SciFi and Fantasy
SciFi and Fantasy

SciFi and Fantasy

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Cosmos: Stopping By Woods on a Momentous Evening
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Cosmos: Stopping By Woods on a Momentous Evening

Column Science Fiction Film Club Cosmos: Stopping By Woods on a Momentous Evening Three amateur astronomers pick up a mysterious signal that no one else seems to be hearing… By Kali Wallace | Published on June 17, 2026 Credit: Elliander Pictures Comment 0 Share New Share Credit: Elliander Pictures Cosmos (2019) Written and directed by Elliot and Zander Weaver. Starring Tom England, Joshua Ford, and Arjun Singh Panam. When I picked the theme for this month’s film club, I didn’t know it would coincide with a few weeks when the “low budget” films Backrooms and Obsession are big news in the film world. Of course, what counts as “low” is extremely subjective, but I do think the success of those films—with budgets of $10 million and $750,000 respectively—is generating some interesting conversation about what movies actually cost to make, why horror is almost always a good bet, who gets paid and who doesn’t when films succeed, and where all the money goes in movies that cost a lot more. On the other hand: That’s still more money than most people in the world will ever have access to. I could buy a very nice house with $750,000! (Even in Portland!) Most people can’t just decide to make that movie—and they don’t. Most filmmakers don’t start with Hollywood’s idea of “low budget,” not even those touted as breakout success stories. Just a couple of years ago, Curry Barker, the director of Obsession, made a slasher film for a few hundred bucks, and of course Backrooms director Kane Parsons made an entire series on YouTube before Hollywood came calling. We don’t have to dig very deep to find out what kind of films people make when all they have access to is a cheap camera and some editing software. And maybe their dad’s station wagon. Filmmakers Elliot and Zander Weaver are brothers from the English city of Birmingham. They’ve been making movies since they were kids, and when they finished secondary school they decided to get into the business for real. Unfortunately for them, the kind of movies they love are big, earnest sci fi films; in one interview they cite E.T. (1982) as a formative influence. Those types of movies do not generally lend themselves as well to ultra low budgets as found footage, slashers, or even arthouse films do. The Weavers wrote a script for a film called Encounter and spent a few years trying to get it made, but nobody wanted to risk a few million pounds on unknown filmmakers. While they were shopping it around, they created a small production company and did work making science and history documentaries for television. After a couple years of hearing “we’ll give you money to make a feature film after you’ve proven you can make a feature film,” the Weavers found themselves thinking: If Robert Rodriguez could make El Mariachi (1992) for a few thousand dollars with an amateur cast, then wasn’t it worth it to try? So they brainstormed a film that would fit inside the constraints of their situation. What did they have? A Blackmagic Pocket Camera with 1080p resolution. A mom with work experience in TV hair and makeup. A bunch of computer equipment. Their dad’s station wagon. A friend with a garage they could turn into a makeshift soundstage. And a lot of patience. You need a lot of patience if you want to make a movie with no money. Their crew contained all of five (5) people: the Weavers, their mother Lesley Weaver for hair and makeup, composer Chris Davey for the soundtrack, and two credited production assistants. (Their father wanted to help out as well, but he sadly passed away before filming began.) That was the whole crew. The Weavers handled everything else. Writing, storyboarding, set building, directing, filming, editing, color grading, sound design, visual effects, everything. From their interviews, it sounds like it started that way because of necessity, as they couldn’t afford to hire anyone even though they knew professionals in the industry, but over time it became an exercise in learning the ins and outs of every aspect of filmmaking. That made certain parts of the production terribly inefficient. For example, the majority of the film takes place inside a car parked in the woods at night. Going out to film in the woods would be difficult and inconvenient, so they borrowed a garage from a friend to use during the daytime as a sound stage for their scenes inside the car. But the car they use in the film is a family car, their family car, which means they were driving it to and from that garage every day, which means they had to set up and break down the interior set every day they were filming. I didn’t know any of that before I watched the movie. All I knew was that Cosmos comes up when people talk about micro-budget sci fi films and its title makes it very difficult to research online. I suspect that knowing how and why it was made might have changed how I watched it, although the problems I have with the film aren’t in the production, which looks and feels quite clean and professional, but in the writing, which has some rather annoying fumbles. Cosmos is about three amateur astronomers who go out to the woods for what they think will be a normal night of stargazing. All three work in the aerospace industry; Harry (Joshua Ford) and Roy (Arjun Singh Panam) are former colleagues, while Mike (Tom England) is tagging along in hopes of proving that his data processing system for radio telescopes is good enough to convince his company to extend his project funding. They set up their telescopes and settle in for a night of observation and data collection. [Note: My personal knowledge of the U.K. aerospace industry is limited to that one time I did a gin tasting at a small distillery located