Movies & TV Mother Mary Mother Mary Might Just Be the Experience You’re Waiting For Is… is this what it feels like to be the invisible default? By Emmet Asher-Perrin | Published on April 27, 2026 Credit: A24 Comment 0 Share New Share Credit: A24 Filmmaker David Lowery made a lot of audiences very happy with The Green Knight, to put it mildly. While the writer/director has other projects in the pipeline—and many more before his second A24 project put him on a very specific kind of map, as it were—few seemed poised to fill that same niche for audiences until Mother Mary appeared on the horizon.  Are there similarities? Certainly. A dreamlike quality to the story itself, dialogue seeded with metaphors that birth the film’s imagery, intimate exchanges, and rarely more than two characters speaking to one another on screen at a time. But Mother Mary offers something that might feel far more precious to over half the population of the world: The chance to exist in a place where the thoughts and opinions of men are never once entertained, centered, or even acknowledged. Irony abounds, perhaps—it is written and directed by a man, as we know—but there is a weight of psychological relief existing within the frames of this film that is hard to express if you’re not accustomed to being on the other side of the equation. You rarely see a man on screen at any point in Mother Mary. You never hear a man’s voice, never have to reckon with the weight of their opinions or bend to a concept of “womanhood” that doesn’t fit the body you occupy. The story is this: Mother Mary (Anne Hathaway) is a pop superstar of the highest calibre, but she’s having a crisis of personhood. Preparing for her next tour, she finds that the dress that has been designed for her doesn’t fit. She slips away from her entourage, producers, and handlers to find Sam Anselm (Michaela Coel)—a fashion designer and dear old friend(?) that she had a terrible falling out with. She begs Sam to make her a dress—but in order to get it, the two must rehash what went wrong in their relationship, and eventually find that they are haunted by the same red specter. While a great deal of work went into making Mother Mary a viable pop star within the realm of the film—the creative team talked endlessly of who they drew inspiration from, citing Taylor Swift (in 10-15 years), Beyoncé, and songs written by Jack Antonoff, Charli XCX, and FKA Twigs for Anne Hathaway to wail and sigh—I would argue that too much focus has been placed on that feat due to the massive amount of work that went into its creation. (It’s also a little strange that Gaga didn’t come up more frequently, as our very own Mother Monster, particularly given the inherent queerness of… everything in the film.) Mother Mary’s stardom is the backdrop on which the narrative flows, but it never once feels like the point of this tale. Having said that, it’s wildly impressive to create an entire pop star oeuvre for a narrative and have that persona largely do the work of set dressing? A feat unto itself, certainly. The places in the film where Mother Mary’s rise and fall come into focus tell a story that any fan can likely relate to—the way art often acts as a form of spiritual and religious experience, and what might happen to the people who embody that part. The name wasn’t chosen at random, after all: It’s an invocation, and the parts of Mother Mary’s act that we witness go through all of the greatest hits of that experience in high definition. We’ve got revelation, catharsis, renewal, ascension, sacrifice, deification, suffering—I could go on. There’s a hyper awareness around the fact that the uber act of pop stardom is a machine full of artists, using their bodies, their voices, their sweat and struggle, all for one person to get all the credit: A great deal of humanity loves auteur theory for reason. We cleave to the idea of one magnificent creature to raise above all others, their “vision” and personal genius shining a bright light in the dark. But outside of the trappings and halos and stadiums of fans, we are watching two women who are still reeling from the loss of each other. The script is wonderfully vague on the actual events that occurred in their past because specificity isn’t needed, but their desire is. We get to watch them toy with each other—though Sam arguably maintains control throughout, as the more wronged party who has been waiting for a chance to find the closure she deserves. The ghost that the two of them perceive may not be a true ghost in any traditional sense. She—because the specter is a she, they both agree on that—is created of Sam’s sorrow and abandonment, and the imagery around her formation is striking. Is she born of rage and loneliness? Is she the miscarriage of their dead relationship? Yes. Probably. Who knows. The film is replete with divine feminine imagery that never gives way to its usual “opposite.” As though the creative team had absolutely no care to ask whether that could be overdone, everywhere you look is another vaginal wound, clitoral folds of fabric