Blog - Nathan Bransford | Writing, Book Editing, Publishing ([syndicated profile] nathanbransford_feed) wrote2025-10-10 07:00 pm

Baker & Taylor on the brink (This week in books)

Posted by Nathan Bransford

This week! Books!

Baker & Taylor Prepares Plan to Shut Down – Jim Milliot, Publishers Weekly | Libraries Look to Fill the Gap Left by Baker & Taylor – Jim Milliot and Nathalie op de Beeck, Publishers Weekly | “Chaos” at B&T as Ingram Adds Staff in Light of Impending Closure – Erin Somers, Publishers Lunch | Baker & Taylor Publisher Services Operates for Now, While Court Docs Show Deep Financial Stress – Katy Hershberger, Publishers Lunch – It’s not exactly the sexiest side of the book business, but distributors and wholesalers like Baker & Taylor and Ingram provide a crucial backbone for the distribution side of the publishing business, supplying countless retailers and libraries with books. After failing to be acquired by ReaderLink, Baker & Taylor is on the verge of going under, which would wreak havoc for publishers who utilize it for distribution and for libraries who use it for acquisitions. Ingram is already reportedly staffing up in anticipation. If Baker & Taylor ends up liquidated, it would only further cement Ingram’s centrality to the modern publishing industry.

László Krasznahorkai has won the 2025 Nobel Prize in Literature – Emily Temple, LitHub – For the second time in three years, the Nobel Prize in Literature has gone to an author known for colossally long and intricate sentences. I’d hate to be a punctuation mark around the Nobel committee.

Here Are the Finalists for the 2025 National Book Awards – Elizabeth A. Harris, New York Times – Congrats to the NBA finalists!

The Twilight Saga Deluxe Hardcover Collection – Want to feel old? Like really, really impossibly old? Yeah? You do? Well, Twilight was published twenty years ago. Little, Brown released a new boxed set in homage. Per Ron Charles, over 160 million Twilight books have been sold.

The Publishing Industry’s Most Swoon-Worthy Genre – Rebecca Ackermann, The Atlantic – A study found that nearly half of fans of romance books read a book a week, which gives you some idea of how important the genre is to the publishing industry. Rebecca Ackermann dives into the extent to which it’s also one of the more tight-knit and entrepreneurial communities in the book world.

The fanfiction written on a notes app that’s become a bestseller – with a seven-figure film deal – Ella Creamer, The Guardian – It’s currently a Harry Potter fan fiction world, and author SenLinYu is a huge reason for it.

Surgery with a Shotgun: Why Genres Matter – DongWon Song, Publishing is Hard – Agent DongWon Song’s blog is back, and they delve into genres and why, sorry to your unicorn of a book, but genres still matter.

This week in bestsellers

Here are the top five NY Times bestsellers in a few key categories. (All links are affiliate links):

Adult print and e-book fiction:

  1. The Impossible Fortune by Richard Ossman
  2. The Secret of Secrets by Dan Brown
  3. Alchemised by SenLinYu
  4. Fourth Wing by Rebecca Yarros
  5. Vince Flynn: Denied Access by Don Bentley

Adult print and e-book nonfiction:

  1. 107 Days by Kamala Harris
  2. Poems & Prayers by Matthew McConaughey
  3. Truly by Lionel Richie
  4. Born Lucky by Leland Vittert with Don Yaeger
  5. Confronting Evil by Bill O’Reilly and Josh Hammer

Young adult hardcover:

  1. Fake Skating by Lynn Painter
  2. Bitten by Jordan Stephanie Gray
  3. Hour of the Pumpkin Queen by Megan Shepherd
  4. You’ve Found Oliver by Dustin Thao
  5. Thorn Season by Kiera Azar

Middle grade hardcover:

  1. The Court of the Dead by Rick Riordan and Mark Oshiro
  2. Secrets of the Purple Pearl by Kate McKinnon
  3. Sweet & Salty by King Arthur Baking Company
  4. The Poisoned King by Katherine Rundell
  5. Troubling Tonsils by Aaron Reynolds

This week on the blog

In case you missed them, here are this week’s posts:

And keep up with the discussion in all the places!

And finally:

‘Amoral, evil’: vitriolic backlash builds against comics who played Riyadh festival – Hannah Jane Parkinson, The Guardian – The backlash agains the comedians who performed at the Riyadh Comedy Festival has been immense, and Hannah Jane Parkinson did not pull a single punch, to say the least.

Have a great weekend!

Need help with your book? I’m available for manuscript edits, query critiques, and coaching!

For my best advice, check out my online classes, my guide to writing a novel and my guide to publishing a book.

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Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-10 03:42 pm

Peacemaker Finds Its Way to Checkmate in Season Finale “Full Nelson”

Posted by Emmet Asher-Perrin

Movies & TV Peacemaker

Peacemaker Finds Its Way to Checkmate in Season Finale “Full Nelson”

Move over, Peacemaker has a whole new entertainment universe to set up.

By

Published on October 10, 2025

Image: Jessica Miglio/HBO Max

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<p class="syndicationauthor">Posted by Emmet Asher-Perrin</p><p class="ljsyndicationlink"><a href="https://reactormag.com/tv-review-peacemaker-full-nelson/">https://reactormag.com/tv-review-peacemaker-full-nelson/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827114">https://reactormag.com/?p=827114</a></p><div class="wp-block-more-from-category"> <div> </div> </div> <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/peacemaker/" class="inline-block link-no-animation" aria-label="Link to term or tag Peacemaker 1"> Peacemaker </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Peacemaker</i> Finds Its Way to Checkmate in Season Finale “Full Nelson”</h2> <div class="prose post-hero-description prose--post-hero">Move over, Peacemaker has a whole new entertainment universe to set up.</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/emmet-asher-perrin/" title="Posts by Emmet Asher-Perrin" class="author url fn" rel="author">Emmet Asher-Perrin</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 October 10, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Image: Jessica Miglio/HBO Max</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-peacemaker-full-nelson/#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 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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/2025/10/peacemaker-s2-finale-1-740x493.jpeg" class="w-full object-cover" alt="Chris and Harcourt holding onto each other and partying at a Foxy Shazam concert in Peacemaker&#39;s S2 finale, &quot;Full Nelson&quot;" srcset="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-1-740x493.jpeg 740w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-1-1100x733.jpeg 1100w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-1-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-1-1536x1024.jpeg 1536w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-1.jpeg 1920w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Image: Jessica Miglio/HBO Max</p> </div> </div> </div> </div> </post-hero> <p>Here’s hoping we don’t have to wait another three years for an end to that cliffhanger…</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading">Recap</h3> <figure class="wp-block-image aligncenter size-large"><img decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4-1100x733.jpeg" alt="Fluery looking relaxed at his new Checkmate desk in Peacemaker&#39;s S2 finale, &quot;Full Nelson&quot;" class="wp-image-827115" srcset="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4-1100x733.jpeg 1100w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4-740x493.jpeg 740w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4-1536x1024.jpeg 1536w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-4.jpeg 1920w" sizes="(max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Jessica Miglio/HBO Max</figcaption></figure> <p>One month previous, we see the hangout where Chris and Harcourt met for dinner, got drunk, and wound up on a rock cruise. They dance and it ends in a kiss. Harcourt panics and leaves. Presently, Chris is in prison and refusing all visitors because he believes he’s the angel of death. Harcourt and Economos are working at A.R.G.U.S., which is pulling in more and more of Luthor’s people to help with operations into the quantum realm; they’ve been instructed to find an unoccupied world with resources that can support human life. Many of these missions turn dangerous and people die in these other worlds, but the A.R.G.U.S. base crew seem unbothered. After hours, Economos points out to Harcourt that they don’t know why they’re looking for a place like this, and that their jobs classically don’t help people. Eagly is depressed with Chris gone, and Economos keep trying to figure out how to feed him.</p> <p>Adebayo goes to Adrian’s house and tells him that he needs to be nicer to his mother, and that he needs to use some of his “blood money” to hire Chris a better lawyer and help bail him out. When he won’t, she manipulates him by suggesting that she’s Chris’ better friend for being willing to take on a blood curse for him. They use the money to bail Chris out and he takes off, disappearing. A quantum realm team finally finds a verdant world that can support human life and doesn’t appear to have people on it. Flag takes a meeting at the Pentagon and tells everyone that this world is the perfect prison site of metahumans, and he calls it Salvation. Bordeaux is horrified and Harcourt asks if she’d be willing to meet.</p> <p>The two women go to the same place Harcourt ate with Chris before their boat debacle, and Bordeaux tells her everything about what the site will be used for. Harcourt points out that Bordeaux is also a metahuman; she could be courtmartialed for telling her this. Bordeaux says that she can’t stand working for a broken system anymore. Harcourt says that she’s got an idea, and wants Bordeaux to meet a friend of hers. They head back to her apartment, and Adebayo joins them, bringing in all her ideas for a better organization. Harcourt asks Bordeaux if she’s got clearance to track Chris. Adebayo goes to see Keeya, and tells her the truth—that she’ll always love her, but that their desires in life aren’t compatible, which is no foundation for a marriage. They both have to accept that it’s over, and cry in each other’s arms.</p> <p>At A.R.G.U.S., Harcourt and Bordeaux work to pinpoint Chris’ location on a computer, using Economos as a (terrible) distraction. They find the motel he’s holed up in and everyone confronts him at once. When he tries to escape, Adrian tackles and tazes him. Back in his room, Chris explains that he can’t be around any of them because he brings death. Adebayo points out that death only ever occurred around him when he didn’t listen to his inner voice, either doing what others told him to, or what he wanted to be true. She tells Chris that when he follows his own principles and desires, he shows nothing but love and care toward the people in his life. Everyone agrees, and they tell him that they have a plan they can’t execute without him. As they all make to leave, Chris asks Harcourt one more time if the boat incident meant anything. She finally admits that it meant everything to her. Chris is elated.</p> <p>The group reunites, using Adrian’s money pile to open up their own organization called Checkmate, bringing Bordeaux, Fluery, and Rip Jagger with them. Chris and Harcourt go on another rock cruise, this time for Foxy Shazam, who play the opening number for season two. They seem entirely happy together, Adrian hangs out with Fluery and talks about spiders, and Eagly befriends Economos. One evening, Chris is bagged and bound and brought back to A.R.G.U.S. Flag puts Chris in Salvation and tells him that he’s volunteered to be the first person to find out if it’s fit for human life. Chris is left alone on this unknown world and creatures howl in the distance.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading">Commentary</h3> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2-1100x733.jpeg" alt="Adebayo talking to her wife face to face in Peacemaker&#39;s S2 finale, &quot;Full Nelson&quot;" class="wp-image-827117" srcset="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2-1100x733.jpeg 1100w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2-740x493.jpeg 740w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2-1536x1024.jpeg 1536w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-2.jpeg 1920w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Jessica Miglio/HBO Max</figcaption></figure> <p>This finale basically loaded up everything I wanted to be seeing all throughout the season and set it out as a buffet. It’s nice to finally have it, but I’m a little aggravated that it took eight whole episodes to get here. And that we finally got a full-length episode again, but only for the end.</p> <p>There are some beautiful emotional pieces in this finale, but they would have landed much harder if they’d gotten more build. Easiest way to do that? Stop writing half-hour episodes. Put some meat on the bones and let us watch people keep trying to work things out. This is mostly for Adebayo and Bordeaux, of course, but also for Fluery and Rip Jagger! We needed to see a bit more of Fluery warming up, get more of Rip’s backstory, spend a day finding out what Bordeaux’s deal was. My assumption that Bordeaux was going to be working for someone like Waller came from an expectation that the show was going to shorthand her turn on Flag. Which it did, but we only get a few reaction shots to indicate her growing unease before she u-turns out of her entire alignment.</p> <p>This complaint extends to Adebayo’s goodbye to her wife, which is arguably even more important because it’s so rare for queer couples on television to get complicated material like this. It’s well-written, beautifully acted, but it would have had such a searing impact if we’d spent more of the season watching Adebayo try to repair the relationship and failing for one reason or another. Literally two or three more scenes would have made all the difference. There was time for it! Having said that, Danielle Brooks is the MVP of this entire episode, and I can&#8217;t help but shrug a little at Chris and Harcourt finally working things out when Adebayo is the character who holds the show&#8217;s heart in her hands, every step of the way.</p> <p>This is not to diss any of Cena and Holland&#8217;s hard work, who both did a lovely job bringing these characters together over the season. I just wonder if some creators remember that central romantic entanglements between characters are optional parts of a story; they don&#8217;t belong there just because it&#8217;s what an audience expects. (They are also allowed more time to come to fruition! Most of us enjoy a slow burn, come on.) I am nearly always down for romantic subplots, but when friendship and support are the center of your concept, it seems weird to keep harping on it like it&#8217;s the entire point of the story? It&#8217;s very similar to the problems I had with the Guardians of the Galaxy crew under Gunn&#8217;s eye.</p> <p>Loved the all-woman brainstorming session at Harcourt’s place, by the way. It’s just rough when it’s pitched at the ending, and honestly worthless if the show doesn’t get more seasons where it centers this dynamic. It was annoying enough in 2019 when <em>Avengers: Endgame</em> acted like they could shoehorn in one short action sequence with all their female characters working hand in hand to make up for their never-more-than-two-girls-at-once team rosters.</p> <p>Adding to the good side of this episode, the music cues are completely over-the-top, but in a fun way—and getting the live rock performances in there was a real treat. (Foxy Shazam has the best wardrobe of anyone this season, aside from Adebayo.) The talk with Chris in the motel was genuinely moving, even if it did get a little undercut by going right back to the boat question with Harcourt again. The interchange between the dimension divers getting slaughtered while Flag and Luthor’s people sit around laughing was incredibly effective.</p> <p>Also the tiny murder gremlins in the candy world. I’m a sucker for cute evil.</p> <p>This cliffhanger seems particularly cruel when we have no idea how long it’s going to be before we find out how Chris has faired in Salvation. Guess Checkmate’s got their work cut out.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading">Keeping the Peace (Thoughts and Asides)</h3> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="733" src="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3-1100x733.jpeg" alt="Economos working at computers with Bordeaux in Peacemaker&#39;s S2 finale, &quot;Full Nelson&quot;" class="wp-image-827116" srcset="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3-1100x733.jpeg 1100w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3-740x493.jpeg 740w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3-1536x1024.jpeg 1536w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2-finale-3.jpeg 1920w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Image: Jessica Miglio/HBO Max</figcaption></figure> <ul class="wp-block-list"> <li>When do we get to find out why the alien is disposing of rodents? Inquiring minds wanna know (and hang out with them more).</li> </ul> <ul class="wp-block-list"> <li>There is nothing more satisfying than watching everyone try to convince Chris to stay and talk, and Adrian moving right in with the taser and no words at all. </li> </ul> <ul class="wp-block-list"> <li>Obviously, Checkmate is an organization from the comics. This is a great way of bringing it into the DCU and an equally great set of characters to start it up with. Wonder if they’ll use the chess piece codenames…</li> </ul> <ul class="wp-block-list"> <li>It’s, shall we say, a little worrisome that they’ve basically used this season for the purpose of giving the U.S. government (and Lex Luthor) access to an even better prison dimension. Having said that, I hope that if they get a third season, the major arc doesn’t have to set up more stuff for movies. Let them do their own thing.</li> </ul> <p>Bets on where we&#8217;re likely to see Salvation next? See you next season, mayhaps&#8230;[end-mark]</p> <p>The post <a href="https://reactormag.com/tv-review-peacemaker-full-nelson/">&lt;i&gt;Peacemaker&lt;/i&gt; Finds Its Way to Checkmate in Season Finale “Full Nelson”</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/tv-review-peacemaker-full-nelson/">https://reactormag.com/tv-review-peacemaker-full-nelson/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827114">https://reactormag.com/?p=827114</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-10 02:57 pm

Peacemaker Season 3 Is Not a Priority, Says James Gunn

Posted by Matthew Byrd

News Peacemaker

Peacemaker Season 3 Is Not a Priority, Says James Gunn

You may see more of John Cena’s Peacemaker in future DC projects, but Peacemaker Season 3 is not on the horizon.

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Published on October 10, 2025

Credit: HBO Max

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<p class="syndicationauthor">Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/peacemaker-season-3-status/">https://reactormag.com/peacemaker-season-3-status/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827132">https://reactormag.com/?p=827132</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/peacemaker/" class="inline-block link-no-animation" aria-label="Link to term or tag Peacemaker 1"> Peacemaker </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Peacemaker</i> Season 3 Is Not a Priority, Says James Gunn</h2> <div class="prose post-hero-description prose--post-hero">You may see more of John Cena&#8217;s Peacemaker in future DC projects, but Peacemaker Season 3 is not on the horizon.</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/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 October 10, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: HBO Max</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="493" src="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2-740x493.jpeg" class="w-full object-cover" alt="Chris looking heartbroken in Peacemaker&#39;s &quot;Like a Keith in the Night&quot;" srcset="https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2-740x493.jpeg 740w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2-1100x733.jpeg 1100w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2-768x512.jpeg 768w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2-1536x1024.jpeg 1536w, https://reactormag.com/wp-content/uploads/2025/10/peacemaker-s2e7-2.jpeg 1920w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: HBO Max</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>No spoilers here, but the <em>Peacemaker</em> Season 2 finale was, much like <a href="https://reactormag.com/james-gunn-peacemaker-twist-fortnite-emote-controversy/" target="_blank" rel="noreferrer noopener">the rest of the season</a>, pretty wild. It’s also set up quite a few possibilities while refusing to neatly wrap up several ongoing storylines. While fairly satisfying on its own terms, the finale has understandably left many with the impression that we will inevitably get a third season of the show that will tie those loose threads together. </p> <p>However, <em>Peacemaker</em> showrunner James Gunn says the situation isn’t quite that simple. In fact, it genuinely sounds like he’s not thinking of <em>Peacemaker</em> Season 3 at all right now. </p> <p>“This is about the wider DCU and other stories in which this will play out right now,” Gunn said of the <em>Peacemaker</em> Season 2 finale in <a href="https://deadline.com/2025/10/peacemaker-season-2-finale-explained-james-gunn-1236575599/" target="_blank" rel="noreferrer noopener">a recent interview</a> with multiple outlets. “That doesn’t mean that there won’t be. I don’t want to never say never, but right now, no, this is about the future of the DCU.”</p> <p>Well, that’s ominous. It’s not clear at this time what HBO’s interest in<em> Peacemaker</em> Season 3 is, but Gunn suggests that it’s simply not a priority for DC at the moment and that another season of the show simply isn’t on the studio’s radar. However, Gunn assures fans that the Peacemaker character is still very important to him and will be a factor in future DC projects. </p> <p>“Peacemaker is an important character,” Gunn says. “I said from the beginning when we took on this job, it’s about really propping up and maintaining and repositioning. The big diamond properties that DC has, the Batmans and Wonder Womans and Supermans, and then creating diamond properties out of the smaller characters like Peacemaker.”</p> <p>While Gunn stops short of confirming that Peacemaker will appear in<em> Supergirl </em>or <em>Man of Tomorrow</em>, he remains adamant that he wants to treat future DC projects as enjoyable standalone experiences while gradually utilizing characters and plot points from one movie or TV show into another. As far as that goes, it sounds like <em>Peacemaker</em> fans with an eye out for what happens next should keep an eye on the next <em>Creature Commandos</em> season.&nbsp;</p> <p>“It’s in there, it’s a part of it,” Gunn says regarding some of Peacemaker’s unresolved storylines being advanced in <em>Creature Commandos</em>. “That’s being written now, and we’ve got the first couple episodes.”</p> <p>As for when the next season of <em>Creature Commandos</em> will air&#8230; well, there&#8217;s no word on that yet, and DC&#8217;s current production and release schedule suggests we may not see it until 2027. Welcome to the wonderful world of modern comic adaptations, we suppose. [end-mark]</p> <p></p> <p>The post <a href="https://reactormag.com/peacemaker-season-3-status/">&lt;i&gt;Peacemaker&lt;/i&gt; Season 3 Is Not a Priority, Says James Gunn</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/peacemaker-season-3-status/">https://reactormag.com/peacemaker-season-3-status/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827132">https://reactormag.com/?p=827132</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-10 02:00 pm

Five Extremely Convincing Reasons We Should Build Armed Bases on the Moon

Posted by Sarah

Featured Essays The Moon

Five Extremely Convincing Reasons We Should Build Armed Bases on the Moon

I mean, what could possibly go wrong?

By

Published on October 10, 2025

Credit: NASA; art by Rick Guidice

Artist rendition of Lunar Colony exterior.

Credit: NASA; art by Rick Guidice

Science fiction is replete with armed, human-occupied bases on the Moon1, ever ready to protect national interests or unleash nuclear hell onto the waiting Earth2. Yet, no such bases exist. How can this be?

As all technical problems can be solved with sufficient will, no doubt the explanation is simply because the people who control the funds have not been presented with sufficiently persuasive arguments. Thus, five are outlined below.

The first, most personal but least important, argument is that a heavily armed base would greatly please aging SF fans like me. We were promised jetpacks, conveyor-belt-mounted cities, and atomic-powered cars travelling at hundreds of kilometres an hour, not to mention psionic powers beyond mortal ken. Is it so much to ask for one Moon base with enough thermonuclear weapons to peel the Earth like a ripe orange?

The second reason would be scientific research. In many cases, scientific research could be carried out remotely, the Moon being (just) close enough that teleoperation of robots is practical. There is one category of research that can only be conducted on the Moon and only by people actually living there, which is the study of the effect on humans of living on the Moon.

Strictly speaking, this is pure science, but you cannot have the nightmarish technological applications without first conducting the pure science on which the horrifying affronts to basic decency are based. Without the hard work of pure science pioneers like Bacon, Boyle, and Scheele, the world would have been denied mustard gas, and then where would we be?

A heavily armed lunar base could protect the nation’s vital lunar helium-3 mines3. It’s true, these mines do not exist, may be impossible to build with foreseeable technology, would service a commercial fusion power industry that does not exist with a fuel for which Earth has readily available alternatives, a fuel that fusion plants are unlikely to be able to use, on the basis of supposed benefits that do not stand up to close attention. Nevertheless, do you want some rival nation to monopolize the Moon’s miniscule, useless resources of helium?

An infraplanetary ballistic missile (IfPBM?) base on the Moon offers many advantages. For example, such a base would not, as terrestrial bases are, be subject to annihilation on short notice… well, not unless Those Other Guys build their own base on the Moon. Whereas bases on the Earth are subject to continual scrutiny from orbit, making a sneak attack impossible, a lunar base only has to worry about a launch being detected if the other side happens to point telescopes in the direction of the Moon or if, being aware of the base, put satellites in orbit around the Moon. While it’s true that space authorities like to keep track of every bolt-sized-or-bigger object out to geosynchronous orbit, why would they bother keeping telescopes aimed at the very small, very specific patch of sky from which atomic doom might at any moment descend?

Such an IfPBM provides further benefits. Experience with the ISS suggests the base would be phenomenally expensive to build. Furthermore, maintaining the missiles would be far more costly than maintaining terrestrial missile bases4. Neither of those may sound like benefits to you, but they certainly would be to the lucky contractor who wins the bid to construct and maintain the base.

Finally, even if someone could prove that a lunar military base would be expensive and largely pointless, the very fact that it was expensive and pointless would make the project worthwhile as proof of national prowess. Throwing money away on a lunar boondoggle would signal to other nations that the nation can afford to waste hundreds of billions or even trillions of dollars without significantly impacting its defensive or offensive capabilities5.


Of course, these are simply the first five arguments that came to mind for a lunar military base. No doubt there are more, each one more persuasive than the previous. Delight us all by detailing them in the comments below.[end-mark]

  1. Some bases, as in the case of Ben Bova’s Millennium, built cheek by jowl with the very enemies against whom the base is intended to defend. That was either very convenient or very embarrassing. ↩
  2. In some cases, such bases provide the last refuge from the nuclear hell they unleashed. It’s a classic example of someone taking credit for solving the problem they caused. ↩
  3. As I once pointed out to Yoji Kondo, no doubt to his intense delight, some human activities on the Moon could impede scientific research. For example, the lunar far side is a great place to put a radio telescope… unless outgassing from mining efforts elsewhere would interfere, as would low-orbiting lunar satellites. Granted, even with the worst-case scenario regarding the side effects of rocket-fuel manufacturing and mining, the Moon will still offer telescopes better radio silence and a much harder vacuum than the Earth could… at least until someone deploys a sufficiently large H-bomb to blow the atmosphere off Earth, along with its noisy inhabitants. ↩
  4. John Wyndham offered a perfectly functional work-around for maintenance costs in his novel The Outward Urge. In this book, the British did their bit for deterrence by very publicly building a base on the Moon. As the UK was not as rich as the Soviet Union or the United States, and because the UK felt an actual nuclear war would be terrible folly, the UK didn’t actually install any missiles. Non-existent missiles are terribly economical to keep in working order. ↩
  5. I sense that some of you are skeptical, but there is a very famous example of a flamboyant martial display. In the 1120s, China’s Northern Song Dynasty went to the effort and expense of ostentatiously removing the forest that was a key part of China’s defense system. There could be only two plausible explanations: either the Northern Song’s military strategists were incompetent fools, or 12th-century China was so unimaginably powerful that it could casually discard a seemingly vital defense. History makes clear the truth: there is no record of any military conflict between the Northern Song and their neighbours after 1127. ↩

The post Five Extremely Convincing Reasons We Should Build Armed Bases on the Moon appeared first on Reactor.

Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-10 01:02 pm

What to Watch and Read This Weekend: The Dark Crystal Returns to Theaters and Is Weirder Than You Re

Posted by Molly Templeton

News What to Watch

What to Watch and Read This Weekend: The Dark Crystal Returns to Theaters and Is Weirder Than You Remember

Plus: The Zen of Poptimism and Caprica, the origin story no one asked for

By

Published on October 10, 2025

Photo: Universal Pictures

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<p class="syndicationauthor">Posted by Molly Templeton</p><p class="ljsyndicationlink"><a href="https://reactormag.com/what-to-watch-read-this-weekend-october-10-2025/">https://reactormag.com/what-to-watch-read-this-weekend-october-10-2025/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826865">https://reactormag.com/?p=826865</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/what-to-watch/" class="inline-block link-no-animation" aria-label="Link to term or tag What to Watch 1"> What to Watch </a> </span> </div> <h2 class="post-hero-title text-h1">What to Watch and Read This Weekend: <i>The Dark Crystal</i> Returns to Theaters and Is Weirder Than You Remember</h2> <div class="prose post-hero-description prose--post-hero">Plus: The Zen of Poptimism and Caprica, the origin story no one asked for</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/molly-templeton/" title="Posts by Molly Templeton" class="author url fn" rel="author">Molly Templeton</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 October 10, 2025 </p> </div> </div> <div class="post-hero-caption 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1100w, https://reactormag.com/wp-content/uploads/2025/10/The-Dark-Crystal-768x317.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/The-Dark-Crystal-1536x635.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/10/The-Dark-Crystal.jpg 1917w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Photo: Universal Pictures</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>New Yorkers, I hope you polished your armor and got your good boots on for the marathon of New York Comic Con. May the swag be good and the con crud be mild. The rest of us may or may not be following along with news from NYCC—but surely that can&#8217;t take up your whole weekend? Maybe you want to decompress with a movie or remember a time seemingly full of mid-budget SF series? <a href="https://5calls.org/" target="_blank" rel="noreferrer noopener">Call your reps</a>, get a nice warm beverage, and settle in. The leaves are starting to fall.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading has-h-2-font-size"><strong><em>The Dark Crystal </em></strong><strong>in a Big Dark Room</strong></h3> <p><site-embed id="16920"/></p> <p>At this point, it feels like there’s a beloved old movie back in theaters every five minutes. If it isn’t <em>Teenage Mutant Ninja Turtles</em> or <em>Battle Royale</em> (also returning to theaters this weekend), it’s the 400th return of any given Studio Ghibli movie (not that I would <em>ever</em> complain about this phenomenon). This particular weekend, children of the ’80s and beyond can re-traumatize themselves with <em>The Dark Crystal</em>, which is possibly even weirder than you remember. Written by David Odell from a story by creature master Jim Henson, who co-directed the film along with Frank Oz, the movie follows a pair of Gelflings as they save the world from the greedy Skeksis. The story is gorgeous and strange and sometimes downright scary (giant! spider! crab! creatures!) and includes both one of the best fuzzy sidekicks of all time (Fizzgig!) and a line I say all the time for no reason (“Smells like Gelfling!”). If you have never seen it on a large screen, you should—and you can do so on the 12th and 13th, <a href="https://www.fandango.com/the-dark-crystal-2025-241671/movie-overview" target="_blank" rel="noreferrer noopener">at least in some places</a>.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading has-h-2-font-size"><strong>The Last Word (I Hope) on a Music Criticism Bugbear</strong></h3> <p>At Slate, the always excellent Carl Wilson has an <a href="https://slate.com/culture/2025/09/taylor-swift-pitchfork-new-yorker-music-reviews-poptimism.html" target="_blank" rel="noreferrer noopener">incredible piece about “poptimism,”</a> a term which I absolutely cannot explain in brief without getting some part of it wrong. (That’s kind of the point of this piece.) Poptimism was a big part of music criticism discourse in the 2000s, and it keeps coming back, an undead creature that’s really just misunderstood. Wilson’s piece sits squarely in the larger continuum of conversations about criticism as a whole—about the way coverage of the arts has been changed by the internet; about the connections between art and technology; about whose voices are heard and whose are dismissed, both artistically and critically. It’s just really, really good, and thorough, and though it is specifically about music criticism, it’s also about art: what “counts” as art; what gets taken seriously and by whom; how people feel and write about art; how all of these things change. Those who follow conversations about “genre” vs. “litfic” will see some similarities and familiar notes, I think.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading has-h-2-font-size"><strong><em>Caprica</em></strong><strong>: The Origin Story No One Asked For</strong></h3> <p><site-embed id="16921"/></p> <p>I’m not entirely sure I should admit this, but I have begun rewatching <a href="https://www.peacocktv.com/watch-online/tv/caprica/5246944480576936112" target="_blank" rel="noreferrer noopener"><em>Caprica</em></a>. I never finished it the first time—the return after the break in its single long season was too rough—and I’m just … curious. Also, I really did like the beginning, which suggests the whole rise of the Cylons began because a couple of bored teenagers got into a monotheistic cult and one of them was also really good at computers. Bringing in young William Adama <em>and</em> giving him a dead sister doesn’t really make sense. Having the Cylons be born of teen arrogance sort of… does. (This isn’t <em>exactly</em> what happens, but it is how it feels at first.) Also, the two key teens, Zoe Graystone (Alessandra Torresani) and Lacey Rand (Magda Apanowicz), are played by actors who look believably young. It’s refreshing! And if you, like me, enjoy recognizing members of the Canadian SFF Hall of Fame, you will have a field day with this series. It’s just complex enough to keep the attention but not so complex you have to closely follow every line of dialogue. It’s kinda just right, even though it’s not great. Sometimes that’s all a person wants, you know? And it’s a lot less of a commitment than rewatching all of <em>Battlestar Galactica</em>. So say we all.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading has-h-2-font-size"><strong>Some Very Good (and Very Beloved) Books Turn 10 Years Old</strong> <strong>This Year</strong></h3> <p>On a whim, I was looking at the books that came out 10 years ago, in 2015, and <em>whew</em>: That was a year. The dominating force that is Sarah J. Maas’s A Court of Thorns and Roses series began that May. Leigh Bardugo’s <em>Six of Crows</em> was September. V.E. Schwab’s <em>A Darker Shade of Magic</em> came out that February, and the brilliant series that would go on to win three Hugos in a row, N.K. Jemisin’s Broken Earth, began with <em>The Fifth Season</em> that August.&nbsp;</p> <p>And that’s just for starters! Also published in 2015: <em>An Ember in the Ashes</em>. <em>Between the World and Me</em>. <em>Uprooted</em>. <em>Children of Time</em>. <em>Nimona</em>. <em>Radiance</em>. <em>House of Shattered Wings</em>. <em>Seveneves</em>. <em>Sorcerer to the Crown</em>. And so many more.</p> <p>Do I have a point here, beyond straight-up curiosity about how things come in waves? Mostly it’s that. But it’s also interesting which books do gangbusters from the get-go and which take time to build. (Two of these books—<em>Six of Crows</em>, sort of, and <em>Nimona</em>—became movies, but <em>years</em> later.) I don’t remember 2015 feeling like a particularly wild year for books as it happened; that perspective came later. But also, well, so many of these big books feel like fall books to me: Changing seasons, changing planets, falling empires, the Ice Court plot of <em>Six of Crows</em>, the entire feel of <em>Radiance</em>. You could do worse, if you’re looking for something to read.[end-mark]</p> <p>The post <a href="https://reactormag.com/what-to-watch-read-this-weekend-october-10-2025/">What to Watch and Read This Weekend: &lt;i&gt;The Dark Crystal&lt;/i&gt; Returns to Theaters and Is Weirder Than You Remember</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/what-to-watch-read-this-weekend-october-10-2025/">https://reactormag.com/what-to-watch-read-this-weekend-october-10-2025/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826865">https://reactormag.com/?p=826865</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 07:00 pm

Read an Excerpt From Darker Days by Thomas Olde Heuvelt

Posted by Stefan Raets

Excerpts Horror

Read an Excerpt From Darker Days by Thomas Olde Heuvelt

Sometimes you think you can see things behind the fence. Bad things. So it’s better not to look…

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Published on October 9, 2025

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<p class="syndicationauthor">Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-darker-days-by-thomas-olde-heuvelt/">https://reactormag.com/excerpts-darker-days-by-thomas-olde-heuvelt/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826779">https://reactormag.com/?p=826779</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/horror/" class="inline-block link-no-animation" aria-label="Link to term or tag Horror 1"> Horror </a> </span> </div> <h2 class="post-hero-title text-h1">Read an Excerpt From <i>Darker Days</i> by Thomas Olde Heuvelt</h2> <div class="prose post-hero-description prose--post-hero">Sometimes you think you can see things behind the fence. Bad things. So it’s better not to look…</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/thomas-olde-heuvelt/" title="Posts by Thomas Olde Heuvelt" class="author url fn" rel="author">Thomas Olde Heuvelt</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 October 9, 2025 </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-darker-days-by-thomas-olde-heuvelt/#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" 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12.6336C9.35967 12.6336 8.98468 12.4672 8.70151 12.1343C8.41835 11.8013 8.33034 11.4015 8.43748 10.9346C8.49871 10.6668 8.60011 10.309 8.74169 9.86129C8.88327 9.41359 8.99807 9.01946 9.08608 8.67889C9.17409 8.33833 9.21809 8.04943 9.21809 7.81219C9.21809 7.42953 9.11478 7.11193 8.90814 6.85938C8.70151 6.60683 8.40687 6.48055 8.02422 6.48055C7.54972 6.48055 7.14794 6.69866 6.81886 7.13489C6.48977 7.57112 6.32524 8.11448 6.32524 8.76499C6.32524 9.32367 6.4209 9.7905 6.61223 10.1655L5.47575 14.964C5.34564 15.4997 5.2959 16.177 5.32651 16.9959C3.74997 16.2994 2.47575 15.2242 1.50381 13.7701C0.531863 12.316 0.0458984 10.6974 0.0458984 8.91423C0.0458984 7.31473 0.440027 5.83962 1.2283 4.48884C2.01657 3.13807 3.08607 2.06857 4.43684 1.2803C5.78761 0.492029 7.26273 0.0979004 8.86223 0.0979004C10.4617 0.0979004 11.9368 0.492029 13.2876 1.2803C14.6384 2.06857 15.7079 3.13999 16.4962 4.49458Z" fill="currentColor" fill-opacity="0.2" /> </svg> </a> </li> <li class="flex"> <a class="flex 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decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-header-740x407.png" class="w-full object-cover" alt="Cover of Darker Days by Thomas Olde Heuvelt." srcset="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-header.png 1400w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>We&#8217;re thrilled to share an excerpt from <em><a href="https://www.harpercollins.com/products/darker-days-thomas-olde-heuvelt?variant=43702367944738" target="_blank" rel="noreferrer noopener"><strong>Darker Days</strong></a></em>, a new horror novel by Thomas Olde Heuvelt, out from Harper on October 28.</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>In Lock Haven, a quiet little town in Washington State, Bird Street is a special place. The residents of this pretty cul-de-sac on the edge of the woods are all successful, healthy, and happy. Their children are prodigies; well-mannered and… unnaturally smart.<br><br>But come November, the “Darker Days” descend, bringing accidents, bad luck, conflict, and illness. Luana and Ralph Lewis-da Silva prepare for this, and so do their children Kaila and Django. It is in November when a stranger appears to collect on a longstanding debt. A price must be paid for the good fortune they enjoy the rest of the year. A sacrifice must be made.<br><br>So it has been for over a century. To assuage their guilt, the residents of Bird Street choose carefully who will be sent into the woods. Usually, it is an elderly or terminally ill individual who wishes to die with dignity and is content to be helped on their way.<br><br>But this year, things don’t go to plan, and events take a terrifying turn…</p></blockquote></figure> <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">RALPH</h3> <p class="has-text-align-center"><em>The Sick Woman. The Good Samaritans of Bird Street. There’s No Place Like Home.</em><em></em></p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <p class="has-text-align-center">3 NOVEMBER</p> <p>The woman looked like she wanted to die. She looked like she was going to die anyway, even if they didn’t help her this afternoon. But here she was, in the hands of the Bird Street neighbours, as they took her into the woods.</p> <p>Her name was Ann Olsen Dickinson and the most important thing, according to Ralph Lewis, was that she seemed at peace. There had been plenty of conversations between Ralph, his neighbour Elizabeth Aikman and Mrs Olsen Dickinson over the past few weeks, but Ralph knew that most people’s true motivations wouldn’t be apparent until the final hour. Sometimes they felt they were a burden to their families. Especially the elderly and chronically ill. If their eyes revealed anything but self-determination, Ralph would deem the operation ethically flawed and call the whole thing off. Last-minute if he had to. He was a judge for the King County Superior Court in Seattle, but you didn’t have to be a judge to see it. You had to be human.</p> <p>Ann Olsen Dickinson’s case was clear as day: she was ready. The proof was not just in the ravages of her devastating disease – the white fuzz on her scalp, her scrawny claw-like hands or her shrivelled, sunken face, submerged in her woollen scarf like a deflated moon. As they carried her palanquin between the larches in the pouring rain, Mrs Olsen Dickinson was in a state of bliss.</p> <p>She couldn’t stop talking. ‘Oh, would you look at that,’ she said, her voice a crow’s. ‘All those lights. And music! Did you do all this for me?’ </p> <p>Elizabeth smiled from beneath her dripping yellow hood. ‘Of course, Ann. Everything has to be absolutely perfect. We wouldn’t settle for anything less.’</p> <p>‘It’s wonderful.’ Ann took a wheezing breath which erupted into coughing. Elizabeth put a hand on her back, waiting for the fit to subside, then poured hot tea into a thermos cap and handed it to her. The sick woman brought it to her mouth and managed to slurp some of it down. ‘You’re an angel,’ she rasped. ‘You’re good Samaritans, all of you.’</p> <p>Ralph’s scalp itched, a juncture of nerves sending vibrations of unease through his body. Yes, everything had to be perfect. Elizabeth hadn’t lied about that. They wanted to offer those they took into the woods a final flash of transcendence.</p> <p>This part of Snoqualmie National Forest – the reserve bordering Lock Haven, Washington, which was surrounded by a tall, overgrown chain-link fence and property of the McKinley clan – spanned miles of the western Cascade Mountains. There was only a single trail in, known locally as the South Sunday Trail. It started on the far side of the McKinley estate, behind a rusty iron gate in the wall that was locked year-round. Last week, Graham McKinley Jr and his brother Maurice (‘Ugh, such dicks’, was Luana’s usual reaction to hearing their names, and Ralph fully agreed with his wife) had unwound giant reels of power cable from the generator shed at the gate, hiding them in bushes along the trail. Marc Wachowski, from across the street, helped decorate. Some three hundred LED lights were strategically placed on either side of the trail, gently glowing and dimming to the rhythm of meditative soundscapes played by dozens of speakers in weatherproof casings. They had systematically worked their way into the woods from the gate to the Quiet Place (which Maurice McKinley insisted on calling the Execution Place—‘One of the reasons,’ Luana would say, ‘though certainly not the only one, for his dickishness.’) And finally, they had suspended over twelve hundred clustered electric jar lights from the trees. The result was magical: spanning its entire two-mile length, the South Sunday Trail was a journey amid enchanting lights, pulsating pink, blue and green to the music. If you shut your eyes, you could imagine yourself walking down a tunnel of will-o’-the-wisps.</p> <p>Ralph found that so many twinkly lights together fooled the senses.</p> <p>You could almost unhear the pouring rain.</p> <p>You could almost unsee the grim, stark November branches swaying like skeletal arms on the edge of your vision, or what scurried beyond it.</p> <p>You could almost ignore the stench of undergrowth and underground.</p> <p class="has-text-align-center">* * *</p> <p>They were a procession of six.</p> <p>Ralph and Harry Aikman lugged the palanquin between them, with its covered seat carrying Mrs Olsen Dickinson. Harry at the front, Ralph at the back. It wasn’t heavy – the woman was skin and bones – but it was an uphill trek, and Ralph’s hands were numb from the rain. Harry’s wife Elizabeth scampered alongside the sick woman like a faithful Pomeranian, but the narrow trail forced her to swerve around trees or go knee-deep through the bracken and she had slipped more than once. Juliette McKinley, the intolerable McKinley brothers’ tolerable sister, led the way with a lantern. Her wife Olivia Davis was last in line and Ralph could hear her nervous breathing. This was Olivia’s third year on Bird Street, and she was obviously ill at ease. No blame there.</p> <p>Ann Olsen Dickinson had been a healthy woman in her sixties when she was diagnosed with cervical cancer in 2019. Surgery and subsequent radio-and chemotherapy did what they were supposed to, and Ann was given two relatively good years, albeit within the limitations of the pandemic. But last September, the doctors had discovered metastases in her lungs and lymph glands and told her further treatment would only alleviate the symptoms. Extend her time a little.</p> <p>The Bird Street residents knew this because Elizabeth Aikman was her voluntary homecare-giver, assigned by the University of Washington Medical Center. She had administered the morphine that, besides freeing her from pain, had also removed any inhibitions. In Elizabeth, Ann had found a ready ear.</p> <p>‘Stanley found out I inquired after the DWDA. And guess what? Damn idiot had me certified incompetent! Can you believe it? Forty-one years of marriage, and that’s what you get! Just because we go to the same church as that turd of a doctor!’</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 loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-.jpg" class="attachment-full size-full" alt="Cover of Darker Days by Thomas Olde Heuvelt." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <img loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-.jpg" class="attachment-full size-full" alt="Darker Days" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">Darker Days</h3> <p class="shop-the-book-author">Thomas Olde Heuvelt</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-1760113572" 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-1760113572" class="shop-the-book-modal"> <div class="shop-the-book-modal-inner"> <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 loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-.jpg" class="attachment-full size-full" alt="Darker Days" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-modal-image-mobile image-cover"> <img loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Darker-Days-.jpg" class="attachment-full size-full" alt="Darker Days" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">Darker Days</h3> <p class="shop-the-book-modal-author">Thomas Olde Heuvelt</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/B0F1TPBMJ9?tag=tordotcomgeneral-20" data-book-title="Darker Days" 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.anrdoezrs.net/links/7992675/type/dlg/sid/tordotcomgeneral/https://www.barnesandnoble.com/s/9780063472518" data-book-title="Darker Days" 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/isbn9780063472549" data-book-title="Darker Days" 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/9780063472518" data-book-title="Darker Days" 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=9780063472518" data-book-title="Darker Days" 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>Oh, the band of neighbours knew a thing or two about Washington State’s Death with Dignity Act. So they understood how Ann’s husband, so overwhelmed with grief he had sought counsel from God instead of his wife, had expertly used the law to cut off her path to a dignified, self-elected end.</p> <p>‘And he isn’t even there. He takes these long walks, all the way to the Sound, because he can’t handle it. Poor man, I feel so sorry for him. But I don’t want to wait until it crawls inside my bones. Until my body cannibalizes itself, screaming in pain. What kind of a life is that?’</p> <p>No kind of a life, Elizabeth had agreed. </p> <p>But maybe <em>she </em>could help.</p> <p class="has-text-align-center">* * *</p> <p>Now Mrs Olsen Dickinson was so high on morphine she felt no pain at all. As the neighbours led her away from civilization, she gleefully regaled them with her life story. Elizabeth did the <em>ooohs </em>and the <em>aaahs</em>. Ralph sympathized, more than he would care to, but his position behind the palanquin made him focus on the physical exertion rather than the emotional, allowing his mind to drift.</p> <p>He thought of whales. Of the orcas and humpbacks they and the children had seen romping around Puget Sound, three weeks ago. Talk about <em>ooohs </em>and <em>aaahs</em>. That was on one of the many Sunday trips he and Luana planned every October with nearly grim determination. Others took them to the High Trek Adventure zipline park near Paine Field, the MoPOP and Chihuly Garden and Glass in Seattle, the Washington Serpentarium in Monroe, and the Mini Mountain Indoor Ski Center in Bellevue. At ten, Django still thought everything was dope, especially the iguana they’d let him hold in Monroe: ‘Maybe it will <em>poop </em>on me!’</p> <p>For Kaila at fifteen, however, it meant suppressing catastrophic boredom. She argued that the mandatory family outings distracted her from her routine at the King County Aquatic Center. Kaila Lewis da Silva was a platform diver. Her coaches were prepping her for the ’24 Paris Olympics, and right now all the stars seemed to be aligning for her to qualify.</p> <p>‘And besides,’ she said one October night, ‘you’re just trying to buy off your guilt, and I have no intention of catering to that.’</p> <p>Kaila was an angel, an absolute wonder of a child, but even in her good times she could still be a brutally blunt teen. Luana had raised her voice and sent her to her room.</p> <p>‘Fine!’ Kaila yelled. ‘I was going there anyway!’ Slamming the door behind her.</p> <p>It was Django who broke the silence. ‘Crazy, huh?’</p> <p>But Kaila was right. Weren’t the family outings a rather corny effort to redeem the unredeemable? An afternoon of whale-spotting or snowboarding on a rolling carpet did little to alleviate the memory of the Crisis Ward at Fairfax, the Psych Ward at the Seattle Children’s Hospital, or the three weeks in Stillwater, two years ago.</p> <p><em>Duh</em>, Kaila would say.</p> <p>After a brief time-out, Ralph had gone upstairs.</p> <p>‘I don’t want to go back into lockdown,’ she told him as they sat on her bed. ‘Not when my friends <em>don’t </em>have to, for a change.’</p> <p>‘I know, honey. But we’ll get through it. Like we always do. Know why?’</p> <p>‘Because we love each other. Blah blah.’</p> <p>‘Exactly. And hey, you can’t let your brother zip down those lines all by himself. He won’t shut up about them for the rest of the week.’</p> <p>‘He’ll probably write a song about them. <em>Shoo-ba-dee Zipline</em>.’ </p> <p>‘<em>Bebop Parkour Blues</em>,’ Ralph agreed. They laughed. ‘What do you say? Should we start upping your lithium a little?’ </p> <p>Kaila had nodded dejectedly.</p> <p>The compromise was that she could bring her boyfriend, Jackson. Kaila could often be swayed eventually. Sometimes because of Jax. But mostly, Ralph suspected, because she knew that after this, there was only Halloween. Their last chance for some fun.</p> <p>After Halloween, all the kids on Bird Street went into lockdown. </p> <p>Then came November.</p> <p>Ralph listened to the rain pattering on the hood of his poncho. The vibration of unease on his scalp now crawled down his back. The Darker Days were upon them.</p> <p><em>Each time, you think you can escape it. Each time, you think it won’t be so bad. But it always is. And now it’s too late to brace yourself. It’s started. </em><em>God help us.</em><em></em></p> <p>Suddenly, he had an almost painful desire to be home. Hunker down, play Ticket to Ride with the kids, munching on nachos supreme and Luana’s <em>pão de queijo </em>behind the shutters that locked out the rain and the Snoqualmie Woods and everything that dwelled there.</p> <p>Juliette McKinley stopped, and the procession came to a halt. </p> <p>On the trail before them was a pile of branches.</p> <p>It blocked their way.</p> <p>‘Can we go around, with her?’ Elizabeth asked. When she glanced back, Ralph saw that her face was ashen. Harry tilted his head, giving her a clear were-you-born-stupid look.</p> <p>‘We ’ll leave the trail,’ Olivia decided. She strode past the palanquin and grabbed Juliette ’s free hand, pulling her away from the heap and looking for a place to deviate. The left embankment was too steep. The right wasn’t much better, with gnarls of slippery larch roots, but there was no other option.</p> <p>‘Is everything all right?’ Ann Olsen Dickinson asked when Harry followed Juliette, tipping the palanquin backwards. He slipped on a root, but Olivia caught him, and Ralph braced himself when most of the weight was suddenly on him. The sick woman cried out, then roared with laughter. ‘What are you doing to me! Wouldn’t it be easier just to remove the branches? There aren’t that many.’</p> <p>‘There’s an easy detour right here,’ Juliette lied.</p> <p>‘My, my, so much trouble… sweethearts, you really don’t have to do this.’</p> <p>‘Yes, we do,’ Elizabeth said. ‘You’ll see why in a moment.’</p> <p>‘And in such weather!’ The woman wheezed. ‘I’ve seen my share of heavy rains at Olympia and Pacific Rim, but boy, is it coming down here!’</p> <p>‘It’ll be all right, Mrs Dickinson.’ That was Olivia. ‘Don’t worry.’ </p> <p>‘Worry? What’s the worst that could happen? I fall and die?’</p> <p>Most of them joined her laughter, but Ralph thought, <em>No, it can be worse.</em><em></em></p> <p>They passed the pile, circling the first row of larches then returning to the trail. Mrs Olsen Dickinson was right: it would have been easier to remove the branches. The stack was only knee-high. But none of them had wanted to. There seemed purpose in the way they were piled across the trail, too artificial to be a work of nature. But none of <em>them </em>had put them there.</p> <p>And they hadn’t been there this morning.</p> <p class="has-text-align-center">* * *</p> <p>Ten minutes later, they reached the Quiet Place. Elizabeth Aikman pressed her hands against her lower back and said, ‘Look, Ann. Why the trouble, you ask? Here’s why.’</p> <p>It was a clearing underneath a cluster of tall hemlocks and maples. Here, music relegated the sound of the rain to the background. Ella Fitzgerald singing ‘It’s Only a Paper Moon’. And believe it or not, it was dry. Upon closer inspection, you could spot the tarp Marc Wachowski and the McKinley brothers had spanned between the treetops, but in the twilight of the woods the eye was drawn instead to the hundreds of atmospheric lights, twinkling like a starry sky. Lower down, fires burned in braziers. A large projection screen showed a portrait of a married couple with three daughters. Ralph recognized a younger, much healthier Ann Olsen Dickinson.</p> <p>Amid it all stood a splendid, bright white canopy bed.</p> <p>Mrs Olsen Dickinson cupped her hands over her mouth, and even though Ralph could only see her back, he knew she was crying.</p> <p>‘Oh, this is wonderful…’ she whispered as they slowly carried her inside the circle of braziers. ‘The bed… and Ella!’ In a surprisingly clear voice, good enough to be a variety singer’s if it wasn’t for the cancer, she began to sing along the part about the canvas sky and the muslin tree, and how it wouldn’t be make-believe, if you believed in me.</p> <p>Ralph and Harry stopped at the silk curtains draping from the canopy’s frame, where Juliette and Olivia were waiting like gatekeepers. Elizabeth supported the sick woman as she disembarked, even though it was evident she was able to stand on her own. Sunken in her robe she had looked like a mouse skeleton wrapped in napkins, but Ralph could tell she wasn’t so close to the edge yet that her body had given up. Annie Dickinson simply had no intention of letting it get that far.</p> <p>They lowered the palanquin. Ralph, rolling his shoulders, joined the others around the bed, where Elizabeth helped Ann take off her robe and settle under the down comforters.</p> <p>‘This is lovely, guys,’ she said. ‘So beautiful. How can I ever thank you all?’</p> <p>‘Gratitude is the last thing we need, Ann,’ Elizabeth said. ‘We ’re <em>happy </em>we can do this for you. Is there anything you need?’ </p> <p>‘I could do with some more tea.’</p> <p>‘I have something better,’ Juliette said. From a storage trunk next to the bed she retrieved a tray, upon which she displayed six small shooters and a bottle of crème de cassis.</p> <p>‘No, a Gabriel Boudier!’ Ann clapped her hands. ‘For our honeymoon, Stanley had booked a chateau overlooking the Saône River in France, and that’s what we drank every night! Just like Hercule Poirot, he’d say. He was so sexy in his suit, my Stanley…’ Worried, she looked up from the memory. ‘But I’m not supposed to drink any more, am I?’</p> <p>Now everyone laughed, even Olivia. ‘If there ever was a time to ignore doctors’ advice, this is it, don’t you think?’</p> <p>She did. Juliette poured and made her rounds with the tray. Ralph’s mouth went dry when she reached him. Juliette saw his hesitation, but insisted. As soon as he smelled the alcohol, saliva flooded the corners of his mouth.</p> <p>Ann raised her shooter to the good Samaritans of Bird Street. ‘Well, cheers, then. To life.’</p> <p>They clinked glasses. Ralph felt a droplet trickling down his temple – not rain this time. If he drank now, he’d go home, straight to the garage, and sit in the Forester’s driver’s seat. He’d fish up the bottle of Smirnoff and the glass hidden underneath. The glass was superstition: Ralph didn’t drink from the bottle. Fuck ice, fuck lime. Hell, fuck tonic… but you didn’t drink from the bottle.</p> <p>Ralph Lewis was prepared to swear under oath that he wasn’t an alcoholic, and he’d be telling the truth. But it was November. Everything changed in November.</p> <p>After downing one glass tonight, another would follow. There would be no Ticket to Ride. No munchies, no warmth or homeliness with the kids. They would fight.</p> <p>Suddenly, he upended the glass over the forest floor. </p> <p>He had resisted.</p> <p>This time.</p> <p class="has-text-align-center">* * *</p> <p>‘I didn’t expect to be afraid,’ Ann said. The rasp was back in her voice, and Ralph had to strain to hear her. ‘But I am.’</p> <p>‘There’s nothing to be afraid of, Ann,’ Elizabeth said.</p> <p>Ralph shot her a glance. Then he knelt beside the bed and took one of Ann’s bony hands in his. ‘You know you can always change your mind.’</p> <p>She waved his words away, as if that wasn’t the point. ‘Can I ask you something?’</p> <p>‘Of course.’</p> <p>‘Why are you doing this?’</p> <p>That question came sooner or later, and they were prepared. ‘Because there are plenty of cases in which the DWDA doesn’t cut it,’ Harry said. ‘Look at yourself. You suffer, and the last thing you are is incompetent. But they only give you two options: either you wait out the ride, which is bound to be agonizing, or you hurl yourself off it.’</p> <p>‘You mean eat a bullet,’ Ann said matter-of-factly. ‘Stanley keeps a gun in his safe upstairs. I’ve never cared much for guns, but if I hadn’t met Elizabeth, I’d probably have used it.’</p> <p>‘See? We think that’s wrong. We feel that patients should have another way out. A more peaceful way.’</p> <p>‘But enough about us,’ Elizabeth intervened, clapping her hands. ‘We have another surprise for you.’</p> <p>The slideshow. ‘It’s Only a Paper Moon’ made way for ‘Dream a Little Dream of Me’, and with one push on her clicker, Elizabeth started a photo carousel of Ann’s life. Ralph felt a sudden wave of razor-sharp anger blowing through him like a cold wind. <em>She’s going too fast</em>, he thought. <em>She’s not listening to her any more.</em></p> <p>Had it been any other month, mere annoyance would have been all it was, but now he felt actual, unfettered anger that turned outwards, shocking him with its intensity. Oh, the Darker Days… they spread like a virus, unnoticed, but since everyone was going around with the same red spots, you never realized how they got a hold on you. And you resisted them a little less each time. The Darker Days were what made Elizabeth push Ann, and the Darker Days were what fuelled Ralph’s heated response.</p> <p>Already.</p> <p>Ralph stepped away from the circle of fires and closed his eyes. Counted to ten. When he opened them again, he felt a bit calmer. Elizabeth had taken Ann’s hand. There was real compassion in that gesture, making Ralph a little ashamed of his reaction. Elizabeth was under the same influence as he was – that shouldn’t be ignored.</p> <p>The screen now showed Ann’s three daughters on swings. A young Ann looking across her shoulder, luxurious hair spilling like sunlight. The chateau in France, and yes, her Stanley had been easy on the eyes. If she hadn’t been so enchanted, Ann might have asked how they’d gotten these photos, but she wouldn’t. They never did.</p> <p>Ralph listened to the rustling beyond the first row of hemlocks, deliberate enough to be heard over Ella and the rain. Here, outside the circle of light and practically in the cold, wet forest, Ralph felt vulnerable. He quickly rejoined the others and pretended he hadn’t heard a thing.</p> <p class="has-text-align-center">* * *</p> <p>Ann was crying again, and now Olivia was the one who held her hand. For the first time, Ralph saw real sadness in the woman’s eyes. ‘Stanley must be so worried…’</p> <p>Yes. Even if his walk had taken him all the way to the Sound today, Stanley would likely be back home in Mill Creek right about now and find his terminally ill wife missing. He had probably called their daughters by now, and the police, and yes, he would be deeply worried.</p> <p>Once it was over, they had told Ann, they would leave her in the same strip of woodland where, several hours earlier, wrapped in her cloak and hunched over her walker, she had gotten into the anonymous car waiting for her beyond the eye of the neighbourhood’s CCTV. They had promised to leave her in the middle of the track, so she’d soon be found. Stubborn as she was, she must have gone for a stroll, which Stanley had expressly forbidden. In her state, a fall would soon lead to hypothermia and death. What about the meds? Don’t worry, Ann. Chances of an autopsy, with her condition, were close to zero. Especially if the narrative was so clear.</p> <p>‘I feel so bad it has to be this way,’ Ann had said. ‘But with Stanley set in his ways, what is one to expect?’</p> <p>Now, in the hour of her death, Olivia comforted her. Then Elizabeth approached the bed, carrying a red satin pillow. On it were two hypodermic needles.</p> <p>‘This is it, Ann. This one’s the sedative, and this is the muscle relaxant. You won’t feel a thing. You’ll fall asleep in seconds, just like any other time, and then you won’t wake up.’</p> <p>For a long while, Ann gazed at the needles.</p> <p>‘I’m almost afraid to say this,’ she finally said, her voice unsteady. </p> <p>‘What, Ann?’ Olivia asked.</p> <p>‘I keep thinking about our honeymoon. The chateau had a courtyard, where the guests would wine and dine. There was a chansonnier singing songs, and a pianist who was older than I am today. And you know what Stanley did? He took me by the arm, pulled me from my chair and danced with me, all around the courtyard. Everyone was laughing and applauding. I was so embarrassed! But not Stanley. He was like that. All he had to do was look at me, and I felt at ease.’</p> <p>‘That’s lovely, Ann,’ Olivia said.</p> <p>‘I remember we saw <em>The Wizard of Oz </em>at the Pacific Crest Theater, before they tore it down. When Judy Garland said, “There’s no place like home”, I knew I’d be with Stanley for the rest of my life.’ Teary-eyed, she looked at each of the good Samaritans of Bird Street individually, pushing the satin pillow away. ‘Stanley’s my home. I don’t think I want to do this, guys.’</p> <p>There was a strange, charged moment, and Ralph could feel the implications of Ann’s words hanging almost palpably between them. It lasted but a second, but still Ralph pictured a grotesque image: Elizabeth snatching the first hypo from the pillow and cramming it straight into the sick woman’s sleeve, ignoring her panicked screaming.</p> <p>Instead, Elizabeth stepped back and put the pillow on the storage trunk. ‘Ann, darling, but of course,’ she said. ‘This is entirely, unconditionally, <em>explicitly </em>your choice.’</p> <p>‘I’m terribly sorry…’</p> <p>‘Hang on,’ Juliette spoke up suddenly. ‘We ’ve come this far. Are we really sure this is for the best?’ She saw Olivia’s face and added, ‘For <em>her</em>, I mean?’</p> <p>‘Mrs Olsen Dickinson knows what’s best for her,’ Ralph said, turning to the sick woman. ‘And there’s no need to feel sorry.’</p> <p>‘But look at the effort you’ve put in. The risks you’ve taken! And who will take all this down?’ She hoisted herself up as if she wanted to do it herself. But she moved too fast, provoking another coughing fit.</p> <p>When it was over, Harry said, ‘Don’t you worry about a thing, Mrs Dickinson. We ’ll take care of it.’</p> <p>‘Can I at least give you something? For your trouble?’</p> <p>Elizabeth leaned in and put a hand on her shoulder. ‘No, Ann. We won’t accept it. We ’re doing this for you, and for you only. And that’s why I must ask you this.’ She exchanged a glance with Ralph, who was too late to intervene. ‘Are you absolutely sure? Because Juliette has a point. You know the reason you’re here. You know what’s coming if you abandon this.’</p> <p>‘I know, sweetheart,’ Ann answered. ‘But I’ve never been so sure about anything in my life. I’ll be able to face it, with Stanley by my side. I want to see the daffodils bloom one more time, and if I do, I’ll have you people to thank for it.’</p> <p>Harry put his left hand on his wife’s back and his right hand on her shoulder. ‘I’m so happy we were able to help you find your way back into the light, Mrs Dickinson.’</p> <p>It wasn’t that he pulled his wife away from the bed, Ralph thought, but it was close.</p> <p>As for Ralph… was he relieved?</p> <p>He didn’t know. But he was suddenly beyond tired.</p> <p class="has-text-align-center">* * *</p> <p>In February, Elizabeth would receive an anonymous postcard that they’d recognize immediately. <em>That turd of a doctor gave me six weeks, </em><em>but I lived long enough to see the daffodils! Though I do feel the end is near </em><em>now. Thank you all for the time you have given me</em>.</p> <p>Now, as they prepared her for the hike out of the woods, Ann Olsen Dickinson said, ‘It bears repeating. You are good Samaritans. All of you.’</p> <p>Ralph got his phone out. There was a message from Luana. <em>How did it go? Love you</em>. He sent a reply. <em>Bailed. Can’t wait to see you. And the </em><em>kids.</em><em> </em><em>Home</em><em> </em><em>soon.</em><em></em></p> <p>None of the neighbours worried that late afternoon. </p> <p>There were always other takers.</p> <p>And they still had time. </p> <p>They did then.</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <p class="has-sm-font-size">Excerpted from <em>Darker Days</em>, copyright © 2025 by Thomas Olde Heuvelt.</p> <p>The post <a href="https://reactormag.com/excerpts-darker-days-by-thomas-olde-heuvelt/">Read an Excerpt From &lt;i&gt;Darker Days&lt;/i&gt; by Thomas Olde Heuvelt</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-darker-days-by-thomas-olde-heuvelt/">https://reactormag.com/excerpts-darker-days-by-thomas-olde-heuvelt/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826779">https://reactormag.com/?p=826779</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 06:53 pm