within the SaxaVord satellite launch facility on Unst (the northernmost of the Shetland Islands), so I have no idea if any of those establishing details are believable or realistic. You could tell me anything about the U.K. aerospace industry and as long as it’s not as weird as making gin at a spaceport on Unst, I’ll believe it.] Mike picks up a curious signal on his umbrella-sized radio telescope (I think the prop is an actual umbrella), one that falls right into the “water hole” of radio frequencies between 1420 Mhz and 1666 MHz where cosmic noise across the universe is relatively quiet. Even though the signal doesn’t seem to be much of anything, he replies to it with a sort of half-serious “Welcome to Earth” message. Meanwhile, a satellite that Roy is tracking seems to blip out of view for a few seconds, but they chalk that up to machine error and move on. All three become more interested when Mike’s message is returned to them in a creepily distorted format. They go through all the possibilities—signals bouncing back and so on—in an attempt to find a simple explanation, but nothing quite fits. Mike calls a colleague (played by Ben Vardy) at a nearby radio telescope array to find out if anybody else is seeing or hearing anything strange, but nobody else is picking up anything. These three guys seem to be the only people in the world receiving this message. This is where the film’s story starts to run into a bit of trouble. There are some pacing problems before this point, and some of the characterization comes across as a bit awkward, but none of those are serious problems. I was very much engaged during the whole series of scenes from Mike first picking up a strange signal, all the rational ideas and tests to explain it away, and finally realizing nobody else is hearing it. The problem is I was engaged because it’s weird, and I like weird. It’s weird that amateur astronomers can hear something that a whole radio telescope array located just a few miles away (close enough to get there within a twenty-minute drive, anyway) can’t hear even when they are listening to the exact same frequency at the exact same time. It’s weird that a satellite disappears from view. It’s weird that the return message is distorted and disjointed. It’s weird that something damages Mike’s computer setup. All of that led me to think there was something strange and uncanny going on. Maybe something that was, for some reason, focused on these three guys. That feeling was bolstered when the guys do some astronomy things to get a better signal, which involves Roy and Harry going out into the woods in a sequence that is filmed to be deliberately creepy. I genuinely thought the movie was setting up some kind of close encounter in the woods or some other spooky twist. Alas, that was not the case. The movie set up Chekhov’s gun (or Chekhov’s alien encounter in the forest?) and utterly failed to fire it. As soon as it became clear the movie wasn’t going to use all that setup, my interest pretty much vanished. The guys figure out there is another signal along with the spooky remix of Mike’s message. It’s a binary signal that they quickly realize is a response to the Arecibo message, a binary signal sent from the Arecibo Observatory in 1974. They also figure out that Roy’s satellite is vanishing from sight because something in closer orbit is blocking it. And, finally, Mike’s colleague confirms that other people around the world are noticing something strange too. The final twenty or thirty minutes of the film devolve into an extremely silly and wholly unnecessary race to preserve their discovery before power runs out. Nothing about it makes any sense, they waste so much time for no reason, and the stakes of needing to prove they heard the signal first feel extremely ridiculous in comparison to the entire world now knowing there are aliens up there. It’s a disappointing climax for a film that really did create some nice set-up along the way. I always try to watch movies on their own terms and interpret them for what they are rather than what I wish they would be. But, man, I can’t help but feel like Cosmos squandered an opportunity to be something else. The parts of it that are really quite good are those that involve setting up a spooky space mystery that three smart but otherwise ordinary guys are encountering alone in a dark, claustrophobic setting. The film prior to the climax isn’t perfect, but if the payoff had been something strange and unexpected, something unique to the characters and their nerves on that one night, I really would not have minded the other flaws. Learning that the movie began life as a proof-of-concept project for the filmmakers to learn the craft doesn’t excuse the disappointing story climax, but it does put a lot of those choices into context. I just wish the story had taken a bolder, weirder direction there at the end, one that gave us a satisfying payoff for the tension that builds quite nicely when the characters are trying to work out what’s going on. Poking around online, it looks like the Weavers have some more micro-budget sci fi projects in various stages of production, including a film that seems to be a combination of folk legends and UFO visitation, which they shot the old-fashioned way on 16mm film. It looks like a lot of fun, with an enticingly eerie atmosphere, and I’ll be keeping an eye out for it. I’m very curious to see how their filmmaking and style evolve through different movies. What do you think of Cosmos? And about this particular type of sci fi film that comes from a couple of people with a camera and not much else? Next week: We’re heading around the world to watch an example of micro-budget Japanese nagamawashi film—movies that are edited to look as though they are made in a single long shot. Watch Beyond the Infinite Two Minutes online.[end-mark] The post <i>Cosmos</i>: Stopping By Woods on a Momentous Evening appeared first on Reactor.

