SciFi and Fantasy
SciFi and Fantasy

SciFi and Fantasy

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AMC Cancels Talamasca: The Secret Order After One Season
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AMC Cancels Talamasca: The Secret Order After One Season

News Talamasca: The Secret Order AMC Cancels Talamasca: The Secret Order After One Season I wanted to believe? By Molly Templeton | Published on March 30, 2026 Screenshot: AMC Comment 0 Share New Share Screenshot: AMC Perhaps the vampires and witches will sleep better at night knowing there’s no arcane organization keeping tabs on them. Variety reports that AMC has canceled Talamasca: The Secret Order, making it the first show in the Anne Rice Immortal Universe to prove to be mortal after all. In a statement, AMC said, “The Talamasca has a storied place within the Anne Rice Immortal Universe, and we expect to see at least some of these characters, and the organization itself, in future expressions of the franchise.” Talamasca pulled from both the Interview With the Vampire and Mayfair Witches stories (both of those shows will return for third seasons, with Interview being re-branded as The Vampire Lestat in June, and Mayfair next year). The series starred Guy Denton as a law student recruited to join the secretive titular organization, which monitors the supernatural world. The logline said, “When Guy learns that the Talamasca has been tracking him since his childhood, he falls headlong into a world of secret agents and immortal beings who, up to now, have maintained a fragile balance with the mortal world.” Denton’s co-stars included Elizabeth McGovern, William Fichtner, Maisie Richardson-Sellers, and Celine Buckens, with Jason Schwartzman appearing as a vampiric guest star, and Eric Bogosian and Justin Kirk appearing as their Interview characters. The series had a somewhat odd creative team in developer and co-showrunner John Lee Hancock (The Blind Side) and co-showrunner Mark Lafferty (a producer on The Right Stuff and Halt and Catch Fire). Reviews were all over the place: The AV Club gave it a B+, while Vulture scoffed, “Where Interview With the Vampire is ambitious, Talamasca is brand management.” You can watch the six-episode single season of Talamasca on AMC+.[end-mark] The post AMC Cancels <i>Talamasca: The Secret Order</i> After One Season appeared first on Reactor.

Babylon 5 Rewatch: “Learning Curve”
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Babylon 5 Rewatch: “Learning Curve”

Column Babylon 5 Rewatch Babylon 5 Rewatch: “Learning Curve” An aspiring crime boss in Downbelow decides it’s time to get rid of Security Chief Allan… By Keith R.A. DeCandido | Published on March 30, 2026 Credit: Warner Bros. Television Comment 0 Share New Share Credit: Warner Bros. Television “Learning Curve”Written by J. Michael StraczynskiDirected by David J. EagleSeason 5, Episode 5Production episode 506Original air date: February 18, 1998 It was the dawn of the third age… On Minbar, we see Turval teaching new Ranger recruits how to meditate—with varying degrees of success—when Durhan arrives. He has been summoned to B5 to give Delenn—who is now Ranger One—an update on the training, and wishes Turval to accompany him. They also bring two students, Tannier and Rastenn. On B5 in downbelow, there’s new thug in town! Trace is trying to make a name for himself as the new crime boss, and is showing his bonafides by killing someone who owes him money. Delenn happily greets the arriving Rangers. Turval was a teacher of hers, and Durhan is one of the most respected members of the Warrior Caste. She offers the four of them a tour of the station. Garibaldi invites both Lochley and Allan to join him for lunch. The conversation starts out pleasantly enough, talking about their Starfury shortage, but modulates into an argument between Garibaldi and Lochley (with a beleaguered Allan trying and failing to change the subject) about Lochley’s alliances during the recent civil war. Lochley storms off in a huff, encountering Sheridan in a lift. Sheridan offers to talk to Garibaldi for her, but she says she can handle it. Credit: Warner Bros. Television Allan investigates the latest murder in downbelow. Trace—who is responsible for all three murders that Allan is now investigating—decides that his next target should be Allan. His people caution against that. Lurkers killing lurkers is one thing, but you start going after the higher-ups and they’ll come down on Trace like a ton of bricks. But Trace insists that this is the way to get security in their pocket, which shows a hilarious misreading of this station’s personnel. Delenn, Turval, and Durhan discuss the Ranger training, including the difficulties in training a pak’ma’ra to be a Ranger. Delenn makes some clever suggestions on how to use the pak’ma’ra. Turval also talks with Delenn about Cole and Lennier. The former was