Disney’s Live-Action Tangled Eyes Scarlett Johansson for Mother Gothel Role

Posted by Vanessa Armstrong

News Tangled

Disney’s Live-Action Tangled Eyes Scarlett Johansson for Mother Gothel Role

The project was put on pause in April 2025 after Snow White’s poor box office performance.

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Published on October 9, 2025

Screenshot: Disney

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/live-action-tangled-scarlett-johansson-mother-gothel-role/">https://reactormag.com/live-action-tangled-scarlett-johansson-mother-gothel-role/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827041">https://reactormag.com/?p=827041</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/tangled/" class="inline-block link-no-animation" aria-label="Link to term or tag Tangled 1"> Tangled </a> </span> </div> <h2 class="post-hero-title text-h1">Disney’s Live-Action <i>Tangled</i> Eyes Scarlett Johansson for Mother Gothel Role</h2> <div class="prose post-hero-description prose--post-hero">The project was put on pause in April 2025 after Snow White’s poor box office performance.</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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Screenshot: Disney</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/live-action-tangled-scarlett-johansson-mother-gothel-role/#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 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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 loading="lazy" decoding="async" width="740" height="416" src="https://reactormag.com/wp-content/uploads/2016/06/Tangled04-740x416.jpg" class="w-full object-cover" alt="Mother Gothel cupping Rapnuzel&#39;s cheeks in Tangled" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Screenshot: Disney</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>Disney’s live-action rendition of their <a href="https://reactormag.com/magic-and-choices-disneys-tangled/" target="_blank" rel="noreferrer noopener">2010 animated feature, <em>Tangled</em></a>, is once again in development.&nbsp;</p> <p>According to <a href="https://deadline.com/2025/10/tangled-scarlett-johansson-resumes-development-1236574770/" target="_blank" rel="noreferrer noopener"><em>Deadline</em></a>, the project, which is a retelling of the Rapunzel fairy tale, is currently revving up again after pausing in April not long after the live-action <em>Snow White</em> bombed at the box office. Michael Gracey (<em>The Greatest Showman, Better Man</em>) is still attached to direct, with a script from Jennifer Kaytin Robinson, whose previous credits include writing the <a href="https://reactormag.com/jennifer-love-hewitt-asks-the-tough-questions-in-the-i-know-what-you-did-last-summer-trailer/" target="_blank" rel="noreferrer noopener">2025 iteration of <em>I Know What You Did Last Summer</em></a> and <em>Thor: Love and Thunder. </em></p> <p><em>Deadline</em> also reports that none other than Scarlett Johansson (<em>Jurassic World: Rebirth, Black Widow</em>) is in talks to play Mother Gothel: the witch who imprisons Rapunzel in a tower and, as her “mom,” emotionally abuses the young woman—she doesn’t even give her shoes!—as she uses the magic of Rapunzel&#8217;s hair to stay young. </p> <p>The project, however, is still in its early days. Disney, in fact, has yet to officially give it the green light to move into production. That means that Johansson might end up not playing Mother Gothel, and we still don’t know who will play Rapunzel herself or her love interest, the thief Flynn Ryder. </p> <p>Given the success of the animated feature—it cleared over $600 million at the box office in 2010—and the success of live-action versions of more recent Disney films (other than <em>Snow White</em>), however, I think the odds are good that the movie will eventually make its way to production. [end-mark]</p> <p>The post <a href="https://reactormag.com/live-action-tangled-scarlett-johansson-mother-gothel-role/">Disney’s Live-Action &lt;i&gt;Tangled&lt;/i&gt; Eyes Scarlett Johansson for Mother Gothel Role</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/live-action-tangled-scarlett-johansson-mother-gothel-role/">https://reactormag.com/live-action-tangled-scarlett-johansson-mother-gothel-role/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827041">https://reactormag.com/?p=827041</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 06:19 pm

Critical Role’s The Mighty Nein Trailer Gives Us a Group of Misfits To Save the Realm

Posted by Vanessa Armstrong

News The Mighty Nein

Critical Role’s The Mighty Nein Trailer Gives Us a Group of Misfits To Save the Realm

We also learned about some awesome guest stars in the series.

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Published on October 9, 2025

Screenshot: Prime Video

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/critical-role-the-mighty-nein-trailer/">https://reactormag.com/critical-role-the-mighty-nein-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827013">https://reactormag.com/?p=827013</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/the-mighty-nein/" class="inline-block link-no-animation" aria-label="Link to term or tag The Mighty Nein 1"> The Mighty Nein </a> </span> </div> <h2 class="post-hero-title text-h1">Critical Role’s <i>The Mighty Nein</i> Trailer Gives Us a Group of Misfits To Save the Realm</h2> <div class="prose post-hero-description prose--post-hero">We also learned about some awesome guest stars in the series.</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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Screenshot: Prime Video</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/critical-role-the-mighty-nein-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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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 loading="lazy" decoding="async" width="740" height="488" src="https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein-740x488.jpg" class="w-full object-cover" alt="The Mighty Nein, there are only six of them." srcset="https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein-740x488.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein-1100x725.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein-768x506.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein-1536x1012.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/10/Mighty-Nein.jpg 2000w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Screenshot: Prime Video</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>There’s danger in the realm from a magical arcane relic called The <s>McGuffin</s> Beacon. This device has fallen into evil hands, and only a group of misfits—“a homeless wizard,” “an inebriated goblin,” “a shipwrecked sailor,” “a cocky ringmaster,” “a temperamental monk,” and “chaos incarnate”—can stop the bad guy and prevent reality itself from unraveling. </p> <p>That’s the premise of the new animated series, <em>The Mighty Nein</em>, which comes from Amazon MGM Studios, Critical Role, and Titmouse, and features the voice talents of Critical Role founders and cast members Laura Bailey (<em>The Last of Us: Part II</em>), Taliesin Jaffe (<em>World of Warcraft</em>), Ashley Johnson (<em>The Last of Us</em>), Liam O’Brien (<em>Marvel’s Avengers</em>), Matthew Mercer (<em>Baldur’s Gate 3</em>), Marisha Ray (<em>Fallout 76</em>), Sam Riegel (<em>Teenage Mutant Ninja Turtles</em>), and Travis Willingham (<em>Marvel&#8217;s Avengers</em>).</p> <p>That’s a great cast, especially for Critical Role fans, but today at New York City Comic Con, we also learned about some fun guest stars, including  Anjelica Huston (<a href="https://reactormag.com/what-makes-a-murder-agatha-christies-towards-zero-trailer-counts-the-ways/" target="_blank" rel="noreferrer noopener"><em>Towards Zero</em></a><em>, Ballerina</em>), Lucy Liu (<a href="https://reactormag.com/presence-finds-its-horror-in-loneliness/" target="_blank" rel="noreferrer noopener"><em>Presence</em></a>), Nathan Fillion (<em>The Rookie, Superman</em>), T’Nia Miller (<em>The Fall of the House of Usher, The Peripheral</em>), Felicia Day (<em>Supernatural, Eureka</em>), Graham McTavish (<em>Outlander</em>) and Ivanna Sakhno (<em>M3GAN 2.0</em>).</p> <p>We also got a taste of what the series will be like in a newly released trailer: It looks action-packed and features the failings of our ne’er-do-well heroes who just might still save the world because the bad guys won’t see them coming. A solid new installment in the Critical Role world.</p> <p><em>The Mighty Nein</em> premieres on Prime Video on November 19, 2025. 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="16919"/> </div></figure> <p>The post <a href="https://reactormag.com/critical-role-the-mighty-nein-trailer/">Critical Role’s &lt;i&gt;The Mighty Nein&lt;/i&gt; Trailer Gives Us a Group of Misfits To Save the Realm</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/critical-role-the-mighty-nein-trailer/">https://reactormag.com/critical-role-the-mighty-nein-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=827013">https://reactormag.com/?p=827013</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 05:45 pm

A Knight of the Seven Kingdoms Trailer Shows Ser Duncan the Tall Continually Getting Dunked On

Posted by Vanessa Armstrong

News A Knight of the Seven Kingdoms

A Knight of the Seven Kingdoms Trailer Shows Ser Duncan the Tall Continually Getting Dunked On

HBO released its first trailer for the show, as well as announced its release date.

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Published on October 9, 2025

Screenshot: HBO

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/a-knight-of-the-seven-kingdoms-trailer/">https://reactormag.com/a-knight-of-the-seven-kingdoms-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826983">https://reactormag.com/?p=826983</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-knight-of-the-seven-kingdoms/" class="inline-block link-no-animation" aria-label="Link to term or tag A Knight of the Seven Kingdoms 1"> A Knight of the Seven Kingdoms </a> </span> </div> <h2 class="post-hero-title text-h1"><i>A Knight of the Seven Kingdoms</i> Trailer Shows Ser Duncan the Tall Continually Getting Dunked On</h2> <div class="prose post-hero-description prose--post-hero">HBO released its first trailer for the show, as well as announced its release date.</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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Screenshot: HBO</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/a-knight-of-the-seven-kingdoms-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 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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 loading="lazy" decoding="async" width="740" height="492" src="https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg-740x492.jpg" class="w-full object-cover" alt="Dunk and Egg and a horse walking down a road in A Knight of the Seven Kingdoms" srcset="https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg-740x492.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg-1100x732.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg-768x511.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg-1536x1021.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/10/Dunk-and-Egg.jpg 2000w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Screenshot: HBO</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>We officially have a release date for <em>A Knight of the Seven Kingdoms</em>, the show set a hundred years before <em>Game of Thrones </em>and about fifty years after <em>House of the Dragon </em>that focuses on a lowly hedge knight and his bald squire.</p> <p>We’ve already learned that the series will be smaller and more intimate than the shows <a href="https://reactormag.com/a-knight-of-the-seven-kingdoms-game-of-thrones-differences/" target="_blank" rel="noreferrer noopener">that came before it, </a>and this first trailer confirms this with comedic aplomb by belittling our protagonist, Ser Duncan the Tall (Peter Claffey), more than once. Dunk isn’t a Targaryen? A stablehand tells him to get the fuck out of the way. Speaking of Targaryens, we see Prince Aerion Targaryen here (Finn Bennett), who mistakes Dunk for a stable boy and, when Dunk corrects him, asks him if he’s not one because he’s not smart enough. Burn!</p> <p>That’s the tone of the trailer: less serious (but still serious enough) and less laden with geopolitical intrigue and epic battles. And while there are no dragons living, we do get to see a scary-looking puppet dragon breathe fire, so there’s one of likely many reminders that Westeros may not currently have dragons, but it’s a mite different than our historical reality.&nbsp;</p> <p>The trailer also shows Dunk (and Egg, his bald squire) looking to enter a tournament to fight against his “betters,” including Prince Aerion. How will things turn out? The good news is we now know exactly how long we have to wait: <em>A Knight of the Seven Kingdoms</em>&#8216; six-episode season debuts Sunday, January 18, 2026, at 10 p.m. ET/PT on HBO and will be available to stream on HBO Max. New episodes will debut subsequent Sundays.</p> <p>While we whittle down the days, we can check out the first 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="16892"/> </div></figure> <p>The post <a href="https://reactormag.com/a-knight-of-the-seven-kingdoms-trailer/">&lt;i&gt;A Knight of the Seven Kingdoms&lt;/i&gt; Trailer Shows Ser Duncan the Tall Continually Getting Dunked On</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/a-knight-of-the-seven-kingdoms-trailer/">https://reactormag.com/a-knight-of-the-seven-kingdoms-trailer/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826983">https://reactormag.com/?p=826983</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 05:00 pm

Martha Wells Book Club: Artificial Condition

Posted by Sarah

Books Martha Wells Book Club

Martha Wells Book Club: Artificial Condition

When we last left our grumpy SecUnit, it had ditched the PresAux team and set out for the great beyond…

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Published on October 9, 2025

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/martha-wells-book-club-artificial-condition/">https://reactormag.com/martha-wells-book-club-artificial-condition/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826777">https://reactormag.com/?p=826777</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/martha-wells-book-club/" class="inline-block link-no-animation" aria-label="Link to term or tag Martha Wells Book Club 1"> Martha Wells Book Club </a> </span> </div> <h2 class="post-hero-title text-h1">Martha Wells Book Club: <i>Artificial Condition</i></h2> <div class="prose post-hero-description prose--post-hero">When we last left our grumpy SecUnit, it had ditched the PresAux team and set out for the great beyond&#8230;</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/alex-brown/" title="Posts by Alex Brown" class="author url fn" rel="author">Alex Brown</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 October 9, 2025 </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/martha-wells-book-club-artificial-condition/#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> 9 </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 loading="lazy" decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2025/10/artificial-condition-header-740x407.png" class="w-full object-cover" alt="" srcset="https://reactormag.com/wp-content/uploads/2025/10/artificial-condition-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2025/10/artificial-condition-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2025/10/artificial-condition-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2025/10/artificial-condition-header.png 1400w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>After a brief delay, we’re back to the <a href="http://reactormag.com/columns/martha-wells-book-club" target="_blank" rel="noreferrer noopener">Martha Wells Book Club</a> grind. For this installment we’re diving into the second book in the Murderbot Diaries series, <em><a href="https://bookshop.org/p/books/artificial-condition-the-murderbot-diaries-martha-wells/2849da06fc173ff6?ean=9781250186928&amp;next=t" target="_blank" rel="noreferrer noopener">Artificial Condition</a></em>. When we last left our grumpy, rogue SecUnit, it had ditched the PresAux team and set out for the great beyond to find itself. Did it? Yes. And no. </p> <p>News is hard to come by in the vast expanse of space. While traveling in wormholes, you only have whatever media you brought with you or what’s available from other generous passengers. So when Murderbot arrives at a new space station in the Corporate Rim, it picks up an older newsburst it does a cursory scan of but plans to ignore. Murderbot usually doesn’t care about current events, “as long as I didn’t have to a) stop it or b) clean up after it,” but when this package comes with a dire update about Mensah and her Preservation Alliance team, it drops everything. The wreckage from the incident in the first book between the company, DeltFall, GrayCris, and PresAux is still being sorted through by teams of lawyers and a very determined Pin-Lee. What troubles Murderbot is that there is footage of it, luckily only described as “bodyguard,” with the team. All over the news.&nbsp;</p> <p>At a glance, it can pass for an augmented human, but if it wants to keep moving through the Corporate Rim, it’s going to be a struggle not to be noticed by humans who work with SecUnits and, crucially, by other SecUnits. It already decided it’s going to solve the mystery of what actually happened in the only memory it has prior to PresAux, a fragment of something the company tried to erase that involved the slaughter of dozens of people. To get off the station quickly while also heading toward its destination on a path with as few humans as possible, it ends up hitching a ride on an empty, bot-piloted research transit vessel. Yes, my friends, it’s time to meet ART, aka Asshole Research Transport, aka the saltiest spaceship in the galaxy. </p> <p>Usually, bot pilots are barely sentient. Other than a few genial pings and maybe sharing its media, Murderbot doesn’t chitchat much with transport driver bots. This one is different. It isn’t just the pilot, it’s the <em>ship</em>. It’s also kind of a dick. That said, so is Murderbot. Murderbot has never encountered anything this powerful before and the ship has never encountered a rogue SecUnit before, and both react to these discoveries by poking each other with a metaphorical stick to see who breaks first. “You know, just imagine everything it says in the most sarcastic tone possible.”&nbsp;</p> <p>With Murderbot’s inherent distrust of everyone and everything and ART’s innate interest in anything new and unexpected, the two bots rankle each other from the get-go. Yet the reason fans love ART so much isn’t just because of its dry humor or how much it enjoys needling Murderbot. What we learn about ART’s relationship to the humans who it usually transports—that it considers them its crew and that it wants to better understand them—shapes so much of not just Murderbot’s burgeoning friendship with ART but the choices it makes in the rest of the series with regards to PresAux. “I knew ART…had a deeper attachment to its crew than SecUnits had for clients…I knew what it felt, because I felt that way about Mensah and PreservationAux.” Through ART, Murderbot learns that there’s more to being a bot than being either a slave or a rogue. ART could crush Murderbot before Murderbot even realized it was happening, but it doesn’t want to. It has wants outside of itself. SecUnit hasn’t gotten to the stage of figuring out what it wants, other than freedom, which it still doesn’t really have. It’s still looking back to the past.&nbsp;</p> <p>Which is what brings us to SecUnit’s destination. Before departing from ART, the bots agree to change Murderbot’s body. Or, more accurately, ART convinces Murderbot it needs to look more human in order to avoid detection. This is one of those scenes that I initially struggled with the first time I read it seven years ago. Back then, it felt too much like SecUnit choosing to pass: “My appearance, my ability to pass as an augmented human, had to be my new armor. It wouldn’t work if I couldn’t pass among humans who were familiar with SecUnits.” Passing is something that is often not well understood by younger folks, but historically it was something marginalized people did as a way to slide through majority society. In the case of Black Americans, those who were light enough sometimes chose to pass as white, either temporarily (such as going into the city to work then coming home to their Black neighborhood) or permanently (such as marrying a white person and cutting off your Black family—think Mary in <em>Sinners</em>). It wasn’t just having light skin that counted as passing. It was an active and continuous choice. Passing was a complicated decision with complex consequences. With my 21st century perspective of holding firm in being the truest version of myself even in the face of danger paired with the larger historical context of Black folks passing as white, Wells’ analysis of passing in this scene felt too superficial.</p> <p>On this second read, with the knowledge of what happens in the series, I interpreted this moment differently. Murderbot isn’t just choosing to pass, or, to put it another way, it isn’t choosing to pass in the same way as the historical context I was bringing to the term. Rather, it’s another step on the path toward figuring out who it really is and what it really wants. Hacking its governor module, naming itself Murderbot, learning to enjoy <em>Sanctuary Moon</em>, choosing to save Mensah et al, choosing to leave Mensah behind, and now choosing to alter its physical form is part of its transition from a company-owned Security Unit to whatever comes next. It intentionally changes the bare minimum it must in order to fool most censors without fully committing to looking like an average human. It chooses to look like something in between, closer to an augmented human but with internal storage compartments. It’s not passing, it’s becoming. We see this nuance in the debate it and ART have over whether or not to add on body parts humans usually associate with sex. ART thinks it will help it pass, but SecUnit is intensely against it. “SecUnits also have less than null interest in human or any other kind of sex, trust me on that…I had seen humans have sex on the entertainment feed and on my contracts, when I had been required to record everything the clients said and did. No, thank you, no. No.” It’s a hard pass for me as well, Seccy. No, nada, no thank you, I’m all good, I’ll pass, nope.</p> <p>After some time in the MedBay and some new code to randomize its movements, they dock at the transit ring for RaviHyral, the last stop to Ganaka Pit where the massacre took place. Murderbot takes the name Security Consultant Eden, after a character on <em>Sanctuary Moon</em>, and gets hired by a group from the Divarti Cluster. From what I saw in her other works, Wells is good at diverse worldbuilding, not just in terms of race but of genders as well. Here, one of the clients is tercera, with the pronouns te/ter. And in usual Wells fashion, that’s all we’re told. We don’t learn anything about the history of the term, whether it&#8217;s common across the Corporate Rim or specific to their culture, what body parts a tercera has or doesn’t have, nothing. Which I love. Frankly, it’s none of my business. Rami, Tapan, and Maro are barely out of their adolescence but on a big mission. Their employer, Tlacey Excavations, had abruptly canceled their work contract and stolen their research. They want to get that data back. With the perfect cover for Murderbot to get down to Ganaka Pit, it agrees to accompany them. Too bad Tlacey is about to do a double-cross.&nbsp;</p> <p>The back half of <em>Artificial Condition</em> is, like <em>All Systems Red</em>, mostly action. Murderbot has to figure out what the Big Bad really wants from its clients, stop their secret weapon from killing everyone including Murderbot, and get its clients off an inhospitable landscape with both their lives and prize intact. In this book we also meet ComfortUnits, aka SexBots, and just like ART, they aren&#8217;t what readers or Murderbot expects. One of the fun parts of this series is discovering just how unreliable a narrator Murderbot is. What it is convinced is a fact may not even be true. For example, it goes into this adventure assuming there are only two possibilities for what happened at Ganaka Pit, but ART tells them there are actually two others it never considered. The world is bigger than Murderbot realizes.</p> <p>As with all of the Murderbot Diaries, the title comes from a line in the book: “In the creche, our moms always said that fear was an artificial condition. It’s imposed from the outside. So it’s possible to fight it. You should do things you’re afraid of.” However, I think it also works as a reference to Murderbot’s new physical appearance and to its current position in the world. It isn’t a real person, not fully. It’s trying on a new identity but it’s not permanent. Murderbot hasn’t settled into itself yet. It’s still passing.</p> <p>The end sees another rogue bot wandering the galaxy, the unsatisfying revelation as to what happened at that mining facility, ART sailing away to collect its crew, and Murderbot once more heading out into the great beyond.</p> <p>Next month we’re doing two books, <em><a href="https://bookshop.org/p/books/rogue-protocol-the-murderbot-diaries-martha-wells/88e72adf24d7d7eb?ean=9781250191786&amp;next=t" target="_blank" rel="noreferrer noopener">Rogue Protocol</a></em> and <em><a href="https://bookshop.org/p/books/exit-strategy-the-murderbot-diaries-martha-wells/a98a26eb3a5ff534?ean=9781250191854&amp;next=t" target="_blank" rel="noreferrer noopener">Exit Strategy</a></em>. See you soon![end-mark]</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 loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/murderbot-diaries-vol-2-omnibus-cover.jpg" class="attachment-full size-full" alt="cover of The Murderbot Diaries vol. 2 omnibus" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <img loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/murderbot-diaries-vol-2-omnibus-cover.jpg" class="attachment-full size-full" alt="The Murderbot Diaries Vol. 2" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">The Murderbot Diaries Vol. 2</h3> <p class="shop-the-book-author">Martha 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Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 04:46 pm

Pluribus Trailer Finally Reveals What Vince Gilligan’s Mysterious Apple TV+ Sci-Fi Show Is About

Posted by Matthew Byrd

News Pluribus

Pluribus Trailer Finally Reveals What Vince Gilligan’s Mysterious Apple TV+ Sci-Fi Show Is About

Pluribus’ story continues to draw comparisons to the Neal Shusterman novel, All Better Now.