Tahereh Mafi’s Shatter Me Series Acquired For Feature Film Adaptation
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Tahereh Mafi’s Shatter Me Series Acquired For Feature Film Adaptation

News Shatter Me Tahereh Mafi’s Shatter Me Series Acquired For Feature Film Adaptation Warner Bros. will bring the YA series to the big screen… eventually By Matthew Byrd | Published on June 16, 2026 Comment 0 Share New Share Variety is reporting that Warner Bros. has acquired the film adaptation rights to Tahereh Mafi’s YA series Shatter Me. Details about the deal are sparse at this time. For instance, it’s assumed that WB intends to adapt the series into multiple movies, though the scope of this arrangement may be based on the success of the initial project. Given that there is little information available about that initial project, though (including its intended release date, cast, and crew), we’re really just grasping at straws in terms of what form this deal will take. What we do know is that Shatter Me has the potential to be quite a hit for Warner Bros. and whoever the studio’s eventual parent company may be. The series follows a teenage girl who learns that she possesses a deadly touch. Committed to an asylum after accidentally murdering a child, she soon meets a young man who identifies the potential of her incredible ability and alters the course of her life. Though an adaptation of Shatter Me was reportedly in the works ahead of the book’s 2011 debut, this new deal certainly speaks to the incredible longevity of the series. Partially bolstered by its BookTok following, the Shatter Me stories have not only outlived many of the other YA dystopian narratives of the 2010s but have become phenomena in their own right. In a statement, Mafi acknowledged the books’ longevity and the long road to this eventual adaptation. “I’ve been tremendously lucky to have a devoted fanbase over the last fifteen years, and I’m excited for the chance to bring the Shatter Me world and characters to life in a way that will honor the fans and their love for these books,” the author said. “Warner Bros. has been a great partner so far, and I’m looking forward to creating a memorable cinematic experience that elevates the series to new heights.” While you’re waiting for this adaptation (or just more news about it), consider checking out the Shatter Me spin-off series, The New Republic, which includes Watch Me, Release Me, and the upcoming Escape Me, which is set to be released in September. [end-mark] The post Tahereh Mafi’s Shatter Me Series Acquired For Feature Film Adaptation appeared first on Reactor.

Shrek and Donkey Are at It Again in Shrek 5 Trailer
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Shrek and Donkey Are at It Again in Shrek 5 Trailer

News Shrek 5 Shrek and Donkey Are at It Again in Shrek 5 Trailer That’s pretty much all there is to say about the fifth installment in the franchise. By Vanessa Armstrong | Published on June 16, 2026 Screenshot: DreamWorks Animation Comment 0 Share New Share Screenshot: DreamWorks Animation After years of speculation, Shrek 5 is officially happening, and we’ve got a trailer to prove it. Mike Myers (Shrek), Eddie Murphy (Donkey) and Cameron Diaz Fiona) are back in a fifth film about a green, grumpy ogre, his wife and best donkey friend. Shrek 5 will also introduce us to Shrek and Fiona’s daughter Felicia, voiced by Zendaya (Dune, The Odyssey), and their two sons Fergus and Farkle, voiced by Marcello Hernandez (Saturday Night Live, Happy Gilmore 2) and Skyler Gisondo (Superman, Booksmart). The trailer doesn’t tell us much about the story we’ll get in Shrek 5, other than that the family is heading to the big city and Donkey is annoying. We also get glimpses of at least the two sons, though don’t hear them speak, and a snowman (who may be a sex worker?) that is DreamWorks Animation’s response to a certain Olaf. I’m not sure what to say other than that. The movie is directed by Conrad Vernon and Walt Dohrn, both of whom have worked on previous DreamWorks projects, including Shrek 2. Vernon also voices Gingy the Gingerbread Man, which is fun, and Dohrn voices Rumpelstiltskin in Shrek Forever After. Shrek 5 is currently scheduled to premiere in theaters in Summer 2027. (It used to be July 2026, but here we are.) Check out the trailer below. [end-mark] The post Shrek and Donkey Are at It Again in <i>Shrek 5</i> Trailer appeared first on Reactor.