his finest student, but he also joined the Rangers for the wrong reasons, which is probably why did the dumb thing he did to get himself dead. The latter is training a little too hard, as if he has something to prove. In Allan’s office, Garibaldi briefs two of Byron’s rogue telepaths on their new jobs as intelligence gatherers. After they leave, Garibaldi tries and fails to convince Allan to let him look at Lochley’s personnel file. Allan is then summoned to meet with an informant. Said informant is actually working for Trace, luring Allan into a trap. The informant is angry when she realizes that Trace plans to kill Allan—she though they were just going to rough him up a bit. Trace then orders her killed, because that’s apparently his only move… Unluckily for him, Tannier and Rastenn hear her screaming and run to help. That is to say, Tannier runs to help. Rastenn thinks it’s none of their business and they don’t know enough to intervene. Tannier saves the informant, but gets his ass kicked. Credit: Warner Bros. Television Delenn specifically requests of Lochley that the Rangers handle this rather than station security, citing the Rangers’ independence and the IA constitution and Sheridan’s agreement. Lochley isn’t thrilled, but acquiesces. Tannier, injuries and all, must confront his terror and get justice by confronting Trace. On Lochley’s orders, Allan clears all security from the sector Trace is in. The criminal thinks this means his actions are having the right effect, and oh boy, is he wrong. Durhan, Turval, and Rastenn dispose of Trace’s henchthugs, while Tannier confronts Trace directly. Durhan promises Trace that, if he defeats Trace, the rest of them will let him go. Trace isn’t thrilled at any of this, and his attempts to fight back are poor at best. He’s not much of a fighter, he prefers to have other people do his dirty work. Even wounded, Tannier doesn’t have too much trouble taking him down. Allan then comes in and arrests Trace. The Rangers head off, with Delenn wishing them well and asking Turval to keep an eye on Lennier for her. Get the hell out of our galaxy! After a comment from Lochley that indicates that she knows Sheridan better than she’s let on, Delenn confronts Sheridan, who admits to knowing Lochley previously, though the specifics are given off-camera. Never work with your ex. Lochley refuses to give Garibaldi a straight answer regarding what side she was on during the civil war, though she makes it clear that she was not okay with Sheridan’s actions. The household god of frustration. Garibaldi is frustrated by his lack of knowledge of which side Lochley was on. Lochley also surprisingly doesn’t bring up the fact that a major victory for Clark’s side was Sheridan’s capture, which Garibaldi orchestrated (under Bester’s control, but I doubt that part was public knowledge). If you value your lives, be somewhere else. Turval was yet another one of Delenn’s mentors, the third we’ve met, after Draal and Dukhat. The Corps is mother, the Corps is father. Two of Bryon’s telepaths start working for Garibaldi as intelligence operatives. They don’t say anything during Garibaldi’s briefing for them, which prompts a snotty comment from Garibaldi, and which prompts amusement from your humble rewatcher that the show’s budget had been sufficiently cut by TNT that they had to make all the non-Byron rogue telepaths extras who have no lines and get paid much less. We live for the one, we die for the one. The Rangers have gone from only being humans or Minbari to accepting any member of the IA. Accepting a pak’ma’ra has proven challenging. Also a badly wounded Ranger fresh out of the hospital can still totally kick your ass. Looking ahead. We are teased with the specifics of the past that Sheridan and Lochley have, which won’t be revealed to the viewer until the next episode. No sex, please, we’re EarthForce. After Sheridan tells Delenn the truth about his past with Lochley, Delenn sleeps with her back to him. Credit: Warner Bros. Television Welcome aboard. Turhan Bey, last seen as the Centauri emperor in “The Coming of Shadows,” plays Turval. The other Minbari are played by Nathan Anderson (Rastenn), Brendan Ford (Tannier), and Brian McDermott (Durhan). The character of Tannier will return in the movie Legend of the Rangers, played by Todd Sandomirsky. Dawn Comer gives Allan somebody to talk to as an unnamed security guard, while Trevor Goddard plays Trace and the delightfully named Mongo Brownlee plays Trace’s second. (Amazingly, IMDB only lists about thirty roles for him, none since 2008, which is surprising—how can you resist casting someone named Mongo Brownlee???? A name like that, you make a role for him, dagnabbit.) Trivial matters. This was Turhan Bey’s final role. He retired from acting after this, and died in 2012 at the age of 90. Delenn was officially made Ranger One (following Sinclair’s travelling