SciFi and Fantasy
SciFi and Fantasy

SciFi and Fantasy

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Spider-Man: Brand New Day’s Body-Hopping Villain Could Be One of These Marvel Characters
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Spider-Man: Brand New Day’s Body-Hopping Villain Could Be One of These Marvel Characters

News Spider-Man: Brand New Day Spider-Man: Brand New Day’s Body-Hopping Villain Could Be One of These Marvel Characters A few likely candidates for the identify of the unseen threat By Matthew Byrd | Published on June 18, 2026 Photo: Marvel Studios Comment 0 Share New Share Photo: Marvel Studios It’s not just that Spider-Man: Brand New Day is going to feature a ton of villains. The far more interesting thing about the movie is that it’s going to seemingly feature a veritable army of somewhat “lesser” villains who will emphasize the street-level themes the story is reportedly built around. Not since the Spider-Man animated series have we seen Peter Parker battle such an array of antagonists (if only for a scene or two). We actually still don’t even know how many villains will be in the movie. However, the latest trailer for Brand New Day focused a little less on the quantity of the upcoming villains in order to hone in on an unseen and unnamed threat that can seemingly hop between bodies at will. Who is that mysterious malice? Marvel isn’t saying and, to be honest, nobody is entirely sure. That being said, there are really only a handful of candidates the unidentified new villain could realistically be. So unless Marvel throws a considerable curveball our way, here are the likely identities of the new threat. Jean Grey Buying into this theory requires you to look at the Brand New Day trailer from a slightly different perspective. Maybe the “villain” that we see hopping between bodies isn’t a villain at all. Maybe Damage Control is trying to frame Jean as a villain when they’re really just trying to capture what they consider to be a rogue mutant. This also forces you to consider the possibility that some of the scenes featuring that supposed new villain may have been edited in a specific way to make Jean look more villainous than she actually is. It’s a bit of a stretch, but it’s certainly the most popular theory. While body (and/or mind) hopping isn’t necessarily one of Jean’s primary powers, it’s certainly well within her considerable capabilities. Perhaps more importantly, it feels like an open secret that Jean Grey is going to appear in the film (and will reportedly be played by Sadie Sink). What has turned out to be a fairly reliable series of rumors and leaks has also long suggested that Jean will initially be somewhat at odds with Spider-Man, as she sees him as a potential threat and asset of Damage Control. Mister Negative If Jean Grey isn’t the mysterious new figure hinted at in the Brand New Day trailer (which still certainly seems like the most likely possibility), then determining their identity requires us to dig a bit deeper into Spider-Man’s roster of rogues. So far as that goes, though, Mister Negative is an interesting candidate. Mister Negative has risen in popularity over the years (thanks partly to his memorable appearance in Insomniac’s Spider-Man games), and he certainly has the ability to corrupt and bend people to his will. As a part-time philanthropist with a Jekyll/Hyde thing going on, it’s easy to imagine that Negative could fit into the street-level story Brand New Day is setting up. The big problem with this theory is that Mr. Negative’s powers create a distinct visual effect that is notably absent from the trailer. Editing a trailer to obscure certain information is one thing, but completely removing such a distinct visual effect feels like a bit of a stretch. Still, it’s an option. Shadow King Like Mr. Negative, the biggest argument for the Shadow King theory is the character’s abilities. As one of the most powerful telepaths in the X-Men universe, Shadow King certainly has the ability to take people over in a manner similar to what we see in the Brand New Day trailer. And yes, those looking for an X-Men connection could argue that a Shadow King appearance would help pave the way for more of those characters to make their MCU debut. That said, this feels like a significantly less likely possibility. There looks to be a lot going on in Brand New Day, and introducing a character like Shadow King just seems like it would be a plot point too many. Given the X-Men/Jean Grey connection (it’s easy to imagine that Jean could be blamed for Shadow King’s actions), though, you can’t rule out the chance we get a Shadow King appearance. Krahllak Right off the bat, it’s fair to say that the biggest argument against Krahllak is the character’s relative obscurity. An ancient demon that has rarely ever crossed paths with Spider-Man would be a strange primary antagonist for the biggest Spider-Man movie yet, to say the least. However, Krahllak is the driving demonic force behind The Hand: the ninjas we’ve seen prominently featured in the Brand New Day trailers released so far. He’s also had many run-ins with Daredevil and Punisher in the past, which is certainly noteworthy when you consider that at least one of those characters appears in Brand New Day and both have been integral parts of the build up to the movie. Krahllak is also capable of possessing people, though he rarely does so in the same free-wheeling body-hopping style we saw in the latest trailer. Madelyne Pryor Right, so this is a bit of a cheat given that Madelyne Pryor is a clone of Jean Grey. She’s also closely associated with some X-Men characters and plotlines that would be incredibly awkward to squeeze into a new Spider-Man movie with little established X-Men MCU presence. If you allow yourself to believe that the MCU would be willing to rewrite the Pryor origin story, though (which is hardly unheard of), then there’s a strong argument to be made for the possibility of the character’s debut. It’s a little cheap, but an “evil” version of Jean Grey, who is the result of some kind of experiment, would explain some of the things we seem to see in the trailer. If you’re really into the conspiracy of it all, this could also help explain some of Sink’s coy statements regarding her upcoming role.[end-mark] The post <i>Spider-Man: Brand New Day</i>’s Body-Hopping Villain Could Be One of These Marvel Characters appeared first on Reactor.