Read an Excerpt From To Drown a Witch by Lindsey Olsson
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Read an Excerpt From To Drown a Witch by Lindsey Olsson

Excerpts Young Adult Read an Excerpt From To Drown a Witch by Lindsey Olsson A criminal and a royal guard are drawn into the hunt for a dangerous witch—and an unexpected romance. By Lindsey Olsson | Published on June 16, 2026 Comment 0 Share New Share We’re thrilled to share an excerpt from To Drown a Witch by Lindsey Olsson, a young adult romantasy publishing with G.P. Putnam’s Sons Books for Young Readers on July 14th. In Gadore, the Witch is feared above all else. Reborn into each generation, she is the only person with magic running innately through her veins, able to wield that magic with a single thought.So when guards across the city begin to drop dead, gruesomely murdered by violent and vicious magic, everyone knows the Witch has returned—and no one will be safe until she’s killed.Toran is the Prince’s Crown, the most highly skilled fighter in the King’s Guard. Tasked with the responsibility of leading the hunt for the Witch, Toran tries to focus on his assignment to forget the ghosts of his past. And after he learns of Nes, a thief with an uncanny ability to sniff out magic, he forcibly recruits her into joining his hunt.As the two face deadly magic and otherworldly threats, their mutual dislike soon turns to something more electric, and they find themselves drawn to each other in ways they’d never imagined. But the Witch is always a step ahead of them, and with bodies piling up, secrets threaten to come to light—secrets that could destroy everything from the fragile trust between them to the very city of Gadore itself. Buy the Book To Drown a Witch Lindsey Olsson Buy Book To Drown a Witch Lindsey Olsson Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget BeforeThe Witch The trees have their eyes on me. I can feel them on my back, on the hood over my head, on my careful feet as I step over the twigs and bits of brush littering the forest floor. I leave my clothes at the base of a tall, majestic evergreen. I know they will still be there when I return. No one ever crosses this forest path. It’s why I take it. Still, my gaze creeps over my shoulder, eyes skittering to shadows, searching for movement. There have been many a night when my eyes deceive me, crafting movement where there is none. But not tonight. I am alone. No soul dares delve this far into the forest, not with creatures of warning on the prowl. And yet, I itch with the need to check again and again. I cannot be caught. Not with magic. No one knows where magic came from. They say it found a home in the trees. They say the trees reached their long limbs into the air and allowed the magic to fall upon their leaves. The magic took to the trees just as quickly, seeping in through their many veins and cascading through their grooves. They say magic is what keeps trees alive, why they live through each tumultuous season. They say it’s why trees stand tall, grow taller, and reach higher than anyone else. Magic is the trees’ best friend. It is not mine. I was four when I learned about the trees. About the dangerous magic residing within them. I was five when I learned I was just like them, a husk for magic to hide in. And six when I learned to hide. Magic is not my friend. It is my fear. My shame. I keep it locked away. But no living thing can spend its life in a cage. It pulses, beats, thrashes against me. It wants out. Out. Out. Out. Magic is a living thing I cannot kill. It does not die. But I can die. And I know magic will be the death of me one day. The ache in my veins tells me when it’s at the edge. When a vicious spectacle of otherworldly power might burst from me. So I come to the river. When I submerge, the brackish water is frigid. The magic inside me coils tight, fighting against the coming expulsion. It knows this is different from if I were to willingly use it. It can sense I have no purpose to give it, none but to leave me. I grit my teeth and pluck at the coil. Above, the trees watch me, judge me. They revere magic, but I am not as strong as them. The magic resists my pull, so I give it a sharp yank and a piece breaks free. I spread it through my veins, weighing the heaviness of it in my blood. This portion, though small, is enough for today. It should be enough to last me before I need to return and repeat this ritual. I spread my limbs—arms, legs, fingers, toes, and neck—until I am a star in the water. The current lingers around me, playing with the space I’ve taken, eager to take me away. It can take something else. I push the bit of magic from my veins. It tingles, burns, and skates through my skin. Once it is on the surface—dancing, teasing me with promises of virtue—I let go. The magic rebels. Ice forms in an instant, floating in chunks around my head, then