back in time to become Valen in “War Without End, Part 2”) in “Grey 17 is Missing.” Lennier left Delenn’s service to train as a Ranger in “The Very Long Night of Londo Mollari.” Cole sacrificed himself to save Ivanova in “Endgame.” Durhan was mentioned as being the one who trained Neroon in using the pike in “Grey 17 is Missing,” and the character also appeared in the novel To Dream in the City of Sorrows by Kathryn M. Drennan. N’Grath, who was established in season one as running most of the criminal activity in downbelow, is apparently no longer around, though what happened to him is not specified (beyond “hoo boy, did the CGI not work on that one…”). The echoes of all of our conversations. “Did it ever occur to you that just because somebody doesn’t agree with you, that doesn’t mean they’re the enemy?” “No.” —Allan asking a simple question, and Garibaldi saying, “Bazinga!” Credit: Warner Bros. Television The name of the place is Babylon 5. “At the end, Captain, we all stand alone.” One thing that has proven to be B5 Kryptonite is whenever they show us bad guys in downbelow, because it almost never works. In this particular instance, the entire plotline is done in by an exacta of bad casting and weak writing. Trevor Goddard is first-season-level bad as Trace. He’s about as menacing as a guy cosplaying badly as an “evil” knight at a Renaissance Festival. It doesn’t help that he’s written so poorly. In stories like this, J. Michael Straczynski tends to default to tired crime-drama clichés that have no bearing on reality whatsoever. For starters, if someone owes you money, killing them is a poor way to punish them, as that guarantees that you’ll never collect the debt, which is a shitty way to do business. And the notion that you’ve made an example of them is hilariously pointless, as decades and decades of evidence has proven that the death penalty isn’t a deterrent to crime. Trace kills three people in this episode, and plans to kill two more, and that doesn’t make him a successful crime boss, it makes him a serial killer. (Well, serial orderer, since he doesn’t actually commit the killings himself, but still.) We even have his lieutenant telling him that this is a bad strategy (said lieutenant played by the superlatively named Mongo Brownlee—seriously, best name ever), to no avail. Sadly, it takes the wind out of the sails of that entire plotline. By the time Tannier confronts Trace, we’ve been given no reason to take Trace in the least bit seriously as a threat thanks to Goddard’s awful acting and Straczynski’s weak writing. But hey, at least we got Mongo Brownlee… The Minbari/Rangers stuff is fine, though it feels like we’ve been down some of these roads before, particularly with Delenn meeting up with an old teacher. And I would rather have seen Lennier’s overdoing it in training rather than be told about it second-hand. Still, the banter among Durhan, Turval, and the trainees in the teaser is delightful, and nobody ever went wrong casting Turhan Bey. Finally, the Lochley/Garibaldi pas-de-deux continues to fall flat, mainly due to Tracy Scoggins’ stiffness, which stifles her ability to convey emotion. Her rant at Garibaldi over lunch has neither passion nor intensity, at least one of which is required to make the dialogue land. Instead, it’s just dull shouting. (Also, Garibaldi still shouldn’t have his job, but that’s rapidly becoming a dead horse of mine…) Mongo Brownlee! Next week: “Strange Relations.”[end-mark] The post <i>Babylon 5</i> Rewatch: “Learning Curve” appeared first on Reactor.

Warrior Ethos, Cat Style: Erin Hunter’s Warriors: Into the Wild
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Warrior Ethos, Cat Style: Erin Hunter’s Warriors: Into the Wild

Books SFF Bestiary Warrior Ethos, Cat Style: Erin Hunter’s Warriors: Into the Wild A fantasy adventure series for cat-lovers of all ages… By Judith Tarr | Published on March 30, 2026 Comment 0 Share New Share Western culture loves stories about leaving civilization behind and returning to the free life of the wild. It especially loves them when the protagonists are animals. Often it’s feral descendants of domestic species, such as Spirit and the Silver Brumby. Equally often it’s a domestic animal who goes wild. That’s the trope that the creative team collectively known as Erin Hunter has turned into an entire and expanding industry. It starts here, with Into the Wild. Orange kitten Rusty lives a comfortable life as a pet, but he dreams of hunting real mice. One day, that dream comes true. I love cats. I have three at the moment. I had trouble getting into the book at first because I have Very Large Feels about the life that real feral cats live. All of mine come from feral colonies, and two were born there. Also, the myth that That Visit to the vet turns a cat into a potato. Will someone please convince my cats of this? They won’t listen to me. The tortie