with a pearl at the center, menstrual blood, fingering various parts of the body, wombs descending from the heavens. Moments that could feel phallic in nature are deliberately altered to that end: When they perform a seance, Sam uses her artist tools as symbolic objects to aid them—she dubs her needle as the sword to protect them. Penetration (and there is lots of that) never occurs with a phallic object of any kind. As far as this reality shows us, queer sex might be the only kind that exists. While I’m sure that someone out there is dismayed over the fact that no one kisses in the film, that there’s no outright declaration of sapphic romantic intent, it is impossible for this movie not to be queer, to be about women loving women, and hating women, and being unable to live without women, because—as I mentioned—men do not exist in this space. Is… is this what it feels like to be the default? Even as a nonbinary human, I have never felt more centered and actualized while sitting in a movie theater—this is a world in which girlhood and women’s art and the power of female and afab relationships is the only thing that ever mattered. A world where all girls do seances (look, they do). A world where losing those connections, platonic and romantic and everywhere in between, can destroy fundamental pieces of us (they do). It was an utterly alien experience to be immersed in a film that understood as much and had no interest in highlighting anything else. And I say this not to discount the incredible work being done by women and gender-nonconforming creators where men are present and important to the story—but it’s agonizingly rare for art not to spend so much time and focus and space (in the margins or not) dissecting the constant stress created by living under patriarchy and within its systems. We need a break now and then. The psychological relief is nothing to be sneered at. There are a couple of places where the pacing slips up a little, and there are real-world aspects to their relationship that the film is not interested in touching on, and I’m sure I could find more to criticize if I really wanted to—but I don’t. Mother Mary and Sam Anselm are beatific in every frame regardless of how they are feeling—tears spilling forward in shed emotion, hopeful and mischievous, sincere or putting on a show for one another. Their clothing choices, every design selection, is just right. We get to watch two impeccable performers egg each other on for hours, trying to one-up the intensity every step of the way. Coel is a hypnotizing force, who can make even the most abstracted dialogue sing. If you’re one of those people who gets up in arms about Hathaway’s earnestness and theater kid energy, I invite you (sincerely) to get over it.  Kneel at the altar of Mother Mary, and enjoy.[end-mark] The post <i>Mother Mary</i> Might Just Be the Experience You’re Waiting For appeared first on Reactor.

News Spider-Noir Nicolas Cage Gets in Some Sticky Situations in the Spider-Noir Trailer(s) Spider-noir, spider-noir / does whatever a spider’s for By Molly Templeton | Published on April 27, 2026 Image: Prime Video Comment 0 Share New Share Image: Prime Video So far, Spider-Noir seems like a case of “be careful what you wish for.” The idea of Nicolas Cage doing the live-action version of his character from Into the Spider-Verse seemed fun, right? But the previously released teasers and new trailers seem … less fun. The music and editing insist that we’re having a grand, slightly wink-nudgy noir time, but the reality is somewhat less inspired. There’s no spark, no chemistry, just a handful of good actors whose actions all seem disconnected. Even Brendan Gleeson feels a little out of place. Still, it is kinda nifty that they’re releasing the show both in sleek and noir-appropriate black-and-white—dubbed “authentic”—and also “true hue full color.” And it certainly won’t lack conflict; Prime Video released a whole separate video introducing the show’s villains, which include Silvermane (Gleeson), Sandman (Jack Huston), Tombstone (Abraham Popoola), and Megawatt (Andrew Lewis Caldwell). The series also stars Lamorne Morris, Li Jun Li, and Karen Rodriguez. Prime’s brief synopsis says: Spider-Noir tells the story of Ben Reilly (Nicolas Cage), a seasoned, down on his luck private investigator in 1930s New York, who is forced to grapple with his past life, following a deeply personal tragedy, as the city’s one and only superhero. The co-showrunners are Oren Uziel (The Lost City) and Steve Lightfoot (The Punisher), and its producers include Spider-Man: Into the Spider-Verse producers Phil Lord, Christopher Miller, and Amy Pascal. Speaking to Deadline recently, Miller emphasized that Spider-Noir stands alone, and is not part of a “giant web of interconnected series,” calling it “just its own little jewel of a story.” Spider-Noir airs on MGM+’s linear channel on May 25, then lands on Prime Video on May 27.[end-mark] The post Nicolas Cage Gets in Some Sticky Situations in the <i>Spider-Noir</i> Trailer(s) appeared first on Reactor.

