News The Hunger Games All Five Hunger Games Movies Will Be in Theaters in September I volunteer to be seated By Vanessa Armstrong | Published on July 9, 2026 Screenshot: Lionsgate Comment 0 Share New Share Screenshot: Lionsgate Have plans for early September? If you’re a Hunger Games fan, you sure do! Today, Fathom Entertainment and Lionsgate announced that all five Hunger Games films will show in theaters before the premiere of the newest movie, The Hunger Games: Sunrise on the Reaping, on November 20, 2026. “We’re kicking off the countdown to the 50th Hunger Games by inviting audiences back to the theaters to see these epic films on the big screen,” Kevin Grayson, President, Worldwide Distribution for the Lionsgate Motion Picture Group said in a statement. “Sunrise on the Reaping is the most highly anticipated Hunger Games film yet, and to get ready, we’re proud to partner with Fathom to give audiences the opportunity to experience all five original films together in theaters.” The five films heading to theaters (all of which, of course, are adaptations of Suzane Collins’ novels) are: The Hunger Games, The Hunger Games: Catching Fire, The Hunger Games: Mockingjay — Part 1, The Hunger Games: Mockingjay — Part 2, and The Hunger Games: The Ballad of Songbirds & Snakes.  The five movies will play in theaters from September 3 to 7, 2026. Where they’ll be playing depends on your location, but Fathom already has a website set up where you can get details. One thing to note is that it looks like one movie will be screening each day, in order of their theatrical release, NOT the in-universe timeline. That means that September 3 will see The Hunger Games in theaters, and the final day, September 7, will have The Ballad of Songbirds & Snakes. Fathom also released a short trailer to celebrate the event, which they are dubbing The Hunger Games: All Five Films. Happy watching! [end-mark] The post All Five Hunger Games Movies Will Be in Theaters in September appeared first on Reactor.

News The Odyssey Who’s Who in The Odyssey Cast: Every Actor and the Mythological Character They Play A cast guide for everyone who kind of remembers reading The Odyssey in school but also not really By Matthew Byrd | Published on July 9, 2026 Image: Universal Pictures Comment 0 Share New Share Image: Universal Pictures Christopher Nolan’s The Odyssey is, mercifully, not quite the mystery it once was. As we near the film’s July 17 release date, we actually know quite a bit about its premise, formats, and general, sometimes controversial, adaptation and design choices. Perhaps most importantly, we finally know the film’s (mostly) full cast. Nolan has made a habit of stacking his movies with actors that could easily lead most other productions, and The Odyssey most certainly continues that trend. In fact, between the truly stacked cast and the collection of characters you may or may not remember from The Odyssey (if they were indeed in the original story at all), it’s a little confusing to keep up with who is who in this movie. Of course, that’s probably why you’re here. So, here’s a breakdown of The Odyssey‘s cast with a little information about the characters themselves (pictures also available where possible/helpful). Matt Damon – Odysseus  Image: Universal Pictures After appearing in Interstellar and Oppenheimer in memorable supporting roles, Matt Damon finally gets to lead a Christopher Nolan movie as the king of Ithaca himself, Odysseus.  The central figure of Homer’s story, Odysseus is simply trying to return home after helping the Greeks win the Trojan War (thanks in no small part to his idea for a giant wooden horse that is not quite what it seems). The Odyssey is ultimately the story of Odysseus’ decade-long journey back to his wife, child, and throne. Renowned for his intelligence and strategic thinking, Odysseus must rely on his craftiness to overcome the many gods and monsters that turn a weeks-long voyage into a 10-year epic. A complex literary figure, tales of Odysseus have survived throughout the years partially due to the character’s versatility as a storytelling device. He can be kind and cruel, noble or savage. He’s human, warts and all, rather than a blunt instrument of towering, mythical strength.  Fun Fact: You’re not alone if you grew up referring to Odysseus as Ulysses. The latter is the Latin translation of the former, which became increasingly popular over the centuries due to various translations and the cultural impact of author James Joyce’s 1922 novel, Ulysses, which emphasized the character’s association with a long journey. Anne Hathaway – Penelope Image: Universal Pictures Hathaway re-teams with Nolan after working with the director on The Dark Knight Rises and Interstellar. Her appearance further solidifies 2026 as the year of Anne Hathaway, thanks to the actresses’ roles in this film, Mother Mary, The Devil Wears Prada 2, The End of Oak Street, and Verity.  Penelope is the wife of Odysseus who was famously beset by over 100 suitors during her husband’s absence. Her role in this story is historically defined by her attempts to ward off said suitors, largely by weaving a burial shroud she never seems to finish. Her efforts are stymied by gods and men, leading to her concocting a final challenge with a bow that demonstrates her own wit and resourcefulness.  Fun Fact: The phrase “Penelopean” is used to describe an often deliberate effort that makes little progress and is defined by repetitive actions. You may also know it as a day job.  Tom Holland – Telemachus Image: Universal Pictures Tom Holland has hardly been able to contain his excitement over finally being cast in a Christopher Nolan film. The only person more excited than Holland may be Nolan himself, who calls the Spider-Man actor one of the great performers of his generation.  Holland will play the son of Odysseus and Penelope, Telemachus. A major character in the original text, Telemachus’s journey is a coming-of-age parallel to Odysseus’ story. His struggles with his mother’s suitors force him to voyage away from his once-happy home in order to learn the truth about his father and a lot more about himself.  