The Ark Season 3 Trailer Sees Strife in the Skies and Planetside
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The Ark Season 3 Trailer Sees Strife in the Skies and Planetside

News The Ark The Ark Season 3 Trailer Sees Strife in the Skies and Planetside Season 3 is set to premiere in July By Vanessa Armstrong | Published on June 18, 2026 Screenshot: SYFY Comment 0 Share New Share Screenshot: SYFY Dean Devlin and Jonathan Glassner’s The Ark is heading our way this summer, and the crew of the generation ship Ark 1 finds itself split up, with some continuing their voyage through the cosmos while others work to build a home at Homebase 1, which is on a planet that—as the trailer SYFY released today shows—has some other inhabitants as well. The trailer also lays out the challenges the crew will face, both from the outside world and also from other humans. It also has a fun moment where Brice (Richard Fleeshman) tries to convince others (himself) that everything’s totally fine! No monster-like aliens crashing through windows, I promise! Everything’s right as rain! Don’t worry about it! Things aren’t great for Captain Garnet (Christie Burke) and the others on Ark 1 either; we get hints for intra-human strife, with some not wanting to be peaceful. At all! Shots are fired, and how things all play out remains unclear. In addition to Burke and Fleeshman, season three stars Reece Ritchie, Pavle Jerinic, Stacey Read, Ryan Adams, and Tiana Upcheva. Additional cast members include Shalini Peiris, Samantha Glassner, and Diana Bermudez.  Season three of The Ark premieres on SYFY on Wednesday, July 29, 2026, at 10 p.m. ET/PT.  Check out the trailer below. [end-mark] The post <i>The Ark</i> Season 3 Trailer Sees Strife in the Skies and Planetside appeared first on Reactor.

Read an Excerpt From These Immortal Truths by Rachelle Raeta
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Read an Excerpt From These Immortal Truths by Rachelle Raeta

Excerpts fantasy Read an Excerpt From These Immortal Truths by Rachelle Raeta A shapeshifting god. A divine peach. And a woman gifted with forever. By Rachelle Raeta | Published on June 18, 2026 Comment 0 Share New Share We’re thrilled to share an excerpt from These Immortal Truths by Rachelle Raeta, a powerful and romantic historical fantasy that explores not only what it means to live forever, but what it means to live fully. Tor Books will publish a gorgeous new hardcover edition featuring sprayed edges, a case stamp, and designed endpapers on June 30th. Anna is used to hunger and hardship. Ever since the pale shadows on her skin were mistaken for leprosy, she has lived alone in exile, each day focused only on survival.Then a single act of kindness towards a beautiful stranger changes her life forever.Suddenly, her body is as untouched by time as it is by harm, and Anna experiences a new freedom she has never known. But as decades and centuries pass, the lives of everyone she meets slip through her fingers like grains of sand… everyone, except Khiran—the shapeshifting god who gave her immortality. No matter the years or distance, she trusts that he will always return.Yet there is more to immortality than Anna knows, and as she travels the ages, she will discover the beauty—and danger—of a life without end. Buy the Book These Immortal Truths Rachelle Raeta Buy Book These Immortal Truths Rachelle Raeta Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget One There is beauty in the struggle, the way life pushes when the world says pull. He sees it in the way she gasps, fumbles, chokes. Clothed in ashes and rebirth, he watches as the terror in her eyes slowly gives way to wonder. England1185 The only keepsake Anna has of her childhood home is the memory of being dragged out of it. The cloying smoke burning her eyes, blackening her lungs, and the bruising pain in her arm as the warrior pulled her from the threshold. She remembers the heat feeling so close that she thought her loose chestnut hair might catch and burn with the rest of it. She was little more than a child, then. A blessing, Fanny used to remind her—if she were any older, she’d be dead. Anna knows it’s a lie. Fanny was all rough edges and sharp words, but she was merciful where it mattered. Anna learned early that lies can be kinder than truths, and that some fates are crueler than death. The maidservants had never been as discreet with their gossip around her as Fanny was, though, and Anna grew up overhearing the horror stories of young women being abducted and forced to warm the beds of their captors across the North Sea. Anna used to believe she was perhaps at least a bit luckier than most, in that regard. Her servitude under her lord was exhausting but bearable, and Fanny was always kind in her own way. The manor was heated by multiple grand fireplaces in the winter and the cut stone kept the interior pleasantly cool even during the hottest of summers. While she never tasted the