is hanging from a curtain rod because there’s a bird on the roof, the calico is running kitty parkour from one end of the house to the other, and senior cat, she of the black ears and tail and the I Dream of Jeannie eyes, who rules all, is rehearsing her latest interpretive dance on top of one of the cat trees. But I quickly found my way in. The characters captured me, and the swiftly paced action. The worldbuilding is careful and detailed. A lot of thought has gone into it, and it shows. It reads to me as fantasy, and I am a fantasy fan. Fantasy I can do, even if I have Too Many Feels about the reality behind it. The characters are classic talking animals. They have human-level intelligence and reasoning powers, and they converse in what translates as English. At the same time, they’re definitely cats. Their body language is cat language. They meow and purr and yowl and hiss in true cat fashion. The cat colonies in the book are divided into Clans. Rusty, who is renamed Firepaw, is recruited into ThunderClan. There are three other Clans in the area: WindClan, RiverClan, and the ominously named ShadowClan. Each Clan has a leader and a deputy, and controls its own area with defined boundaries. Within those boundaries, the colony consists of warriors of both sexes and their apprentices, who patrol and defend the Clan and do the hunting, queens with kits who are closely guarded in the heart of the colony and are fed and cared for by the rest of the Clan, elders who are retired but still valued for their wisdom and experience, and one or more medicine cats who looks after the health and welfare of the colony. The medicine cat, also called a shaman, is well versed in herb-lore and healing. They know which herbs to prescribe for various ailments, and they treat open wounds with cobwebs, a bit of lore that’s particularly useful for the warriors. The leader of the Clan is divinely appointed and divinely inspired. When one is chosen, they make a pilgrimage to a place that is sacred to all the Clans, to the Moonstone, to present themselves to StarClan. StarClan, which is basically the gods of the cats, endows the leader with nine lives and gives them dreams that will guide them as they return to their own Clan. The Clans do not mingle except once a month at the full moon, when they gather in a specific place and share news and negotiate various matters. They defend their territories fiercely, and not just because they’re a territorial species. Resources are limited and under constant threat from human encroachment. They do what they have to in order to survive. That means, as the story unfolds, that one Clan has started invading other territories. Its own territory is depleted, its population is declining, and its leadership has changed for the worse. When it threatens ThunderClan, Firepaw and his friends have no choice but to fight back. Enemies from without are not the only danger ThunderClan faces. There’s treachery within, and Firepaw is right in the middle of it. He’s an adopted member of the Clan; he has to earn its trust. It doesn’t help that he was raised by humans. The Clans are contemptuous of what they call kittypets. Soft, weak, uneducated in the ways of the Clans, unable to live in the wild—they’re no match for Clan warriors. But ThunderClan, though not struggling as hard as ShadowClan, is teetering on the edge. It needs warriors. Firepaw is young, strong, and has escaped just in time to avoid That Visit to the vet. He has a lot to learn but he’s willing, and he’s never really tempted to go back to the domesticated life. He’s a fated hero. This first volume doesn’t push it too hard, but the signs are there. He has prophetic dreams. He notices things that others miss, and he’s often there when important things happen. He’s drawn to the medicine cats and they to him, and powerful and significant figures take note of him. The leader of the Clan becomes his mentor and trains him to be a warrior. It’s clear he’s meant for great things. This is marketed as a middle-grade series, but this adult reader finds it quite satisfactory, both as a fantasy and as an adventure. It doesn’t read as overly simplified. There’s no talking down. In fact there’s a fair bit of subtlety to it. Limited resources, war and invasion, political maneuvering both positive and negative, are very much a part of the fabric of the world. We aren’t lectured to, we aren’t fed Messages. It’s baked in, and it works on multiple levels. It has a lot to say about things that humans are concerned with, too. And it’s cats. Fantasy cats, not quite real, but my belief suspended itself willingly after all, and the story pulled me along to the end and beyond. There is closure in this volume, and problems resolved, but there’s considerably more to come.[end-mark] The post Warrior Ethos, Cat Style: Erin Hunter’s <i>Warriors: Into the Wild</i> appeared first on Reactor.