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Published on October 9, 2025

Credit: Apple TV+

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<p class="syndicationauthor">Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/">https://reactormag.com/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826941">https://reactormag.com/?p=826941</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/pluribus/" class="inline-block link-no-animation" aria-label="Link to term or tag Pluribus 1"> Pluribus </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Pluribus</i> Trailer Finally Reveals What Vince Gilligan’s Mysterious Apple TV+ Sci-Fi Show Is About</h2> <div class="prose post-hero-description prose--post-hero">Pluribus&#8217; story continues to draw comparisons to the Neal Shusterman novel, All Better Now.</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/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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: Apple TV+</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/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/#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 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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 loading="lazy" decoding="async" width="740" height="534" src="https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-740x534.jpg" class="w-full object-cover" alt="Pluribus Apple TV trailer" srcset="https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-740x534.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-1100x793.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-768x554.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-1536x1107.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/10/Pluribus-APple-TV-2048x1477.jpg 2048w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: Apple TV+</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>This writer was working on a roundup of those bizarre teaser clips for Vince Gilligan&#8217;s Apple TV+ Show <em>Pluribus </em>when the Apple TV YouTube channel went ahead and finally released a surprise trailer for the highly anticipated show. So it goes. </p> <p>This teaser trailer confirms much of what <a href="https://reactormag.com/vince-gilligans-pluribus-teaser-release-date/" target="_blank" rel="noreferrer noopener">we already knew</a> or suspected about the series. It stars a woman named Carol (played by <em>Better Call Saul</em>&#8216;s Rhea Seehorn) who is described as a perpetually miserable author. As fate would have it, though, Carol&#8217;s misery proves to be an unlikely asset when a virus that causes people to experience eternal happiness seemingly infects everyone else on Earth. Soon, Carol becomes convinced that the only way to save the world is to spread her own brand of suffering, however and whenever she can. So far, we&#8217;ve seen Carol lick doughnuts, flip the bird, and generally look perturbed as she navigates a truly horrifying atmosphere of perpetual joy. The name of the show is even seemingly a reference to the Latin phrase &#8220;E pluribus unum,&#8221; which translates to &#8220;Out of many, one.&#8221;</p> <p>The big reveal in this new teaser is the fact that the rest of the world (or perhaps just the people of the United States) are not only aware of Carol&#8217;s condition but are actively seeking to &#8220;cure&#8221; her immunity. Previous teasers portrayed Carol as a lone operative in largely isolated spaces, so it&#8217;s fascinating to see that she actually seems to be the target of what appears to be an <em>Invasion of the Body Snatchers</em>-esque collective. Based on what Gilligan has said, though, we&#8217;re likely only scratching the surface of what he has described as an incredibly weird concept that may not quite be what fans of his previous shows expect (despite also taking place in New Mexico and starring some familiar faces). </p> <p>Oh, and there is one more potentially fascinating wrinkle to consider. When that first <em>Pluribus </em>teaser dropped, fans were quick to point out that the show may actually be an adaptation of the Neal Shusterman novel <em>All Better Now</em>. Like <em>Pluribus</em>, <em>All Better Now</em> deals with a virus that causes happiness and even uses the same smiley face design motif we&#8217;ve seen throughout <em>Pluribus</em>&#8216; promotions. Interestingly, Shusterman actually used to write books based on <em>The</em> <em>X-Files</em>, including 1999&#8217;s <em>Dark Matter</em> which was adapted from a Vince Gilligan-penned episode of the show called &#8220;Soft Light.&#8221; While there has been no official indication that <em>Pluribus</em> is directly or indirectly based on <em>All Better Now</em>, the similarities are noteworthy and intriguing. If the show is based on the book&#8217;s narrative in any way, then you should indeed prepare yourself for a truly wild ride that takes a hard look at the state of the world and how happiness interferes with the mechanisms that keep the whole thing churning.</p> <p>As for <em>Pluribus</em>, it&#8217;s still scheduled to debut on Apple TV+ on November 7. The first season will only run for nine episodes, but Apple has already ordered a second season of the series. [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="16889"/> </div></figure> <p>The post <a href="https://reactormag.com/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/">&lt;i&gt;Pluribus&lt;/i&gt; Trailer Finally Reveals What Vince Gilligan’s Mysterious Apple TV+ Sci-Fi Show Is About</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/">https://reactormag.com/trailer-vince-gilligan-pluribus-apple-tv-sci-fi/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826941">https://reactormag.com/?p=826941</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 04:00 pm

The Invisible Man and the Unseen Hand of Power

Posted by Sarah

Column The SF Path to Higher Consciousness

The Invisible Man and the Unseen Hand of Power

Tracing the onscreen evolution of the Invisible Man and what it tells us about power and fear.

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Published on October 9, 2025

Credit: Universal Pictures

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-invisible-man-and-the-unseen-hand-of-power/">https://reactormag.com/the-invisible-man-and-the-unseen-hand-of-power/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826769">https://reactormag.com/?p=826769</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/column/" class="inline-block link-no-animation" aria-label="Link to term or tag Column 0"> Column </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/the-sf-path-to-higher-consciousness/" class="inline-block link-no-animation" aria-label="Link to term or tag The SF Path to Higher Consciousness 1"> The SF Path to Higher Consciousness </a> </span> </div> <h2 class="post-hero-title text-h1"><i>The Invisible Man</i> and the Unseen Hand of Power</h2> <div class="prose post-hero-description prose--post-hero">Tracing the onscreen evolution of the Invisible Man and what it tells us about power and fear.</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/dan-persons/" title="Posts by Dan Persons" class="author url fn" rel="author">Dan Persons</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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: Universal Pictures</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/the-invisible-man-and-the-unseen-hand-of-power/#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 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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 loading="lazy" decoding="async" width="740" height="493" src="https://reactormag.com/wp-content/uploads/2025/10/invisible-man-claude-rains-740x493.jpg" class="w-full object-cover" alt="A bandaged Jack Griffin (Claude Rains) in a scene from The Invisible Man (1933)" srcset="https://reactormag.com/wp-content/uploads/2025/10/invisible-man-claude-rains-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/invisible-man-claude-rains-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/invisible-man-claude-rains-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/invisible-man-claude-rains.jpg 1201w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: Universal Pictures</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>I’m not sure I quite get the whole thing with dictators and their parades. For one thing, I don’t think a parade really counts unless it’s got a giant, helium-filled Spider-Man balloon and Nathan Lane singing <em>Luck Be a Lady Tonight</em> from atop a 20-foot-high float shaped like the Manhattan skyline. All this military stuff, the tanks and missile carriers and 20,000 precision-marching soldiers (as well as China’s newest addition: Robot wolves! Arooooo!), that crap don’t cut it for me.</p> <p>Maybe it’s different if you’re in the crowd and are overwhelmed with the size of it all and the shared sense of national pride. And it must be a rush for the dictator, seeing your amassed military might rallied at the snap of your fingers. Me, watching on the TV, I keep thinking, <em>Where do they park all those tanks? </em>And, <em>Are those nuclear missiles you’re trucking around armed? Is that wise when you’ve just cut the budget for pothole repairs? </em>And, <em>I’ll bet at least 40% of those soldiers are thinking, “I gotta pee real bad.”</em></p> <p>It&#8217;s too ostentatious, is what it is. It screams of overcompensation. It’s not power; it’s a <em>show</em> of power—an antiquated media circus ripped from the playbook of the twentieth century, a rehash of the stuff Leni Riefenstahl could crank out in her sleep. I watch with the sense that the future of warfare rests in the hands of nerds in control rooms piloting drones, and instead of feeling impressed, overwhelmed, or fearful, I’m more likely to be snickering to myself.</p> <p>I get why someone might think that showing off this way conveys strength—“seeing is believing” remains a good general rule. But actual power is not wielded solely through the stuff that can be seen. There has to be something behind the spectacle—an idea, an impression—that feels true and lives on whether or not you’re presently looking at phalanxes of heavy armaments.</p> <p>James Whale’s <em>The Invisible Man</em> (1933) makes for an interesting contrast with the original H.G. Wells novel, published in 1897. It starts out strikingly close to the book: A mysterious, bandage-wrapped stranger arrives at a small inn in a small, English town. His imperious manner and fanatical desire for privacy only serve to stir up concerns among the locals, and after the police are summoned following his attack on the innkeepers, he reveals himself to be, in his own words, the Invisible Man, aka Jack Griffin (Claude Rains, in his first star turn&#8230; though you don’t actually get to see his face until the very end).</p> <p><site-embed id="16910"/></p> <p>While the rest of the movie continues to touch on points of Wells’ novel, it does make some notable digressions. A love interest is introduced in the person of Flora (Gloria Stuart), who’s initially seen standing behind a spray of flowers. (Get it?) And while, in the book, Griffin’s promised “reign of terror” doesn’t get much further than a handful of deaths, he’s much more successful in the film, graduating from individual murders to a disastrous train derailment. Most significantly, while the book keeps its viewpoint rooted among the people who interact with Griffin, as the film moves into its final act, it becomes something of a police procedural, with the combined branches of law enforcement struggling to draw a dragnet around the unseen madman on the loose.</p> <p>One clever little bit in the latter half stuck with me: Before the chief of police (Dudley Digges) holds a strategy meeting, he has his officers hoist up large net, and walk it across the empty room, the better to snag Griffin if he’s dared to attend. <em>Good idea</em>, I thought, and then thought again: <em>There’s a chair against the wall—he could be standing on it and those dopes’d never know.</em></p> <p>Both Wells and Whale touch on it: As Griffin descends into madness and megalomania, he revels in the notion the he could engage in any activity, commit any crime, and get away scot-free. This is his reign of terror: not a coordinated effort or an unleashing of the masses to perpetrate atrocities, but one single man, who could be anywhere, at any time. No one is safe, not on the streets, not at home, not in the most fortified shelter.</p> <p>The thing is, that only translates to power if everyone is alerted to the game—if it so insinuates itself into the populace that no one can have a moment of peace. That’s where Whale, deploying the 20<sup>th</sup>-century miracle of radio, gives his Invisible Man an advantage over his 19<sup>th</sup>-century counterpart. In Whale’s rendition, one doesn’t have to wait for the daily paper or the village grapevine to spread the word. In one second, Griffin manages to invade the living rooms, and the consciousnesses, of a nation. We’ve since invented a phrase for that: “living rent-free” in people’s heads. But Wells defined the concept and Whale capitalized on it.</p> <p>At a time when the world was reeling in the aftermath of economic catastrophe and still shaking off the effects of what was then called the Great War (little did anyone suspect what lay ahead, save a cautious few&#8230; and H.G. Wells), the idea that one man could rule over the entire planet may not have seemed all that implausible. As tech grew more sophisticated, as radio and television and satellites and the internet simultaneously made the world smaller and more interconnected, yet revealed how vast and variegated humanity could be, the notion that a single person with the power of invisibility could dominate a planet, or even a nation, seemed far less credible.</p> <p>Which, come the 21<sup>st</sup> century, posed a bit of a problem for Universal. The Invisible Man was part of their stable of famous monsters, the lot of which they’d been trying for years to leverage into their own, horrific cinematic universe. (Kevin Feige, what have ye wrought?) A blood-hungry vampire, a tragic lycanthrope, or a revivified mummy could be rebooted without much change to their essential natures (not that those attempts were successful, mind). But an invisible megalomaniac out to rule the world all on his ownsome stretched suspension of disbelief just a shade too far.</p> <p>In a wise move, Universal reached out to their low-budget partner, Blumhouse, to take a stab at a reimagining of the story. They in turn tapped Leigh Whannell to write and direct. His solution (incorporating a nod or two to Paul Verhoeven’s 2000 thriller <em>Hollow Man</em>): Keep the mad scientist’s lust for power, but turn it from world-conquering ambition to something more intimate, and profoundly more disturbing. Jack Griffin may have wanted to rule over millions; in <em>The Invisible Man </em>(2020), Adrian Griffin (Oliver Jackson-Cohen) just wants control over one unfortunate soul.</p> <p><site-embed id="16911"/></p> <p>Our introduction to Cecilia Kass (Elisabeth Moss) is in the dead of night, as she is fleeing Griffin’s well-appointed and starkly sterile home. She’s been a virtual prisoner of the pathologically controlling scientist, isolated from her friends and family, constantly under surveillance, and incapable of acting without his express permission. The mere act of escape—aided by her sister Emily (Harriet Dyer), a friend James (Aldis Hodge), and James’ daughter Sydney (Storm Reid)—is traumatic enough. When Adrian—a genius in optics who has invented a suit studded with tiny whizzing lenses that makes its wearer invisible—resolves to drag her back, he embarks upon a campaign of intimidation meant to assure that her wounds never heal.</p> <p>[It’s probably a good idea at this point to slip in <strong>a spoiler warning</strong>—so there ya go.]</p> <p>Griffin’s strategy is to deploy the philosophy of “If I can’t have you, no one will,” filtered through a campaign of vicious gaslighting. He drives wedges between Cecilia and those who would support her, committing acts of sabotage and assault—all the way to murder—while directing the blame back upon the woman he’s victimizing. When she insists that the crimes have been committed by the unseen hands of Adrian, her protests are regarded as the ravings of a person whose PTSD has driven her to the heights of paranoia. Abandoned and isolated (and subject to one further, devastating trick by Adrian to convince Cecilia’s supporters that he’s innocent of any crime), Cecilia eventually has no recourse but to flee back into Adrian’s slimily forgiving arms. (She’s got a surprise for him, though. I won’t go into that, here.)</p> <p>It’s the narrowed-down intimacy that gives this modern-day interpretation its bite. Wells and Whale—those old-fashioned kids—imagined that a megalomaniac would want to accrue influence through overt acts that demonstrated his power. Whannell posits something more deeply sinister: That power is seized and wielded by convincing your target of its own powerlessness. The Griffin of 1933 commits his crimes with such flamboyant zeal that they frequently, and deliberately, drift into comedy. Whannel’s take on the calculating and cold-blooded Invisible Man allows for no mirth—the suffering he inflicts on Cecilia is palpable, and almost unbearable to watch. We get no explanation as to why he must have this woman under his control, it defies logic (there are a few things in the film’s final act that defy logic, but that’s another issue). All that we know is that for Adrian, the quest for power is a zero-sum game—he will mercilessly flood his victim’s zone with atrocity and manipulation, the better to rob his perceived property of any sense of agency.</p> <p>There is, quite frankly, something reassuringly wholesome in the straightforward megalomania of 1933’s Invisible Man. Whannell’s Adrian Griffin, though, is truly repugnant, a man who will gladly make you suffer to satisfy his own compulsive need for control. Cecilia’s solution in the film is not suitable for real life, but here in our world, there is a way—difficult, not perfect, but not impossible—to thwart a bastard who seeks to rob anyone of their will to resist: Stand up to them, let them know that they are seen, and that they will not be permitted to play their games. Throw a spotlight on the bully who thinks they cannot be restrained, call them out again and again, for as long as it takes, and let them see how their power dissipates in the glare of exposure.</p> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>Over the years, James Whale’s <em>The Invisible Man</em> has taken on the well-deserved patina of a charming horror classic. Leigh Whannel’s version, in contrast, is all teeth, and more disturbing for its unsparing portrayal of an abusive relationship taken to extremes. But while Whannell succeeded in redirecting Wells’ concept into something uncomfortably personal, the film still has something to say in a broader sense, about people who seek power for power’s sake, and the challenges we face in countering them. But what do you think? Which version do you favor? Did the contemporary version touch a nerve? The comments section is below for your input. As always, please keep your thoughts friendly and constructive—no one is invisible, and everyone deserves their say…[end-mark]</p> <p>The post <a href="https://reactormag.com/the-invisible-man-and-the-unseen-hand-of-power/">&lt;i&gt;The Invisible Man&lt;/i&gt; and the Unseen Hand of Power</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-invisible-man-and-the-unseen-hand-of-power/">https://reactormag.com/the-invisible-man-and-the-unseen-hand-of-power/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826769">https://reactormag.com/?p=826769</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 03:00 pm

There Comes a Time in Every Reader’s Life When You Have to Move the Books

Posted by Molly Templeton

Books Mark as Read

There Comes a Time in Every Reader’s Life When You Have to Move the Books

A lot of books have come in and out of my front door. But now they all have to go out, because I’m moving.

By

Published on October 9, 2025

Photo by Mitchell Orr [via Unsplash]

Photo of multiple stacks of books with the top and left portion of the picture heavily in shadow

Photo by Mitchell Orr [via Unsplash]

For the four years that I’ve been writing this column, I’ve lived in one place. I’ve moved my books around—a lot—and bought new shelves (inevitable) and done that foolish but oddly enjoyable thing where I buy books and then, at some unspecified period of time later, decide I’m not going to read them after all. A lot of books have come in and out of my front door. But now they all have to go out, because I’m moving.

This, as I suspect just about any collector of books will agree, is a pain in the ass. I know there are people who are capable of moving frequently, or without any fuss or worry, who just do what needs doing and get on with it. I am not one of those people. I did not move at all between the ages of 3 and 17, and then I moved constantly, but in that college way where you don’t really have any stuff anyway so it’s fine. Gradually, the books accumulated. Eventually there was a whole bookcase worth of them. And then more. The first time I moved a significant number of books across the country, I left a box behind because it simply wouldn’t fit in the Mitsubishi Montero that was the biggest thing the car rental joint had on offer.

I still think about some of those books. I’ve lost much more meaningful things in moves since, but a box of letters between my grandparents is irreplaceable. Those left-behind books, I might be able to find again, if I could just remember what all of them were. One was a Don Marquis first edition copy of Archy and Mehitabel that was a gift from my mother. That one, I still look for.

Part of the problem with moving a lot of books is simply that they’re distracting. It’s the thing I have recommended doing—putting your hands on all your books—but with a time limit. You get to touch the books; in fact, you have to touch the books. But then you have to pack them. You don’t get to just sit there and paw through them and read random paragraphs and discover the things stuck between the pages. Into the box they go. And then the next box. And the next.

Practically speaking, there are two real keys to packing a lot of books. Use small boxes, and pack by size. Liquor boxes were my go-to when I was young and broke and too foolish to realize that people could and did just go buy brand-new boxes at big box stores. Until about five years ago I still had my collection of picture books in a liquor box with an address from two decades ago on it. But then I unpacked it, and found a long-forgotten prize: A copy of East of the Sun and West of the Moon with illustrations by Kay Nielsen. Every time I see that book, I’m happy all over again that it was there, and amused that I hid it from myself for so long.

Now I have to pack it up again. 

Packing by size is key. I know there is a temptation to somehow keep the books in order. You can’t. I mean, sure, you can, but then what? A shelf of books standing upright in a box means the box is not structurally stable and requires filling. I like to fill my book boxes with random t-shirts and out of season clothing and absolutely anything else that’s soft and does not require buying a pile of packing material. This means the books have to be stacked, flat, and filling up as much space as possible. It is a process. 

This is probably like loading a dishwasher: A thing that I’m certain there’s a most-efficient way to do, but I will do it my way, as will basically everyone else. But also, it’s fun to unpack the books and have to find their new homes. To reorder, reorganize, uncover a few more things that might be better off in a local little free library. Unpacking is the good part. Greeting old friends as you lift them out of boxes, realizing you do have a copy of that book that you couldn’t find (or cursing when you realize you bought a second copy), dusting things off and taking satisfaction in putting them in a new space. That’s the best part. 

There’s a tension in having all these books. They anchor me to a place; they are a big part of what makes any space feel like home. Shelves line the walls; the stack by the door is there to take to the used bookstore or give to friends; sometimes I just stand in the corner where the unread books live, unable to pick what to read next. It’s a bounty collected over time, a personal history told in other people’s stories. There are entirely too many articles about keeping or getting rid of books. I don’t mean to be prescriptive: You should do what you want with the things that you love having.

But there is a way in which it all feels precarious. I can barely imagine being the kind of settled-in-one-place that would allow for the kind of sprawling library I’d love to have. I am too much a New Yorker at heart; I am always aware of the limits on shelf space, and the fact that one might have to move again. Sometimes I think about what will become of all of it—what happens to most people’s libraries, in the end. I love having the books. I love it. I cannot be a digital library person; I need the tactile nature of the object, and to be able to see the books all lined up when I’m thinking about a topic or an author. 

Sometimes, though, I struggle with the focus on books as objects, with the collecting and the book hauls and with my own desire to always get more books. I think about how, in Nalo Hopkinson’s Blackheart Man, one character treasures the object that is a book, while another is part of a tradition of memorizing their contents. (That tradition does keep copies, too, but that’s practical, isn’t it?) There’s a difference between stories about how stories are magical and stories about how books are magical. It’s a thin line, hard to trace, but I feel it’s there. 

“A book is just a box of words until a reader opens it,” wrote Ursula K. Le Guin. As we say about many things, it’s what’s inside that matters. But the second part of that phrase is key: the reader. The books going into these boxes aren’t just any old books; they’re my books. I’m their reader. They are something more than a pile of paper and ink to me, because I experienced them, I carried them around, I sometimes scribbled in them and very rarely chucked them onto the floor in annoyance. The words in these little boxes are in the boxes, but also in my head. 

And so I continue to love my books, to move them, and move them again, and go through phases where I want to get rid of all of them, only to come around and think of all the things I wish I hadn’t gotten rid of in the past. I will put them in boxes and take them out of boxes, take them off shelves and put them on shelves, dust them and rearrange them and keep them until I don’t need them anymore. Moving is a chore, but also a time to reconsider everything: books, clothes, keepsakes, the art I’ve never gotten around to hanging on the walls. I love that, too, but the books get placed first. That, I think, says something.[end-mark]

The post There Comes a Time in Every Reader’s Life When You Have to Move the Books appeared first on Reactor.

Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-09 02:00 pm

Bone Lake and the Movies That Define the Erotic Horror Genre

Posted by Matthew Byrd

Movies & TV Bone Lake

Bone Lake and the Movies That Define the Erotic Horror Genre

In celebration of the release of Bone Lake, here are some of the movies that have come to define the erotic horror genre.