luxuries delivered to the lord’s table—salted cod, savory venison, roasted swan, bread baked with the finest flour and drizzled with honey—she certainly never went hungry, either. There’s no doubt there were worse houses to serve under. Then she turned fifteen. It started on her chest—pale shadows that grew more defined at the edges—before it crept over her shoulders and onto her back. She didn’t know what it was, only that the jagged lines of discoloration scared her the same way she knew they would frighten others. She was able to hide it for a year before a chambermaid spotted it. Another, before word got to the lord of the house. It didn’t matter that there was no proof of any type of contamination; didn’t matter that two years went by with no harm to show for it. What mattered was that the harvest that season was weak, and the sickness that spread through the village was terrible. What mattered, truly mattered, was that Anna existed. Easy to blame. Easy to banish. Perhaps, she thinks, in some ways she’s still lucky. Her life is a cage, the bars molded from poverty and exile. Ripped from her roots and transplanted onto foreign soil and expected to be grateful for it. There’s a quiet grief in not knowing who she was or where she came from before they raided her home and packed her into a ship like cargo to be sold at the next port. A grief in knowing that she once called another language her own, but losing all traces of it to time. Anna is now twenty-seven summers, and she can’t even be certain if her name was given by her mother or her master. But she’s alive. She’s healthy. She knows there are many in her situation who can’t say the same. Many who would have been put to death instead of exiled, who would have found nothing but suffering and starvation past the line of the forest instead of shelter in an abandoned cabin and scraps from the old cook they used to work under. Those meager offerings that Fanny slipped her were the only reason she survived the first few winters. It gave her time to learn the forest—to learn its language well enough to make use of its gifts. The winters are still harsh, her cabin still bitterly cold, and her food supplies almost always teetering on the edge of dangerously low, but she makes it through to spring. And even though she never feels full, she tries to remind herself that a hungry belly is better than an empty one. Her fingers pluck hawthorn berries from the bush, nimbly dropping them into the folded hollow of her tattered brown dress. She’s yet to prick herself on the thorns this morning, but this grove has seen plenty of her blood over the past decade. She had stumbled on it her first summer in exile; the gnawing hunger in her gut so great she had grabbed the bright berries by the fistful and paid a price in blood. It seems she can’t go a season without giving at least a few drops. Perhaps that’s why the grove yields so well. Her stomach groans, a familiar sound. Anna appeases it with a few berries and no more. Summer is forgiving, but winter isn’t. She’s learned that surviving the cold months demands saving what gifts she can during the warm ones. Voices filter through the trees. Anna stills. This part of the forest isn’t frequented by the villagers—never has been. It’s too far off the road, too long a walk from the town. The only reason Anna can bring food to her table is that the places she gathers are places the townspeople don’t. The voices grow loud enough for her to recognize them as men shouting. There’s an angry edge to it. A threat. They’re looking for someone. If they succeed, Anna knows nothing good will come to the person they find. A rustle of leaves behind her, the quiet sound of footsteps. Anna starts, holding her yield of berries to her chest, and turns, heart in her throat and ready to run. Dark eyes, framed with dark lashes, stare back at her. The stranger stands as still as a doe, swathed in richly colored silks as deep as the berries gathered in Anna’s dingy, threadbare dress. Eyes so deep and dark they feel as endless as the night sky, her braided ebony hair long and thick over her sun-kissed shoulder. She’s beautiful in ways that make Anna’s heart ache. Because she knows the men searching for her will be wearing cruelty in their smiles and wielding the threat of death in their hands; knows they wouldn’t have bothered chasing her this far for anything less. Another shout, closer than the last, and Anna knows time is short. The hawthorn berries she’s collected all morning fall to the ground as Anna reaches forward and grasps the woman’s smooth palm in her stained, callused hand—eyes wide and begging. She doesn’t know if the woman speaks English, doesn’t know if she’ll follow, but there’s not enough time for questions or doubts. “Hurry!” She pulls, relieved when the stranger doesn’t resist. Berries burst beneath Anna’s feet, but it doesn’t matter. The woman follows. They run. There is no place Anna knows better