Fun Fact: The first four books of The Odyssey are often referred to as the “Telemachy” since they almost entirely focus on the story of Telemachus. Robert Pattinson – Antinous Image: Universal Pictures Robert Pattinson continues his incredible post-Twilight career surge by appearing in The Odyssey as the “leader” of Penelope’s army of suitors, Antinous. Antinous is, to use the parlance of our times, a lot. His lust and greed compel him to openly defy all traditions of hospitality in favor of tearing through Odysseus’s wealth and resources in the narrow-minded pursuit of Penelope’s favor. He is also determined to thwart Telemachus’ efforts to find his father at any cost.  Fun Fact: Antinous of Ithaca is sometimes confused with the real-life Greek figure Antinous who was famous for his beauty and became the eventual companion of the Roman emperor Hadrian. Following Antinous’ death, Hadrian founded a powerful cult in his name.  Lupita Nyong’o – Helen of Troy and Clytemnestra Image: Universal Pictures Not since Us have we been gifted with the joy of watching two Lupita Nyong’o performances, but Christopher Nolan is nothing if not generous when it comes to casting.  Helen of Troy you likely know as perhaps the most famous figure of beauty in all of mythology. Though a much larger figure in The Iliad, Helen of Troy plays a role in Telemachus’ journey helps demonstrate what has happened to her character since The Trojan War.  Clytemnestra, meanwhile, is the wife of Agamemnon and Helen of Troy’s sister. Despite what the dual-casting may suggest, her role is actually more of a spiritual mirror to Penelope’s story. Unlike Penelope, Clytemnestra has…moved on from Agamemnon’s absence and begins to take matters into her own hands in an effort to solidify her new life.  Fun Fact: Some stories suggest that these two are actually half-sisters as their mother, Leda, was impregnated by both Zeus and her husband Tyndareus around the same time. Helen of Troy is believed to be Zeus’ child while Clytemnestra was born from Tyndareus. The details of the Zeus-Leda relationship are… less than fun. Zendaya – Athena Image: Universal Pictures The also-always-in-demand Zendaya joins the Nolan brigade as the goddess Athena: one of Odysseus’ only divine allies throughout The Odyssey.  As a goddess of wisdom and warfare, Athena recognizes a kind of spiritual connection to Odysseus’ plight that inspires her to aid him as best as she is able against some fairly powerful odds. She often appears in disguise to render aid and even assists Telemachus on his own journey of discovery. Tom Holland and Zendaya together? Can you imagine? Fun Fact: Athena was born from Zeus’ forehead after Zeus ate Athena’s mother, Metis, upon learning that the child of Metis would grow to be more powerful than him. Zeus had his head cut open to address a headache, and fully-formed Athena clad in armor popped out. Despite the rocky start, they eventually got along quite well.  Benny Safdie – Agamemnon Image: Universal Pictures Writer/Director Benny Safdie previously appeared in Oppenheimer (as well as Super Mario Bros. Galaxy, a story for another day) and teams up with Nolan again to portray the legendary warrior Agamemnon. Agamemnon’s role in The Odyssey is actually relatively minor, though he serves as another important parallel to our major characters. Specifically, Agamemnon’s relationship with his wife and ultimate fate demonstrates a possible, far darker end for Odysseus himself. His role in Nolan’s The Odyssey looks to be slightly expanded.  Fun Fact: Agamemnon’s great-grandfather Tantalus seemingly cursed the House of Atreus when he tried to feed his son Pelops to the gods in order to test them. Jon Bernthal – Menelaus Image: Universal Pictures Jon Bernthal just feels like a natural fit for The Odyssey and the cast of a Christopher Nolan movie. The actor has this gravely gravitas that makes him both a standout addition to any ensemble and a pretty perfect choice to play Menelaus. Menelaus is the king of Sparta and Helen of Troy’s husband. Though a major figure in Greek mythology, Menelaus is a supporting figure in The Odyssey best known for helping Telemachus discover the truth about his father. Depending on how deep the movie goes, you may hear a little more about Menelaus’ own long journey home.  Fun Fact: King Menelaus is sometimes portrayed with bright red hair (a sign of fiery courage), but early photos suggest that Bernthal will be bald.  Charlize Theron – Calypso Image: Universal Pictures One of the greatest actors of her generation, The Odyssey finally gives Charlize Theron the chance to take the role she was born to play: an epically alluring entity.  Calypso is a nymph who traps Odysseus on the island Ogygia for seven long years. She desires to keep Odysseus as a lover in exchange for immortality, which causes Odysseus to have a bit of a breakdown and triggers an argument among the gods over the traveler’s captivity. Her relationship with Odysseus has long been one of The Odyssey’s most compelling plot points as the interpretations of its nature have shifted wildly over the years.  Fun Fact: Later retellings of Odysseus’ story suggest that he and Calypso actually had children together. Nausithous and Nausinous are most often described as the offspring of that captivity, though some stories suggest they had a third son. John Leguizamo – Eumaeus Image: Universal Pictures Eumaeus is a swineherd who tends to Odysseus’ livestock. He is sometimes described as one of the most loyal characters in literature, though he is also a doulos (slave) to the household, which admittedly complicates things through modern eyes just a bit. Regardless, Eumaeus is indeed defined by his remarkable loyalty to Odysseus and his family. He is unwavering in his belief that Odysseus will return and demonstrates that his kindness extends to those in need rather than those in power.  