bubbles and bursts, as if boiling without heat. The fish at my feet freeze, die, and keep on swimming. Reeds grow so strong and fast they push rocks out of their way. I wait for everything to settle. For the current to sweep the magic out to sea. When it does, I break the surface and sigh. Water sloshing at my ankles, I climb back up the bank of the river. Though the air is bitter with cold, I don’t shiver. I feel the trees’ glares on me as surely as I feel the haunting laughter knocking against my lungs. I turn my back, shoving the remaining magic down deep within me until my insides are still. I am not like the trees. I did not call the magic to me. Only I know the true danger of magic. The world thinks they know. But they’ve forgotten. One day magic will see fit to remind them. Once dry, I dress and gather my things. The forest is heavy around me, but I feel lighter. My footsteps make imprints in the dirt leading away from the river. I leave the woods behind, making my way back to my friends, to my family. Back to the people who would execute me if they knew— I am the Witch they hunt. Part IThe Strangers “And so, after all that time, the Goddess met a stranger on the road. Upon their greeting, her exquisite face bore no smile, for it was then that wrath was born.” —The lost holy book of Nephele: Great Goddess of All, Book II, Section IV, Lines 31–32 1Nes You are irreplaceable. That was what Nes Deivana had been told. It was meant as a compliment. A lure to make her feel special, to make her feel like she had a home in this Goddess-forsaken city. But she knew better. Nes might not always know what she was, but she did know what she wasn’t. And that was irreplaceable. She intended to prove it. It had taken months, but, at last, she’d done it. Marnie Sorphel didn’t look like much, but to Nes, the timid, wide-eyed girl meant everything. Nes strolled through the Valley, the main market in the Ditch, with one hand tight around Marnie’s wrist and the other against the silver flask at her hip. Despite the hour, the oil lamps lining the street lit the way for shoppers, criminals, guards, and wanderers alike. The Ditch was one of six city sectors in Gadore. Though it had the same ocean-blue rooftops as other sectors, the Ditch gave the impression of an overflowing mouth. Ramshackle hovels, beams dark with the wood of the Foxvin Forest and splattered with the blood of forgotten fights, were squeezed between the once white buildings like food stuck between teeth. Beside her, Marnie gawked at the tables lining the market. But Nes knew it wasn’t the vendors selling crystals on gold chains, thumb-sized bottles of tonics, and ornate pocket watches who caught Marnie’s eye. Scattered among the tables of typical wares were the vendors selling far more fantastical goods. Things imbued with magic. To their right, a man showed his customer how a silver thread, finer than a single strand of hair, would not break no matter how hard he yanked on the ends. On a table to their left, a crate full of snakes—snakes that had been fed a steady diet of diluted magic—hissed and coiled and slithered over one another, flickering in and out of visibility. And, laid out on a table ahead, a woman sold rows of extra fingers, claiming they would seamlessly attach to a person’s hand in place of any they’d lost. “What pretty young girls,” the woman called out. “I sell pearls that’ll weave into your ears, too. Make you look like the rich folk up in the Ring.” Nes gritted her teeth. Just because her face spoke of innocence didn’t mean her heart answered in turn. She grabbed the edge of Marnie’s hood and yanked it down over the girl’s face. Turning to the vendor, she spat, “Keep your junk and your assumptions to yourself.” The woman’s eyes narrowed to slits. “No need to be rude, girly.” Nes tilted her hip so the flask sitting there caught the light enough for the woman to see the snarling dog etched on the metal. “Careful,” she hissed. “Or Phineas might find a reason to remove more than your table from this street.” Jaw tight with unspoken rage, the woman lowered her head and stepped away. Nes lifted her chin. She’d learned years ago never to walk the Ditch with her head down. But Marnie—it was best if Marnie kept her head down. As part of a large family, Marnie was desperate to earn a few extra gadots. And if there was one thing you didn’t show in the Ditch, it was desperation. Pure luck had allowed Nes to find Marnie before some other rapacious soul. “This way,” Nes said, ushering Marnie far from the conniving vendors. The sooner she got the girl to Phineas, the sooner she could be free of this place. As always, the smell of death, decay, and fornication lingered like overcooked stew. But there was something else. A scent that did not belong. Winter had snuck under Gadore’s door last week, curling up like an unwelcome cat. Yet it was a spring