ali Trotta." role="presentation" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">Offerings for Ordinary Gods</h3> <p class="shop-the-book-author">Ali Trotta</p> </div> </div> <button type="button" class="inline-block px-8 py-4 text-center btn tablet:py-3 text-h6 bg-red text-white shop-the-book-button" id=buy_book data-trigger="modal" data-target="#modal-1787853585" aria-open="false" aria-label="Buy Book"> <span class="inline-flex items-center button-label btn-label"> Buy Book </span> </button> </div> </div> <div id="modal-1787853585" class="shop-the-book-modal"> <div class="shop-the-book-modal-inner testclass"> <button class="js-modal-close absolute top-5 right-5 z-10" type="button" aria-label="icon-close"> <svg class="w-[19px] h-[19px]" width="18" height="19" viewBox="0 0 18 19" fill="none" xmlns="http://www.w3.org/2000/svg" aria-label="close" role="img" aria-hidden="true"> <path d="M1 17L17 1" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M1 17L17 1" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-width="2" stroke-linecap="round" /> <path d="M17 17.0809L1 1.08093" stroke="black" stroke-opacity="0.2" stroke-width="2" stroke-linecap="round" /> </svg> </button> <div class="shop-the-book-modal-content"> <figure class="shop-the-book-modal-image-desktop image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Offerings-for-Ordinary-Gods.jpg.png" class="attachment-full size-full" alt="Offerings for Ordinary Gods" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-modal-image-mobile image-cover"> <img decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2026/08/Offerings-for-Ordinary-Gods.jpg.png" class="attachment-full size-full" alt="Offerings for Ordinary Gods" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">Offerings for Ordinary Gods</h3> <p class="shop-the-book-modal-author">Ali Trotta</p> </div> </div> <p class="shop-the-book-modal-label">Buy this book from:</p> <ul class="not-prose ebook-links ebook-links-shortcode"><li><a class="btn" target="_blank" href="http://www.amazon.com/exec/obidos/ASIN/B0H61NJ9Z6?tag=tordotcomgeneral-20" data-book-title="Offerings for Ordinary Gods" data-book-store="Amazon"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Amazon</span></a></li><li><a class="btn" target="_blank" href="https://www.barnesandnoble.com/search/?q=9781968043100" data-book-title="Offerings for Ordinary Gods" data-book-store="Barnes and Noble"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Barnes and Noble</span></a></li><li><a class="btn" target="_blank" href="http://itunes.apple.com/us/book/isbn9781968043469" data-book-title="Offerings for Ordinary Gods" data-book-store="iBooks"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">iBooks</span></a></li><li><a class="btn" target="_blank" href="https://www.indiebound.org/book/9781968043100" data-book-title="Offerings for Ordinary Gods" data-book-store="IndieBound"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">IndieBound</span></a></li><li><a class="btn" target="_blank" href="https://www.target.com/s?searchTerm=9781968043100" data-book-title="Offerings for Ordinary Gods" data-book-store="Target"><span class="inline-flex items-center