Fun Fact: Leguizamo had to endure four hours of daily “old man” makeup to transform into Eumaeus. It’s one of the more intense design decisions in a movie filled with far larger SFX set pieces.  Himesh Patel – Eurylochus Image: Universal Pictures There’s never a bad reason to cast Himesh Patel, though the rising star is particularly well-cast as Odysseus’ less-than-loyal second-in-command, Eurylochus. Eurylochus’ mistrust of Odysseus’ leadership leads to an almost comical series of disasters that result in the crew just missing their return home, mutiny, and, ultimately, the deaths of many at the hand of vengeful gods. He’s a bit of a stinker so far as such things go, and he serves as a warning for the disloyal everywhere.  Fun Fact: Eurylochus is actually something of a nepo hire as he is married to Odysseus’s younger sister, Ctimene. Elliot Page – Sinon Image: Universal Pictures The announcement that Elliot Page will play Sinon in Nolan’s The Odyssey prompted some to ask “Wait, who is Sinon?” After all, the character does not overtly appear in the original version of the story.  However, later legends reveal that Sinon was the soldier who feigns a feud with Odysseus in order to convince the soldiers of Troy to accept the gift of the Trojan Horse. Based on what we know, that’s likely the version of the character we’ll see in Nolan’s The Odyssey, though it’s not clear if the character’s role will be further expanded from there.  Fun Fact: Sinon role was popuarlized in Virgil’s Aeneid, which grew the legend of the character as a false traitor who helps infiltrates Troy.  Mia Goth – Melantho One of the servants of Odysseus’ household, Melantho is a relatively minor character in The Odyssey whose affections for the suitor Eurymachus causes her to commit betrayal. Interestingly, Eurymachus hasn’t been officially cast in The Odyssey, so it’s not clear how Melantho’s role will be affected.  Ideally, the re-imagined Melantho will get a little more to do and give the incredible Mia Goth the chance to showcase her considerable skills.  Fun Fact: Penelope actually helped raise Melantho, making her eventual betrayal that much more heartbreaking. Travis Scott – The Bard Travis Scott is playing a bard who regales soldiers with tales of historically heroic deeds in The Odyssey, though there is some debate as to whether or not his character is an entirely new creation or an expansion of an existing character. There are actually a couple of bards in The Odyssey (Demodocus and Phemius), but it’s not been confirmed that Scott is playing either of those roles. If he is portraying an existing bard, Demodocus is the better bet. Generally speaking though, it’s believed he is meant to represent the poetic storytelling style of the time.  Fun Fact: Nolan cast Scott partially because of his belief that there is a strong historical relationship between oral poetry storytelling and modern rap.  Bill Irwin – Polyphemus the Cyclops You won’t actually see much of Bill Irwin in The Odyssey, as his performance as the Cyclops involved a mix of voice work, puppetry, and CGI. Still, it’s pretty great casting for one of the story’s most memorable characters.  While Polyphemus the Cyclops is sometimes best remembered as a terrifying behemoth, it’s far more significant that he’s actually the son of Poseidon. The assault on Polyphemus triggers the wrath of Poseidon which, historically, is something you want to avoid. Fun Fact: Virgil’s epic poem the Aeneid tells the tale of a hero named Aeneas who encounters one of Odysseus’ crewmembers on the island of Sicily and learns that the sailor has been trying to avoid the blinded, enraged giant.  Samantha Morton – Circe You may know Samantha Morton from her roles in Minority Report or The Walking Dead, but she’s long been an undersung secret weapon on the indie scene capable of unleashing incredible performances out of apparent nowhere.  Circe is certainly one of Morton’s most substantial roles yet and an incredibly promising turn for the actor. She is a goddess who tricks Odysseus’ men and transforms them into pigs. A series of events and threats turns her into one of Odysseus’ unlikely allies, and one of the hero’s greatest temptations that delays his long journey home.  Fun Fact: Madeline Miller’s excellent 2018 novel Circe presents a re-imagined version of the Circe legend that expands upon the character’s sometimes subtextual portrayal as a figure caught between worlds and conflicts. Is this a book recommendation described as a fun fact? Why, yes it is. Logan Marshall-Green – Melanthius The casting of Logan Marshall-Green (who offered scene-stealing performances in The Invitation and Upgrade) as Melanthius at least suggests that Nolan’s The Odyssey is not going to entirely shy away from the most brutal elements of the story.  As one of Odysseus’ less-loyal servants, Melanthius almost gleefully betrays his former master in favor of siding with the suitors. While it’s doubtful that some of the more gruesome things that happen to Melanthius will be portrayed in The Odyssey, it’s safe to say that the betrayal does not sit well with Odysseus. Fun Fact: Logan Marshall-Green replaced Cosmo Jarvis in this role after the latter had to drop out due to scheduling conflicts.  Ryan Hurst – Mentor Ryan Hurst (who eternally looks like he belongs in every ancient epic of war) plays Mentor in The Odyssey, which probably sounds like a fairly generic role if you don’t quite recall the original text.  Mentor is actually a fairly fascinating character in his own right. He’s one of Odysseus’ most loyal friends and helped watch over his family after he heads off to war. Perhaps more importantly, Athena assumes the form of Mentor to convince Telemachus to search for his father.  Fun Fact: Yes, the meaning of the modern word “mentor” can be traced back to this character’s name in The Odyssey and his habit of offering wisdom and guidance to young Telemachus.[end-mark] The post Who’s Who in <i>The Odyssey</i> Cast: Every Actor and the Mythological Character They Play appeared first on Reactor.

