A post-human civilization of synthetic beings, fixated on the concept of children, grapples with the meaning of life…after life ceases to exist.
A post-human civilization of synthetic beings, fixated on the concept of children, grapples with the meaning of life…after life ceases to exist.
On a trip to Italy, a woman stuck in a crumbling relationship discovers the city she loves holds a secret that could change her life…
A Russian émigré poet living in Paris is visited by a mysterious bear with an agenda…
There are worse things than a local gangster’s cronies lurking in New Jersey’s wetlands…
A banished warrior teaches her treacherous uncle that once made, some oaths cannot be broken…and some monsters cannot be chained.
Commander Niaja vrau Erezeng is up against an enemy that doesn’t just destroy all the beings, ships, and planets in its path, but also consumes their greatest arts, somehow scratching them from existence everywhere…
While all her friends’ fish are changing into mermaids, is 12-year-old Anissa’s fish becoming something else?
When the waters rose, the people who stayed on the River learned they weathered the storms best together, but what happens when one of their own becomes curious about the Land?
A photographer’s obsession with an unsettled subject exposes two friends to a darkness that won’t be contained by frames…
There are over 250 Spider-People in Spider-Man: Across the Spider-Verse, up from just seven in Spider-Man: Into the Spider-Verse. Surely it wouldn’t be possible to give our protagonist, Miles Morales, our meaty storyline. And then, when the film started off with an extended sequence featuring Gwen Stacy, I was convinced that Miles was going to be a passenger in his own sequel. With a glut of Spider-People, new villains and multiple universes to introduce, how would the writing-directing team behind Spider-Man: Across the Spider-Verse focus on Miles and make the film his story?
Shopping seems like a fairly innocuous task for a character in a book to undertake. After all, how tough could it be to get some milk, bread, and a bit of cheese? But the truth is, markets—whether of the goblin, faerie, night, or miscellaneous varieties—are more likely to be eldritch pits of danger, filled with challenges and some truly ugly (as well as breathtakingly magical) moments.
Authors rarely set an entire book within the confines of a market experience (though stories like Fran Wilde’s “Unseelie Brothers, Ltd.” might center around a particular fey-run shop), but the fantasy markets their characters encounter are often critical inflection points where heroes, villains, and sidekicks collide. Journey with us to nine unique, fantastical fictional locales to buy and sell your wares—and maybe learn a few things about yourself, and your world, in the process.
We’re in the midst of an animation renaissance of sorts, with new and electrifying creative visions bursting into the mainstream. Spider-Man: Across the Spider-Verse is the latest groundbreaking phenomenon to hit the zeitgeist; the sequel expands on stunning success of the previous movie, which redefined the rules of animated storytelling and captured the hearts of mainstream audiences all at once.
For folks who grew up in the ’90s and the preceding decades, Disney tended to dominate the scene when it came to animated films. That’s not to cast aspersions on the House of Mouse, but in my experience, many of those Disney kids didn’t continue loving animation into adulthood, which means they’re missing out on some truly great art and storytelling. I’ve written twice before about this very topic, so this is a loosely related third installment in my animation saga, which began by questioning seemingly negative attitudes toward the medium, then continued with a deep dive into three specific test cases.
Now, to complete the trilogy, I thought I’d simply discuss five of my favorite animated works not made by Disney. I’m also leaving Studio Ghibli out of the mix, since their work is already widely popular, though consider this sentence a blanket recommendation for pretty much any and every Ghibli movie…
The second installment of Good Omens is coming our way at the end of July, and based on the clip that Amazon just released, it looks like Crowley (David Tennant)—like many of us (all of us, really)—is musing about what’s the point of everything, anyway?
It is clear that the fifth (and final, if Harrison Ford and Lucasfilm are to be believed) Indiana Jones serial intends to be a “return to form” right from the opening credits—which pointedly use the exact same font as the opening credits of 1981’s Raiders of the Lost Ark. (The irony of trying this move when the very first sight in the film is Disney’s 100th anniversary logo cannot be overstated.) This would seem to be a bit of wishful thinking on the part of director/co-writer James Mangold, the man who Hollywood has decided should be the go-to for aging heroes and their final chapters, after his success with X-Men’s Logan.
Dial of Destiny is by no means a return to form. It’s only half of a good movie, in fact. But that half, funny enough, is still lingering in my mind.
[Some spoilers for Indiana Jones and the Dial of Destiny]
Photo: Greg Rakozy [via Unsplash]
I’ve always been in love with stars. It’s why my young adult novel, Sometime in Summer, spends so much time looking up, and it’s why I find myself drawn to stories that do the same. Imagine exploring the cosmos from your couch, floating through asteroid fields while wearing your pajamas. Whether set on Earth or floating somewhere above it, based in our world or set in a fantasyland, the following books all left me feeling a little less alone in the vast expanse of space.