Column Babylon 5 Rewatch Babylon 5 Rewatch: “In the Kingdom of the Blind” Mollari starts to suspect that all is not right on Centauri Prime, and Byron argues for a telepath homeworld. By Keith R.A. DeCandido | Published on April 27, 2026 Credit: Warner Bros. Television Comment 0 Share New Share Credit: Warner Bros. Television “In the Kingdom of the Blind”Written by J. Michael StaczynskiDirected by David J. EagleSeason 5, Episode 9Production episode 509Original air date: March 18, 1998 It was the dawn of the third age… Garibaldi brings a report from the Rangers to Sheridan and Delenn: cargo ships are being destroyed. These aren’t raiders, as they aren’t actually taking the cargo—they’re just showing up and blowing the ships to hell. There’s no evidence, no survivors, no pattern. But all the cargo ships being targeted belong to the IA. Mollari and G’Kar arrive on Centauri Prime. Minister Vitari assumes G’Kar is entertainment, and maybe he should be in chains, just in case? Mollari tartly states that G’Kar is his bodyguard, and no, that’s not a joke. Everyone is pretty nonplussed. On B5 in downbelow, Byron and Alexander gather all the rogue telepaths on B5 and inform them of what Byron learned when he and Alexander made mad passionate nookie-nookie: human telepaths were created by the Vorlons. Alexander points out that they can’t exactly get justice from the Vorlons for creating a slave race because the Vorlons are very very gone. Byron, however, wants the IA to give them a homeworld. On Centauri Prime, Mollari has a late-night drink with an old friend, Lord Jano, who informs him that the Regent has been in seclusion for ages. There are several bits of information that are being re-classified as for the Regent’s eyes only. And when the Regent himself has appeared, he’s been absent-minded and drunk. That last surprises Mollari, as the Regent has always been a teetotaler. While Jano and other members of the Centaurum and the aristocracy have been forbidden from seeing the Regent, Mollari might have better luck. They promise to meet in the morning. Credit: Warner Bros. Television Jano returns to his quarters to find the lights not working—and the Regent sitting in his chair. The Regent is rambling, saying that none of this is his idea right before an unseen assailant throws Jano into the wall. On B5, Sheridan and Delenn conclude a meeting with the IA ambassadors, saying that a security report will be uploaded to them tonight. Then they exchange a look, knowing that the Rangers’ report on the cargo ships will not go over well and lead to all kinds of cranky accusations and backing-and-forthing and other nonsense. The ambassadors all go their separate ways, but each of them is followed by one of Byron’s telepaths. On Centauri Prime, Mollari and G’Kar show up in the throne room, but neither the Regent nor Jano are there. Mollari sends Vitari to find Jano. While they wait, Minister Vole plays a stupid game with G’Kar, trying to prove that the Narns are all barbarians, but G’Kar declines the invitation by proving himself to be the better person in every possible sense. Vitari returns, horrified—Jano has apparently killed himself. However, Mollari knows Jano too well—he would never commit suicide, he was definitely murdered. On B5, Byron approaches Garibaldi with a request to address the IA council—but he won’t say why. Garibaldi can’t give him the ambassadors’ time if he won’t say what it’s for. Byron then reads Garibaldi’s surface thoughts, and says he has information about the cargo ship attacks, but it’s information he needs to give to everyone at once. Garibaldi then agrees. At the next meeting, after all business is concluded, Sheridan gives Byron the floor. He proceeds to, ahem, divert from his prepared remarks and instead talk about how the telepaths should get a homeworld. He even has Alexander provide handouts. He also says that his people have shadowed the ambassadors and know their secrets. If they don’t get a homeworld, those secrets will be revealed. Credit: Warner Bros. Television Garibaldi is livid, pissed that he allowed himself to trust a telepath. Sheridan says that he sees Byron’s point, and even sympathizes, but he has gone about it in entirely the wrong way. On Centauri Prime, Vitari tells Mollari that the Regent will see him. As Mollari and G’Kar head toward the Regent’s quarters, they see that they’re being followed. G’Kar remonstrates with the pursuers, but a door comes down to separate Mollari from G’Kar. Mollari is then confronted by Vole, who states that Mollari is in the way of his ambitions and throws a knife at his chest. However, the