News Buddy Buddy Trailer Teases a Kids’ TV Nightmare From Too Many Cooks Creator Casper Kelly What’s beneath that orange unicorn suit? Is it even a suit??? By Vanessa Armstrong | Published on July 9, 2026 Courtesy of Roadside Attractions Comment 0 Share New Share Courtesy of Roadside Attractions Gather round kids, it’s Buddy, a kid TV show character clearly modeled after my own Odyssey (sorry, Christopher Nolan): surviving a visit to Chuck E. Cheese and/or—my personal hell—a Funbox birthday party. Buddy might look like a cheery orange unicorn, but it turns out he might be a supernatural serial killer, based on today’s delightful teaser trailer. If the hoof fits! Here’s the official synopsis, to give you more of what we’re dealing with here: Remember BUDDY—the bright orange unicorn and star of that classic childrens’ television show who brought joy and life lessons into your living room? Inside the colorful world of It’s Buddy!, a group of children spend their days singing, dancing, and helping Buddy spread happiness. But when one child refuses to play along, Buddy is not pleased and cracks begin to appear in this seemingly perfect world. Today’s teaser is very much that: mostly cathode-tube scenes from It’s Buddy, with the kids on the show slowly turning their frowns upside down and crying in fear. We also get a quick shot of Cristin Milioti looking appropriately horrified. Plot details aren’t revealed, but I think the teaser tells us all we really need to know. Buddy is directed by Casper Kelly (V/H/S/Halloween, Star Trek: Short Treks, Too Many Cooks, Your Pretty Face Is Going to Hell), who also co-wrote the script with Jamie King. In addition to Milioti, it stars Delaney Quinn, Patton Oswalt, Michael Shannon, Topher Grace, and Keegan-Michael Key. Roadside Attractions will premiere the film in theaters on August 28, 2026. In the meantime, get to know Buddy by watching the teaser below. [end-mark] The post <i>Buddy</i> Trailer Teases a Kids’ TV Nightmare From <i>Too Many Cooks</i> Creator Casper Kelly appeared first on Reactor.

Excerpts fantasy Read an Excerpt From Immortal Rose by Alexandra Bracken An achingly romantic, slow-burn love story set in a sumptuous world ruled by magical perfume. By Alexandra Bracken | Published on July 9, 2026 Comment 0 Share New Share We’re thrilled to share an excerpt from Immortal Rose, a romantic fantasy novel by Alexandra Bracken publishing with Avon on August 18th. Members of the ancient House Rosebourne have a strange gift born of a fairy ancestor: the ability to infuse fragrance with magic capable of manipulating mind, body, and emotion.When a shocking murder leaves the kingdom of Albion vulnerable to a coup, royal spymaster Hugh Thornton seeks the one person who can help: Viola Lockhart, the last living Rosebourne and secret heir to a fraught legacy.Livid at the silver-eyed aristocrat who had her thrown in jail to force her compliance, Viola nevertheless comes to an agreement with him. In exchange for crafting Immortal Rose, the singular perfume capable of saving Albion, illegitimate Viola can seize the life—and fortune—that should have been hers.As Hugh and Viola race to find the perfume’s lost fairy ingredient, hidden deep in Albion’s dark underbelly, neither can deny the scorching attraction building between them—especially as the attempts on Viola’s life grow increasingly brazen.But a terrible truth lurks in the heart notes of their kingdom—and while every bargain has a cost, Immortal Rose may demand more than Hugh and Viola can ever pay. Buy the Book Alexandra Bracken Immortal Rose Buy Book Alexandra Bracken Immortal Rose Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget If moonlight had a scent, it would surely be something like this: Airy white flowers—jasmine, night-blooming and lush, or even luminous tuberose. The cool, powdery kiss of orris, so very different from the golden warmth of the sun. And… perhaps the faintest hint of incense, for when the moon had gazed down upon a world ancient and wild. Now that the moon’s face had risen above the church steeple looming behind us, the dark air had turned into a silver satin ribbon and the rain-slick cobblestones into lovely dark pearls. On most nights, the bright, ethereal glow of a full moon was a gift. But to a Midnight Market, it was a betrayal. “Three silvers!” the man scoffed, slamming the small bottle back down. The plank we’d balanced over two barrels wobbled precariously, the whole endeavor on the verge of collapse. Beside me, Arabella sucked in a sharp breath as the perfume flacons chattered against one another like teeth. “Three silvers,” I confirmed. One for the cost of the bottle, another to pay back Oliver for the lavender oil, and the third for the seat on the mail coach that would carry me far, far away from here. “Do I look like a goosecap to you?” he demanded, his face flushing beneath his hood. No, I thought, keeping that bland smile etched onto my face. But you, sir, reek of solicitor. While he’d donned the simple, coarse clothing of a common tradesman, his essence gave away the game. I’d taken it all in with a single breath: the dry woodiness of parchment, wig powder, ink, and a certain pride that carried a metallic tang not unlike the heavy pouch of coins hidden beneath his cloak. He lived near the lilac-draped homes of the storied Feygrove Square, but not within it. So, not a toff—even the second son of a lord wouldn’t survive the shame of employment—but a man who aspired to join the ranks of the Patricians all the same. And, God, one of his yellow teeth was rotting at the root. If it wasn’t giving him something to complain about, it would soon. In the meantime, time, the soul-curdling stink of it, braided into