than this patch of forest. She has learned its every landmark, watched the saplings grow into trees over the course of years. Every day she’s gathered logs for her fire, leaves and branches to thatch her roof, and food for her table. They pass her favorite spot for foraging orange-capped mushrooms, wet their skirts running through the stream where she bathes and washes the filth from her clothes. Anna’s lungs burn with every step, but the pulse drumming in her ears urges her onward. The pain in her chest is no different from the hunger in her belly; there is comfort and there is survival. There is no doubt what fate awaits them both if the men—soldiers, she realizes with a pang—find them. Seeing the moldy, thatched roof of her cabin through the towering oaks and alders has never brought her so much relief, but she doesn’t allow her steps to pause or her grip on the woman’s hand to weaken. It’s not until they are under her roof, the door shut tight against her back, that Anna allows herself to just breathe. Legs weak, she slides down the door as she struggles to push back against the black spots crowding her vision. In the middle of her dirt floor, the stranger stares back at her—not a hair out of place. Anna wipes the sweat along her temple, but can do little for the bead rolling between her shoulder blades. She wets her parched lips. “Do… do you speak English?” she asks between gasping breaths. The woman’s head tilts, dark eyes curious. Anna wonders how she can be so composed when Anna’s still struggling to find enough air to fill her lungs. “Yes.” Anna nods, closing her eyes and leaning her head back against the wood as she wills her breathing to slow. “Good,” she rasps. “That’s good.” “Thank you for helping me.” Her voice is a song: lyrical and sweet. When Anna opens her eyes, she finds the stranger crouched in front of her—tan, slender arms braced against her silk-wrapped knees and chin resting on her knuckles. There are gold rings adorning nearly every finger; patterns inked into her skin there. “What’s your name?” “Anna,” she breathes, gaze tracing over the unfamiliar designs. Her eyes lift to the woman’s face. “Yours?” There’s a wicked curl to her lips as she stands, holding out a hand in offering. “I have many names.” Her head tilts, amusement flickering in her eyes. “Which would you choose for me?” Anna fumbles, baffled by her strange answer—and even stranger request—but takes the offered hand. “You wish me to give you a name?” “It’s only fitting,” she says, pulling Anna up effortlessly. There’s a strength that seems unusual for her slender frame. “Tell me, who shall I be to you?” It’s such a bizarre request that Anna simply shakes her head. “I don’t—” She catches the direction of the stranger’s gaze, and her voice catches. Her chest. Her marked skin. Anna flushes, pulling her collar closer to her neck. It must have shifted, the laces loosening, during the mad run home. “It’s not catching,” she assures the stranger, but it sounds weak even to her own ears. “They think it is, but it’s been there since I was a girl and I’ve no pain or lesions.” Sun-kissed hands cover her own, coaxing them away. Anna is too stunned by her proximity, by the gentleness of the taller woman’s touch, to resist. The woman’s lips twist into a frown. “They believe it to be leprosy.” Anna nods, throat tight. Her hands tremble, waiting for the look of disgust. For the pulling away. For the abandonment. The sigh the woman breathes is soft, but weighted with disdain. “Fools.” It’s so unexpected, it takes Anna a moment to recognize rejection isn’t coming. The relief is nearly enough to make her sick. “You’re not afraid?” “There are many things worth fearing,” she says, meeting Anna’s eyes. “This is not one of them.” Anna swallows, trying to find her voice in the tangle of emotion making her chest ache and her eyes burn. “Would  would you like something to eat?” She doesn’t have much, hardly enough to share, but there is a sudden desperation building within her. It has been so, so long since she had anyone to sit with. To talk to. She will sacrifice a meal if it means this unnamed woman will linger even just a little bit longer. There’s a pity softening the woman’s gaze that makes Anna suspect she knows. “I would like that.” Tightening the laces on her collar, Anna goes to the corner where she keeps her stores while the stranger takes a seat at her tiny table. The dried fish, painstakingly caught in the creek, is too precious to offer, but she takes some of the dense acorn biscuits and some blackberries she harvested yesterday. It’s not until she sets them on the table, eyeing the sweet, dark berries, that she remembers the bounty she left behind. She thinks of the cascade of red hawthorn berries hitting the dirt—the feel of them crushing underneath her foot—and goes pale. There’s no way the soldiers will miss it. They don’t know the forest like she does, but they’d have to be blind not to see a footprint