By

Published on October 9, 2025

Media: RKO Radio Pictures, Bleecker Street, Metro-Goldwyn-Mayer

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<p class="syndicationauthor">Posted by Matthew Byrd</p><p class="ljsyndicationlink"><a href="https://reactormag.com/bone-lake-movies-define-erotic-horror-genre/">https://reactormag.com/bone-lake-movies-define-erotic-horror-genre/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826215">https://reactormag.com/?p=826215</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/bone-lake/" class="inline-block link-no-animation" aria-label="Link to term or tag Bone Lake 1"> Bone Lake </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Bone Lake</i> and the Movies That Define the Erotic Horror Genre</h2> <div class="prose post-hero-description prose--post-hero">In celebration of the release of Bone Lake, here are some of the movies that have come to define the erotic horror genre.</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/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 October 9, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Media: RKO Radio Pictures, Bleecker Street, Metro-Goldwyn-Mayer</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/bone-lake-movies-define-erotic-horror-genre/#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 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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 loading="lazy" decoding="async" width="740" height="414" src="https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-740x414.jpg" class="w-full object-cover" alt="Stills of Cat People, Bone Lake, and The Hunger for erotic horror" srcset="https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-740x414.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-1100x616.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-768x430.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-1536x860.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/10/Erotic-Horror-Movies-2048x1147.jpg 2048w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Media: RKO Radio Pictures, Bleecker Street, Metro-Goldwyn-Mayer</p> </div> </div> </div> </div> </post-hero> <p>The twin taboos of eroticism and horror have long been powerful draws. Sex, violence, and terror are just some of the generally socially forbidden topics that can help us feel strangely alive when they are presented in the right way. At the intersection of those prohibited passions is the erotic horror genre. It&#8217;s a form of storytelling that has long argued that eroticism and horror are really just two sides of the same coin that can reveal a frightening, but alluring, new perspective on the human experience when combined.</p> <p>The erotic horror genre has evolved quite a lot over the years. What was perhaps once seen as an inherently exploitative concept full of titillating terrors has gone on to help shine a light on people and passions that may have otherwise never been seen. And yet, that subgenre&#8217;s greatest power may be its inherently indefinable qualities. We know the allure of the concept on a primal level, but our desire to better understand what it really reflects about us and our world has kept erotic horror stories quite fresh over the years. Of course, they still often involve vampires.</p> <p>In honor of the release of<a href="https://reactormag.com/bone-lake-trailer-erotic-horror-posters/" target="_blank" rel="noreferrer noopener"> <em>Bone Lake</em></a>, we&#8217;re taking a look at some of the erotic horror movies that have come to define that controversial subgenre over the years. And while this isn&#8217;t a complete look at the history of erotic horror (that would involve hundreds of movies, many of which were designed for grindhouse patrons), these works should be considered markers that help us track the evolution of erotic horror and better understand how it has shaped culture over the years.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Cat People (1942)/Cat People (1982)</strong></h3> <p><site-embed id="16894"/></p> <p>Though there were a few early examples of erotic horror spread throughout the 1930s (most notably, the criminally underrated <em>Dracula’s Daughter</em>), the strict enforcement of the Hays Code really spoiled what fun could have been had. It wasn’t until the ‘40s that we saw a major studio take a chance on a horror narrative fueled by sex. Even then, it remained something of an anomaly for quite some time.&nbsp;</p> <p>Director Jacques Tourneur’s <em>Cat People</em> tells the story of a young woman (Simone Simon) who believes she suffers from a curse that will turn her into an animal if she experiences sexual pleasure. It’s a shockingly effective bit of commentary on sexual oppression that just so happens to be one of the most influential horror films of its era (it’s even sometimes credited with inventing the jump scare). Just as Tourneur hides many of the tale’s terrors in the shadows, <em>Cat People</em>’s narrative deftly subverts the conditions of the production code era by focusing almost entirely on the sex that isn’t being had and the psychological impact of societal repression.&nbsp;</p> <p>That’s what makes Paul Schrader’s <a href="https://reactormag.com/a-cult-classic-and-an-oversaturated-remake-cat-people/" target="_blank" rel="noreferrer noopener">1982 remake</a> of <em>Cat People </em>something of a contradiction. Much like the 1981 remake of <em>The Postman Always Rings Twice</em>, it embraces the more overt sexuality and violence of ‘80s erotic thrillers. In doing so, it makes us to wonder if there are times when you can derive more sexual tension from the things you <em>don&#8217;t </em>show. On the other hand, Schrader’s <em>Cat People </em>does have a rocking David Bowie song on the soundtrack and a subplot involving the complex mating rituals of werecats. So it does have that going for it. Which is nice.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>The Vampire Lovers (1970)</strong></h3> <p><site-embed id="16895"/></p> <p>Crafting a shortlist of defining erotic horror movies is really a matter of deciding how many erotic vampire films you want to highlight. For instance, this spot could have easily gone to 1960s B<em>lood and Roses</em>: the adaptation of the revolutionary vampire novel <em>Carmilla</em> that the aforementioned <em>Dracula’s Daughter</em> wasn’t quite allowed to be in its time. Yet, it was really <em>The Vampire Lovers</em> that opened so many doors for that genre.&nbsp;</p> <p>Yes, <em>The Vampire Lovers</em> is also an adaptation of <em>Carmilla</em>, though this adaptation had the advantage of being produced by Hammer Film Productions: the legendary horror house that had previously found success inserting more blood and cleavage into their gothic horror releases and was now ready to see just how generous the censors could be. By arguing that <em>The Vampire Lovers</em>’ portrayal of lesbian vampires was based on a book and must therefore be art, Hammer was able to get a well-produced and incredibly sexual work of horror out to a fairly wide audience. The buzz it generated suddenly had other studios asking questions about what they could get away with and how much audiences really wanted to see.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>The Devils (1971)</strong></h3> <p><site-embed id="16896"/></p> <p>In 1971, Warner Bros. gave director Ken Russell millions of dollars to tell a story about a hot priest who inspires such levels of horniness that he helps reshape the political landscape of Europe and destabilizes the church in the process. The ‘70s were wild, y’all.&nbsp;</p> <p>With its portrayals of enemas, orgies, and sacrilegious nuns, <em>The Devils </em>feels closer to one of the shock underground grindhouse releases of the ‘60s rather than a major motion picture from one of the largest movie studios ever. Look beyond the shocks, though, and you will find one of the most beautiful and effective portrayals of the human condition in times of strife ever put on film. It’s just a shame that the feature has historically been censored and remains incredibly difficult to watch via official means, despite numerous attempts to re-release it.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Don’t Look Now (1973)</strong></h3> <p><site-embed id="16897"/></p> <p><em>Don’t Look Now</em> is actually a pretty tame movie, so far as the erotic horror goes. The overt “eroticism” of this film about a couple that moves to Venice in hopes of coping with the loss of their child is largely limited to a single sex scene that is, by most standards, more realistic than incendiary. Yet, it was the reaction to that sex scene that secured <em>Don’t Look Now</em>’s place in the history of the genre.&nbsp;</p> <p>The sex scene <a href="https://reactormag.com/sex-death-and-eternalism-dont-look-now-at-50/" target="_blank" rel="noreferrer noopener">in <em>Don’t Look Now</em></a> attracted controversy before it was even seen by the public. Critics described it as being especially vulgar, and rumors that actors Donald Sutherland and Julie Christie were actually having sex on camera prompted Christie’s boyfriend at the time (actor Warren Beatty) to fly to the studio and demand the sequence be cut. Others were just shocked to see a portrayal of a woman receiving oral pleasure (<em>shocked, </em>I tell ya).&nbsp;</p> <p>While <em>Don’t Look Now</em> is now widely considered to be one of the great works of horror, it also shows just how powerful the debate about such scenes can be and how those scenes can generate a level of controversy that dominates the conversation. As such, it helped pave the way for the erotic thrillers of the ‘80s and ‘90s that would fuel a kind of golden age for erotic movies, in general.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Possession (1981)</strong></h3> <p><site-embed id="16898"/></p> <p>The eroticism of <em>Possession </em>is, like so many other things in the movie, a bit tough to define. This film about a couple watching their relationship slowly sink into the deepest, darkest pit you can possibly imagine will leave a mark on your soul that you’ll never quite be able to scrub off. One of the few obviously sexual scenes in the narrative is between a woman and a well-designed tentacle monster that may or may not be a manifestation of her repressed desires and shattered psychosis. You love to see it.&nbsp;</p> <p>But director Andrzej Żuławski’s reclaimed masterpiece remains one of the most effective examples of erotic horror as a form of relationship horror. Though much has gone wrong in Mark and Anna’s marriage, there is still a boiling passion between them that may have once been expressed through sex but is now tearing through their beings in search of other outlets. The predecessor to movies like <em>Midsommar</em> and the recent <em>Together</em>, <em>Possession</em> shows that the sparks still fly even when we’ve lost our ability to control what they ignite.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>The Hunger (1983)</strong></h3> <p><site-embed id="16899"/></p> <p>In 1983, it was decided that someone should give director Tony Scott the money required to tell a story about David Bowie, Catherine Deneuve, and Susan Sarandon playing horny vampires. This decision made a lot of people very happy and has been widely regarded as a fantastic move.</p> <p>Released in the early days of the ‘80s erotic thriller boom, <em>The Hunger</em> certainly utilizes the core tenets of the genre movement. Namely, it promises that you’re about to see some of the most attractive people in the world like you’ve never seen them before on the big screen. It is also, of course, yet another erotic vampire film. But what ultimately makes <em>The Hunger </em>so special is how beautiful it is. Visually, it’s one of the best-looking movies of the ‘80s. Thematically, it exhibits a surprisingly empathetic view regarding the sensuality of vampires and those who find themselves drawn to that sensuality.&nbsp;It argues that there is a distinction between eternal life and eternal youth, and our pursuit of the former in the fruitless pursuit of the latter is often the source of our greatest tragedies. </p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Hellraiser (1987)</strong></h3> <p><site-embed id="16900"/></p> <p>It’s remarkable to consider that <em>Hellraiser </em>was not only a success in its time but went on to spawn a ten-film franchise that has found an audience across <a href="http://google.com/search?q=Hellraiser+Reactor+magazine&amp;sca_esv=bbe3debe957613b7&amp;rlz=1C1CHBF_enUS918US918&amp;ei=mu_jaPyzMY7X5NoPorTmoAI&amp;ved=0ahUKEwj86M-2gJCQAxWOK1kFHSKaGSQQ4dUDCBA&amp;uact=5&amp;oq=Hellraiser+Reactor+magazine&amp;gs_lp=Egxnd3Mtd2l6LXNlcnAiG0hlbGxyYWlzZXIgUmVhY3RvciBtYWdhemluZTIFEAAY7wUyBRAAGO8FMgUQABjvBTIFEAAY7wVIxQdQAFjeBnAAeACQAQCYAW6gAaYHqgEDNy4zuAEDyAEA-AEBmAIGoAK4BMICBhAAGAcYHsICCxAAGIAEGIYDGIoFwgIIEAAYgAQYogTCAggQABiiBBiJBZgDAJIHAzUuMaAH3yOyBwM1LjG4B7gEwgcDMC42yAcI&amp;sclient=gws-wiz-serp" target="_blank" rel="noreferrer noopener">multiple eras</a> of horror. It is, after all, a shockingly violent work that inserts terrifying demonic forces into what is essentially a sadomasochistic romance story. It’s not exactly the kind of set-up that screams “blockbuster.”</p> <p>In many ways,<em> Hellraiser</em> feels like the culmination of the evolution of ‘80s horror. That decade saw an army of supernatural slasher films combine sex with violence in the hopes of finding an audience in theaters or at the video store. <em>Hellraiser</em> is often lumped together with those films, despite its heavier content and the fact that its now-iconic slasher doesn’t even appear until the final minutes. That association can partially be attributed to the more formulaic nature of many of its sequels, but even in its time, a surprising number of people were able to process <em>Hellraiser </em>as “one of those” movies. That reception speaks to the ways horror helped change the conversations over what people were not just willing to see but what they desired to see.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Species (1995)</strong></h3> <p><site-embed id="16901"/></p> <p>There were beautiful naked women from space movies before <em>Species </em>(such as the infamous <em>Lifeforce</em>), and there have been beautiful naked women from space movies since <em>Species</em> (the excellent <em>Under the Skin</em>).&nbsp; What sets <em>Species </em>apart from the pack is how wildly successful it was.&nbsp;</p> <p><em>Species</em> grossed over $113 million in theaters in 1995. That’s to say nothing of the uncalculated amount of money it made on home video. It was a massive financial hit in the way that few other erotic horror films have ever been, and it is the culmination of a time when erotic films (specifically thrillers) were finding wide audiences, partially due to the promise of celebrity skin. Alyssa Milano’s <em>Embrace of the Vampire</em> became a massive direct-to-video hit that same year due largely to the power of the same promise.&nbsp;</p> <p>Yet, this was just about the peak of that era so far as revenue returns go. The erotic horror genre would go relatively dormant for quite some time. When it returned, it would take a somewhat familiar (though tonally different) form.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Thirst (2009)</strong></h3> <p><site-embed id="16902"/></p> <p>While the 2000s weren’t entirely devoid of erotic horror movies, audiences, studios, and even some critics began to slowly reject them. Erotic thrillers were no longer guaranteed blockbusters, and works like Claire Denis’ <em>Trouble Every Day</em> were generally seen as extremist works for niche audiences. Even casual sex and nudity presented for pleasure in horror had begun to fade as a new wave of torture porn movies and remakes dominated the scene. When the genre mounted a comeback, it returned via a familiar format (vampire erotica) but a somewhat surprising venue (film festival circuits).&nbsp;</p> <p>In director Park Chan-wook’s <em>Thirst</em>, a priest contracts vampirism while searching for a cure to a rapidly spreading virus. Haunted by his desire for human blood, he soon finds a modicum of comfort by engaging in a torrid affair with the wife of his childhood friend. What follows is not just a fascinating examination of what vampirism reveals about the infected souls but arguably Park Chan-wook’s sexiest film. Yes, that includes <em>The Handmaiden</em>.&nbsp;</p> <p><em>Thirst</em> won the Jury Prize at the 2009 Cannes Film Festival and was a strong contender for the Palme d&#8217;Or. While previous erotic films had done well on the festival scene before, <em>Thirst</em> marks the moment when erotic horror films started to become arthouse darlings rather than skin-sational blockbusters. An arbitrary distinction, perhaps, but a somewhat appropriate honor for a genre that had contributed so much to the evolution of film.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>The Shape of Water (2017)</strong></h3> <p><site-embed id="16903"/></p> <p>No, <em>The Shape of Water</em> is not generally considered to be a horror film. However, this story of a woman who becomes infatuated with an amphibious humanoid creature is undeniably erotic and can certainly trace its roots to the horror genre (specifically,<em> Creature from the Black Lagoon</em>). Though the work <a href="https://reactormag.com/i-belong-where-the-people-are-disability-and-the-shape-of-water/" target="_blank" rel="noreferrer noopener">drew some criticism</a> over the idea it suggests that “others” can never really fit into the rest of the world, it is an emotionally and visually striking fairy tale set against the backdrop of a world that is desperately trying to excise the marginalized, even as the need for love feels so vital in a world on the brink of destroying itself.&nbsp;</p> <p><em>The Shape of Water</em> stunned many by becoming a box office and critical success at a time when we were seemingly far removed from the days of erotic films (much less erotic films with a fantastical lean) swimming in the mainstream. We’ve since been treated to a greater variety of erotic movies made by those interested in testing the waters of the genre in hopes that they will catch the momentum of the pendulum swinging back to the time when audiences craved such works.&nbsp;</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Bone Lake (2025)</strong></h3> <p><site-embed id="16904"/></p> <p>Modeled after the erotic thrillers of the ‘80s and ‘90s, and inspired by modern works of social and relationship horror (<em>Speak No Evil</em>, <em>Barbarian</em>), <em>Bone Lake</em> asks, “What if the ‘we saw you from across the bar’ couple turned out to be as nefarious as you suspect?” It follows two couples who are (seemingly) accidentally forced to share a cabin for the weekend, only to find themselves caught in a series of sexually driven mind games that threaten to unravel themselves and their relationships.&nbsp;</p> <p>With its emphasis on the darker sides of modern relationships and the general anxieties about sex in current times,<em> Bone Lake</em> feels like an honest attempt to discover what a contemporary erotic horror film that represents and speaks to its audience looks like. Though it is unlikely to single-handedly bring back the glory days of the genre, it is another compelling piece of the puzzle. The slow revival of that format can certainly be attributed to the desire to find the next great erotic hit, but it is rooted in the idea that there are fundamental truths about the human experience that only erotic horror can reveal. So long as there are stories to tell in that realm, people will find ways to share and experience them.[end-mark]</p> <p>The post <a href="https://reactormag.com/bone-lake-movies-define-erotic-horror-genre/">&lt;i&gt;Bone Lake&lt;/i&gt; and the Movies That Define the Erotic Horror Genre</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/bone-lake-movies-define-erotic-horror-genre/">https://reactormag.com/bone-lake-movies-define-erotic-horror-genre/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826215">https://reactormag.com/?p=826215</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 08:37 pm

Most Banned Books of The Year List Includes Numerous Genre Titles and Authors

Posted by Vanessa Armstrong

News Banned Books Week

Most Banned Books of The Year List Includes Numerous Genre Titles and Authors

Stephen King alone had 87 of his titles banned somewhere in the U.S.

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Published on October 8, 2025

Image: Penguin Random House

Clockwork Orange Cover

Image: Penguin Random House

It’s Banned Books Week, an event designed to highlight the value of free and open access to information and bring readers together in support of the freedom to seek and to express ideas.

In the lead-up to the week, PEN America released their report about the most banned books from 2024-2025. Overall, there were 6,870 cases of book bans across 23 states and 87 public school districts. Those cases involved 3,752 titles, 2,308 authors, 243 illustrators, and 38 translators.

Unsurprisingly, genre artists were sadly well-represented on the list, with Stephen King receiving the highest number of bans—87 of his titles are impacted, as well as nine districts banning him completely as an author—as well as Sarah J. Maas, who ties with Ellen Hopkins for having the highest number of total author bans (33).

Below are the Top 10 Banned Books for 2025. The list includes several genre books, including lauded classics, one that has been adapted into a Broadway musical and two feature films, with the first making over $750 million worldwide, and one whose sequel just came out with a garlic-scented edition.

1. A Clockwork Orange by Anthony Burgess (23 bans)

2. [TIED] Breathless by Jennifer Niven (20 bans)

3. [TIED] Sold by Patricia McCormick (20 bans)

4. Last Night at the Telegraph Club by Malinda Lo (19 bans)

5. A Court of Mist and Fury by Sarah J. Maas (18 bans)

6. [TIE] Crank by Ellen Hopkins (17 bans)

6. [TIE] Forever… by Judy Blume (17 bans)

6. [TIE] The Perks of Being a Wallflower by Stephen Chbosky (17 bans)

6. [TIE] Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire (17 bans)

10. [TIE] All Boys Aren’t Blue by George M. Johnson (16 bans)

10. [TIE] A Court of Thorns and Roses by Sarah J. Maas (16 bans)

10. [TIE] Damsel by Elana K. Arnold (16 bans)

10. [TIE] The DUFF: Designated Ugly Fat Friend by Kody Keplinger (16 bans)

10. [TIE] Nineteen Minutes by Jodi Picoult (16 bans)

10. [TIE] Storm and Fury by Jennifer L. Armentrout (16 bans)

You can find the full list of banned titles from the most recent report right here. Check out one (or all) of them at your local bookstore! [end-mark]

The post Most Banned Books of The Year List Includes Numerous Genre Titles and Authors appeared first on Reactor.

Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 07:00 pm

Read an Excerpt From Letters from an Imaginary Country by Theodora Goss

Posted by Stefan Raets

Excerpts short story collections

Read an Excerpt From Letters from an Imaginary Country by Theodora Goss

This themed collection of imaginary places, with three new stories, recalls Susanna Clarke’s alternate Europe and the surreal metafictions of Borges.

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Published on October 8, 2025