the burnt parchment scent of his growing annoyance, was a test to my stomach’s fortitude. “Of course not, sir,” I told him, straining to find that tone that made men believe they’d won your fancy. “But I must sell my wares if I’m to eat. I know you understand this, being a man of trade yourself—that every coin must be precious to you.” “Not so precious,” the man said quickly, unable to help himself. As always, the newer the money, the more desperate they were to flash its shine. Arabella subtly knocked a hand against my leg, stifling a laugh with a cough. “Chest complaint,” she explained when he cut her a suspicious look. “Mayhaps yer in need of something splendid as well, being a man of means and all? Found this in the River Temese just this week past. A right treasure it is.” She tapped a gnarled finger on a handsome new addition to her offerings: a silver card case. After a moment’s hesitation, the man took it, holding it up to the pale moonlight for closer inspection. I fought a grimace as he turned it over, revealing the crest engraved there. He tossed it back onto the table with a noise of disgust. “The Duke of Weston threw his card case into the river, did he?” Arabella rose to her full, diminutive height, her blue eyes piercing within the sunken contours of her face. “Probably got bored of it and wanted to use the gold one. Yer the one high in the instep, ye explain it to me—” The man’s top lip curled into a sneer as ugly as the rest of him. “You are a thief!” Lovely. That drew a handful of eyes from the nearby tables. “And yer at the Midnight Market,” Arabella snarled. “If ye want virtue, get yerself to church.” I placed a quelling hand on her arm, my smile rigid. We were women of business now. Women of business swallowed their spleen and smiled. They did not insult the night’s only potential customer, no matter how badly he deserved to be diced by a former doxy’s wickedly sharp tongue. “What she means is that the Midnight Market offers a variety of goods you won’t be able to find anywhere else,” I said. “Including, of course, that special perfume you had your eye on.” The man’s dark gaze turned appraising. I resisted the urge to shift my shawl higher. Not an ounce of the rusted scent of guilt or even tear-salted desperation. Those were the easiest emotions to play through to a sale. Instead, the man’s annoyance slowly spiced with a cinnamon zest that signified nothing good. Nothing good at all. His top lip curled again as his gaze finally drifted up over my face to my hair. My chest clenched as he took in the strips of white streaking the otherwise strawberry curls. My resolve hardened once more. If I had paid the price for the creation of the perfumes before me, he could pay for the use of them. “How do I know it does what you claim?” he asked. “You could be selling me a load of rotting dreams.” He couldn’t smell the honeyed swirl of magic I’d blended into the rose and lavender oils, of course, or feel its warm effervescence humming within the brown glass of the apothecary bottle. “Would you have come without being certain?” I asked, trying for flattery. “You strike me as a gentleman who goes to great pains to ensure he isn’t cheated. I presume you heard about my work from another pleased client?” I’d been too careless, that much was clear now. “My wife was a client of Rosebourne’s,” he admitted after a moment. “God rest his soul.” My lips compressed into a hard, flat line. Or roast it in the fires of hell, preferably. “Year after bloody year, I paid dearly for a perfume to… enhance herself, only to have the supply cut short,” the man continued bitterly. “She heard of you from another lady she paid a call to.” Unexpected, that. They might not have been Patricians, but they were high enough in society to have been allowed access to the perfumes hidden at the heart of the House of Rosebourne. “As a client of Rosebourne’s, you know how rare such a perfume is then,” I said. “There are so few fairyborn left in the world, and fewer still who know how to harness the forbidden gifts. Surely your wife’s happiness is worth a mere three silvers?” “And she would only need to add a drop of her blood to ensure its… effects?” he asked. “If she would like only her appearance affected in the eyes of others, yes,” I answered. He took the small bottle from my hand as I offered it to him. I was close—so very close. His scent was turning bittersweet, like grapefruit. Acceptance. I nearly had him. In the end, men were simple creatures. They wanted to feel as though they were getting away with something. “If you’d like Blooming Beauty, I’d be pleased to gift you another of my scents, called Diamond of the First Water,” I said, stooping to retrieve a small flacon from the basket at my feet. “It is a lovely blend of orange blossom—” “Does it contain magic as well?” he interrupted, snatching it from my hand. “No,” I answered, struggling to master the sparks of my temper. “It is a simple perfume. However—” “Then what good is it?” he cut in. “I can buy an ordinary perfume in any apothecary or Rosebourne’s own shop.” “Her scents are hardly ordinary,” Arabella began loyally. My hand tightened around her arm again. “If your interest is primarily in my more noteworthy perfumes, may I recommend Lady Luck for yourself? Wearing a dab of it will draw good fortune to you whether you sit at a card table or merely seek to conduct business.” As the creation of the perfume had taken luck from me in equal measure, I’d suffered a small fire in my room, a twisted ankle, a ruined dress, and two Midnight Markets without a sale, all for a single wretched batch of that perfume. His eyes lit at the prospect, and, as quickly, he was redolent with grapefruit—rotting grapefruit, but