breeze—the budding of new blooms coupled with the promise of warmth—that drowned out the usual Ditch smells. Nes dug her feet into the dirt and craned her neck, searching for the source of the pleasant spring scent. But it was Marnie who found it first. “Oh no.” The words fell from the girl’s mouth as if she hadn’t meant to let them out. Barely a few feet away, cupped in a limp hand, was the magic. Pure magic. Bright green, with hundreds of tiny threads twisting together like moss, it could have only come from one place. The forest beyond the city wall, torn straight off the bark of a tree. Nes’s heart stumbled at the face of the dead. The boy was young. No more than fifteen. In death, only the whites of his eyes were visible. A waterfall of dried blood ran from the boy’s lips, covering his chin and neck. The dark of the new moon allowed Nes to just barely make out the soft green glow of pure magic inside the boy’s mouth. The dead boy’s shirt had been torn open, revealing what looked like claw marks marring the skin over where his heart had beat. The boy had made them himself, a last desperate attempt to get the magic out. But once magic took hold of your heart, there was no hope. The residents of the Ditch could dabble with the stars, but the magic never let them forget they were playing with fire. For pure magic killed. Every time. Nes did not shy from the body. She couldn’t stop the evil of the world, but she could stare it down. To her surprise, Marnie did not look away, either. Maybe the girl was stronger than she thought. “For magic’s end,” Nes whispered. The phrase was both a curse and a prayer. For her, the prayer always won out. Marnie stepped closer to the corpse, her mouth hollow. In one hand, the boy still held the green threads of the pure magic, and in the other, the pulping, bloody mass that was once his tongue. Marnie bent down, a hand reaching for the magic. “Don’t touch it.” Nes grabbed Marnie and yanked her upright. “Do you want to die? If the guards find you with that, you’ll be drowned as the Witch for sure.” There had been three Witch drownings this week alone. An unusually high number, even for a country as paranoid about the Witch as Orlonea. Neither Nes nor Marnie could give the King’s Guard reason to suspect them. Marnie gnawed on her chapped bottom lip. “But shouldn’t we—” “No,” Nes said. “Leave him.” The boy wasn’t magic’s first victim. Nor would he be its last. Nes pulled open the door to the gambling den, the tambourines on the inside rattling. On the surface, the Siren’s Hair was like any other gambling den scattered throughout the Ditch. The green felt atop each table was stained with splotches and dark rings from pissed-away drinks, while the legs on the stools clustered around the tables were scuffed and scraped. The Siren’s Hair had seen better days. But that was the point. As the only legal business Phineas Wraw had his name on, it wouldn’t do well for the lowly Ditch den to be gleaming with signs of her boss’s true wealth. “It is only a matter of time,” Phineas once told her, “before suspicion becomes certainty.” For the better part of two years, the Siren’s Hair—specifically the tiny room she shared with Suri on the second floor—had been her home. A shitty, sew-your-pockets-shut home, but home nevertheless. Suri had made the place more like home than anything else—despite all of Nes’s efforts to avoid her. A runaway bride from Brevna, Suri had somehow found a place in Nes’s life, and, much to her own surprise, Nes liked her in it. But that wouldn’t matter for long. Once Nes freed her father, they’d have to flee, and she wouldn’t be able to return to Gadore. She had to stay focused on what mattered. This was it. Marnie was her last job. She pulled Marnie into the den’s kitchen. The space was a cacophony of sound. Spoons clattered at different pitches against the insides of pots. Knives hit cutting boards in various rhythms. There were two doors in the kitchen. The first led out back to the dumpstreet. A long, thin space that stretched across the backs of every Ditch business. Appropriately named, as it was a place people tended to dump their trash—and sometimes bodies—until the plows came at midnight to sweep it all away. The second door led to a fully stocked pantry. But it was what waited inside the pantry that made her palms sweat. She threw open the pantry door and, skirting bags of onions and potatoes, found the third door. The one that concealed a staircase down. “Ready?” she asked Marnie. The girl shook beneath her cloak, her knees and elbows no more than tree branches shuddering against a strong wind. “He’ll pay me a hundred gadots a week?” “As long as you do as Phineas asks.” Marnie swallowed. “Then yes.” Pulling her flask from her belt, Nes took a short swig before descending the hidden steps. The light from the lanterns lining the stairs bloomed bright and