Aragorn’s Tax Policy and Other Weird Shibboleths
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Aragorn’s Tax Policy and Other Weird Shibboleths

Featured Essays The Lord of the Rings Aragorn’s Tax Policy and Other Weird Shibboleths Finally, a helpful explanation of why medieval rulers and modern tax policies don’t mix… By Liz Bourke | Published on March 30, 2026 Credit: New Line Cinema Comment 0 Share New Share Credit: New Line Cinema In a 2014 interview with Rolling Stone, George R.R. Martin had the following exchange with his interviewer: A major concern in A Song of Ice and Fire and Game of Thrones is power. Almost everybody—except maybe Daenerys, across the waters with her dragons—wields power badly.Ruling is hard. This was maybe my answer to Tolkien, whom, as much as I admire him, I do quibble with. Lord of the Rings had a very medieval philosophy: that if the king was a good man, the land would prosper. We look at real history and it’s not that simple. Tolkien can say that Aragorn became king and reigned for a hundred years, and he was wise and good. But Tolkien doesn’t ask the question: What was Aragorn’s tax policy? Did he maintain a standing army? What did he do in times of flood and famine? And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren’t gone—they’re in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles? “Aragorn’s tax policy” is, to some extent, an articulation of something that has haunted the discussion of “realistic” fantasy ever since. But on the face of it, it’s a facile question to ask, because medieval kings are structurally constrained: they can’t have a “tax policy” in a modern sense. It has been years since I read The Lord of the Rings, and I never paid much attention to the appendices anyway. A brief survey brings back the facts that Aragorn (“Elessar,” the name under which he reigns): rules over the conjoined kingdoms of Gondor in the south and Arnor in the north, gives a charter to the Shire confirming its rights of self-government, and the same with regard to the Forest of Druadán and the people of Ghân-buri-Ghân, reclaims the territory of Umbar from the Corsairs, releases the slaves of Mordor (Sauron’s human labour force and his agricultural workers) and gives them land around Lake Núrnen to settle on, makes it so orcs no longer threaten the people of Gondor, goes to war in the South with the Rohirrim as allies beautifies the city of Minas Tirith ultimately makes peace with the men of the South and the East Gondor, structurally, looks like a medieval polity. 11th-century England, or 10th/11th-century France, is probably the most useful comparison: the king is a powerful lord who balances factions among less (but not always much less) powerful lords.1 There are arguments to the effect that Gondor’s closest real-life comparator is the 10th or 11th century Byzantine Empire (or the Eastern Roman Empire, as it knew itself), but it is not possible to see in the text an equivalent to the thematic administrative system or the metropolitan officialdom, while it also lacks Byzantium’s extensive religious communities and large urban centres, with the possible exception of Minas Tirith. In the modern world we speak of taxes as regressive (the effective tax rate decreases as the amount subject to taxation increases2) or progressive3 (in which the tax rate increases as the taxable amount increases), and modern taxation is used for two main purposes besides raising revenue: to incentivise or disincentivise behaviour by adding or reducing the cost of carrying out that behaviour4; and to redistribute resources from the most well-off to the most in need, and thus flatten income inequality.5 This is a simplified view of taxation, of course. But while a modern state usually has the state capacity with regard to literacy and bureaucracy to both collect taxes in a targeted and granular fashion, and to refine them based on knowledge of their effects, a medieval kingdom doesn’t have this capacity. A medieval kingdom is limited in its ability to know things about its territory and that territory’s inhabitants, and to exert effective control over that territory and those inhabitants, both of which are necessary to raise revenue through taxation. These limits also constrain its ability to develop the deep bench of a competent, literate, and loyal bureaucracy that would enable it to extend its reach in terms of knowledge and control.6 Structurally, then, a medieval kingdom doesn’t have the state capacity to have a very granular tax policy. Very likely King Elessar would have to employ decentralised tax collection—that is to say, tax farming. The royal income would be supplemented by income from royal holdings (lands either rented to farmers, from which the income is rent, or worked on the king’s behalf by paid laborers, from which the income is everything left over after expenditures), and from tolls: road tolls, river tolls, bridge tolls. Probably this income is supplemented by some royal monopolies and by a portion of fines levied in law courts for breaches of law. (We do not have a clear idea of how the laws of Numenór or of Gondor work, but fines are a consistent punishment across medieval Europe.) Very likely a proportion of the royal “income” comes in the form of labour duties—corvée labour—on top of payments in cash or kind. We do not know much about Gondor’s trade, but there may also be customs duties. In consequence of customs duties, there would be a smuggling industry that required suppression for the customs duties to raise much revenue at all. Most of Middle-earth is not densely populated, as far as we can tell. Gondor appears to have a good deal of worked agricultural land. It’s been pressed by Mordor