and abandoned food without understanding the implications. They know enough to know where she lives. “You need to go,” she whispers, fighting to suppress the tremor in her voice. “Before they come. You need to go.” The woman plops a blackberry into her mouth, her eyes piercingly intense. “You’re afraid.” Anna swallows, throat tight and chest aching. “Yes.” The woman considers her. “Will they kill you for saving me?” “Yes,” she says, voice shaky. She suspects they may do worse. Another plump berry disappears past the woman’s full lips, but her stare has yet to falter. “But still, you chose to take me in.” A statement, not a question. Anna answers it anyway, shaking her head and bracing herself against the wall. “You’ve done nothing to deserve the hell they’d put you through.” “Neither, I suspect, have you.” The woman’s finger taps, a rhythmic heartbeat against the tabletop. Anna is caught by her stare—entangled by the unspoken decisions shadowing their depths. “Death will not come for you.” Anna isn’t sure if the words are meant to console her, or if perhaps they’re some kind of prayer, but she knows better than to believe them. Death comes for everyone, and often without mercy. She has no doubts that it’s coming for her now, wearing the faces of the lord’s men. Anna’s lips part, but she’s unsure of what to say. Then, reaching into the folds of her dress, the woman pulls something from their depths and holds it out in offering. “For you.” Hesitantly, Anna takes it from her hand. It’s different from any fruit she’s seen. She turns it around, admires the fuzz of its flesh, and brings it to her nose. It smells sweet—like summer and honey. “What is it called?” The woman’s eyes shine. “Táozi.” “Taozi?” Anna tries to match her inflection, but the word feels strange on her tongue. She shrugs. “Or Persian apple. Depending on who you ask.” “I am asking you.” Anna still doesn’t understand why the woman speaks in these strange riddles, but she’s learning that it’s easiest to play along. “What do you call it?” Her smile is enigmatic. “A gift.” More riddles. Time is only growing shorter; Death is sure to knock on her door within the hour. Anna has spent the last decade fighting to live. Has shivered through the winters and bled for just enough food to usher her from one season into the next. It was inevitable, really, that the time she fought so hard to keep would eventually slip through her fingers. Inevitable, that a day would come when she would be too weak and too tired to resist. Anna looks down at the strange, foreign fruit cradled in her hands the way the horizon cradles the sun as it sets. Time is something she has very little of now. She will not waste what little she has left—will not rob herself of this last moment of wonder. Anna brings the fruit to her lips and bites into the flesh, juice filling her mouth with a sweetness bordering on fantastical. She’s never tasted anything like it. She knows she should savor it, but she finds herself taking another bite, and another, and another. When she reaches the center, the flesh pink but hollow, she realizes something must be missing. “There’s no seed.” “No.” “But… how?” The woman’s stare lingers on the remaining morsel, a faraway look clouding her expression. “Priceless are the treasures that cannot be replicated.” Riddles, it’s all riddles, but Anna’s too hungry to decipher them. She closes her eyes, lets the last bite sit on her tongue—savors what she knows will be her last meal and tries not to let its sweetness be tainted by the saltiness of the tears rolling down her cheeks. She doesn’t want to die, but she’s far too tired to run from the inevitable. Too weak. There is a whisper, a wordless, threadbare thing, echoing in the hollow of her chest. A numbing warmth. Instinct, perhaps—her mind’s only defense against her fate. Or maybe just her weary heart’s last, whimpering consolation. A heavy fist meets her door, so much sooner than she expected. Anna’s eyes fly open and her lips part, a warning on her tongue, but it dies before she can speak it. She is the only one in her shack of a home. The woman she saved, the stranger she housed, is gone. The soldiers break the door open, grabbing her roughly by the shoulders and dragging her away. Anna lets them, her eyes trained on the empty space where a woman of beauty and silk stood only seconds before. It’s not possible, but there’s no sight or sign of her, only the lingering taste of foreign fruit on Anna’s lips. A numbing horror seeps into her bones as she thinks of the riddles the stranger spoke in, her devastating beauty, and realizes the implications. She wasn’t human. Once, before she was exiled, she used to sit in the stiff pews and listen to the reverend’s sermons with the rest of the staff. She remembers the way he had warned them to be wary of the Devil and his tricks. Had warned them of the consequences that come to those who break bread with him. Anna has fallen into the Devil’s