button-label text-h6 text-white font-aktiv">Target</span></a></li></ul> </div> </div> </div> </div> </section> <p class="wp-block-paragraph">Not all of these poems translate the mythic or grandly supernatural to a more accessible scale. “Nimue Speaks to Merlin on the Occasion of Their Parting” plays out in a more familiar fantastical territory, with its references to how “[t]his cave of secrets/ is full of echoes, its magic dark and unforgiving.” The same is true of “Hephaestus Councils Rumplestilstkin,” which opens with sage advice: “Just because you are given straw/ doesn’t mean you have to turn it into gold.”&nbsp;</p> <p class="wp-block-paragraph">Trotta’s collection falls into a long tradition of literary works that juxtapose everyday concerns with the stuff of myths and legends. There were elements of it reminiscent of Cesare Pavese’s <em>The Leucothea Dialogues</em>, for instance, in which the mid-century Italian author in question used the stuff of classical myths to address certain contemporary concerns. Trotta’s methodology feels similar: In an era where it can be all too easy to feel unimportant, she reminds the reader of the ways in which their own experiences might not be too far removed from the conflicts discussed in ancient tales. </p> <p class="wp-block-paragraph">The incorporation of Tarot into the mix is especially telling here. In a recent <em>New York Times</em> <a href="https://www.nytimes.com/2026/08/06/arts/design/tarot-cards-morgan.html" target="_blank" rel="noreferrer noopener">article</a> on a Morgan Library exhibit dedicated to the history of Tarot cards, Nina Siegal spoke to curator Claire Gilman about the show. Gilman, in turn, pointed to Pamela Colman Smith’s artwork in the Rider-Waite-Smith deck. </p> <p class="wp-block-paragraph">“Gilman said that it was probably Smith’s evocative illustrations, which seem to offer an enchanting range of narrative interpretations, that led to the continuing appeal of tarot in modern times,” Siegal wrote. For Trotta, myths, legends, and arcana—both major and minor—are the materials with which she reflects our lives, showing readers how close they might be to the stuff of legends, a source of both exultation and caution. If that means that Trotta’s own collection might spark inspiration in the mind of another writer years from now, it’s just a sign that the tradition is continuing.[end-mark]</p> <hr class="wp-block-separator has-alpha-channel-opacity"/> <p class="wp-block-paragraph"><em><a href="https://www.clashbooks.com/" target="_blank" rel="noreferrer noopener">Offerings for Ordinary Gods</a></em> is published by CLASH Books.</p> <p>The post <a href="https://reactormag.com/book-review-offerings-for-ordinary-gods-by-ali-trotta/">It’s In the Cards: Ali Trotta’s &lt;i&gt;Offerings for Ordinary Gods&lt;/i&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/book-review-offerings-for-ordinary-gods-by-ali-trotta/">https://reactormag.com/book-review-offerings-for-ordinary-gods-by-ali-trotta/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=855577">https://reactormag.com/?p=855577</a></p>
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Posted by Matthew Byrd