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<p class="syndicationauthor">Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-letters-from-an-imaginary-country-by-theodora-goss/">https://reactormag.com/excerpts-letters-from-an-imaginary-country-by-theodora-goss/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826648">https://reactormag.com/?p=826648</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/short-story-collections/" class="inline-block link-no-animation" aria-label="Link to term or tag short story collections 1"> short story collections </a> </span> </div> <h2 class="post-hero-title text-h1">Read an Excerpt From <i>Letters from an Imaginary Country</i> by Theodora Goss</h2> <div class="prose post-hero-description prose--post-hero">This themed collection of imaginary places, with three new stories, recalls Susanna Clarke’s alternate Europe and the surreal metafictions of Borges.</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/theodora-goss/" title="Posts by Theodora Goss" class="author url fn" rel="author">Theodora Goss</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 October 8, 2025 </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-letters-from-an-imaginary-country-by-theodora-goss/#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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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 loading="lazy" decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country-header-740x407.png" class="w-full object-cover" alt="Cover of Letters from an Imaginary Country by Theodora Goss." srcset="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country-header-740x407.png 740w, https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country-header-1100x605.png 1100w, https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country-header-768x422.png 768w, https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country-header.png 1400w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>We&#8217;re thrilled to share an excerpt from <em><a href="https://tachyonpublications.com/product/letters-from-an-imaginary-country/" target="_blank" rel="noreferrer noopener"><strong>Letters from an Imaginary Country</strong></a></em>, a new short story collection by Theodora Goss, out from Tachyon Publications on November 11.</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Roam through the captivating stories of World Fantasy, Locus, and Mythopoeic Award winner Theodora Goss. This themed collection of imaginary places, with three new stories, recalls Susanna Clarke’s alternate Europe and the surreal metafictions of Jorge Luis Borges. Deeply influenced by the author’s Hungarian childhood during the regime of the Soviet Union, each of these stories engages with storytelling and identity, including her own.<br><br>The infamous girl monsters of nineteenth-century fiction gather in London and form their own club. In the imaginary country of Thüle, characters from folklore band together to fight a dictator. An intrepid girl reporter finds the hidden land of Oz—and joins its invasion of our world. The author writes the autobiography of her alternative life and a science fiction love letter to Budapest. The White Witch conquers England with snow and silence.</p></blockquote></figure> <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"><strong>Dora/Dóra: An Autobiography</strong></h3> <p>Dóra Muszbek was born on September 30, 1968 in Budapest, Hungary. I know because I have her birth certificate. It’s on thick beige paper, with designs and letters in green ink, and folds like a booklet. On the front it says “Születési Anyakönyvi Kivonat,” above a ten-forint stamp. Inside, the green lines are filled with information in fountain pen. Her birthplace is listed as Budapest, her father as Dr. Muszbek, her mother under her maiden name although she is married and a doctor as well. Inside the booklet, on both sides, is an escutcheon in green ink: the Hungarian flag, with sheaves of wheat on either side, topped by a Soviet star.</p> <p>What I know about her early years comes from black-and-white photographs. Here she is in a cotton romper and bonnet, looking at the camera and laughing. Here in an inflatable swimming ring, floating just off a wooden platform on Lake Balaton. Here she is walking down a street in Budapest, holding her father’s hand, perhaps on her way to the swings in the park. That must have been before the divorce. Here she is in her grandparents’ apartment, sitting on the sofa next to her mother, with one arm around her mother’s neck and the other holding a stuffed bear. That must have been after, when her mother had moved back in with her parents.</p> <p>Their apartment was on Múzeum utca, across the street from the Magyar Nemzeti Múzeum, the museum of Hungarian history. Her grandparents had moved there after the war, into a building that had once been the city palace of an aristocratic family but had long ago been divided into flats. The building was arranged around a central courtyard, where carriages had driven in and out. Their apartment was on the second floor, up a stone staircase. You opened the front door with an ancient key and walked down a hallway to the living room, one half of what had been a double parlor divided by a set of doors with panes of pebbled glass. The ceiling was eighteen feet high; the tall windows looked down onto the park that surrounded the museum. The other half of the parlor was her grandparents’ bedroom. Dóra and her mother slept in the living room on beds that during the day became sofas. Both rooms were heated by ceramic stoves that had to be fed with coal kept in the building’s cellars. Off the hall were a bathroom, a WC, and a small kitchen with a pantry where Dóra’s grandmother stored preserved plums and cherries. The stove had to be lit with a match, a procedure that always scared Dóra a little. I have a photograph of her at Christmas, beside a tree on which real candles are burning. There is a bucket by the tree, just in case.</p> <p>Those photographs are all I have left of her, except a few children’s books with titles like<em> Kisgyermekek Nagy Mesekönyve </em>and the stuffed bear, named Dani. He is almost as old as I am, and has lost much of his fur.</p> <p>After that, the photographs are in color, and no longer in Hungary. Here is one of her at the zoo in Brussels, with an elephant. Another of her eating ice cream in front of the Atomium. By that point, her mother had moved to Brussels, leaving on a visa that allowed her to visit for two weeks, with a suitcase, a small child, and the equivalent of twenty dollars in foreign currency. The visa expired, but by then she had found work as a doctor. I have been told that when he realized she was gone, her father searched for Dóra frantically, banging on her grandparents’ apartment door, petitioning the Red Cross. But I don’t know. So much has been lost, to secrecy and the inevitable passage of time, to forgetfulness and lies.</p> <p>In Brussels she learned to speak French and brush her teeth twice a day. She had not realized the importance of toothbrushing, but in school all the children were asked to form three lines: those who did not brush their teeth, those who brushed their teeth once a day, and those who brushed their teeth twice. Having gone to the middle line, she quickly realized her mistake: good Belgian children brush their teeth both in the morning and at night. Perhaps that is why, after all these years, I am so attentive to my teeth, going to the dentist twice a year, flossing before I go to sleep every night. When the dentist tells me how clean my teeth are, I feel a small moment of triumph at being in the right line.</p> <p>It was in Brussels that Dóra first lost herself. I have a certificate of name change, Dóra Muszbek to Dora Méliès. Why Méliès, I once asked her mother. “I wanted to be French,” she said. “There was no point in being Hungarian, not then.” Years later she added, “The Embassy kept calling, telling me that I should go back, that I was a traitor to my country. But I did not want to go back. There was nothing for me there. So I changed our names and telephone number. At the time, I thought we were going to stay in Belgium.” Sometimes conversations such as this one will go on for years, punctuated by long silences. By the time they resume, I will have forgotten what question her mother is answering.</p> <p>Despite half a lifetime in the United States, her mother still speaks with a strong Hungarian accent. She still exhibits the tendency I have noticed, in Hungarian and Chinese speakers, to confuse gender—he for she and vice versa. Hungarian has no gender—male or female, you are ő. This has not resulted in any greater equality between the sexes.</p> <p>So Dóra became Dora. She brushed her teeth twice a day, spoke French, and wore sweaters knitted by her mother in red or brown wool. From that time, I remember only three things: the toothbrushing line, the sweaters because they itched, and walking down the street in a blue-and-white checked dress that Dora’s mother had sewn for her, an exact copy of the dress she was wearing. A policeman who passed them asked if they were sisters, smiling, flirting with her mother, whom Dora thought was the prettiest woman in the world.</p> <p>And then, the lights of New York through a circular plane window. Her mother had received an offer to continue her medical research at the National Institutes of Health, and who could pass up an opportunity like that? Her daughter would be American.</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 loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country.jpg" class="attachment-full size-full" alt="Cover of Letters from an Imaginary Country by Theodora Goss." /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-image-mobile image-cover"> <img loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country.jpg" class="attachment-full size-full" alt="Letters from an Imaginary Country" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-title text-h3">Letters from an Imaginary Country</h3> <p class="shop-the-book-author">Theodora Goss</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-1760113572" 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-1760113572" class="shop-the-book-modal"> <div class="shop-the-book-modal-inner"> <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 loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country.jpg" class="attachment-full size-full" alt="Letters from an Imaginary Country" /> </figure> <div class="grow shrink basis-0"> <div class="flex items-center"> <figure class="shop-the-book-modal-image-mobile image-cover"> <img loading="lazy" decoding="async" width="300" height="450" src="https://reactormag.com/wp-content/uploads/2025/10/Letters-from-an-Imaginary-Country.jpg" class="attachment-full size-full" alt="Letters from an Imaginary Country" /> </figure> <div class="grow shrink basis-0"> <h3 class="shop-the-book-modal-title">Letters from an Imaginary Country</h3> <p class="shop-the-book-modal-author">Theodora Goss</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/B0FRSZKYHY?tag=tordotcomgeneral-20" data-book-title="Letters from an Imaginary Country" 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.anrdoezrs.net/links/7992675/type/dlg/sid/tordotcomgeneral/https://www.barnesandnoble.com/s/9781616964405" data-book-title="Letters from an Imaginary Country" 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/isbn9781616964412" data-book-title="Letters from an Imaginary Country" 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/9781616964405" data-book-title="Letters from an Imaginary Country" 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=9781616964405" data-book-title="Letters from an Imaginary Country" 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>In the United States of America, the 1970s meant Wonder Bread, bell-bottom jeans, and watching <em>Speed Racer</em> on Saturday morning television. Dora developed a crush on the mysterious Racer X. She had to repeat first grade, because her English was not yet fluent enough for second. Then she skipped second grade and went directly into third. She had a green girls’ bike, a Ballerina Barbie, and a friend named Angela, one grade ahead of her, whose father kept <em>Playboy</em> magazines under his bed. She wore bell-bottom jeans and sweaters knitted by her mother, which she would stuff into her backpack as soon as she was out of sight because they itched, and anyway they were stupid. No one wore handmade clothes.</p> <p>By that time, Dóra—no, Dora—had no idea who she was anymore. She would dream that she was trying to speak, but no one could understand her. Even she did not understand the language she was speaking.</p> <p>They lived in a house with a yard in which there was a pine tree taller than the house itself. Throughout elementary school, Dora would climb the pine tree up to a place where three branches made a sort of floor. That was her nest. She would live there, the Dora-bird, the girl with wings. When she was a bird, she would speak bird language, which all the birds understood. Birds can fly anywhere. They can see anything. She would be able to as well. She never thought of flying back to Hungary, because it was lost forever behind a curtain of iron, like a country in a fairy tale. Once you left, you could never go back.</p> <p>Every once in a while, she received letters from her grandmother in stilted, textbook English. She would have to write back. “Write back to your grandmother,” her mother would say, “but remember that the Secret Police will read it.”</p> <p>What could she write? “Dear Nagymama: Today I was a bird. I have a crush on Racer X, who is secretly Speed Racer’s brother. I have forgotten how to speak Hungarian.”</p> <p>In school, she committed two crimes that she would remember for the rest of her life. In first grade, she stole a sticker from another girl’s locker, and in third grade she plagiarized a story for a writing assignment. Both times she was caught, and the humiliation of the experience, of being “talked to” by a teacher, made her particularly cautious not only to do no wrong, but to be perceived as doing no wrong. She reformed, and became both Student Council secretary and a patrol, with a badge on an orange plastic belt. At lunchtime, she and the other patrols would escort kindergarteners home after their half day. If a car had come careening down the road, threatening to run over one of her charges, she would have leaped in front of it, putting herself in danger, like Robin Hood in the Disney animated version, or Nancy Drew.</p> <p>For she was Responsible. Every day, after school, she walked home and let herself in by the key that hung on a string around her neck. She got herself a snack and did homework until her mother came home. Sometimes her mother would tell her to come directly to the NIH, so she would walk up the broad avenue to the main research building and take the elevator up to her mother’s laboratory. In those days, you could still play with the lab animals: rats and rabbits and mice, all bred specifically for experiments, soft and inquisitive and ticklish, smelling of their feed, and poop, and the wood shavings that lined their plastic bins. Sometimes she was allowed to give them more of the thick green pellets they fed on, or change their water. But most days she just waited, sitting at her mother’s desk, turning around and around in the revolving chair. She came to recognize the distinctive smell of laboratories.</p> <p>She made a friend named Amy, the best friend she’d ever had. Amy’s parents were also divorced. After school, the two of them liked to go to the playground, sit on the swings, and talk about the books they were reading: mostly Anne McCaffrey’s Pern series. Someday, a dragonrider would appear in the sky and touch down near the kickball field. He would take them to Pern, where they would become dragonriders as well. It seemed a more logical ambition than being a doctor or lawyer. But she lost Amy forever when her mother decided to repeat her residency so she could practice medicine in America. They moved to a school district in another state.</p> <p>One day Dora, now in middle school in Virginia and exceptionally lonely, found a letter from her grandmother that had fallen behind a bookshelf. What was she looking for? I suspect the big book of Indian art that had explicit pictures in it. That and Judy Blume novels, passed around in school, carefully hidden in lockers and under desks, the important pages turned down at the corners, were her introductions to human sexuality, for the <em>Playboy</em> magazines had been less than instructive. The letter was in Hungarian of course, so she could not read it, having lost that part of herself entirely. But tucked into the envelope was a photograph—of her grandmother, with a tall girl in a school uniform standing behind her. On the back of the photograph was written “Nagymama és Dóra.”</p> <p>Dora knew at once what had happened. When her mother had taken her from Hungary, she had left Dóra behind. Not her twin—she had no twin, she knew that perfect well. No, the part of herself that had been Dóra had somehow been left behind. While she was growing up in the United States, trying to persuade her mother to buy her designer jeans, Dóra was growing up in Hungary.</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p>She did not ask her mother about Dóra. She had learned early on that when she asked her mother questions, her mother responded with answers that were only partly true. Dora could not always tell which part.</p> <p>“Why did you divorce my father?”</p> <p>“Because he expected me to iron his underwear.”</p> <p>“Why did we leave Hungary?”</p> <p>“Because I wanted to give you the opportunities I never had.”</p> <p>“Why can’t I wear earrings?”</p> <p>“Because you will look like a gypsy.”</p> <p>“What does that word mean? The one you say when you’re angry.”</p> <p>“It doesn’t mean anything. Don’t repeat it to anyone who speaks Hungarian.”</p> <p>She imagined asking her mother, “Why is Dóra still living in Hungary?”</p> <p>Her mother would say, in her heavy accent, “Don’t be ridiculous.” She would roll her <em>r</em>’s: r-r-ridiculous. So instead, Dora imagined what life would be like for Dóra, living with her grandparents in a Communist state. Growing up in the 1970s in America, here are the things she knew about Communism:</p> <ol class="wp-block-list"> <li>Communists were not allowed to practice their religion. Dóra had been baptized in a Catholic church. Did she ever sneak into a church service? Did she, secretly, surreptitiously, take communion? In moments of stress and confusion, did she, like Dora, say a Hail Mary—although her mother had told her, in no uncertain terms, that religion was the opiate of the masses?</li> <li>Communists owned no property. Her grandparents’ apartment, where Dóra presumably lived, was owned by the state. Dóra would sleep in the living room, on one of the beds that were sofas during the day. In the morning, she would be woken by the light that came through the tall windows facing the park and a cacophony of song from the birds in the linden trees. Then she would have breakfast in the tiny kitchen.</li> <li>What would she eat? Communists were poor and had to wait in long lines. Her grandmother would wait in line for food, first for bread at the baker’s, then for vegetables at the market, then sausages… For breakfast, Dóra would have bread and butter, a tomato with salt, and slices of ham. Then she would go into the ancient bathroom and put on her school uniform.</li> <li>Communists wore red kerchiefs and addressed each other as Comrade. Dóra would tie a red kerchief around her neck and go to school, where she would be called Comrade Muszbek. Did she ever see her father? Perhaps on holidays. Once, when Dora had asked about him, her mother had said, “He has remarried. His second wife is a schoolteacher. He has two other daughters now.” So he would not have much time for his first daughter. Anyway, he had become a professor at the University of Debrecen, in the medical school. Would Dóra sometimes go there during the holidays, to spend time with her sisters? Did she even think of them as her sisters?</li> <li>Subversive literature was banned. But knowing Dóra, she probably wrote subversive literature. After all, Dora wrote, so Dóra probably wrote as well—subversive poetry. It was subversive because it did not glorify the state. Rather, it was about a young girl’s search for herself, her thoughts on life, the world… She kept it in a notebook under the mattress of her bed, which was also a sofa. If her grandmother had ever found it, she had never said so.</li> <li>She also read banned literature. Her copy of <em>1984</em> was hidden inside the dust jacket of an edition of Grimm’s fairy tales that had been destroyed when she dropped it into the bathtub.</li> <li>Like all Communists, Dóra would do anything for a pair of American jeans.</li> </ol> <p>Dora wished she could send Dóra a pair of her own American jeans, not bell-bottoms now but straight, and so tight at the waist that she had to lie back on her bed to zip them—or just talk to her. But if she sent a letter, the Secret Police would see it, and what then? Perhaps the Secret Police would send agents for Dóra, and even for Dora sitting comfortably watching television in her American living room. They would both be put in a prison, perhaps in the same cell. Dora wondered what sort of conversations they would have.</p> <p>Dóra would tell her about school, which her mother had assured her was much more difficult than an American school, and about writing poetry, like an ancestor who had been a famous Hungarian poet. She would talk about going to Lake Balaton for vacations, about swimming in the muddy water among the reeds, sleeping in the house her grandfather had built after the war, watching her grandmother paint the shifting light on the lake from her upstairs studio. She would talk about eating fried fogas, a fish that lived only in the lake.</p> <p>“And what is it like when you meet our father for ice cream in Budapest?” Dora would ask. “Do you like our sisters? Do you wish you had American jeans? Or your own bedroom? Are you popular in school?”</p> <p>Dora would tell her about being in the Gifted and Talented Program, and definitely not popular. About reading novels and trying to write them, and never being satisfied with what she had written. “For vacation we go to Ocean City, on the Atlantic Ocean, and eat crabs in a restaurant where you have to break the shells and take out the meat yourself,” she would say. Dóra would want to know whether she listened to Michael Jackson, what Americans thought of Hungarians (“They mostly don’t,” Dora would have to admit), what it was like to grow up with a mother.</p> <p>Would they be executed? If so, they could stand in front of the firing squad together, holding hands.</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p>By the time Dora went to high school, her mother was no longer at the National Institutes of Health. Now she was in private practice as a physician. When Dora said she felt sick, her mother would say, “You’re not sick. Get up and go to school.” Except the one time she had appendicitis and her mother drove her to the hospital for an appendectomy. Ever after, she knew there were two responses to feeling sick: either you were on your way to the emergency room, or you were not sick and it was time to get up.</p> <p>In high school, Dora was on the Honors track, which was essentially the same as the Gifted and Talented Program—fifteen students who spent the entire day, except homeroom and gym, going from class to class together. She tried to wear what the popular girls were wearing, the ones who were on the cheerleading squad and made homecoming court, but her mother did not think clothes were important. What you had in your head was important: it was the only thing you could take with you when the Russians invaded. Did Dora think it couldn’t happen here? Then Dora was naïve.</p> <p>Perhaps that is why I have always assumed that everything can be destroyed in a moment. Perhaps that is why my basic attitude toward life has always been fear.</p> <p>Dora rebelled by painting her room cherry blossom pink and hanging lace curtains over her bed. She read Barbara Cartland and Willa Cather and <em>ElfQuest</em>. She dated high school boys, and even one college freshman, partly to feel wanted, partly to feel that something in her life could be other than ordinary. It took years for her to realize that boys were actually quite ordinary—not that different from other human beings. At the time, they seemed to her like a fascinating alien species. She was always in love, sometimes with one of the boys, but more usually a film or literary character. Her most serious crushes were Sherlock Holmes, the Scarlet Pimpernel, and the Disney animated fox Robin Hood. She tried to smoke clove cigarettes, but never quite learned to inhale. She drank peach wine coolers that her friend Susan stole from her parents’ basement refrigerator. One day, she pierced her own ears with ice and a safety pin. Once they healed, she wore silver hoops. When she shook her head, she could feel them swinging against her cheeks. This was her Rebellious phase.</p> <p>Meanwhile, in Budapest, Dóra was writing poetry. She wrote it in secret, and when it was published, it was in an underground literary journal, mimeographed and handed around the secondary school. She had fallen in love with a teacher at her school who had once been a poet, but who had been labeled subversive and sent to a prison camp. After such restrictions eased, he was released and assigned a job as a teacher of literature. In his teaching, he was always careful to be correct. He taught Hungarian translations of <em>The Grapes of Wrath</em> and <em>The Jungle</em>, denouncing the evils of capitalism. But it was he who had started the school’s underground literary journal. Sometimes when he read Dóra’s poetry, he told her that she was a genius. He wore a sweater with a hole in the elbow and smoked Sobranie cigarettes, which she could smell in her hair. They met in his apartment, a single room in a building on Rákóczi út, to talk about poetry and make love, or what Dóra assumed was love. It was very much how the popular novels described—filled with endearments and recriminations. “You are so beautiful, little bird,” he would tell her. “Someday, you will fly away and leave me forever.” Then he would become moody and pace around the apartment, as though he were still in prison.</p> <p>Sometimes, walking home from his apartment, she would stop for ice cream, csokoládé és citrom, and feel guilty that she was enjoying walking along Üllői út licking ice cream as much as she had enjoyed being with him.</p> <p>Her grandmother still made all her dresses, except her school uniform, following patterns that had been popular in the 1960s. Only the wealthiest girls in school had clothes from Austria or Italy. She still slept in the living room of the apartment on Múzeum utca and did not imagine that would change, unless someday she got married and her husband requested an apartment. But she did not know if she would ever marry—look at her stepmother, who complained about being the wife of a university professor in a provincial city like Debrecen. Women had to put up with a great deal, in marriage. No, she was going to university, to study literature. Her grandfather did not want her to go—his daughter, Dóra’s mother, had gone, and look at what had happened! She had left her husband, her daughter for them to take care of… and for what? So she could boast about her big house in America? Who was going to take care of them in their old age? But her grandmother said that nowadays girls must become educated. And as a professor, Dóra could travel to international conferences. Her father did that all the time, spending more time out of the country than in it. Perhaps someday, she could go to America and meet her mother.</p> <p>She was not surprised that her mother wrote so rarely. After all, she had Dora, her American child. And her father had his two younger daughters. She was the one who had been abandoned, who had been left in Budapest with her grandparents. Of course, once she was a famous poet, they would realize that they should never have forgotten about her. That’s who she was: the forgotten one. She wrote a poem with that title, and it won first prize in the school poetry competition. The prize was a medal, which her grandmother hung in the glass cabinet where she kept her most precious possessions, including the miniature of an ancestress who had been a noblewomen and hosted Napoleon at her country house. In America, Dora entered an essay contest. She submitted an essay about leaving Hungary and coming to America, about losing herself. When she won and the essay was reprinted in the local paper, her mother told her that she had put them both in danger: the Secret Police might read it, find them, and take them back to Hungary. There were things her mother told her that Dora no longer believed: that wearing makeup made you look like a prostitute, that politicians were always corrupt, that American children were spoiled and ungrateful. She seriously doubted that the Secret Police read the <em>Loudoun County Gazette</em>.</p> <p>Dóra’s examination scores were good enough to get her into Eötvös Loránd University. She would still be living with her grandparents, but now she would be a university student. In high school, she had studied English, German, French, and of course Russian. I have noticed that in Hungary, although everyone over a certain age took compulsory Russian in high school, no one admits to speaking Russian. Everyone says, “Oh, of course I took Russian—it was compulsory. But I don’t remember any of it.” It’s a sort of linguistic amnesia. Dora had studied French and Latin so she could do well on the SAT. When she opened her acceptance letter from the University of Virginia, she was both delighted and relieved. Yes, that was where she would go. For one thing, it was in-state and she would not have to take out loans. For another, she had been to visit, and fallen in love with its red brick, white columns, and green lawns. It was one of the oldest universities in the country—the oldest part of the university had been designed by Thomas Jefferson himself. She had only recently become a naturalized citizen. Maybe going to UVA would make her feel American, as though she belonged. And it had a good English department. She could study literature, maybe even go on to get her PhD.</p> <p>At the university, Dóra studied Faulkner, Proust, and Hesse in the original languages. She read Chekhov, remembering Russian for the sole purpose of studying literature. (“I can’t speak conversational Russian, of course,” she would say. “I’ve forgotten it all.”) Every morning, she would wake up, make herself breakfast—muesli and yogurt because she had become a vegetarian, which her grandmother insisted would cause her to die of starvation. She would get dressed, walk down the stone stairs of the apartment building, and cross Kálvin tér. Then it was only a few blocks to the main university building. She would take classes, meet with her professors. For lunch she would go out with her friends or eat brown bread, curls of smoked cheese, and slices of tomato in the park, under the linden trees. She no longer saw the literature teacher. She assumed he had taken on another student, female of course, as his acolyte.</p> <p>Six years of university, and she would have a Master’s degree. Then she would teach or go on to get her PhD. The laws were so much more permissive now that she might even be able to teach elsewhere, in Austria perhaps, where you could make more money. Her father had been permitted to form a private consulting company, and her sisters Judit and Eszter were going to Vienna regularly to buy clothes. Dóra could not afford such luxuries, but went to the secondhand stores that students frequented on Rákóczi út. There she could find jeans and sweaters, and if they were a bit torn, that only made them more fashionable. She wore bright red lipstick and Chanel No. 5, from a bottle her father had given her after a conference in Paris. They were her trademark, you could say. She had cut her hair short and looked a little, she thought, like Claudette Colbert.</p> <p>Dora wore pearls to class. She had a set of pearls that her mother had given her on her eighteenth birthday. They were supposed to be for special occasions, but the other girls wore pearls to class, so she did as well, with ripped jeans, a twinset, and ballet flats. She wore pink lip gloss, and Charlie on her neck and the insides of her wrists. Every morning she would put her hair in hot rollers so it fell in curls down her back, then hairspray it so it would stay curled. She took classes on the history of English literature, from Chaucer to Joyce, and one on magical realism in which the professor introduced the students to Allende and Márquez. After class, she would go back to the French House, where she had a room so small there was space only for a bed, a desk, a wardrobe, and a square patch of carpet on which she could turn around and get dressed. She would eat with the other students in the communal dining room (French was compulsory), then go to a meeting of the literary and debating society she had joined. She still wanted to study literature, and maybe someday be a writer, although she scarcely understood what that meant. But it had been decided, mostly by her mother, that after college she should go to law school.</p> <p>Her mother had taught her three things:</p> <ol class="wp-block-list"> <li>Life is hard.</li> <li>People are out to get you.</li> <li>Literature and art are fine as hobbies, but you need a <em>real </em>profession. Like law.</li> </ol> <p>In the summer of 1990, Dora sat on the floor of her boyfriend’s apartment, in front of the television, watching German teenagers break off and carry away pieces of the Berlin Wall. They had met a few months ago, through a mutual friend. On their first date, he had taken her to his parents’ house in the hills above Charlottesville—horse country. The house was old, surrounded by a hundred acres of pasture merging into forest. They walked out to the barn, saddled the horses, rode along a forest path. It had been years since her brief experience with riding lessons—nothing, like riding or violin or ballet, had lasted long. Her mother would move, or money would run out. Writing was the only thing she had been able to keep up, all that time. Would she have married him if he had taken her to the movies rather than to such an obvious symbol of the stability and wealth she had never experienced in her life? One of his ancestors had fought with Washington at Valley Forge. Three years later, when she walked down the aisle of the Episcopal church in her white silk Laura Ashley wedding dress, she wondered if now, finally, she was becoming a real American.</p> <p>Dóra watched the wall coming down on her boyfriend’s television as well. He was an East German studying in Hungary, and eventually, although he did not know it then, he would have a German passport and travel freely throughout the EU as a financier. Dóra would see his name long after in a newspaper article covering his indictment for fraud, but she would have lost touch with him by then. She had decided that she would never marry, after seeing her best friend Ildikó finish her graduate degree, marry a dentist, immediately get pregnant, and take a government job that offered two years of maternity leave. Now when Dóra visited her suburban house, all she did was complain about her swollen ankles. Her other best friend Anna was going to be an actress, and they had decided together over the Tokaji served at Ildikó’s wedding that they would never get married, never put husbands ahead of their ambitions or careers.</p> <p>Her first year at Harvard Law School, during the misery of a long-distance relationship and the realization that she hated law the way she hated calculus, although calculus had a moral purity that the study of law lacked, Dora received a letter:</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Dear Dora:<br><br>I hope you will excuse my English, which is probably quite awkward. I have not studied it formally since high school, or what we call gymnasium. Our grandmother received a letter with your address in it, so I thought I would write and say hello. Hello! Do you know about me? Has our mother told you? Perhaps you have seen photographs.<br><br>I have seen photographs of you, and I think we look very much alike, except for the hair. Mine is much shorter, and I think yours is lighter? Perhaps you have lightened it. Mine is very practical, for with university classes I do not have much time to take care of my appearance. I think yours is more pretty!<br><br>When I learned that you were at Harvard, I was most impressed! I am at Eötvös Loránd University, which I think is the best university in Hungary, perhaps like Harvard in the USA. I am studying comparative literature. When I finish my degree, I hope to become a teacher, but really I would like to write. I have had some of my poetry published already. I would send you some, but I think you do not speak Hungarian.<br><br>I hope that you will write back to me, and also that perhaps someday we may meet, now that the political situation has changed.</p></blockquote></figure> <figure class="wp-block-pullquote has-text-align-right"><blockquote><p>Puszi (that means I kiss you),<br><br>Dóra</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p>It took Dora three days to write back.</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Dear Dóra,<br><br>It’s good to hear from you. Strange, but good. Harvard is a lot less impressive than you would think. To be honest, I kind of hate law school. What I really want to do is be a writer. Coincidence, hunh? I’m writing a fantasy novel—it’s like <em>The Chronicles of Narnia</em>, but from the White Witch’s point of view. It’s in my desk—sometimes I work on it when I’m supposed to be studying.<br><br>I have a boyfriend—his name is Jefferson (no joke, it’s one of those Southern names, his father and grandfather both have the same name so he’s actually “the Third”) but I call him Jeff. We’re engaged, but he’s down in Virginia, in medical school.<br><br>Yes, I know about you—not much, though. Tell me about yourself. Do you like school? What do you do in your spare time? What is our grandmother like?<br><br>Do you know Mom changed my name? You wrote Muszbek on the envelope, but it’s been Méliès for a long time now. No one knows how to pronounce it, and in middle school some of the kids called me Smelly. And then in high school it was “Hey, Malaise!” Sometimes people think it’s Mexican and start talking to me in Spanish.<br><br>I have to go study for my crim exam—my professor is a famous criminal defense lawyer. He’s always on talk shows. Yesterday, he told us that if we ever found evidence implicating our clients, we should hide it. Which is, um, illegal? Anyway, sorry if I sound really spacey. I just don’t feel like I belong here, you know? Write again, and I hope to meet you some day.</p></blockquote></figure> <figure class="wp-block-pullquote has-text-align-right"><blockquote><p>Love,<br><br>Dora<br><br>p.s. Tell me about Dad?</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p>Every couple of months, Dora would get a letter on thin blue airmail paper. Every couple of months, Dóra would receive the same. Dora would sit at her desk in the Cambridge apartment she shared with a roommate, and then in her apartment in Brooklyn, New York, with a cat on her lap. Dóra would sit at the kitchen table in the Budapest apartment, and then on the sofa in her own tiny apartment in the same building. And they would read…</p> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I am very sorry to tell you that our grandfather is going to a home for old people. He has Alzheimer’s disease (I hope that is the right word) and cannot remember whether he lit the stove or where his shoes are. Our grandmother is afraid he will hurt himself. I am very sad to see him go. I remember when I was little, and I walked holding his finger. Sometimes he does not remember who I am.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>We’ve planned the wedding for the summer after I graduate. I’ll take the bar exam in July, and then we’ll get married in August, which is a little crazy. But Jeff got a residency in New York, so I’ve taken a job at one of the big firms there. It’s not what I want to do, but I’m $80,000 in debt (!!!) so I have to figure out a way to pay it off. Mom said she would help me, but instead she bought another house.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I had a wonderful visit to Prague with my boyfriend. I mean my new boyfriend, Attila—I met him after Dietrich, who decided to move back to Germany. Attila is a filmmaker and also a photographer. He took a photograph of me that I like very much. I am hoping that if I can have this poetry book published, I can use the photograph on the back cover. It is very difficult to publish anything in Hungary nowadays because of the economic situation.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>It’s not very good, but here’s the story I mentioned: “Swan Girls.” I’ve given up on the novel—I don’t have much time to write anymore, and anyway, I don’t think I’m ready to write one. So I’m going to focus on finishing short stories and sending them out to magazines. Meanwhile, I’ve started taking the Kaplan course for the bar exam. Kill me now.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I spent a week in Balaton with our grandmother. I do not know if you remember the house our grandfather built. I hope someday you can come see it. It’s not very luxurious, for there is no heating or hot water. But there is a large plum tree in the garden. We made a great deal of lekvár (plum jam). I am enclosing a little embroidery that our grandmother asked me to send you. She is very sorry that she cannot write to you herself, but nowadays she has a pain in her hands—rheumatism, I think you say?</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Here are some pictures of the wedding. I wish you could have been there—you could have been my bridesmaid, instead of Jeff’s sister! In the end, Mom didn’t show up. She even called Jeff’s dad, the cardiologist, to tell him that he should call it off—as though he could have. Basically, she doesn’t like Jeff, she doesn’t like the fact that we got married at his parents’ house (as though we could have afforded anything else), she <em>hates</em> the fact that I took his name and refuses to call me by it. At this point, you probably have a better relationship with her than I do, despite the fact that you’re on the other side of the Atlantic.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I am sad to write that our father’s mother has died. She was a very sweet woman who lived in a village near Debrecen. I did not know her well, because I was only able to visit a few times, but she always sent me Christmas gifts she made herself. Last year she knitted me a hat that I like very much, with a pattern of roses. I remember she had a garden full of beautiful roses, red and pink and yellow. I do not think our grandfather will last much longer. It is so hard losing the old people. They have seen so many things, and when my life is difficult, I remember how much more difficult it was for them, living through the war.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>The truth is, New York scares me. I’m working on the forty-second floor of a skyscraper in Manhattan, and all I can think about is what would happen if I fell out the window. One day the window cleaner came and actually <em>opened the window and leaned out and cleaned it. </em>He had on a harness, but I was watching him through the doorway and I swear I had to go to the bathroom and throw up. All I want to do is leave here, as soon as Jeff finishes his residency.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Here it is, my poetry book! I am so sorry that you cannot read it in Hungarian, but I have translated one of the poems for you. Of course a translation can never be as good as in the original language, but I hope you will think it is not too rotten. I do like the cover, and I think the photo Attila took of me is very good. It has even been nominated for a small poetry prize for emerging European writers!</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I’m really lonely. Jeff has to be at the hospital all the time, and when he’s not working he’s sleeping. So when I’m not working it’s just me and Cordelia. This is Cordelia! (In the picture—she’s such a fluffball!) I found her wandering around the apartment house parking lot, mewing at me and running away whenever I got close to her. I watched her for a few days, then caught her in a Havahart trap baited with tuna. For a couple of days she hid under the bed, but then she started letting me pet her. Right now, she likes to knead my lap and chew on my finger, both of which<em> hurt</em>. Meanwhile, I’m trying to repay my law school loans as fast as I can—we’re basically living on Jeff’s salary so I can pay them off. I have a plan, but I don’t want to say anything about it yet, because I’m not sure it will work. If it does, I’ll have time to write, and I’ll be doing something I’ve wanted to do for a long time…</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I met our mother. It was a strange meeting, as you told me it would be. I am sorry you have not spoken to her in some time. She told me how disappointed she was that you are leaving the law and going back to graduate school. I tried to explain how much you dislike being a lawyer, how tired you are, working late every night. But she said I was a typical Hungarian. She thinks socialism has ruined Hungary, that we are all lazy, only wanting to be comfortable. She says that in the family, she is the only entrepreneur. I know she makes a lot of money, but is she truly happy? She does not sound like a happy woman. She and our grandmother quarreled a great deal, so I often went to my own apartment, or to see Attila. I do not know why they quarrel so much, but it is all about the family, about how our grandfather is being taken care of at the nursing home, and some of his cousins I have not seen in many years because our grandmother does not like them and tore up their pictures.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>So first of all, today a billionaire threw a pen at me! He’s a client of the firm, and I was at his company’s office doing the legal work for a complete reorganization of its subsidiaries. He needed to sign something, so he borrowed my pen, and then he didn’t want to walk all the way back to me, so he threw it. At least the cap was on—it hit me right in the chest. He’s a Swedish media mogul, with blond hair combed over his balding head, and he can only be in the US a certain number of days a year for tax reasons. I’m pretty sure I’m going to use this in a story someday… In the meantime, here’s a copy of the magazine! They sent me two. Ignore the babe in chain mail on the cover. I think my story’s actually pretty intellectual, definitely not genre fantasy. It’s on p. 12, “Tale of the Rose.” My first professional sale!</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Attila wants me to live with him—he has a large apartment in Buda and is doing very well for himself. My friend Anna says he would make a good husband—he is handsome, hardworking, very talented at his photography. Yesterday we went to my favorite restaurant, the Építészpince Étterem, at the Architectural Institute behind Múzeum utca. I had hortobágyi palacsinta, which is very filling, but I am a little thin just now because I have been working so hard. He talked to me about the future, about how he would like to build his business. He said someday we should be married and have children, a boy and a girl. Or two boys, but at least one boy for him. Anna says I am foolish not to move in with him, that life as a single woman is very hard. But I want to stay in my little apartment and write poetry. Is that foolish, do you think?</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I’m glad I met him while he was here, although it was pretty awkward—I didn’t know what to call him. I couldn’t just say “Dad” after all these years. He didn’t have much time because he was one of the keynote speakers at the conference, but I took the subway up to Columbia and we found a cafeteria where we could sit and talk. You’re right, he does look sort of like one of those old film stars. I still don’t understand what happened between him and Mom, and I probably never will. He showed me pictures of Judit and Eszter. They both look just like him, very blonde and blue-eyed. I suppose I take after Mom. He said he hoped someday I would be able meet them. He also said he was proud of you—he called you “very clever, and really a good writer.” I thought you would like to know that! Sometimes I wonder… but it’s not really worth thinking about how life would have been different if I’d been someone else. I’m not, that’s all.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I am very, very sorry to tell you that our grandfather has died. Here is a little sketch that our grandmother did for you, so you can remember him. It is of him as a young man, when she first knew him. It makes me very sad to look at…</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>We’re leaving New York on Sunday! We gave away almost everything we’ve accumulated here—anyway, most of it was from thrift shops, because it’s not as though we can afford real furniture. We’re only taking as much as we can pack in the car—books, clothes, and Cordelia, who’s probably going to drive us crazy, mewing the entire way to Boston. It’s hard to believe we’ve been here three years. Everyone at the law firm stared at me incredulously when I told them I was leaving to go back to grad school. I didn’t even mention that my loans are COMPLETELY paid off. I’m really glad Jeff got that fellowship at Mass General. It will be nice being back in Boston, or at least better than New York.</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I have been offered a position as a teacher at the university—I am what you might call a “lecturer.” I thought of finding a position abroad as Attila wants, but if I leave Hungary, who will take care of our grandmother? She is getting old now, and it is difficult for her to carry groceries up the stairs. I am grateful that our mother is sending money, but grandmother needs someone to live here, to make sure she is taken care of. I go almost every night to have dinner with her, so she will not be alone. Dora, I feel as though there is something missing from my life. Is it a husband? A child? Another book? I look at the future and I cannot see it as any different from now, living in this little apartment, teaching classes at the university, having dinner with grandmother, quarreling with Attila. Perhaps I am one of those people who will never accomplish anything?</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>I’ll be in Hungary for a whole month. It’s not as though I have any money, but I’m going to use part of my student loans for the year (loans again! I’ll never get out from under them). I’ll fly to Frankfurt, and from there to Budapest. Can you tell me how to get from the airport to the apartment? Honestly, I’m a little scared. But if I don’t do it now, I don’t know when I’ll be able to. After this summer, I have to start writing my dissertation, and Jeff and I have been talking about having a baby… Anyway, my life seems to consist of doing things that scare me—I don’t know, maybe that’s very American, or maybe it’s just me. SO, SEE YOU IN JUNE!</p></blockquote></figure> <div style="height:20px" aria-hidden="true" class="wp-block-spacer"></div> <p>I wondered what would happen when Dora and Dóra met for the first time. Would it be like a science fiction movie? Would they merge into one another, or create some sort of space-time anomaly, or combust? I was apprehensive.</p> <p>But no. They just went out for ice cream.</p> <p>Dora’s Lufthansa flight landed at Budapest Ferihegy International Airport, which was so small that passengers walked from the landing strip to the terminal. She went through customs, showing her American passport almost with a sense of shame, and announced the reason for her visit: tourist. Then, as Dóra had told her, she took the airport shuttle into the city, to Kálvin tér. She pulled her wheeled suitcase over the cobbled intersection to Múzeum utca, found the apartment building, and rang the bell for her grandmother’s apartment. When she heard the front door buzz, she pushed it open: it was a small door cut into the larger one that had once opened to admit carriages into the building’s central courtyard.</p> <p>Budapest was changing. On the streets, in the late 90s, you could see Mercedes and Peugeots, but still some Trabants, looking like toy cars next to the French and German models. Slowly, building by building, the soot of the Communist era was disappearing, although some of it remains even now, a reminder of the past. Buildings were being repainted in the distinctive colors of Budapest: lemon yellow, pale rose, pistachio, burnt umber. The old Hungarian flag, with the crown of Szent István at its center, was flying again. There were beggars on the streets, and rich Russians and Germans going to the casinos that had sprung up and would be gone by the end of the decade. The buildings on Kálvin tér were being either restored or replaced by modern contraptions of steel and glass. Soon, next to the bakery and antiques store selling Zsolnay and Herend, there would be an international hotel. Soon, not too soon but in the foreseeable future, Hungary would join the European Union. There would be a California Coffee Company on the corner of Múzeum utca, selling Italian coffee, a Hungarian interpretation of American sandwiches, and sour cherry brownies. But that was in the future for Dora and Dóra. That is in the future you and I know.</p> <p>“Hello!” Dóra called out, standing by the apartment door, as Dora made her way up the stairs. “Do you need help with your luggage?”</p> <p>“No, I’m fine, thanks.”</p> <p>“Did you have a good flight?”</p> <p>“Yes, but I think Frankfurt airport is the most confusing place in the world.” Their voices echoed off the stone walls.</p> <p>Dora reached the second-floor landing. This is when I might have expected a combustion, a space-time vortex, or something equally spectacular. Instead, there was the awkward dance of an American who goes in for a hug and a Hungarian who tries to kiss you on both cheeks—like two people waltzing who are both trying to lead.</p> <p>Dóra helped Dora with her suitcase. For the first time since she was a child, Dora walked down the hallway of her grandmother’s apartment. It had not changed. The ceilings were still high, although not as impossibly high as they had once been. The walls were still painted a pale yellow, faded now. They were still covered with her grandmother’s paintings of flowers, boats on Lake Balaton, a few friends. The tall windows still opened onto the park around the museum.</p> <p>“Ah, Dóra! Nagyon szép vagy!” Her grandmother was several inches shorter than her, with white hair in a sensible cut, wearing a housecoat. What would it have been like growing up here, in an apartment with furniture that had no doubt been bought cheaply in the 1950s and was beginning to fall apart, and doilies crocheted by her grandmother on every surface, and the clear light of Budapest coming through the windows? What would it have been like growing up with a woman who called her nagyon szép, very pretty? Well, she had only to ask Dóra.</p> <p>“Would you like something to eat? Nagyi is making dinner, but perhaps I can give you a little something beforehand. Do you like pogácsa?” Dora nodded. For parties, her mother had made the small biscuits, spreading butter on the dough, folding it over, letting it rise, rolling it and spreading butter and folding again. Dóra put several on a small plate.</p> <p>She looked curiously at her American self, the one who had gone away and grown up across the ocean. Dora was the same height, but a little heavier than she was, almost chubby. Her hair was longer, lighter in color. In a letter, she had mentioned getting “highlights.” She wore makeup, but it was less visible, unless you knew how to look for it: the colors more natural, the application subtler. Her clothes were newer, more fashionable, and her suitcase was heavy. What did she have in there? (A curling iron, among other things.) Also she seemed more confident than Dóra, as though she wore invisible armor that she never took off.</p> <p>They sat in the living room, which had once been Dóra’s bedroom as well. Their grandmother had gone into the kitchen to finish cooking dinner, but she had left old family photographs. Dóra explained who they were, the men in wool suits, the women in silk dresses trimmed with lace, the babies of either gender in christening gowns of white lawn. “Your grandfather’s father was a schoolteacher. And here is his wife, your great-grandmother, holding your grandfather.” How strange that this toddler, looking distinctly feminine in an embroidered cap, would grow up to become an engineer, and live through the Second World War, and finally forget the life he had known, dying in a home for old men, most of them veterans. Dora felt time pressing down on her, time and tragedy, the way she never did in America, where even the air seemed new. Time and tragedy were, she would discover, as much a part of Budapest as the sunlight and the ice cream vendors. “And there is the home that our grandmother grew up in. It was a farm, a very large farm, owned by the church, and her father was the… manager, you say? Or supervisor? It was a hereditary position, but he had no son, and anyway the Communists took it. Now it is a museum. Our grandmother went to art school in Szeged, and that is where she met our grandfather.”</p> <p>Dóra wanted to talk about more than the past, more than black-and-white photographs. But now was not the time, and anyway dinner was ready. They ate at the kitchen table: a pörkölt with noodles and cucumber salad. Dora realized that all the dishes her mother had made, her signature dishes at dinner parties, had been only an imitation of Hungarian food, like a ghost. This was the real thing, with the right ingredients: beef from the local butcher, paprika grown in Szeged or Kalocsa. It was like the Hungarian language, both familiar and utterly alien. She felt a sense of dislocation that had nothing to do with the food or jet lag. When she had last tasted these flavors, she had been a child.</p> <p>“Nagyi, that is what I call her, like grandma, it is an affectionate term. She says that she missed very much seeing you grow up. She says you are very tall and pretty, like me. These plums came from our house in Lake Balaton. Perhaps you would like to go down there? During the summer we go down almost every weekend to pick the plums. There is a train that takes us to Szántód, that is where the house is located. She says she will do a painting of you. After dinner, she wants to show you all her paintings, but perhaps you would like to go for a walk and see Budapest? We could get ice cream.”</p> <p>Dora nodded and smiled at the little old woman who was nodding and smiling at her, talking in rapid Hungarian. She was sure Dóra was not translating, could not translate, it all—and it was coming back to her, just a little. No, Dóra was saying, I will not tell her again how sorry you are that you do not speak English. She knows. She already knows. Dóra felt the strange irritation of being in two worlds, translating between her grandmother and her American self. Why could Dora not have learned Hungarian? Then they could all speak comfortably, but here she was, trying to think in two languages at once. She saw something in Dora, an unconscious arrogance in how she carried herself, that she both disliked and envied. Dora ate the pörkölt and noodles—called nokedli—and cucumber salad as though she would never taste them again, as though that particular complexity, the hot sweetness of paprika, the coolness of cucumber in vinegar and sour cream, would once again be lost to her. Was she really here? She swallowed the last bite of pörkölt and wished she could lick her plate clean.</p> <p>After dinner, Dóra washed the dishes and Dora dried. Then Dora put on a jacket, for it was growing chilly—the evenings are often chilly even in summer, said Dóra. Be careful, be careful, said their grandmother behind them, as though they were still children. Together they walked down to Kálvin tér, then turned left onto Vámház körút, a large commercial street that led toward the river. “I’ll take you to Váci utca,” said Dóra. “There are many places on Váci utca to eat ice cream.” They passed a pharmacy, clothing stores, restaurants with signs that said “Traditional Hungarian Dinner 2500 Ft.” And there was the Nagy Vásárcsarnok, the Central Market Hall that had been built a hundred years before, where the tourist buses stopped and their grandmother liked to buy vegetables, doing her marketing each day with a string bag. Across the street was Váci utca, and yes, right there in the square was an ice cream vendor.</p> <p>If you want to know what Hungarian ice cream tastes like, from any ordinary street vendor in Budapest, go to the best Italian gelato shop you can find in New York City. That’s what it tastes like, except some of the flavors are distinctly Hungarian, like somlói galuska, which is the ice cream version of a Hungarian dessert that involves sponge cake, raisins, and walnuts soaked in a chocolate rum sauce.</p> <p>Dóra asked for scoops of chocolate and citron, Dora asked for scoops of hazelnut and raspberry. Dora insisted on paying. “Would you like to walk down Váci utca?” asked Dóra.</p> <p>But across the square…</p> <p>“Is that—” said Dora.</p> <p>“Yes, that is the Duna,” said Dóra.</p> <p>There it was, the river over which so many armies have fought, down which so many ships have sailed: the Danube. They walked to the embankment and stood looking over the railing at the stone steps that went down into the water. It was as green as jade. Dora vaguely remembered a Hungarian swinging song in which someone was thrown into a river. “Hinta palinta,” it started, but she could not remember the rest. She felt like crying. Instead, she bit into her ice cream cone.</p> <p>Dóra looked down at the river she had seen so many times, crossed so many times in her life. Attila’s apartment was on the other side. Usually, she took the trolley over. For the first time, she saw it as something immensely old, immensely powerful, and she wondered if she would ever get away from it. Perhaps she ought to marry Attila and move to Germany? Or even France? But then what about Nagyi? For a moment, she hated Dora, who would stay for a month in a city she obviously thought was magical, eating magical food, going to all the museums, trying her best to speak the language, laughing when she could not wrap her tongue around it. And then she would fly away on an airplane, waving a passport with an American flag on the cover. That was another kind of magic. Dora thought she had never had such good ice cream in her life. She was beginning to feel better: perhaps it was the air? It seemed so light, not like the heavy air of Boston. She finished the bottom of her cone, into which she had pushed the last of the raspberry with her tongue.</p> <p>There we stood, the one or two or three of us: Dora, Dóra, and Dora/Dóra, separately and together, looking down into the jade-green water of the Danube as it flows through Budapest.</p> <p>There were things neither Dora nor Dóra knew, but I will tell you. Dora did not know that she would have a child, a red-haired girl named Cordelia with eyes blue and green and gray as the Atlantic, who would never wonder whether she was truly American. She did not know that she would get divorced or become a professor at a university, although it would take her longer than she wanted or had planned. Dóra did not know that Attila was already having an affair with a model, and that he would move to France without her. Before she was entirely over that betrayal, she would meet an Englishman who was teaching at the International School. With him she would move to England, and it would all be easier than she imagined because Hungary had joined the EU, and also because Nagyi had died at the respectable age of ninety-six. The apartment was left empty, with paintings curling on the walls and dust gathering on the furniture, although she would try to go back as often as she could. But by then she was doing a graduate degree at Oxford, and also she would have a little boy named after his father, although she and Arthur would never marry, because who got married anymore? They were committed to each other—that was enough.</p> <p>Dora and Dóra kept in touch by email, and they became Facebook friends. They “liked” and commented on each other’s posts. When Dora was going through the divorce, it was Dóra she turned to. When Dóra lost the second baby and learned she could not have another, she texted Dora and they talked for hours, despite the time difference. Dora traveled to England. Dóra traveled to the United States. Their children got into a fight about which Doctor Who was the real one, the ninth or tenth.</p> <p>One summer, they both returned to Budapest, to the apartment. They were in their forties now. Dora was a college professor, in a beige linen Ralph Lauren skirt she had bought at a thrift store, which she liked to wear when she traveled because no one expected linen to be ironed, right? And a black t-shirt, a scarf with large orange poppies. The days of ripped jeans were long behind her. Coincidentally, Dóra was also wearing a black t-shirt, but with black leggings and a long cardigan. She had brought three pairs of leggings, three t-shirts, and two cardigans that could be combined into various outfits. Whenever she could, she avoided checking luggage on Ryanair because it cost so much, and it was so much of a hassle waiting afterward at the carousel. Anyway, nowadays she could buy almost anything she needed in Budapest.</p> <p>“I think Mom doesn’t want to take care of the apartment anymore,” said Dora. “The heater in one of the rooms needs to be repaired—honestly, I think it hasn’t been serviced since it was converted to gas. The bathtub needs to be replaced, and really the whole bathroom needs to be updated. It’s got to be forty years old. The problem is, I was hired full-time in September—finally! It’s great—I’m tenure-track, I get health insurance, a whole benefits package. But I have almost no savings. This apartment is worth what, probably around $80,000?”</p> <p>“But you said she was willing to work out a payment plan? I don’t have that sort of money either—Arthur and I can barely afford to live in London. Thank goodness Artie can go to the school where he teaches for free. But working for a university press—I don’t know, perhaps it was a mistake. I’ve thought about moving back to Budapest, but Arthur wants Artie to grow up in England.” Dóra pushed her hair behind one ear. Sitting cross-legged on the sofa, she certainly didn’t look forty-six. Dora would have to ask about her face cream. “I don’t know why I keep writing poetry. It’s not as though I’m ever going to make money at it. I’m invited to these conferences—come to Finland, they say. Do a reading, speak on a panel. We will pay your registration fee. But I still have to pay the travel and hotel. I’m not sure it’s worth it.”</p> <p>“When is your book coming out?” Dora put her plate on the table. When Dóra had arrived from the airport, she had fixed them a snack: bread and körözött, since Dóra was still vegetarian. Her own book, the second to be published, was coming out in September, just in time for their forty-seventh birthday. Her first book, a short-story collection, had been published ten years ago, to good reviews. But the publisher had gone out of business during the recession, and it had fallen out of print. There were still copies floating around on Amazon and ebay. It felt so late to be publishing her second book—and first novel. She should have done it years ago, but there had been her daughter to raise, and a graduate degree to finish, and Jeff had made so little during the long years of a cardiology fellowship with a specialty in heart surgery that she had gotten good at mending the holes in her underclothes so she would not have to buy new ones. And then trying to find a full-time teaching job, and the divorce. <em>I am</em>, she reminded herself, <em>doing the best I can</em>. Now, for the first time in a long time, the ground seemed solid under her feet.</p> <p>“Next month,” said Dóra. “I’m pleased with it, but who will read it? So few people read poetry nowadays. I have to beg for reviews!”</p> <p>“But you win prizes. Actual important ones.”</p> <p>Dóra shrugged. “At any rate, the problem is that neither of us have much money. How much would she be willing to take a month in a payment plan?”</p> <p>“Three hundred. Dollars. I don’t know what that is in pounds, but I could google it on my phone. I have an international data plan. Could you afford half? And then we could fix it up, little by little. Kicsi by kicsi! I swear, that Hungarian class is going to kill me.” She had been in Budapest for two weeks, and would be here another two, taking intensive Hungarian. So far she had figured out that Hungarian was the complete opposite of English, and that it made her brain hurt. “But honestly, I think my pronunciation is pretty good. I’m going to set the second book in the series here in Budapest. Monsters in Budapest!”</p> <p>“See, you will have readers. That is what people want nowadays, an adventure story to read on an airplane or at the beach. No one wants poetry.”</p> <p>“They mostly watch videos on airplanes.” On the Swissair flight, Dora had watched <em>John Carter</em> with Chinese subtitles because she had not known how to turn them off, a British comedy starring Judy Dench, and a Bollywood musical. “I think I could afford one fifty. But I don’t know, do we even want to own an apartment together?”</p> <p>“Yes,” said Dóra. “Yes, we do. We spent our childhoods here, remember? Me more than you, of course, but there are so many memories here. It will be about a hundred pounds a month—I can afford that. And I would like Artie and Cordelia to have this, someday.” She put her plate down and wiped her mouth with the paper napkin. “We should buy a washing machine…”</p> <p>Dora put their dishes in the sink, and then they walked around the apartment, talking about paint colors and how to clean out the pantry, which still had jars of lekvár in it put up twenty years ago. Dora had long hair in a braid, darker now that she was dyeing it. Dóra had short hair, going gray, in a bob that swung around her chin. They were both on diets because, as Dora said, as soon as you set foot in the US or UK after having been in continental Europe, you gain five pounds. Dóra sometimes went to church, to Catholic Mass—more often since this new Pope, who seemed more liberal and enlightened than his predecessors (just look at his encyclical on climate change). Dora was vaguely spiritual in a way that combined mindfulness and pop quantum mechanics. She thought of herself as a pantheist: surely spirit was everywhere, in everything? Also, string theory. Both of them believed, more than anything else, in the power of the written word, in the sacredness of literature. Both were afraid of growing old. Dora was afraid of growing old alone. Dóra sometimes felt as though her relationship with Arthur was a miracle. At other times, when she saw that he had left the breakfast dishes on the table for her to clean up, she imagined different ways she could murder him without being caught. Perhaps, instead of poetry, she should write murder mysteries?</p> <p>“We’ll have to replace most of the furniture,” said Dora. “At least everything is cheap here, since the recession. I think we should make it look the way it’s supposed to, nothing modern. As though it were still a palace, filled with antiques.”</p> <p>“Then I think we’ve made a decision,” said Dóra. “We can call our mother later. Right now, I would like to go for a walk. I have been on the tube, and then an airplane, and then the shuttle bus all day!”</p> <p>“I need to buy vegetables at the Nagy Vásárcsarnok. See, isn’t my pronunciation good? Let me get the shopping bag.”</p> <p>They walked down the stone stairs, out the passageway and into the light of the summer afternoon. The linden trees were in flower and releasing their fragrance. They passed the California Coffee Company and the Hotel Mercure Korona, then headed down Vámház körút toward the river.</p> <p>I’m not sure who said it, Dora or Dóra: “Fagylalt!” It could have been either of them, calling for ice cream.</p> <p>“There’s a new ice cream place called Levendula, right across from the Nagy Vásárcsarnok,” said Dora. “I pass it every morning on my way to the language school. It has all sorts of unusual flavors, and the cutest shop. Painted lavender!”</p> <p>They stopped for ice cream: one cone of lavender citron and chili dark chocolate, one cone of pear ginger and caramelized fig. Then, carrying their cones, they walked down to the Liberty Bridge—the Szabadság híd, Dora reminded herself—which had recently been repainted, and looked over the railing at the river, as they had twenty years before. It was a darker jade now: to their right, the sun was beginning to set, sending fingers of pink and orange over the water.</p> <p>“It’s so different, and so much the same,” said Dóra.</p> <p>Up the river, they could see Castle Hill, that palimpsest of historical periods and styles, going back a thousand years. It was already lit up for the night. Downriver, to their left, were new apartment and office buildings, many unoccupied because the effects of the recession still lingered. This was a Budapest with no Trabants in it, with Tescos on the street corners, where Dora could withdraw money at the OTP Bank out of her American bank account using an ATM that told her the exchange rate. Of gay pride parades and right-wing political parties that talked about a Greater Hungary. Tomorrow morning, Dóra would go to the California Coffee Company, order a kicsi latte, and find a quiet corner where she could use the free Wi-Fi to Skype with Arthur and Artie.</p> <p>And yet here was the Danube, flowing as it had flowed when Szent István was crowned the first king of Hungary in 1000 AD. With embankments and bridges, but the same river.</p> <p>“Váci utca?” said Dora, finishing the bottom of her ice cream cone, into which she had pushed the last of the pear ginger with her tongue. “You know, I think Budapest has the most beautiful light in the world. Van Gogh would have loved it here.”</p> <p>“Yes, I need to find some perfume,” said Dóra. “I hope the perfume shop is still there. Everything changes so quickly nowadays.”</p> <p>Twenty years earlier, she had turned to Dora and said, “Would you like me to show you Café Gerbeaud? It is a very famous coffeehouse, dating from the nineteenth century. It’s a little bit of a walk to Vörösmarty tér, but I think perhaps you would like to walk after being on an airplane.” She and Dora had walked slowly up Váci utca, going into the antique stores, agreeing that they both preferred Zsolnay to Herend, which they found a little kitschy. Agreeing that they did not like the shops that catered to tourists, discovering they shared a taste for the desert called madártej, that their favorite holiday was Christmas—Karácsony in Hungarian. Becoming friends.</p> <p>They would not always like each other, they would not always agree—Dora said it was stupid not to have a clothes dryer and Dóra maintained that air-dried clothes smelled better, and also Americans were spoiled. But in years after, whether they were twenty-six or forty-six, when either of them felt that sick sense of darkness and despair that comes upon you at 3 a.m. or in the middle of a cocktail party, they would call or email or text. And the sense we get, that we are after all alone in the world, would go away, for they were not alone—they had each other.</p> <p>I cannot tell you any more of this story, for I do not know it myself. I am Dora and Dóra, not a fortune-teller. The future is always a series of threads that we cast ahead of us, with only partial control over how they are woven. Our lives are a collaboration with fate, and the best we can hope for is a hand to hold in the darkness, a voice on the other side of uncertainty—another who, when called, will answer “I am here.”</p> <div style="height:5px" aria-hidden="true" class="wp-block-spacer"></div> <p class="has-sm-font-size">Excerpted from <em>Letters from an Imaginary Country</em>, copyright © 2025 by Theodora Goss.</p> <p>The post <a href="https://reactormag.com/excerpts-letters-from-an-imaginary-country-by-theodora-goss/">Read an Excerpt From &lt;i&gt;Letters from an Imaginary Country&lt;/i&gt; by Theodora Goss</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/excerpts-letters-from-an-imaginary-country-by-theodora-goss/">https://reactormag.com/excerpts-letters-from-an-imaginary-country-by-theodora-goss/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826648">https://reactormag.com/?p=826648</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 06:13 pm