knife stops in midair before it can hit Mollari, turns, and flies back into Vole’s chest. Mollari sees a red-eyed figure hiding in the shadows, but then the door opens to reveal that G’Kar has successfully remonstrated with the would-be assassins. Turning back, the mysterious figure is gone. On B5, while the telepaths are trying to stay hidden, some Drazi find one and start beating the shit out of him. Byron urges his people not to respond with more violence, but one telepath refuses and gathers some folks to remonstrate with the Drazi. (No one could be bothered to name this guy, but I’m really not interested in calling him “the telepath agitator” or whatever, so since he’s in opposition to Byron, I’m going to name him “Southey,” after the Poet Laureate of England that the poet Lord Byron made fun of repeatedly, notably in the satirical poem “The Vision of Judgment.”) Byron is saddened by this. He urges his people to gather food and go into lockdown. Southey doesn’t like this idea—he thinks they should go and fight. But Byron argues that tensions are running too high right now. The delay of their being in lockdown will allow calmer heads to prevail. Southey disagrees and shows off the weapons they took off the Drazi. Byron sighs and tells folks to do as they will. Allan visits Sheridan on Lochley’s behalf. Sheridan predicts what she told him to say: that it was a mistake to grant protection to Byron’s people. Sheridan reluctantly agrees and tells Allan that the protection is rescinded. On Centauri Prime, Mollari confronts Vitari, who insists he knew nothing about the assassination attempt, he was told that that was where the Regent was. After being sufficiently intimidated by both Mollari and G’Kar, he runs off to find the Regent. Then Mollari is beckoned into the throne room by the Regent. He’s even more incoherent than he was with Jano. He knows about Vole’s attempt on Mollari’s life, and says that “they” saved him because “they” like him. The Regent refuses Mollari’s implorations to explain what the fuck is going on, saying he should enjoy life while he can. The Regent assures Mollari that they’ll speak once more before the end. Oh, and he also says that “they” don’t want him to look into any weird shipping anomalies or anything like that. Credit: Warner Bros. Television After Mollari leaves—telling G’Kar that he still has no idea what’s going on—a tentacle starts to strangle the Regent, but he insists he told Mollari nothing. Meanwhile, Mollari wants to return to B5. Since he was a child, the royal court has always been like home to him, but no longer. He also wonders what Centauri ships are being used for. We then cut to a Centauri ship blowing up a Brakiri convoy. Allan has crews trying to cut through the bulkheads that Byron’s people are locked behind. He also tries to appeal to Alexander directly over the PA, to no avail. Get the hell out of our galaxy! Sheridan has buyer’s remorse for his granting of asylum to Byron’s people. Never work with your ex. Lochley doesn’t appear in the episode, but she does send Allan to give Sheridan an I-told-you-so. The household god of frustration. Garibaldi has buyer’s remorse over letting Byron speak before the council. If you value your lives, be somewhere else. Delenn pointedly reminds Sheridan that President Luchenko said the same thing to Sheridan about his civil war that Sheridan himself is saying now about Byron and his people. Sheridan grumbles to Garibaldi that he hates it when his wife is right… In the glorious days of the Centauri Republic… All is not well on Centauri Prime, and it doesn’t look like it’s going to get any better. Though it take a thousand years, we will be free. When G’Kar shows up by Mollari’s side, the nobles assume that he’s there as entertainment. Vole later presents G’Kar with the guard who lashed him at Cartagia’s behest and hands him a whip. After swearing in front of all these witnesses that there will be no consequences to whatever action he takes next, Vole asks what he’ll do. G’Kar hands the whip back, saying he doesn’t blame the tool for what the wielder of the tool did. This disappoints Vole, as he was hoping for proof of Narn barbarity and instead exposes his own. The Corps is mother, the Corps is father. Southey sees the response of the IA to their request as the start of them being treated by the IA the same way the Psi Corps does, and he won’t stand for it. The Shadowy Vorlons. Byron’s opprobrium is directed at the Vorlons, and understandably so, but holding the IA’s feet to the fire for the Vorlons’ actions is more than a little misplaced… Looking