News Lanterns

Grant Morrison Wants More Sci-Fi in Lanterns: “Why Try to Make a Green Lantern Show on a Budget?”

“Too much tell, not enough show”

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Published on August 26, 2026

Image: John Johnson/HBO Max

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<p class='syndicationauthor'>Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/grant-morrison-sci-fi-lanterns-hbo/">https://reactormag.com/grant-morrison-sci-fi-lanterns-hbo/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856234">https://reactormag.com/?p=856234</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/lanterns/" class="inline-block link-no-animation" aria-label="Link to term or tag Lanterns 1"> Lanterns </a> </span> </div> <h2 class="post-hero-title text-h1">Grant Morrison Wants More Sci-Fi in <i>Lanterns</i>: “Why Try to Make a Green Lantern Show on a Budget?”</h2> <div class="prose post-hero-description prose--post-hero">&#8220;Too much tell, not enough show&#8221;</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&#038;_a]:link-hover">By <a href="https://reactormag.com/author/matthew-byrd/" title="Posts by Matthew Byrd" class="author url fn" rel="author">Matthew Byrd</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on August 26, 2026 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&#038;_a]:link"><p>Image: John Johnson/HBO Max </p> </div> <div class="quick-access 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0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2"/> </g> <defs> <clipPath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)"/> </clipPath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="494" src="https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6-740x494.jpeg" class="w-full object-cover" alt="John and Hal looking up at the bird John made with the ring in Lanterns, S1E2, &quot;Trust Fall&quot;" srcset="https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6-740x494.jpeg 740w, https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6-1100x734.jpeg 1100w, https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6-1536x1025.jpeg 1536w, https://reactormag.com/wp-content/uploads/2026/08/lanterns-s1e2-trust-fall6.jpeg 1920w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&#038;_a]:link"><p>Image: John Johnson/HBO Max </p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p class="wp-block-paragraph">HBO&#8217;s<em> Lanterns</em> has, by most metrics, been a smash hit. The series that is often <a href="https://reactormag.com/lanterns-creators-reveal-the-shows-influences-besides-true-detective/" target="_blank" rel="noreferrer noopener">more <em>True Detective</em> than DCU</a> has already caught quite a few people by surprise with its grounded tone, character-driven narrative, and exceptional performances. It&#8217;s slowly revealing its mythology, but if it wasn&#8217;t for the name on the box, you could almost hide the fact it&#8217;s a Green Lantern show. </p> <p class="wp-block-paragraph">However, that approach hasn&#8217;t quite worked for everyone. Comics writer Grant Morrison (whose many notable works include a legendary run on the Green Lantern) has long been one of the show&#8217;s most notable critics, and previously got into a bit of <a href="https://collider.com/damon-lindelof-apologizes-for-upsetting-green-lantern-fans-and-grant-morrison/" target="_blank" rel="noreferrer noopener">a back-and-forth</a> with <em>Lanterns</em> co-showrunner Damon Lindelof over the series&#8217; creative direction. Well, Morrison has finally watched <em>Lanterns</em>&#8216; first episode and recently shared his thoughts about it on <a href="https://grantmorrison.substack.com/p/238-at-the-end-of-the-start-of-the" target="_blank" rel="noreferrer noopener">his blog</a>. While he came away from the series with a largely mixed opinion, his central criticism of the show remains largely unchanged. </p> <p class="wp-block-paragraph">&#8220;Otherwise on this outing, way too much tell, not enough show, and those comparisons to <em>True Detective</em>, invoking season 1 of that, show, only worked against<em> Lanterns</em>,&#8221; Morrison writes. &#8220;The lack of costumes and ring effects was glaring but easily explained by budgetary constraints and a desire to create some distance between this and the unsuccessful Ryan Reynolds <em>Green Lantern</em> film&#8230; which only begs the question of why try to make a Green Lantern show on a budget at all? DC has a ton of ‘ground level’ heroes, or characters with low level gimmick powers to choose from, so why take this low-fi route with a franchise that should be competing with<em> Star Trek</em> or <em>Star Wars</em>?&#8221;</p> <p class="wp-block-paragraph">Morrison&#8217;s criticisms are, of course, ultimately his opinion, though they do bring up a few interesting talking points. Namely, the recent emphasis on ground or street level heroics (something the <em>Spider-Man: Brand New Day</em> team also expressed an interest in emphasizing) and the general concern that we may not get a grander and more bombastic take on The Green Lantern while <em>Lanterns</em> remains a hit for DC. While asking why you would make a Green Lantern show on a budget at all is a hyperbolic question, it will be interesting to see if this is the definitive live-action tonal take we get of the character in the James Gunn era for the studio. It is also, of course, worth pointing out that we&#8217;re only two episodes into <em>Lanterns</em>, and all signs point to the show getting much bigger and bolder as it goes on in terms of the character&#8217;s more sci-fi qualities. How far it goes in that direction remains to be seen. </p> <p class="wp-block-paragraph">Besides, Morrison also had quite a few nice things to say about the show, including praise for Kyle Chandler (who Morrison says gives a very &#8220;Doctor McCoy&#8221; performance) and Aaron Pierre&#8217;s &#8220;quiet and uptight performance as John Stewart.&#8221; We&#8217;ll just have to see whether the rest of the series ultimately veers a little closer to the cosmic adventure the character is more often associated with, especially in Morrison&#8217;s own works.[end-mark]</p> <p class="wp-block-paragraph"></p> <p>The post <a href="https://reactormag.com/grant-morrison-sci-fi-lanterns-hbo/">Grant Morrison Wants More Sci-Fi in &lt;i&gt;Lanterns&lt;/i&gt;: “Why Try to Make a Green Lantern Show on a Budget?”</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/grant-morrison-sci-fi-lanterns-hbo/">https://reactormag.com/grant-morrison-sci-fi-lanterns-hbo/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=856234">https://reactormag.com/?p=856234</a></p>

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