Star Trek: Discovery Cast Thought They’d Get a Sixth Season, Says Anthony Rapp

Posted by Vanessa Armstrong

News Star Trek: Discovery

Star Trek: Discovery Cast Thought They’d Get a Sixth Season, Says Anthony Rapp

Rapp also shares what he wanted to see happen to Paul Stamets in that anticipated sixth season.

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Published on October 8, 2025

Credit: CBS Studios

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/star-trek-discovery-season-six-anthony-rapp/">https://reactormag.com/star-trek-discovery-season-six-anthony-rapp/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826825">https://reactormag.com/?p=826825</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/star-trek-discovery/" class="inline-block link-no-animation" aria-label="Link to term or tag Star Trek: Discovery 1"> Star Trek: Discovery </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Star Trek: Discovery</i> Cast Thought They’d Get a Sixth Season, Says Anthony Rapp</h2> <div class="prose post-hero-description prose--post-hero">Rapp also shares what he wanted to see happen to Paul Stamets in that anticipated sixth season.</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 October 8, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: CBS Studios</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/star-trek-discovery-season-six-anthony-rapp/#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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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 loading="lazy" decoding="async" width="740" height="494" src="https://reactormag.com/wp-content/uploads/2020/11/307-engineering-stamets-740x494.jpg" class="w-full object-cover" alt="Anthony Rapp as Paul Stamets kinda smiling" srcset="https://reactormag.com/wp-content/uploads/2020/11/307-engineering-stamets-740x494.jpg 740w, https://reactormag.com/wp-content/uploads/2020/11/307-engineering-stamets-1100x734.jpg 1100w, https://reactormag.com/wp-content/uploads/2020/11/307-engineering-stamets-768x513.jpg 768w, https://reactormag.com/wp-content/uploads/2020/11/307-engineering-stamets.jpg 1200w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: CBS Studios</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>It was a surprise to both fans and the cast of <em>Star Trek: Discovery </em>when Paramount canceled the show <a href="https://reactormag.com/star-trek-discoverys-fifth-season-now-coming-out-in-2024-will-be-its-last/" target="_blank" rel="noreferrer noopener">after its fifth season</a>. Anthony Rapp, who played Paul Stamets on the show, confirmed this at the recent STNJ: Trek to New Jersey convention (via <a href="https://trekmovie.com/2025/10/07/anthony-rapp-says-star-trek-discovery-cast-expected-season-6-could-see-stamets-teaching-for-academy/" target="_blank" rel="noreferrer noopener"><em>TrekMovie</em></a>), saying that the cast was even given probable dates for when season six would start production before they all got the sad news.</p> <p>He also added that the producers pitched a two-hour movie to wrap things up after season five, which the studio didn’t go for, though he was still grateful for the “gift” of being able to shoot the coda for the series that flashes forward to where the characters all end up.</p> <p>Rapp also said he didn’t know what the writers had planned for a sixth season, though he did share his own thoughts on what his character would have explored in those episodes.</p> <p>“I think that the enormously challenging question that [Stamets is] facing in all of season five is: What’s next after his life’s work was culminated in the mycelial network and spore drive and all of that made possible? ‘Now what?’ is a really, incredibly meaningful question that we as human beings have asked ourselves sometimes. And that was to be very fertile and potent ground [for a potential sixth season]….”</p> <p>The good news for fans of Stamets, however, is that there’s a chance we might see Rapp reprise the character in the upcoming series, <em>Starfleet Academy, </em>which will see <em>Discovery </em>co-star Mary Wiseman as a guest star, as well as at least a cameo from <a href="https://reactormag.com/star-trek-discoverys-doug-jones-hints-saru-might-make-appearance-in-starfleet-academy/" target="_blank" rel="noreferrer noopener">Doug Jones’ Saru</a>, and Tig Notaro’s Jett Reno as a series regular.</p> <p>Rapp said at STNJ that he’d love to return as well. “Since they like to bring people back, we’ll see,” he said. “I would absolutely say yes. I would love to inhabit the skin and soul and heart of this incredible scientist, Paul Stamets, again.”</p> <p><em>Starfleet Academy </em>is currently expected to premiere on Paramount+ in early 2026. [end-mark]</p> <p>The post <a href="https://reactormag.com/star-trek-discovery-season-six-anthony-rapp/">&lt;i&gt;Star Trek: Discovery&lt;/i&gt; Cast Thought They’d Get a Sixth Season, Says Anthony Rapp</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/star-trek-discovery-season-six-anthony-rapp/">https://reactormag.com/star-trek-discovery-season-six-anthony-rapp/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826825">https://reactormag.com/?p=826825</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 05:48 pm

Prey Is Finally Getting the Theatrical Release Director Dan Trachtenberg Says It Was Made For

Posted by Molly Templeton

News Prey

Prey Is Finally Getting the Theatrical Release Director Dan Trachtenberg Says It Was Made For

The 2022 film is showing as part of a Predator double feature.