ahead. The events on Centauri Prime are very obviously setting up the future we saw in the “War Without End” two-parter. Mollari and Virini’s final conversation predicted in this episode will occur in “Movements of Fire and Shadow.” No sex, please, we’re EarthForce. Byron and Alexander are now officially a couple, and Alexander pledges her loyalty to Byron. One suspects this will end badly for both of them… Credit: Warner Bros. Television Welcome aboard. We get three new Centauri nobles in this one: Ian Oglivy as Jano, Francis X. McCarthy as Vole, and Neil Hunt as Vitari. Plus we’ve got Damian London, back from “Epiphanies” as the Regent, finally given the name Virini. London will return in “Movements of Fire and Shadow.” On the station side of things, Robin Atkin Downes is back from “Secrets of the Soul” as Byron, while Victor Love makes the first of two appearances as “Southey.” Downes will return next time in “A Tragedy of Telepaths,” while Love will be back in “Phoenix Rising.” Trivial matters. This episode was written to take place immediately after “Secrets of the Soul,” as Byron refers to its events as happening the previous day. The rejiggering of airdates due to TNT’s showing March Madness college basketball games meant that “Day of the Dead” got inserted between them. It’s not stated outright, but it’s likely that the assassination attempt on Mollari in “Strange Relations” was masterminded by Vole. G’Kar was whipped on Cartagia’s order in “The Summoning.” The Regent took over the throne and also was given his keeper in “Epiphanies.” The Vorlons and Shadows buggered off beyond the rim without leaving a forwarding address in “Into the Fire.” President Luchenko rebuked Sheridan for his methods in “Rising Star.” The echoes of all of our conversations. “Narns are barbarians—primitives! Turn your back on them for a second, they’ll stick a knife in it!” “A Narn would never stab a Centauri in the back. It has always been our tradition to go for the chest—that way you can see the life go out of their eyes as they fall.” —Vole being racist and G’Kar being pedantic. Credit: Warner Bros. Television The name of the place is Babylon 5. “I think we are well beyond pastels now.” One of my favorite TV series is the 1976 BBC miniseries adaptation of Robert Graves’ I, Claudius (which actually adapted two of Graves’ novels about the Roman Empire, the other being Claudius the God). It also would appear to be one of J. Michael Straczynski’s favorites. The Centauri Republic has always had a very Roman Empire vibe to it, and that went from vibe to active tribute with the Emperor Cartagia arc at the top of season four. I absolutely adored the Centauri half of this episode because it reminded me favorably of I, Claudius. David J. Eagle gave the whole thing a claustrophobic feel, the sort of crowded emptiness that the BBC miniseries cultivated (mostly due to budgetary constraints, but they made it work). They even went so far as to cast an I, Claudius alum, Ian Oglivy (who played Drusus) as Lord Dano. Damian London deserves a ton of credit here, as he plays the Regent’s resigned madness beautifully. London has gone from exposition vehicle to comic relief to tragic figure, and has excelled at every turn the scripts have given him. So, of course, do the always-reliable Peter Jurasik and Andreas Katsulas. The latter in particular shines in the scene where Vole tries and spectacularly fails to get G’Kar to prove he’s a barbarian. Would that the station half of the episode could live up to its other half, but alas, we’re stuck with the tremendous drag effect of Robin Atkin Downes and his never-changing facial expressions, this time mixed in with his complete lack of charisma as he blandly gives the council his ultimatum. We’ve had some great scenes in the council chamber on this show, from the hearing about Jha’dur in “Deathwalker” to Mollari’s declaration of the terms of the Narn surrender in “The Long, Twilight Struggle” to Sheridan manipulating the League of Non-Aligned Worlds in “Rumors, Bargains, and Lies.” This scene, sadly, can’t live up to those others, squished flat as they are by Downes’ uninspired line readings. Of course, we see in this episode what we got hints of in “Secrets of the Soul,” to wit, Byron isn’t much of a leader. A few words from “Southey,” and he loses control of them completely, making you wonder how he managed to get them all together in the first place. Indeed, I’ve wondered that since we first met him… Next week: “A Tragedy of Telepaths.”[end-mark] The post <i>Babylon 5</i> Rewatch: “In the Kingdom of the Blind” appeared first on Reactor.