grapefruit all the same. “And I will give you both for six silver coins,” I finished, bowing my head in feigned humility as I offered Lady Luck to him. “That is two silvers less than a gentleman paid earlier in the evening for both.” And so, the deal was done. Triumph swelled in me, and I had no idea how I managed to wait long enough for the man to disappear back into the crowd before I turned to Arabella, shaking the fistful of coins with glee. “Ye didn’t sell a whit to another toff tonight,” she noted with a cackle. “No, I most certainly did not,” I said, slipping the money into the hidden pocket I’d sewn into my skirt. I dropped one silver into her basket when she turned to give an alluring look to a passing market-goer. Somehow, perhaps after counting her remaining teeth, the man resisted the temptation. “And I charged him full price for the Lady Luck.” I finished with a curtsy, accepting her laughter in lieu of applause. Pride shimmered in Arabella’s eyes as she faced me again. Her dark hair was streaked with silver, and the moonlight made those strands twinkle as she gave a pleased little shake of the shoulders. “We both got a shiny from ’im!” She whipped her left hand up from behind her skirts to reveal a small snuffbox, its lid painted with a delicate pastoral scene. I gaped as she turned it over, mocking the way the man had studied her case. “Not so fine as to come from Bell Street, la-de-da,” she noted airily, “but it’ll fetch me a silver at next week’s market all the same.” “How in the world…?” I began, laughing with amazement. The others at the market called her Mrs. Mudlark, but a more apt name might have been Lady Lightfingers. Arabella drew close to the battered plank serving as our table; her slight build put her at the exact right height to slip an arm beneath it, giving her clear access to anything the man had stowed near his waist. “You keep ’em looking at something else while ye get to work,” Arabella explained with a demonstrative swipe of the hand. “By arguing?” “Sometimes,” Arabella agreed. “A flash of the ol’ bosom never goes amiss, especially when you’ve one as legendary as mine.” I didn’t doubt that was true, but it hadn’t been enough to save her once she’d aged out of the brothel she’d been sold to as a young woman. The mere thought heated my blood with an acidic fury. “Or ye get ’em thinking yer making for their wallet when yer really after their shiny fob,” Arabella continued, tucking the snuffbox down her bodice for safekeeping. “The fool thinks they’ve caught ye and won’t know the truth of it until yer well away. That’s the trick of it, see?” “I do,” I said. It seemed all one truly needed to survive in the world was an unflinching belief in oneself, a roof over one’s bed, and a retired doxy to teach you how to pilfer from unsuspecting toffs. That, I thought, smiling down at my two-fewer bottles, and a generous dab of perfume. “Are ye certain ye can’t make a life of it ’ere?” Arabella began. “I don’t like the idea of ye all alone in Southpoint—” “I’ve been alone for years,” I cut in. Feeling her flinch, I softened my tone. “It’s… a fresh start. New opportunities.” To vanish, to leave all of this behind, the way I should have years ago. “If ye say so,” Arabella said after a while. The rattle of wheels on cobblestone forced my gaze up again. Clattering metal cages stinking of rust and animal droppings clashed with the stench of perspiring man, heralding the arrival of one Mr. Toady. His unusual essence greeted me as the man and his small, covered cart came into view down the crooked alleyway. “Already for ’ome?” Arabella called out to him. “Night’s young yet!” He ambled past us, gesturing up toward the full moon as he called back, “Bad omen, this is. Ours is the sort of business best kept to the dark.” Mr. Toady did not possess good looks, or manners, or what most would deem the good sense to be afraid of the menagerie of strange, sorry creatures he sold. The lot included a basket of unnervingly crimson eggs, a knot of vipers, and a host of venomous toads that would rival any gentleman’s club for charm. “Perhaps for you,” I called back to him, “but for some of us, it’s been a blessing!” Arabella shook her head, her breath escaping in a sharp whistle. “Now ye’ve done it. That’s an invitation to ill fortune if I’ve ever heard one.” I settled back on my heels with a pleased hum, relishing the weight of the coins in my skirt pocket. If this was to be my last Midnight Market, I’d make a good showing of it. “I have a perfume for that, you know. Three silvers, but I’ll give you a dab for free.” Arabella shot me a wary look. While she’d gladly doused herself in any of the simple toilette waters and perfumes I made for her, she, like so many others, viewed the few remaining fairyborn with equal parts fascination and apprehension. If church sermons hadn’t convinced them that fairies were demons, there were always the old stories of trickery and misfortune. No one would risk their eternal soul or freedom being caught with a remnant of fairy magic, if they could help it. She tucked a loose white curl behind my ear with a sisterly tenderness. “So many of them accursed perfumes this week. Did that wily florist give ye the ’eave to? Is that why ye’ve got it in yer ’ead to leave?” I pulled back, turning away from the tender hurt that crossed her face. “I chose to quit the flower stall,” I assured her, and left it at that. My business was my own. From the book Immortal Rose. Copyright © 2026 by Alexandra Bracken. To be published on August 18, 2026 by Avon, an imprint of HarperCollins Publishers. Reprinted by permission. The post Read an Excerpt From <i>Immortal Rose</i> by Alexandra Bracken appeared first on Reactor.