vibrant against the dirt-carved walls. At the bottom of the steps, they pushed through another door. The space laid out before them was wide and cavernous. Unlike the kitchen above, the brawlhouse was nearly empty. The cleaners had mopped up the blood from the previous night’s fights, and the bartender had finished taking stock of the liquor. Only a few men stood in the center of the room. And in the center of the group stood Minot—Phineas’s second. Keeping clear of the other men, she eyed Minot. Why Phineas had chosen this scrawny boy of barely sixteen to be his second, she would never understand. Nes knew each and every one of the men lining up in front of Minot, all of them brawlers she’d found and brought here. Not one hassled Minot, their heads bowed as they stepped forward to accept a silver flask. A flask identical to the one currently at her hip. She knew what waited inside each flask. Magic. Not the pure stuff scraped off tree bark like that in the hand of the dead boy outside the Valley, but diluted magic. When mixed with seawater, magic became tame enough to ingest. To consume pure magic was to condemn yourself to death. But consuming diluted magic could give you a unique magical advantage. And the people of the Ditch yearned for any sort of advantage. That was the truth of Gadore: Magic was the drug of choice. With Phineas as Gadore’s underlord, magic ran rampant in the belly of the city and infested the streets—slinking in shops, billowing within bars, and gushing out of gambling dens like the Siren’s Hair. Underground brawlhouses were a common source of entertainment in the Ditch. But none compared to Phineas’s—where the fighters were anything but ordinary and the fights were unpredictable clashes of magic. She watched one of the brawlers, his fingers clumsy as he unscrewed the top of his flask. She’d brought him in a year ago after discovering diluted magic gave him the ability to throw people across the room without laying a finger on them. Minot approached her, one flask left in his hand. “Ah, Nes, so nice of you to join us.” His eyes latched on to Marnie, the girl still huddled close to the steps. He grinned, suddenly looking a lot less like a young boy and more like a true threat. “And it looks like you’ve brought Phineas another wayward soul to sink his claws into.” She didn’t have a retort. I don’t have a choice sounded whiny. Even if it was true. “He here?” She wanted to get this over with before the pits opened again. One of Minot’s long fingers tapped the outside of the last flask, his nail clinking against the metal as he continued to stare at Marnie. “Minot,” she said when he didn’t answer. There was an edge to her tone, one she normally tried to keep at bay when in the brawlhouse. But her manners were about as wrought as her patience. “Nes.” She gestured to the only other door in the underground. “Is he in there?” “He’s not to be disturbed.” She tried to sidestep Minot but was blocked. A laugh bubbled up her throat before she clamped down on it and shoved him out of her way. Minot’s eyes widened. “Nes, you can’t. He’s not—” “—to be disturbed.” She gripped the door handle and shot Minot a disparaging look over her shoulder. “You said that. But he and I, we’re overdue for a talk.” She threw open the door and stepped inside. The light of the brawl-house floor rushed the tiny office space, illuminating a square, fairly nicked desk with a single chair on either side. Both chairs sat unoccupied. “Where—” “Hello, hound.” Nes flinched as if the dark itself had slapped her across the face. She whirled, turning just as Phineas Wraw emerged from behind the door. Phineas was slim in the same way a suit was sleek, his nose as sharp as his eyes. And though he was gloriously attractive, she prided herself on not falling for him. His beauty had always felt feigned to her, like it was something he’d collected over time rather than inherited. His hair, kept long, was a deep red today and flowed down over one shoulder. He stroked it like a pet as he watched her out of eyes of brightest amber. “What brings my prized hound home?” Phineas asked. His lips, nearly as deep a red as his hair, puckered softly as he spoke. Hound. She hated that nickname. In Gadore, Phineas held power like the clouds held rain. Only Phineas never let his fall. People whispered about the infamous lord of the Ditch and how he came to power. How he swept into the city on the back of a Barrenborn, desert amphiptere some fifty years ago, blowing sand into the cracks of all the cobblestone streets, and how, not a week later, he had a finger on the pulse of the entire city. Preposterous rumors, all of them. And not because the amphipteres had gone extinct more than five hundred years ago—relegated to long-lost history along with other mythical beings like the shape-shifting Xell. No, it wasn’t how Phineas’s story was wrapped up in