for centuries, so there is likely to be some peace dividend, once the rebuilding is complete. Considering that many Men of Gondor have been killed, however, some land probably falls out of cultivation for a generation. Given the absence of a paramount warlord in Mordor, orcs probably resort to raiding for survival and subsistence, so we may also expect a certain amount of low-intensity warfare until Elessar is able to drive all the orcs out of his kingdom. This is probably an effort that takes decades, and yes, it probably does involve Men of Gondor killing baby orcs, if orcs breed like men: one cannot imagine Elessar is able to settle repentant orcs peaceably next to their very long-term human enemies on his lands without having to suppress a great deal of local unrest.7 A certain amount of border warfare with the Men of the South/East over generational grudges is very likely until Elessar is able to achieve a settled peace. Any peace dividend is therefore likely to be both quite small for some time and concentrated in the parts of Gondor closest to Rohan, which will have suffered least over years of war and been least ravaged by the latest violent crisis. Aragorn’s tax policy then, must resemble that of any successfully consolidating early medieval king. It’s very straightforward: the tax policies of Gondor—and Rohan, too—are implicit in the text by virtue of their structure as polities. And Tolkien, as a man very familiar with the early medieval world—as it is clear from the texts that he is very familiar with the logistics of early medieval war—no doubt understood it to be implicit. To ask the question of “Aragorn’s tax policy” or his maintenance of a standing army speaks to a shallow, or perhaps a careless, understanding of the limits and constraints of state power in early and high medieval polities. Kings require income. They require it primarily for warfare, and secondarily to demonstrate their legitimacy. The money they require for warfare is not usually to pay men-at-arms directly, with the exception of what we may consider a household guard of men permanently under arms directly in their service. This household guard is usually very small relative to the total of possible men under arms in the entire kingdom. No, the money they require is to afford the logistical burden of feeding, housing, and transporting those men-at-arms and their food while they are on campaign, and building or repairing fortifications. Sometimes it is to afford to pay what pre-modern texts often refer to as “mercenaries” but for which a better understanding is “professional soldier who works for pay” rather than the more usual “adult male who is obliged to serve a certain number of days on military service as a condition of his (or his household’s) residence within the territory.” Meanwhile, legitimacy is demonstrated through largesse, building projects, personal accoutrements, religious donations, the repair and upkeep of public works, and sustaining relationships with their lords—often through gifts. So Aragorn would likely find it very difficult, if not impossible, to maintain a standing army outside his royal household men-at-arms. Maintainingtoo many men under arms means taking resources from other necessary expenditures, while also making a king’s lords worry about what he means to use those men-at-arms for. (Quite possibly Minas Tirith has an extensive militia, though, and is used to having part of it raised to garrison and defend the city at any given time. Minas Tirith may even have a permanent standing garrison of professional soldiers, but that’s both expensive and in close quarters with a royal court, dangerous.) The capacity to raise the income a king requires is constrained primarily by two things: a) how much knowledge the king and his court has and is able to have about the productive capacities of their land and the economic value of trade in and out of the kingdom; b) how much control, and how fine-grained a control, they can exert in extracting surplus income above subsistence from the peasantry. Knowledge is generally the most difficult part, even for modern states with extensive bureaucracies. But control of extraction is also difficult, because peasants—the agricultural class comprising 90% of the population—will resist both actively and passively having too much of their surplus extracted. This resistance most often involves hiding or concealing some part of their production, but it can extend to leaving, especially if there’s extensive amounts of land not under cultivation and far from lordly surveillance. (Sometimes it erupts in convulsive violence, such as that reported by unsympathetic Jean le Bel and Jean Froissart of the French Jacquerie of 1358.) This is an outline of an explanation as to why Aragorn can’t really have something that we’d understand in the modern sense as a “tax policy”: he’s constrained by (lack of) state capacity.8 Perhaps he directs himself towards building state capacity: centralising administration, building the ability of his court—his kingdom’s administrative centre—to do things and to find out shit about his kingdom. But that’s a different question. Tolkien’s vision of a good king follows medieval Christian lines: he rules with respect for existing law and custom; he restrains unjust lords; he gives good justice and does not resort to arbitrary caprice; he makes war when necessary to defend his subjects and delivers peace that lets them prosper without fear of unlawful violence. Now, this is the ideal king, the king of propaganda and self-presentation: most medieval kings in historical perspective are rather less capable or less inclined to do these things even to the extent that they are possible for