Column 80s Fantasy Film Club Excalibur: An Epic Tale of Swords, Sorcery, and Baffling Tonal Shifts A deeply flawed, fascinating, and visually stunning film from director John Boorman. By Tyler Dean | Published on July 9, 2026 Credit: Orion Pictures / Warner Bros. Comment 0 Share New Share Credit: Orion Pictures / Warner Bros. In this column, we’re looking back at the 1980s as their own particular age of fantasy movies—a legacy that largely disappeared in the ’90s only to resurface in the 2000s, though in many ways, the fantasy films of the Eighties are far weirder and less polished than what we got in the aughts. In each of these articles, we’ll explore a canonical fantasy movie released between 1980 and 1989 and discuss whatever enduring legacy the film has maintained in the decades since. For a more in-depth introduction to this series of articles, you can find the first installment here, focusing on 1981’s Dragonslayer. Last time we looked at one of Disney’s animated flops, the Welsh mythology-adjacent The Black Cauldron. This time, we are diving into the very heart of Welsh mythology with John Boorman’s capacious retelling of the Arthurian saga, 1981’s Excalibur. I hadn’t seen Excalibur until I watched it for this column, though I had seen bits and pieces of it on cable over the years. My overwhelming impression of the film, prior to this viewing, was that it was blindingly glittery—a notion that has not been dispelled by my more recent experiences. That said, I have been, since college, a huge fan (albeit with a large helping of irony) of director John Boorman’s earlier film, Zardoz (1974) which gave us countless Giant Flying Head memes and the single best costume Sean Connery ever donned.  Excalibur is a fairly straightforward retelling of the Arthurian legend, drawing on Thomas Malory’s Morte d’Arthur and T.H. White’s The Once and Future King and throwing in a heaping helping of camp and perhaps just a soupçon of LSD. It covers the circumstances of Arthur’s birth with Uther Pendragon’s deception of Igraine and then moves through most of the major story beats: pulling the sword from the stone, his marriage to Guinevere and her subsequent infidelity with Lancelot, the quest for the Holy Grail, Arthur’s death at the hands of Mordred, and his body being sent out to sea towards Avalon. There are key changes made in order to streamline the story: the titular Excalibur is the same blade as the Sword in the Stone in this version of the legend (they are separate swords in most early accounts), Morgan le Fay and Nimue have been combined into a single character, Perceval returns to being the chief grail finder after Malory and White cast Galahad (Sir Not-Appearing-in-this-Film) for the role and also replaces Sir Bedivere as the knight who returns Excalibur to the Lady of the Lake. Throughout all of this, everything appears very sparkly and very jewel-tone green. The film was largely well received by critics and was nominated for a number of awards (including an Academy Award nomination for cinematography) but didn’t win any major awards. It has a reputation, now, as a deeply flawed but visually stunning film by a talented director. But is that reputation earned? How does Excalibur hold up forty-five years after it first premiered? The film’s reputation is not too far off from my experience of watching it. It certainly is a visual feast, filled with sumptuous costumes, huge battle scenes, and striking cinematography. Boorman’s storytelling is lyrical and dreamlike, with sequences that might insinuate magic or hallucinations or simply gesture toward metaphor. Overall, the sweeping scope, bold visual choices, and the emphasis on the magical and dreamlike has caused more than one person I know to remark that it feels like the text that Monty Python and the Holy Grail is parodying, despite the fact that the comedy came out six years before Excalibur was released.  That said, the film has more than its fair share of flaws, shortcomings, and inscrutable choices to keep it from being a true masterpiece. Let’s start with Arthur himself. Played by Nigel Terry (who I know best as John, the deeply unlikable third son of Henry and Eleanor in 1968’s The Lion in Winter), Arthur isn’t particularly charismatic or clever or handsome or anything that you might want or expect in the lead of your extravagant cinematic adaptation of Arthurian legend. Arthur, instead, comes across as mostly befuddled throughout the film—a fact not helped by Terry giving him (at least when he is meant to be a teenager) a West Country accent to reflect the “historical” Arthur’s Cornish origins. Which means that for the first third of the movie, he sounds exactly like Samwise Gamgee in Peter Jackson’s Lord of the Rings.  