News T. Kingfisher T. Kingfisher + Baldur’s Gate 3 = The Prequel Novel Astarion A book that will likely show that the only thing darker than the world vampires must live in is Astarion’s origin story By Molly Templeton | Published on April 27, 2026 Image: Random House Worlds / Cover art by Eleonor Piteira Comment 0 Share New Share Image: Random House Worlds / Cover art by Eleonor Piteira Penguin Random House is adding a new gem to its lineup of tie-in novels: a line of books connected to the hugely popular game Baldur’s Gate 3. And while some of the books are the expected, kinda funny tie-ins (cookbooks! coloring books!), one is of particular interest to SFF readers: T. Kingfisher’s Astarion, a prequel novel that “follows the beloved character Astarion during his time in servitude to the vampire lord Cazador Szarr in the years leading up to the events of the video game,” according to a press release. The book’s cover copy is somewhat more forthcoming: Astarion Ancunin was supposed to be a magistrate, not a vampire spawn. He was supposed to serve the law, not the vicious vampire lord Cazador Szarr. And he was supposed to drink fine wine, not rat blood. Alas—the city of Baldur’s Gate cares little for what’s supposed to happen.Though he has been powerless to resist his master’s bidding, haunting the nighttime streets to fetch warm blood, Astarion has never surrendered his hope. One day, this nightmare must end. He just has to find out how.When the vampire lord announces a twisted competition for his favor, an opportunity presents itself in the form of a rare prize… and an unlikely alliance. The blood of a dead god is buried deep beneath Baldur’s Gate, and, to get it, Astarion will need the help of a handsome Aasimar paladin named Hahn den Suriel.There are just a few problems. Astarion is not supposed to trust his fellow spawn. He’s not supposed to go out into the city for his own ends rather than the vampire lord’s. And he’s certainly not supposed to strike a deal with a stranger whose golden eyes can snare even a blackened, undead heart.But the city of Baldur’s Gate cares little for what’s supposed to happen. The press release notes that one of the game’s senior writers, Stephen Rooney, “was consulted to ensure the novel’s authenticity within the game’s world and lore.” The audiobook will be narrated by Neil Newbon, the actor who plays Astarion in the game. Baldur’s Gate 3: Astarion arrives on September 29. This is the last of three T. Kingfisher novels currently scheduled to come out this year; the others are Wolf Worm (out now) and Daggerbound (August 26). [end-mark] The post T. Kingfisher + <i>Baldur’s Gate 3</i> = The Prequel Novel <i>Astarion</i> appeared first on Reactor.

News House of the Dragon It’s War All the Time in the New House of the Dragon Season 3 Trailer BRB, putting “so glad I don’t live in Westeros” on my gratitude list By Molly Templeton | Published on April 27, 2026 Image: Ollie Upton/HBO Comment 0 Share New Share Image: Ollie Upton/HBO The poor ordinary folk of Westeros must just be having the worst time while the battle for the throne goes on. And on. And on. In the third season of House of the Dragon, there are—surprise!—more battles. Rhaenyra (Emma D’Arcy) now has “power no man has ever wielded.” Brother wants to kill brother, dragons want whatever it is dragons want (dinner? Probably dinner), and at least some people in Westeros still think they have “holy purpose” on their side. During a panel at CCXP Mexico this past weekend, Matt Smith, who plays Daemon Targaryen, said, “This season, we’re trying to make it bigger, bolder, bloodier, more brutal, more dangerous—just get back to the nuts and bolts of what we are as a show.” More brutal! Let’s get back to the nuts and bolts of dragons chomping each other in half while killing children, shall we? (Sorry, never getting over that scene.) Showrunner Ryan Condal said, “This is a huge season. It’s the biggest we’ve made by any margin and by a wide measure. It is dark. It’s funny. It’s action-packed. It’s emotional. And, of course, it has lots and lots of dragons.” HBO hasn’t offered much by way of a synopsis for the upcoming season, but it’s pretty clear that the battle between the Greens and the Blacks isn’t ending anytime soon, and Rhaenyra and Alicent (Olivia Cooke) are not in any hurry to return to their childhood friendship. There’s still one more season of this show to come, so presumably peace will not be found in season three. Cast members Steve Toussaint, Rhys Ifans, Fabien Frankel, Ewan Mitchell, Tom Glynn-Carney, Sonoya Mizuno, Harry Collett, Bethany Antonia, Phoebe Campbell, Phia Saban, Jefferson Hall, Matthew Needham, Tom Bennett, Kieran Bew, Kurt Egyiawan, Freddie Fox, Clinton Liberty, Gayle Rankin, and Abubakar Salim have survived previous seasons and will return; season three also adds a sextet of men: James Norton, Tommy Flanagan, Dan Fogler, Tom Cullen, Joplin Sibtain, and Barry Sloane. House of the Dragon premieres June 21st on HBO Max.[end-mark] The post It’s War All the Time in the New <i>House of the Dragon</i> Season 3 Trailer appeared first on Reactor.