medieval kings to do. (They must respond to flood and famine, and usually do so through initiatives like remitting taxes and attempting to buy grain from abroad.) But a king in Elessar’s position, victorious in war, humble by disposition, with decades of experience in the world behind him, aware that the legitimacy of kingship itself is in question because the Stewards managed quite well for centuries until Denethor was faced with the whole might of Sauron, and with no major enemies that might offer him competition or a long war? He might, in fact, manage to be a very competent king indeed—even a very good one, by the medieval rubric. Note: I draw my emphasis on knowledge and control from the work of James C. Scott, in particular Seeing Like a State and The Art of Not Being Governed, which has wide relevance to thinking about state capacity in both pre-modern and modern times. The work of Walter Scheidel (as an editor, author, and co-author) has also been both illuminating and accessible when it comes to thinking about the nature of state power and the economy in pre-modern polities. This article was originally published at Liz Bourke’s Patreon. Urban centres and large monastic centres are often treated as corporate bodies very similar to lords, in this system. I do not want to fail to mention them: though their internal administration is different to that of the land-holding military aristocrat, as bodies they have control of similar resources and so a king must reckon with their interests and influence as well. ︎https://en.wikipedia.org/wiki/Regressive_tax ︎https://en.wikipedia.org/wiki/Progressive_tax ︎For example, higher rates of sales tax or VAT on alcohol and tobacco are supposed to discourage its consumption, while the rate of customs or import taxes on various classes of goods are an effective government tool. ︎Examples of this function include: progressive income tax, inheritance taxes, taxes on gifts. ︎Indeed, we see in pre-modern polities who do manage to develop an extensive literate administrative class/court-centred bureaucracy that they must weather the trade-off in an increase in what we might as well call palace intrigue: from the Papal States to merchant republics like Venice and Byzantium, and the Ottoman Empire to pre-modern China. ︎Merely human enmities in the real world have an extensive history of such violence, and the aftermath of war and the redrawing of borders in the 20th century and after has often seen genocidal violence enacted even where a central government wanted to prevent the murder of potential tax-payers. ︎In order to raise additional revenues he needs more revenue than he’s required to spend on immediate circumstances, to invest in building the tools that he can use to raise that revenue. This is partly why we hear about medieval kings having revenue problems so often: crises that require them to spend more resources reduce their ability to extract those resources. ︎The post Aragorn’s Tax Policy and Other Weird Shibboleths appeared first on Reactor.

Eight Strange Stories Celebrating Strange Works of Art
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Eight Strange Stories Celebrating Strange Works of Art

Books reading recommendations Eight Strange Stories Celebrating Strange Works of Art From haunted mosaics to burning paintings to crime as performance art… By Sam Reader | Published on March 30, 2026 Detail from Hieronymus Bosch’s “The Garden of Earthly Delights” Comment 0 Share New Share Detail from Hieronymus Bosch’s “The Garden of Earthly Delights” Art in fiction can be magic. Well, art in general can be magic—it would be silly to argue that art can’t transport us to other worlds or introduce us to images we’ve never seen before. In fiction, though, art can really be magic, with paintings leading to other worlds, operas that predict the future, and whole conspiracies centered around the theft and destruction of paintings. To help illuminate the fascinating relationship science fiction and fantasy lit has with the art around it, I’ve assembled the following list of eight unusual literary works of art that pay homage to other unusual works of art—both in their odd and transfixing qualities, and in the joy, emotion, and pain that goes into every stroke of the brush or note of the music. The Works of Vermin by Hiron Ennes The Works of Vermin is one of the best fantasy novels of the past five years, and part of that’s due to its sense of theatricality—a quality that resonates with the city of Tiliard’s obsession with art as a whole. The book follows an exterminator on a desperate quest to stop a massive centipede from devouring paintings whole, while the city’s wealthy patrons bet on whether their favorite performer will make it through an entire opera alive. One character’s internal monologue references narrative conceits while another has whole operas memorized, and so much of the bizarre totalitarian government rests purely on aesthetic. It gives the world Ennes creates such a wild texture and genuinely makes the setting feel alive, steeping the plot in the strange artistic rituals of fashion, music, perfume, opera, and painting as much as it does weird conspiracies and bureaucracies in the stump-based city’s pest control sector. Strange Pictures by Uketsu, translated by Jim Rion The enigmatic Japanese YouTube sensation Uketsu proves his eerie aesthetic translates well to the written page with his second book, a set of linked stories centered around a series of drawings and the people who drew them. After a prologue where a psychologist tries to analyze one of the drawings, we’re plunged into a story of hidden secrets, familial trauma, and the unnerving meanings behind the sketches depicted