I don’t want to fault Terry as an actor. He is talented and clearly making choices that feel consistent with the rest of the film. But he works best as a character like the aforementioned Prince John, and the older Arthur is styled in such a way that reads as “evil vizier” or “sniveling henchman” rather than kingly. More than anything, he resembles Sean Whalen in the classic 1993 “Aaron Burr” Got Milk? ad. If this were consistent with the take that Boorman is putting forward, it might have been interesting—Arthur as antihero—but instead it always feels out of place: a strange void at the center of the film.  When combined with Nicol Williamson’s arch, campy turn as Merlin, it sets the stage for some wildly inconsistent tonal shifts from scene to scene. Williamson, who played Sherlock Holmes in The Seven-Per-Cent solution (and would go on to give a similarly campy turn in Return to Oz, previously covered in this column) is one of the most entertaining presences in the film: droll, long-suffering, and willing to use magic to be just a little bit petty and mean. He leans into physical comedy, pratfalling in a river, bugging out his eyes while intoning “a dream to some, a nightmare to others!” while spreading his arms wide and unceremoniously disappearing from the frame. Merlin’s numerous scenes matching wits with Morgana (played by a young, sultry, always gorgeous Helen Mirren) are among the film’s best. But, again, he’s a cranky comedy Merlin, wielding a staff with a blowtorch attached to the end of it and rolling his eyes at the clueless young Arthur. Williamson is perfect for the role—which is made all the more surprising by the fact that Boorman had originally wanted to cast Lee Marvin, Sean Connery, Max von Sydow, or Klaus Kinski. The film unfolds against a backdrop of strange and puzzling choices. The opening title font is called “Herkules” and looks like it belongs in the Cheers title cards. Camelot has an oddly modern look, as though it is composed of stainless-steel blocks—anachronistic to any and every time and place. When Lady Igrayne (played by Boorman’s daughter, Katrine) dances for the guests of Lord Cornwall, she gyrates wildly with moves that feel like they would be more at home in a mid-’90s goth club. When Uther perfidiously seduces Igrayne, he never removes his plate mail, leading to one of the most improbable and preposterous sex scenes in all of cinema. Carl Orff’s Carmina Burana plays multiple times, and each time it feels like a shocking intrusion into the film, starting well into the crescendo of the piece. Occasionally these choices are striking and cool: Mordred wears armor that includes a profoundly creepy golden mask; Lancelot, fled from Camelot after Guenevere’s trial, becomes a bearded, zealous hermit; Perceval spends long years searching for the Grail in ever-trippier sequences of repeated journeys to repeated castles. Those moments are fascinating, but they are too few and far between in the midst of this sparkly, green-tinted fever dream that, more often than not, is too deeply odd to feel truly epic. As to Excalibur’s legacy in the years since, it has certainly had a potent influence on certain films and filmmakers. Famously, former DCU head and Man of Steel director, Zack Snyder, named Excalibur as his all-time favorite film. You can see Boorman’s penchant for anachronistic sets and costumes influencing the look of later Arthurian tales like 1995’s First Knight and 2004’s King Arthur (despite the fact that the latter was billed as an “historically accurate” retelling of the legend). You can see the same love of blending the legendary and hallucinogenic in Arthurian films like The Green Knight (2021) and King Arthur: Legend of the Sword (2017). It may postdate Monty Python and the Holy Grail, but for its many fans, Excalibur has become the definitive Arthurian adaptation. The film also served as a fascinating launching point for a number of prestigious careers: Gabriel Byrne, in one of his first film roles, plays Uther Pendragon; Liam Neeson, in his second film role (before Krull, even!) and sporting incredibly unfortunate facial hair, plays Sir Gawain (in the role of Guenevere’s chief accuser, with nary a Green Knight in sight); Patrick Stewart, though already an established stage actor and a staple of ’70s BBC miniseries like I, Claudius and North & South, has a fairly large supporting role as Leodegrance, Guenevere’s father; and Ciarán Hinds, in his first widely distributed movie, plays King Lot. In that regard, the films stands as something of a watershed moment in establishing the current generation of British actors who’ve matured into the elder statesman of stage and screen. But what do you think? Is Excalibur as flawed as I’ve made it out to be? Are you a fellow Nicol Williamson stan? Do you think you could have bought a house with the amount of money the production spent on green gels for their lights? Let me know in the comments, and be sure to join us next time when we move from sword and sorcery at its most highfalutin to sword and sorcery at its cheapest and sleaziest with the Roger Corman-produced Sorceress (1982)![end-mark] The post <i>Excalibur</i>: An Epic Tale of Swords, Sorcery, and Baffling Tonal Shifts appeared first on Reactor.