snare, tempted by a fruit the way Eve was tempted by the apple. Only, as the soil beneath her feet gives way to coarse sand, as she sees the crude pyre and gathered crowd on the stretch of remote beach, Anna knows the only person she has damned is herself. Fear floods her. She had resigned herself to death, but not to this—not to torture. A scream rips from her chest, thrashing against the soldiers’ iron grips, but their hold only tightens. She can feel the bite of their fingers bruising her skin. As they bind her hands to the post, the hemp rough against her wrists, the strangled sounds emerging from her lips twist into the shape of words. “Please, please don’t!” She looks up, tries to find mercy in any of the people’s eyes, and finds none. They look back at her, whispers coiling and twisting like snakes off their tongues as they speak to their neighbors. And Anna knows she’ll find no kindness from any of them. They’re all too happy to see her gone. Too relieved to have an excuse to do it. The leper girl who hid away in the forest and just wouldn’t die. The one they wouldn’t risk killing in the village square because her blood could be cursed. Anna chokes on a sob as the bindings around her wrists grow tighter. When he’s done securing her, the soldier sneers and spits at her feet. “Witch, Devil’s whore.” “I’m not,” she cries. The sweetness has faded from her tongue, replaced with bitter salt from the sea air, tears, and snot. “I’m not.” From the front of the crowd, the town priest’s voice booms over the crashing waves. “Speak no more lies, foul creature.” Anna recognizes him as the same one who screamed she was at fault for the crop’s failures a decade ago—God’s punishment for harboring a foreign heathen touched by the Devil. He turns to the crowd. “How else would a lone woman survive in the woods if not without the help of the Devil? How else would she hide away the villainous whore who brought death to our lordship? How else—” The blood roaring in her ears, the cold ocean wind stinging her face and tangling in her hair, drowns out the rest. She stares unseeingly at the stretch of beach behind the crowd and remembers the feeling of sifting sand under her bare feet when she first arrived as a small child. It’s almost fitting that she lose her life on the same shore she lost her freedom. A flutter of movement in the deadened tree across from her catches her attention. Perched on the pale, wind-worn wood is a raven, its intelligent eyes staring into hers. A bad omen, Fanny used to say, a sure sign that death is not far behind. There are a few faces Anna recognizes in the crowd, but the old cook’s isn’t one of them. She wonders if her raven has already flown or if she’s merely the one person who doesn’t wish to watch her burn. She hopes it’s the latter. A torch is lit, its flames a drop of color in a sea of gray. Beautiful and deadly, not unlike the stranger that sealed her fate. The kindling at the base catches, the flames grow higher, licking the straw at her feet. She screams, the sound muffled only by the swelling in her throat and the cloying smoke in her lungs. She can’t watch. She can’t let the last thing she sees be the snapping of fire and the blistering of her skin. In her last moments, she wants beauty. She looks past the sneering faces, eyes searching for a glimpse of the raven through the smoke. If she could just focus on those dark, intelligent eyes—lose herself in the glossy plumage of its feathers—maybe she can hold on to it long enough to take her from this world into the next. Only, it isn’t the raven sitting on the same low branch, but the stranger she saved. The woman holds a finger to her lips, eyes full of hope and warnings. Trust me, they say. Anna looks down, sees the flames licking at her skin—eating at the hem of her dress and traveling up, up. The pain is horrendous, but her skin doesn’t blister. Doesn’t blacken. A hallucination, she thinks. It must be. Her mind’s desperate attempt at comforting her through the pain. At her back, the rope binding her hands singes and frays until her knees give and the fibers snap. Her scream is swallowed by the roaring in her ears until she’s not sure where one begins and the other ends and her vision blackens— She opens her eyes to the sky. Above her, ash drifts like dandelion seeds on the wind. She can hear the sound of gulls calling and waves crashing. Alive. She’s alive. She rises and finds herself alone—the townsfolk gone and only their footsteps in the sand to prove they were ever there. Ashes streak her bare skin, clotting in her hair. She stares at her hands, her body, dirty but whole, and feels her breath come faster. A cloak settles on her naked shoulders, a whisper in her ear. “Did I not tell you, Anna? Death will not come for you.” Excerpted from These Immortal Truths, copyright © 2026 by Rachelle Raeta. The post Read an Excerpt From <i>These Immortal Truths</i> by Rachelle Raeta appeared first on Reactor.