in the text. As each new story adds to the twisted saga and the simplistic drawings gain new, more horrifying weight, something sinister creeps into the images. While the presentation isn’t particularly complex, the picture that slowly emerges gets more and more upsetting, allowing our imaginations to fill in the blanks even before the horrifying reveals. Coldheart Canyon by Clive Barker Barker’s an author who works visual art into much of what he does—it helps that he’s an accomplished painter and sculptor along with his other multi-hyphenate skills—and so it’s difficult to pick exactly which of his works to go with, for this list. Coldheart Canyon is a solid choice. Not only is it about a disfigured and reclusive actor living on a property haunted by the ghosts of Old Hollywood and their wild parties, but also features a haunted wall mosaic that opens into an alternate dimension called the Devil’s Country. Of all the novels where Barker plays with the lines between his work—the grotesque horror, modern gothic, and lavish dark fantasy—Coldheart Canyon is perhaps the book that gets the balance absolutely perfect, a whirl of gods, monsters, magic, and the humans caught in the resulting storm. Void Corporation by Blake Butler One of art collector Alice Knott’s paintings is stolen and destroyed using a flamethrower; video showing the deliberate destruction of the work is then uploaded to the internet. Alice, a reclusive heiress who somehow missed the initial theft despite being home the entire night, is sent into a spiral as she tries to unravel a web of conspiracies and her own buried trauma centered around the home invasion. From the opening destruction of art shot like a snuff film, Butler’s tone is both intimate (Alice’s intrusive thoughts and rituals are deeply uncomfortable for anyone who’s been where she is mentally) and voyeuristic (the narration’s gleeful depiction of everything from a media circus to Alice’s internal thoughts) as it explores art’s place in our own interior landscapes, and in the greater framework of class and imagination itself. The Crime Studio by Steve Aylett Aylett’s absurd novels and stories cut a swath through the landscape of indie lit in the early 2000s, with each new work introducing readers to the author’s fevered writing, strange visuals, and sentences that feel like new inventions of language. The Crime Studio, his debut work, is a collection of interrelated stories detailing the lives and deaths of the citizens of Beerlight, a futuristic dystopian city where crime is considered the ultimate art form. Aylett’s crime-and-culture approach to noir becomes a playground for some of his wildest absurdities—everything from a burglar who approaches his crimes as performance art, a serial false confession artist who method-acts his way through crime scenes, and a supermodel whose vague expressions are better at deterring violent criminals than any other method of security. If it sounds silly, it is, but within that silliness lies a dark, savage humor and a clear appreciation for art. City of Dark Magic by Magnus Flyte A wild sex comedy set across the city of Prague, City of Dark Magic follows musicologist Sarah Weston and a variety of eccentric researchers (is there such a thing as Light Academia? This series would definitely qualify!) as they try to restore Lobkowicz Palace to its former glory and catalog the manuscripts of Ludwig van Beethoven. This quickly spirals out of control as a diminutive man with a pillbox full of hallucinogenic toenails (fashioned out of a copper nose that once belonged to Tycho Brahe) sends Sarah, her fellow researchers, and a prince involved with the foundation on an alchemical journey to discover ancient secrets, explore the occult underbelly of Prague, and rack up public indecency charges like they’re collecting trading cards. It’s not always the cleanest of stories, but for something light and fast-moving, Flyte’s version of Prague is a lot of fun. Memory and Dream by Charles de Lint When Isabelle Copley was a student, she could bring forth spirits from her paintings. But between her abusive relationship with her troll-like former mentor Rushkin, the death of her best friend Kathy, and her horror at what her own gift has wrought under Rushkin’s manipulation, Isabelle turned her back on portraits entirely, living a reclusive life as an abstract painter. A posthumous letter from Kathy and a mysterious bus terminal key suddenly open up the old wounds in her life, forcing Isabelle to pick up her paintbrush and confront her past once again. De Lint bounces between past and present as he unravels the strands that brought Isabelle to this point…in the process he creates a beautiful but wrenching story of grief, trauma, and exorcising the present by finally resolving the past. Through All Our Heavens by Olivia Hawker In Civil War-era America, a painter by the name of Helen Bywater awakens to a massive celestial event outside her window, granting her a unique vision in her paintings. In 2053 America, one split by a different conflict, with the west blockaded from the east, an art historian named Derryn Witt finds Bywater’s paintings of a strange future—her own present—just as a massive solar flare, an EMP event, and a terrorist attack shut down her technology and force her to flee the university. Transfixed by Bywater’s paintings, Witt finds her own connection to the past strengthening, the bond between her and Bywater growing. Hawker’s own painterly eye brings beauty to both Bywater’s paintings and the surrounding landscape, creating a transfixing tale that unfolds across two time periods.[end-mark] The post Eight Strange Stories Celebrating Strange Works of Art appeared first on Reactor.