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Published on October 8, 2025

Image: David Bukach. © 2022 20th Century Studios

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<p class="syndicationauthor">Posted by Molly Templeton</p><p class="ljsyndicationlink"><a href="https://reactormag.com/prey-predator-badlands-double-feature/">https://reactormag.com/prey-predator-badlands-double-feature/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826803">https://reactormag.com/?p=826803</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/prey/" class="inline-block link-no-animation" aria-label="Link to term or tag Prey 1"> Prey </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Prey</i> Is Finally Getting the Theatrical Release Director Dan Trachtenberg Says It Was Made For</h2> <div class="prose post-hero-description prose--post-hero">The 2022 film is showing as part of a Predator double feature.</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/molly-templeton/" title="Posts by Molly Templeton" class="author url fn" rel="author">Molly Templeton</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 October 8, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Image: David Bukach. © 2022 20th Century Studios</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/prey-predator-badlands-double-feature/#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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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 loading="lazy" decoding="async" width="740" height="416" src="https://reactormag.com/wp-content/uploads/2022/10/Predator-Prey-movie-02-740x416.jpg" class="w-full object-cover" alt="Amber Midthunder as Naru in 20th Century Studios&#39; PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved." srcset="https://reactormag.com/wp-content/uploads/2022/10/Predator-Prey-movie-02-740x416.jpg 740w, https://reactormag.com/wp-content/uploads/2022/10/Predator-Prey-movie-02-1100x618.jpg 1100w, https://reactormag.com/wp-content/uploads/2022/10/Predator-Prey-movie-02-768x432.jpg 768w, https://reactormag.com/wp-content/uploads/2022/10/Predator-Prey-movie-02.jpg 1500w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Image: David Bukach. © 2022 20th Century Studios</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>In 2022, Dan Trachtenberg&#8217;s first <em>Predator</em> film, <em>Prey</em>, was a hit—beloved by critics and audiences and the <a href="https://mashable.com/article/most-watched-tv-shows-movies-streaming-what-to-watch-aug-12" target="_blank" rel="noreferrer noopener">most-streamed</a> movie the week of its release. But it was only available on Hulu, not in movie theaters. The reasons for this were somewhat corporate and technical.</p> <p>&#8220;I mean, look, we made it to be a big theatrical experience, and on the downside, it’s not being released that way,&#8221; Trachtenberg told <a href="https://uproxx.com/movies/prey-dan-trachtenberg-interview/">Uproxx</a>, &#8220;So Hulu hasn’t really had… There hasn’t been a 20th franchise baby that has come out yet. So they’re hoping to really ignite the platform to say, &#8216;We’re not just putting out the smaller, lower-budget fare. That this is also a place to have giant cinematic experiences.'&#8221;</p> <p><em>Prey</em> deserves a giant cinematic experience, and now it&#8217;s finally getting one. On November 5, it&#8217;ll be released in theaters as part of a double feature with the new <em>Predator: Badlands</em>. This is a teensy bit of a sneak preview for the new film, which technically comes out on November 7th.</p> <p><em>Prey</em> stars Amber Midthunder as a young Comanche woman who wants to be a hunter, though she&#8217;s trained as a healer—a useful skill when she and her tribe encounter an alien. <a href="https://www.empireonline.com/movies/reviews/prey/" target="_blank" rel="noreferrer noopener"><em>Empire</em> called it</a> &#8220;Effortlessly the best <em>Predator</em> movie since the original,&#8221; writing, &#8220;<em>Prey</em> proves that, against all expectation, there’s life in the franchise yet, not to mention a thrilling new lead in Amber Midthunder.&#8221;</p> <p>Tickets for the <em>Prey</em>/<em>Predator: Badlands</em> double feature are expected to be available <a href="https://www.amctheatres.com/movies/prey-predator-badlands-double-feature-81739">here</a> (the site was live earlier but seems to have since been taken down). There&#8217;s currently no word on if AMC or other theaters will offer additional screenings. [end-mark]</p> <p></p> <p>The post <a href="https://reactormag.com/prey-predator-badlands-double-feature/">&lt;i&gt;Prey&lt;/i&gt; Is Finally Getting the Theatrical Release Director Dan Trachtenberg Says It Was Made For</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/prey-predator-badlands-double-feature/">https://reactormag.com/prey-predator-badlands-double-feature/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826803">https://reactormag.com/?p=826803</a></p>
Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 05:00 pm

Two Stables Both Alike in Dignity: Edgar Allan Poe’s “Metzengerstein”

Posted by Sarah

Books Reading the Weird

Two Stables Both Alike in Dignity: Edgar Allan Poe’s “Metzengerstein”

Maybe one *should* look a gift horse in the mouth…

By ,

Published on October 8, 2025

cover of Ten Great Mysteries by Edgar Allan Poe (TAB, 1960)

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 Edgar Allan Poe’s “Metzengerstein,” first published in January 1832 in the Saturday Courier. Spoilers ahead!


The narrator gives no date to his tale, for “horror and fatality have been stalking abroad in all ages.” At this unspecified time, however, Hungarians held a “settled although hidden belief in the doctrines of the Metempsychosis,” that is, in the immortality of the soul, which after death transmigrates into another body, human or animal. The narrator doesn’t assert that this belief is either true or false, but opines that incredulity comes from the inability to be alone (“vient de ne pouvoir etre seuls.”) He further opines that the Hungarian superstition approaches absurdity in an essential difference from Eastern beliefs in reincarnation: The Hungarians suppose that a soul lived only once in a tangible body, after which, whether in the form of a horse, a dog, or even a man, it has but little tangible (material) resemblance to these animals.

The noble houses of Berlifitzing and Metzengerstein have been foes for centuries. The supposed origin of their enmity is an ancient prophecy: “A lofty name shall have a fearful fall when, as the rider over his horse, the mortality of Metzengerstein shall triumph over the immortality of Berlifitzing.” The houses are political rivals and uneasy neighbors, for the Berlifitzings can look from their battlements into Castle Metzengerstein and seethe over its superior magnificence, themselves being of a less ancient and wealthy line.

Wilhelm, Count Berlifitzing, is an old and infirm man, remarkable for his hatred of the Metzengersteins and his passion for horses and hunting. Frederick, Baron Metzengerstein, lost his father, and soon after his mother at age fifteen. Nevertheless, he immediately succeeded to the title and its numerous estates. After his inheritance, Frederick surpasses all expectations in the “shameful debaucheries—flagrant treacheries—unheard-of atrocities” he commits. Nor can his subjects count on either their own submission or his conscience to keep them safe from “the remorseless fangs of a petty Caligula.”

Four nights after the old Baron’s death, the Berlifitzing stables catch fire, a conflagration the neighborhood adds to Frederick’s other enormities. Meanwhile, the young Baron sits in an apartment hung with tapestries depicting the exploits of his ancestors: powerful clerics, fierce warriors, and beautiful ladies. While he listens to the uproar outside, his eyes fix on a tapestry depicting a Saracen ancestor of Berlifitzing slaughtered by a Metzengerstein knight. In the foreground, a huge fiery-colored horse stares at its fallen rider. Frederick smiles at the unconscious direction of his gaze, but is simultaneously anxious. He forces his gaze away, but his attention returns to the tapestry-horse.

The image has swung its head toward Frederick, its eyes gleaming red, its teeth bared. Frederick totters terrified toward the door; as he flings it open, ruddy firelight throws his shadow onto the tapestry so that it aligns with the figure of the triumphant Metzengerstein.

Seeking relief in the open, Frederick meets three equerries at the castle gate. They’re struggling to restrain the wild plunges of a gigantic, fiery-colored horse, the “very counterpart” of the tapestry-steed. The men caught the beast flying “smoking and foaming with rage” from the burning Berlifitzing stables. Yet the Count’s servants denied he owned any such horse, even though the initials W. V. B. were branded on its forehead. Frederick decides to keep the horse, for “perhaps a rider like Frederick of Metzengerstein may tame even the devil from the stables of Berlifitzing.”

He’s taken aback to hear from a page that a portion of tapestry from an upper apartment has disappeared. Another servant announced that Berlifitzing has died in the stable fire trying to rescue his hunting stud. Frederick seems “slowly and deliberately impressed with the truth of some exciting idea.”

Thereafter Frederick begins to “disappoint every expectation” of the neighboring aristocracy by keeping to his own domain and refusing all invitations. Eventually his haughtiness insults his noble peers. Invitations cease. Berlifitzing’s widow is heard to hope that “the Baron might be at home when he did not wish to be at home, since he disdained the company of his equals; and ride when he did not wish to ride, since he preferred the society of a horse.” Indeed, if Frederick has any companion, it’s the fiery-colored steed. The more demon-like its ferocity, the greater becomes his fervor to master it. Noon and night, fair weather or foul, in health or sickness, he seems “rivetted to the saddle of that colossal horse.” Such is Frederick’s “unearthly and portentous” mania that he keeps this horse in a separate stable and cares for its needs himself, no one else venturing to approach it. Not even the three men who captured it can remember touching the animal. Its physical prowess is uncanny, as is its peculiar intelligence and human-seeming expressiveness of gaze, from which even Frederick sometimes shrinks.

An “insignificant and misshapen little page” asserts that the Baron never mounts the horse without a shudder,” but always rides home with a “triumphant malignity” distorting his features.

One tempestuous night, Frederick rides the horse into the forest, no uncommon occurrence. In his absence, however, the Castle Metzengerstein is engulfed by “a dense and livid mass of ungovernable fire.” Servants and neighbors can only watch the conflagration and await their lord’s return. At last the fiery-colored horse pounds into sight carrying a convulsively struggling Baron, no more able to master it than the servants can master the fire. His attire is disordered, his lips bitten through with terror; a single shriek tears from him before the horse leaps the castle moat and bears him into the whirlwind of flames!

Immediately the storm ceases, but white flame still enshrouds the castle, shooting its glare high into the sky and illuminating the smoke that “settled heavily over the battlements in the distinct colossal figure of—a horse.”

What’s Cyclopean: It’s hard to pick a single sample of this week’s neon violet prose. There are shameful debaucheries and flagrant treacheries. There are singularly unmeaning phrases spoken by the unusually energetic. It’s all, to quote Poe, very “silly.”

The Degenerate Dutch: No one listens to the “misshapen little page, whose deformities were in everybody’s way” when he suggests that the Baron fears his new horse.

Weirdbuilding: If you’re in a Poe story, you should just assume that the architecture is going to collapse. Standing in a doorway will not protect you.

Ruthanna’s Commentary

Poe is a master of melodramatic language and vocabulary. He’s not always a master of plot, and the former doesn’t always sufficiently mask (masque?) the latter. Anne’s summary is of reasonable length, but if it’s too much, one could sum up: “Hungarians have some weird ideas about reincarnation. Once, a guy’s mortal enemy died and went into his tapestry horse, and eventually killed him in poetically appropriate fashion.” Romeo and Juliet it’s not.

I dunno, maybe I’m just not in the right mood for gothic heebie-jeebies this week? Or maybe there’s a reason I haven’t previously heard of this one.

I honestly think it’s the lack of commitment to the bit. Narrator keeps pointing out how “silly” various plot points are—and yet, they’re not any sillier than color-coded rooms at an end-of-the-world party. Was Poe on deadline? Why not cut the portentous hags and incidental prophecies of doom, if they didn’t satisfy him? Simply cutting his own self-criticism would’ve at least toned down the big flashing arrows. [Anne reveals the background details below—it being his first story does make me somewhat more forgiving. He learned his lessons later.]

It hardly requires prophecy for two families, both alike in dignity, to develop a generation-spanning blood feud. I have, admittedly, managed to avoid it with all my neighbors, even the Chicago suburbanites who kept trying to mow my lawn to their specifications. But throw in a little high-density vocabulary and a better castle, and I’m sure I could’ve managed it.

Here, that vocabulary is dressed up with some Latin and French. The Latin’s a good one; quoth Martin Luther: “I was a plague alive. Dying, I will be your death.” Nice. The Berlifitzings are not exactly principled leaders of new idealist movements, but the last Metzengerstein seems to have some similarities to the Borgias whose excesses pricked Luther. Poe goes on about Herod and Caligula instead. It’s a rare leader who can ensure that their name is a byword for cruel excess a thousand years later, but a handful manage it. Probably not Berlifitzing, though; he doesn’t get enough time.

The one similarity with R&J is that a poorly-raised 15-year-old is not in a position to make good decisions. It’s perfectly possible that, without the intervention of Tapestry Horse, he would’ve gone on to a full career of decadence and cruelty, but it’s also possible that he would’ve grown up, at least a little. Perhaps take after “the beautiful Lady Mary”? Admittedly, we don’t know that she wasn’t cruel and decadent, only that narrator pines for her beauty. And for her beautiful death. STOP ROMANTICIZING TUBERCULOSIS, EDGAR!

(Autocorrect got to my note on this part, so I quote: “What the duck is wrong with you?”)

Of all these unsympathetic characters, I have the most sympathy for old Berlifitzing. If you’re obsessed with horses, wouldn’t the best death be not tuberculosis but brief reincarnation as the wildest and most dangerous of the animals you love? Sure, there’s bloody vengeance to wreak—everyone’s got responsibilities—but in the meantime you get the strength and speed and grace of all your favorite mounts.

Eventually, of course, you’ll have to disappear in a puff of ominous horse-shaped smoke, but you can’t have everything.

Anne’s Commentary

I first read “Metzengerstein” not in a horror anthology but in a collection of horse stories. I found it in the children’s section of our city library, among the Marguerite Henry and Walter Farley novels, so it must have been deemed safe fare for horse-crazy little girls. Evidently, no librarian noticed it included the first story in John Steinbeck’s serial novella, The Red Pony. “The Gift” ends when young Jody’s beloved pony has wandered off, dying of strangles. Jody finds him still twitching and set upon by buzzards, one of which is dripping pony eye fluid from its beak. Jody beats the buzzard to a very gory death.

After that, “Metzengerstein” seemed all sweetness and light, if tough going for a kid with all that untranslated French and Latin. At least the horse won in the end. I wasn’t sure what “shameless debaucheries,” “flagrant treacheries” and “unheard-of atrocities” consisted of, nor did the name “Caligula” ring a bell. No matter. I gathered this Frederick guy deserved his fiery fate. The way people impose its creator’s name on Frankenstein’s monster, I imposed the name Metzengerstein on the horse. It was the title, after all, and the horse was the hero. Count Berlifitzing reincarnated would have stomped me flat for such an insult.

Am I the only one who finds “Berlifitzing” harder to pronounce and spell than “Metzengerstein”? Evidently Poe made up both names for this, his first published story. He had entered it in an 1831 contest sponsored by the Philadelphia Saturday Courier. He lost the prize to Delia Bacon’s “Love’s Martyr,” which, let’s face it, was less a jawbreaker of a title. However, the Saturday Courier liked Poe’s entry so well that it published it on January 14, 1832, a week after Bacon’s winner.

When Poe republished “Metzengerstein” in the Southern Literary Messenger, he added the subtitle “A Tale in Imitation of the German.” This has led some critics to believe that Poe wrote the story as a satire of the German Gothic style. Others, with whom I side, argue that “Metzengerstein’s” fatalistic dread and dark atmosphere disqualify it as a work intended to ridicule its inspiration. An article by Elizabeth Peek, Poe’s Gothic Soul in “Metzengerstein,” provides an excellent overview of Poe’s “Germanism.” She writes:

“Although he was never known to set foot on German soil, Edgar Allan Poe managed to craft a lofty presence there… Themes of romanticism, gothicism, and Germanism are certain in Poe’s work. “Metzengerstein,” in particular, can be diagnosed with every symptom of gothic fiction: it is based in the Middle Ages, reveling in the terrifying side of the human soul, all while featuring classical gothic elements of royalty, specters, and revenge… Germans not only relish Poe’s creations, but they also honor his tragic background. Poe’s writing is seen as more authentic and more valuable, as it is not the only thing about him that emits a stench of terror and the fantastic—Poe’s life did as well.”

As usual, scholars ponder autobiographical echoes in “Metzengerstein.” Might the 22-year-old Poe have fashioned the 15-year-old Frederick after himself: an orphan with unruly tendencies exaggerated for lurid effect? Might Berlifitzing be a stand-in for Poe’s foster-father, John Allan, with whom Poe had a rocky relationship? I don’t know. It could have been cathartic for Poe to kill off an adversarial patriarch-figure. It could also have been perverse ecstasy to imagine himself into a character fated to self-destruct so spectacularly.

The metempsychosis angle of the story deserves more space than I have left. Its roots are surely much deeper than Orphism, Pythagoras, Plato, and the reincarnation models of the Hindus and Buddhists. Worldwide, prehistoric cultures have imagined that one life isn’t nearly enough for an immortal soul to sort out its problems and potentials. Also, that it might be cool to return as an animal, especially if you could pick your next form. That would’ve been an easy choice for Berlifitzing, the horse fanatic, and he even got to refashion his equine incarnation into a perfect weapon for vengeance. Poe suggests the Hungarian model of metempsychosis differed from that of the “Eastern authorities” in the notion that a soul could inhabit only one tangible or material form; its vessels thereafter would have little tangible resemblance to the animal form selected. Note that the men who capture the fiery horse never actually touch it, nor does anyone try after Frederick becomes its sole caretaker. The horse may be spectral, donning a powerful illusion of reality only for its intended target.

I’m trying to figure out which animal I’d transmigrate into. I could choose shorter-lived species so I could hop into many different forms over a given time period, or I could choose a long-lived species, so I don’t have to keep choosing.

An Aldabra tortoise could live over two hundred years; a Greenland shark, over five hundred. Or I could go for a deep-sea glass sponge and hang around over 10,000 years. Wi-fi reception can get really spotty in the chilly depths, though, a serious consideration.

A colossal horse with supernatural abilities is looking better and better.


Next week, we hope for illicit assignations in Chapters 9-11 of Lucy Snyder’s Sister, Maiden, Monster.[end-mark]

The post Two Stables Both Alike in Dignity: Edgar Allan Poe’s “Metzengerstein” appeared first on Reactor.

Reactor ([syndicated profile] tordotcom_feed) wrote2025-10-08 04:00 pm

The Divine (and Not-So-Divine) Mysteries of Tron

Posted by Sarah

Featured Essays Tron

The Divine (and Not-So-Divine) Mysteries of Tron

A video game world populated by messiahs, angels, gods, and devils.

By

Published on October 8, 2025

Credit: Walt Disney Productions

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-divine-and-not-so-divine-mysteries-of-tron/">https://reactormag.com/the-divine-and-not-so-divine-mysteries-of-tron/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826542">https://reactormag.com/?p=826542</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/featured-essays/" class="inline-block link-no-animation" aria-label="Link to term or tag Featured Essays 0"> Featured Essays </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/tron/" class="inline-block link-no-animation" aria-label="Link to term or tag Tron 1"> Tron </a> </span> </div> <h2 class="post-hero-title text-h1">The Divine (and Not-So-Divine) Mysteries of <i>Tron</i></h2> <div class="prose post-hero-description prose--post-hero">A video game world populated by messiahs, angels, gods, and devils.</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/robert-repino/" title="Posts by Robert Repino" class="author url fn" rel="author">Robert Repino</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 October 8, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: Walt Disney Productions</p> </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 loading="lazy" decoding="async" width="740" height="423" src="https://reactormag.com/wp-content/uploads/2025/10/tron-poster-1982-740x423.jpg" class="w-full object-cover" alt="Tron (Bruce Boxleitner) and Yori (Cindy Morgan) from the poster for Tron (1982)" srcset="https://reactormag.com/wp-content/uploads/2025/10/tron-poster-1982-740x423.jpg 740w, https://reactormag.com/wp-content/uploads/2025/10/tron-poster-1982-1100x629.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/10/tron-poster-1982-768x439.jpg 768w, https://reactormag.com/wp-content/uploads/2025/10/tron-poster-1982.jpg 1400w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: Walt Disney Productions</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>Some messiahs are dangerous because they spread lies. But others are far more dangerous because they’re telling the truth. In science fiction and fantasy, the “good” messiahs (or chosen ones, prophets, whatever) tend to represent a religion or ideology that is ultimately real, or demonstrably true. That makes sense. After all, few people want to root for a hero who is dedicating their life to a myth. In the real world, however, it’s rarely that simple. Belief, faith, and a sense of hope, meaning, and purpose are rarely, if ever, verifiable. Trusting a messiah can be as terrifying as it would be liberating and exhilarating. Many would argue that this tension is what makes faith worthwhile, and that the lifelong process of interpretation and discovery are more rewarding than the finality of some testable prediction.</p> <p>The Tron franchise—about to launch <a href="https://reactormag.com/tron-ares-trailer/" target="_blank" rel="noreferrer noopener">its third movie, <em>Tron: Ares</em></a>—has tinkered with these ideas in some surprising, though at times uneven, ways. Steven Lisberger, director of the original <em>Tron</em> (1982), has framed the movie’s allegory in mostly secular terms, <a href="https://www.polygon.com/tron-ares-2025-movie-steven-lisberger-creator-interview/" target="_blank" rel="noreferrer noopener">saying that</a> the film “can be considered a metaphor for our world,” with all its conflicts and clashing ideologies. Yet the imagery and language in the film comes across as almost deliberately religious, so much so that many viewers have mapped their own <a href="https://www.reelworldtheology.com/the-legacy-of-tron/" target="_blank" rel="noreferrer noopener">theologies</a> <a href="https://www.overthinkingit.com/2009/09/29/tron-religious-subtext/" target="_blank" rel="noreferrer noopener">onto</a> <a href="https://www.patheos.com/blogs/religionprof/2009/03/tron-the-gods-have-become-like-one-of-us.html" target="_blank" rel="noreferrer noopener">the</a> <a href="https://collider.com/tron-anniversary-power-of-belief-explained/" target="_blank" rel="noreferrer noopener">story</a>.  </p> <p><em>Tron</em> takes place in two connected worlds: the real meatspace where humans live, and a computer network, which is depicted as a futuristic neon city populated with programs that appear as individual people. Typically, a program in the digital world resembles the User who created them. As one human character describes it, “our spirit remains in every program we designed.” But a renegade artificial intelligence called the Master Control Program (or MCP, voiced by David Warner) seeks to control the network by severing the connection between the humans and their electronic counterparts. In this new dictatorship, programs are expected to renounce any belief in the Users, which the MCP’s security forces label a superstition punishable with “deresolution” (i.e., execution).</p> <p>But the MCP has other perceived enemies in the outside world. One of them, a hacker named Kevin Flynn (Jeff Bridges), is trying to break into the network to find his successful video game design that the corporation stole from him. Using a sophisticated laser, the MCP zaps Flynn into the network, where he materializes as just another program. There, the MCP forces him to join the others in endless gladiator-style matches that mimic some of Flynn’s video games.</p> <p>The champion of these games is a quiet hero named Tron (Bruce Boxleitner), who looks exactly like his designer. Like most programs, he carries a disc with all his memories that can be used as a projectile weapon, like a flying, circular lightsaber. Tron, we are told, “fights for the Users,” and his power is so great that the MCP presumably lets him live so that, one day, Tron can be coerced into service. Flynn, however, may be even more powerful, for his knowledge of the games, and his ability to manipulate the digital world as if by magic, allow him to directly challenge the authoritarian system.</p> <p>In the climactic battle, Tron and Flynn infiltrate the MCP’s stronghold. To help Tron destroy the MCP, Flynn leaps into the nerve center of the system, corrupting it long enough for Tron to deliver the killing strike. This apparent sacrifice tosses Flynn back into the real world, where he collects his stolen data and takes down the corrupt corporation. Meanwhile, the programs celebrate a newfound freedom as the MCP is “derezzed”.</p> <p>This brief summary ticks many boxes for religious themes across various traditions. Depending on how you frame it, Flynn’s initial journey could be compared to an angel descending from heaven, or a soul finding a new body. Later, Flynn’s sacrifice results in a resurrection and a redemption—or maybe an ascension to some higher plane of existence, having proven himself worthy.</p> <p>Another element is revelation. In one of the most beautiful sequences in the film, Tron communicates with Alan, his User (also played by Boxleitner). To make contact, Tron journeys to an input-output tower, which resembles a holy place, guarded by a wise old program. When Tron asks if he may commune with his User, the old one responds: “All that is visible must grow beyond itself and extend into the realm of the invisible.” That strange introduction, along with the wonderful score by Wendy Carlos, gives the setting a mystical feel. Here, one could interpret Tron as performing some ritual, or a prayer. Instead of kneeling, he lifts his disc and watches as it rises into a glowing light. From there, he receives a message from Alan that shows him how to defeat the MCP. A download becomes a spiritual union with the other side.</p> <p><site-embed id="16909"/></p> <p>Many observers have described the MCP as a kind of devil character. Like Lucifer, he is a superior angel who nevertheless turns on the creators who made him so special. Despite his immense power, the MCP’s evolution has changed him in ominous ways. He is rendered as a massive, expressionless face, seemingly sealed in place and issuing orders to his demons from the lowest circle of hell. A more humanist take could frame him not as the devil of Western theology, but as one of many failed godlings from around the world. At the end of the film, as the MCP is dying, the massive face gives way to a miserable old man, who almost seems relieved that the end has come, much like the Authority in the <em>His Dark Materials</em> series by Philip Pullman.</p> <p>But it is the messiah figure, and his burgeoning cult, that might be the most compelling religious element in the film, though the story leaves a lot to the viewers’ imagination. First, there remains the question of whether Tron or Flynn should be regarded as the story’s chosen one. Tron has the charisma and the following, but Flynn is the one who sacrifices his life to save the world and is later born again. So, co-messiahs then? I’m not sure.</p> <p>That aside, the film implies that Tron’s devotion to the Users has garnered a following. When Flynn first enters the digital world, the MCP’s henchman Sark (also played by Warner) warns the newly captured programs to avoid “this superstitious and hysterical belief” in the Users. Clearly, there are enough believers to alarm the MCP. However, we meet only a couple of those followers. That absence leaves so much to explore, from the adherents’ everyday rituals and customs, to the authority figures and sacred texts, to the possibility that Tron might one day use his power to become a new version of the MCP. Rather than going into detail about any of that, the film settles for a straightforward battle climax similar to the Death Star sequence in <em>Star Wars</em>, and doesn’t touch the question of what might come next, when one system of belief abruptly yields to another.</p> <p>Maybe I’m asking too much. The exploration of religious themes I’m envisioning would bloat the movie with even more exposition. As much as I enjoyed the very late sequel <em>TRON: Legacy</em> (2010), some critics have argued that it gets a little too heavy-handed with its philosophical and spiritual monologues. Moreover, there is a gentler way that the original movie handles some of the biggest questions it poses. Around the midway point of the 1982 film, <a href="https://www.youtube.com/watch?v=z4eNi0zJxdA" target="_blank" rel="noreferrer noopener">Flynn reveals to Tron that he’s a User</a>. Instead of falling to his knees, Tron simply asks a few questions. “If you <em>are</em> a User,” he wonders, “then everything you’ve done has been according to a plan, right?” Flynn scoffs at this idea. For him, morality, identity, and destiny come down to this: “You just keep doing what it looks like you’re supposed to be doing, no matter how crazy it seems.” Tron has some trouble accepting this, but he’s so humble and curious that he continues to ponder its meaning. “Stranger and stranger,” he says to himself, smiling.</p> <p>If you have thoughts on this moment, or a different interpretation, please chime in, but I think Tron’s remarkably chill response is in keeping with the fact that his religion, if we can call it that, is demonstrably real. Whenever confronted with some intractable debate about morality or meaning, I’ve often asked: “Wouldn’t it be great if God (or, the gods) could just show up and tell us what to do?” But for Tron, this is no longer a question that torments him, or drives him to some heroic deed. The gods have descended into his world, appeared right in front of him, and have told him—and <em>shown</em> him—the truth, without the need for exegesis, translation of cryptic texts, trust in an inscrutable god, debates about uncaused causes, or rituals to commune with the other side. For Tron, learning that the Users are regular people like him is simply another discovery among many. In the process, he may lose the wonder and mystery of faith, but he also avoids the cognitive dissonance and the soul-crushing silence.</p> <p>Imagine how different this film would be if Tron never got to know <em>for sure</em> that the Users were real, and if he could never truly “extend into the realm of the invisible.” Imagine the long-term consequences for this world, with rival messiahs speaking for the humans on the other side, and skeptics declaring the Users to be dead, or to have never existed at all. Those deep personal conflicts with the unknown and the spiritual are difficult to depict in a tale of adventure, and their outcomes often remain deeply personal, which is why, I suspect, so many stories understandably avoid them.</p> <p>As intrigued as I am by that possibility, I’m grateful that the deities of this world went easy on Tron by revealing themselves. With a god in his ear, and a mission that he has freely chosen to undertake, there is no need for him to experience some existential crisis, nor to demand some ultimate, objective meaning to his quest, as if his creators would owe him such a thing. In this interpretation, the messiah is knocked down a peg, from a divine being to a regular person just doing what it looks like they’re supposed to be doing, with the tools and the information at hand. Hoping to find meaning and purpose, while trying not to get derezzed. When the gods turn out to be less than you’d hoped for, sometimes that’s the best you can do.</p> <p>What are your thoughts? Do you have a different read on the religious elements in Tron? Let me know in the comments…[end-mark]</p> <p>The post <a href="https://reactormag.com/the-divine-and-not-so-divine-mysteries-of-tron/">The Divine (and Not-So-Divine) Mysteries of &lt;i&gt;Tron&lt;/i&gt;</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-divine-and-not-so-divine-mysteries-of-tron/">https://reactormag.com/the-divine-and-not-so-divine-mysteries-of-tron/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=826542">https://reactormag.com/?p=826542</a></p>