The System Is Not Stable in the Trailer for Hot Spot
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The System Is Not Stable in the Trailer for Hot Spot

News Hot Spot The System Is Not Stable in the Trailer for Hot Spot Overstimulation? In a cyber thriller? By Molly Templeton | Published on June 18, 2026 Screenshot: Focus Features Comment 0 Share New Share Screenshot: Focus Features It’s possible I’ve never seen a trailer for a cyber-dystopia in which the protagonist smiles so much. This first look at Agnieszka Smoczyńska’s Hot Spot has a lot of horrors—and a very graphic exploding head—and yes, Djonny (Andrzej Konopka) does seem quite stressed for much of it. (Lapping at puddles?!?!) But he also has a cheeky grin that comes out more than once. Even more than twice. It changes the vibe of this weird, near-future murder mystery. And there’s Noomi Rapace, face half covered, saying you can call her a witch … but not cyber. Honestly I have no real idea what’s going on here, and the synopsis is not forthcoming: In Hot Spot, set in a near future society ruled by sentient A.I., a private eye investigates a murder case only to discover a rebel group capable of undermining the digital overlord. As the detective’s identity slowly unravels, his world enters a state of hypnotic meltdown. This trailer is a wildly appealing mix of imagery both familiar (the person on the edge of the building, blood streaks, people glitching) and disconcerting (something about the tiger in the hallway just sets my teeth on edge). This is par for the course for the director of The Lure, who is once again working with writer Robert Bolesto to craft a clearly unnerving world. Hot Spot arrives in theaters on August 21st.[end-mark] The post The System Is Not Stable in the Trailer for <i>Hot Spot</i> appeared first on Reactor.

Double Take: Sublimation by Isabel J. Kim
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Double Take: Sublimation by Isabel J. Kim

Books book reviews Double Take: Sublimation by Isabel J. Kim Mahvesh Murad reviews Isabel J. Kim’s novel about migration and personhood. By Mahvesh Murad | Published on June 18, 2026 Comment 0 Share New Share Imagine if migration literally pulled you into two. Two physical beings, two minds, two sets of desires and dreams. You become two versions of yourself, living two separate lives in two separate lands. In multi-award winning writer Isabel J. Kim’s debut novel Sublimation, this is exactly what happens when someone leaves their home country: They leave a copy or “instance” of themselves behind (or is it the copy that goes onwards?). Kim explains that an “instance is a duplicate self cleaved mitosis-like from the original—though the duplicate and the original are both referred to as “instances” in modern American vocabulary.” No one knows why it happens, just that it has always happened. It can be reversed though: If the instances meet and touch, they reintegrate and become one person again, one physical body with both sets of memories and feelings coexisting in one mind. But what happens when only one instance wants that? Sublimation is focused on two pairs of instanced people. Soyoung and Rose, who instanced when ten year old Rose and her mother left Korea for America, and Youjin and YJ, who instanced when YJ went to America for university. In Seoul, Soyoung and Youjin are best friends, each leading their lives happily enough, with a firm sense of belonging. Soyoung has never spoken to her instance and only meets her when their (shared, singular) grandfather dies, whereas Youjin has always had a relationship with his: Youjin and YJ plan to reintegrate once YJ has received American citizenship, so that their reintegrated self can avoid the Korean draft. Four people with complicated feelings for each other and for their own lives, two very different scenarios, and one high concept premise all combine to make Sublimation a fascinating, thought-provoking and complex novel. The story is set in our world, with the small tweak that instancing has always existed, its recorded history going as far back as 1753 BC, where the first mention of instances was found in a Babylonian text. The understanding of instancing and how the world tackles it is drip-fed to the reader slowly throughout the book to avoid any major info dumps. This is an elegant way not just to get the information across, but also to immerse the reader in the world of the story by establishing how much of it is completely familiar. It is an uncanny feeling, to think of our world as it is, with just this one tiny change… which isn’t, of course, tiny at all.  