Join me in a rousing chorus of “Johnny Has Gone for a Soldier,” if you like. Then we’ll jump right in.
It was kind of an odd idea in the first place: a prestige series based on a stylish but hardly-a-blockbuster ’90s film? Could work, could be weird. But it’s not to be, at least not on its intended network. Variety reports that Showtime “is not moving forward” with several projects, one of which is Gattaca.
Promotional image from The Day of the Triffids (Warner Bros. Pictures)
“Invasive species” is such a judgmental term. After all, it’s the nature of life to spread when it can. Humans, originally found in Africa but now global, could be seen as invasive. Is it so terrible if other species follow our example—if zebra mussels find their way into the Great Lakes, if Argentine ants find extraordinary success in Europe, or if walking, carnivorous Triffids kill and eat unwary English people? The consensus appears to be “yes,” given how invasive species are treated in science fiction and fantasy.
The Bondsman, an original horror idea from Grainger David, earned a straight-to-series order from Prime Video and now has none other than Kevin Bacon taking on the lead role. Read More »
Chuck Gross would like nothing more than to prune himself from his family tree.
We’re thrilled to share an excerpt from Sucker by Daniel Hornsby, out from Anchor on July 11.
The fictional Broadway production we saw in Marvel’s Disney+ series Hawkeye is finally about to premiere in our own slice of the multiverse! We found out in February that a one-act version of the musical based on the events of 2012’s The Avengers would be coming to Anaheim California’s Disney California Adventure park. The show’s premiere is tomorrow, and we’ve got a trailer that gives us a glimpse of what performances we’ll see.
A day out at the local amusement park sounds like some good old-fashioned summer fun: the rattle of the roller coaster cars whizzing by, the music of the carousel, the lights of the Ferris wheel, the smells of fried foods and cotton candy, the laughter and delighted screams of children as they run from one ride to the next. The amusement park is a kind of liminal space, a break from the stressors of everyday reality on the other side of the gates, a place intentionally designed for fun. But in Diane Hoh’s Funhouse (1990) and R.L. Stine’s Fear Park trilogy (The First Scream, The Loudest Scream, and The Last Scream; all 1996), that fun turns to terror and the screams are real. In addition to the horrifying events that take place at these parks, each must also reckon with a dark legacy.
Author C. L. Clark knows that revolution is only the first act in a larger story of freedom won, senses of self and worth affirmed, hearts bruised and broken. What comes after the revolution has the potential to be just as, if not more, dramatic, engaging, and heart-rending; nowhere is this on finer display than in The Faithless, the sequel to Clark’s debut novel The Unbroken. Touraine and Luca are learning that is not enough to make a change. The true battle lies in the cementing of that change once the smoke of conflict has cleared.
In news that must come as a relief to fans of From—which just ended its second season on a cliffhanger—the oddly named MGM+ series has been renewed for a third season.
When writing the script for the original series’ “Space Seed,” Gene L. Coon and Carey Wilber probably figured that setting the devastating Eugenics Wars some thirty years in the future was a safe bet. After all, television as a popular medium was less than two decades old at that point. By the time the actual 1990s rolled around, who was going to remember a line from a 1967 TV episode?
Obviously, the answer was “a lot of people.” The latest episode of SNW is a wacky time-travel adventure that is the latest attempt to reconcile Trek’s predicted future with the reality that has ensued.
If the first trailer for Dune: Part Two seemed like it might be fun sometimes—sandworm riding, and all—the second is here to remind you that it’s rarely, if ever, fun and games on Arrakis. It’s more like piles of dead bodies, explosions, and prophecies, with a bit of revenge and a whole lot of dramatic dialogue.
And hey, Gurney Halleck (Josh Brolin) is back!
James Frazer has a lot to answer for.
He was born in 1854 in Glasgow, Scotland. He became a Fellow of Classics at Trinity College, Cambridge. From there he leapfrogged sideways into folklore studies and comparative anthropology, two disciplines he knew nothing about (although to be fair, at the time, neither did anyone else really.) His masterwork was The Golden Bough, two volumes of meticulously researched albeit fairly wrong comparative mythology from all over the world. His research was conducted mostly by postal questionnaire since he wasn’t into travelling. The title of the book comes from one of the more mysterious bits of the Aeneid , where the Roman epic hero finds a magical golden branch which he then has to hand over to a priestess in exchange for passage to visit the land of the dead.