The reverberations of instancing are felt throughout the world of the novel, with Kim often referring to how our history has been affected. We are told that it is not enough to have a desire to know the world outside your boundaries: Marco Polo famously didn’t instance. You can travel the whole world and still return home and stay singular. It’s not a bad thing, to instance. But it means that you were of two minds. It shows a desire beyond wonder. It suggests a desire for escape, an understanding that either the world outside is so beautiful it must be permanently inhabited or the world inside is so terrible that it should be escaped. Talk to anyone who has ever migrated, for any reason, and they will tell you that all migrants live life with a foot in each world, and that the constant straddling of two homes can be a fine balancing act. The guilt of leaving may always weigh heavily against the desire to escape and start afresh. A border, after all, is “an artificial thing with practical consequences: the severing of the self from the self.” Migration is a twinning, a division, a mind-body-soul-memory torn asunder. In Sublimation, it is “want turned so deep that it manifested in reality. Instancing was pure white-hot desire. Did you consciously know you were leaving forever? No. You didn’t know what part of yourself wanted to leave.” And when you return, are you someone who can fit back in, or are you now an alien even in your home land? What part of you belongs where, if anywhere at all?  Sublimation’s main characters are all uncertain of how to feel, or whether there is even a right way to feel about their situations and about each other. One may feel a need to be whole again, just to feel at peace with the life they haven’t lived, or to have the memories of the life they didn’t live by reintegrating with their instance. But the ones who leave do not come back the same, and reintegration can never be without cost, without huge cognitive dissonance, without the burden of each solo existence wiped out. Who are we if not our experiences? How do we then accommodate living with someone else’s experiences that feel like ours, but aren’t? Is it like murder, wonders Youjin at the very start of the novel. Buy the Book Sublimation Isabel J. Kim Buy Book Sublimation Isabel J. Kim Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget The novel’s premise is large and heavy. It could be unwieldy, but Kim tackles the multiple complicated, modern day implications of the instancing scenario well, whether it be by choice or force, or something in the middle. She doesn’t shy away from acknowledging how colonial capitalism has caused most of the world’s instances, and that this is the “legacy of the west: a mitosis-like duplication of the self across lands already populated.” America, we are told very clearly, was populated by instances from Europe: Instancing is written into America’s blood, into the story it tells itself: Here is where instances migrate. Give us your tired, your poor, your hungry, give us your copies and let them be fruitful and multiply, let them homestead, let them become titans of industry, let them and their non-instanced children build cities and towns and railroads.  Kim does not pander to her reader, which is always something to be appreciated. She expects you to know your history, to know who Odysseus was, how citizenship laws and visas work. She expects you to be empathetic and aware that not all lives are lived with the same freedoms, and that the idea of what freedom should look like is often a matter of power. The difference between expatriates and economic migrants, of course, is usually the colour of their skin and/or their passport. Kim’s authorial voice pulls no punches in reminding us of how many different ways there are for your home to be torn away from you. In a worst-case scenario you instance when you are ripped away from your family and your community and your life and you are trafficked across state borders when you catch a glimpse of the sign that demarcates where your country ends. Or somewhere in between, you instance because you realise that the only real choice you have in life is to leave your beloved, broken shithole, and cross the border into a different broken shithole, one with more access to capital, that you will be able to gnaw the rind from and send back the scrapings. The novel is character driven for the most part, with a fair bit of introspection as we switch between the four main characters. It takes a turn in the final third towards techno-thriller, which is probably what made it a great purchase for Universal Studios for a television adaptation, and why it’s being pitched as perfect for fans of the TV show Severance. It is an admirable, ambitious debut novel, full of good writing. There are some powerful philosophical arguments presented here in evocative imagery, and Kim’s use of the second person narrative for much of the novel is an excellent stylistic choice that puts the reader in the position of being an instance. This does not feel gimmicky; instead, it does what it intends to: It captures moments, feelings in a “specific time and place… the heart at the moment of stepping over a border. The mind when it knows it is leaving.”  What does life look like in a world where imperialism, citizenship laws, immigration, war, racism and xenophobia all have an immediate physical impact? What does life look like when your future can be commodified, controlled, capitalised upon? It is not just about a surge in population, it is not “a cleft of meat and bone… it is the  cleave of one future from another. It is the psychological change as denoted through physical reality; it is metaphor made flesh. The physical effects are downstream from the higher-order changes taking place.” It is these higher order changes that Sublimation concerns itself with, and while it does not have all the answers, it definitely brings about a great many relevant questions.[end-mark] Sublimation is published by Tor Books.Read an excerpt. The post Double Take: Sublimation by Isabel J. Kim appeared first on Reactor.