legends that gave her pause. In the two years she’d spent working for Phineas, she had been unable to figure out how one man gained, kept, and hid such vast power. “Tonight marks two years,” she said as Phineas slid by her to the other side of the desk. He sat down in his chair and set his hands on the desk’s surface among the numerous knickknacks displayed. “It’s time.” Patience was a virtue. But she was done being patient. And done being virtuous—if she ever had been. Now it was time for Phineas to pay up. Phineas’s brow furrowed like a cat’s tail. “Time?” She bristled. “Time for you to hold up your end of the deal. Time to get my father out of the Walled Prison.” She knew he’d broken prisoners out before. It was why she’d agreed to the deal. Phineas shook his head. “Surely not.” “Don’t play dumb. That was our deal. A year of service in exchange for passage into the city and another year as payment for breaking my father out.” Traffic in and out of the city was strictly monitored by the King’s Guard—anyone coming through the Northern or Southern Gates were required to show proper identification, their information recorded. Without any of her own, she’d had no choice but to rely on Phineas to smuggle her into the city. She’d been so desperate back then, so foolish, she hadn’t even asked what his price would be. Everything in Gadore had a price. It was all a matter of how you paid. And now she’d finally paid hers. “Oh, my little hound.” Phineas twirled a lock of red hair around one finger, looking at her with what appeared to be pity in his eyes. She wasn’t fooled. Phineas didn’t pity anyone. The pity was just a mask to hide his next move. She wanted to reach for the knife she kept in her boot—wanted to carve those malicious brows from his head—but resisted. “You misunderstood.” “I did not.” “Our deal was not contingent on the passing of time, but on the number of recruits you brought me. And, I’m sorry to say, your performance has been less than satisfactory.” “You want more dogs?” she asked, recalling the dozen men who’d crowded Minot and then the dozen more magic users she’d smelled on her walk here. “I can get you more right now.” Phineas kept magic users like noblemen kept exotic pets. He hoarded men who, after consuming diluted magic, displayed abilities he deemed useful. He called them his recruits, but everyone with a hand in his business knew what they really were: his dogs. Dogs she had painstakingly stalked then collected for him. Phineas sighed, gaze on one of the small jars atop his desk. When he tapped a finger against the glass, the stone inside the jar began to float. “You know full well I can’t have just anyone. I need those who will be good in a fight.” He looked up at her. “I want the special ones.” I want you. He didn’t say it, but she heard the words from his mouth all the same. And she knew—had suspected it for a while now. It didn’t matter how much time passed or how many dogs she brought him. It would never be enough. The first time they met he’d asked her one question. What can you do for me? She’d offered to run errands, to wait tables, to wash dishes. But Phineas declined it all. What can you do for me that no one else can? So she’d told him. Everyone had the same reaction to consuming pure magic, but with diluted magic, their reactions were all different. And it was her reaction Phineas prized above all others. In a city whose underbelly thrived on magic, she was the one person who could find it. Tucked in people’s boots, stuffed between slices of bread, even already consumed and running through someone’s veins. It didn’t matter the form or how many layers stood between her and the magic, she could always sniff it out. She was his magical bloodhound. For two years, she wandered the streets of Gadore, using her ability to seek out those who had willingly ingested diluted magic. That was the easy part. From there, she had to learn how they reacted to magic. Then she’d relay the information to Phineas, who determined whether or not the person’s reaction was something he wanted in his collection of fighters. If he wanted them, it was her responsibility to bring them in—kicking and screaming if she had to. With her at his side, the profits in Phineas’s brawlhouse had grown exponentially. Irreplaceable, he’d called her. Because of that, he wouldn’t let go of her leash. Not without a suitable replacement. “Marnie,” she called, “you can come in now.” The door creaked as it opened, and Marnie, hood still covering her face, stepped inside the already cramped room. “Phineas Wraw, meet Marnie Sorphel.” Marnie removed her hood and inclined her head to Phineas, a blush coloring her cheekbones. Phineas stared at the girl, the tip of his tongue tapping the corner of his lips, before returning his gaze to Nes. “Why is she here?” he drawled. “For a demonstration.” Nes held out a hand. “Minot,” she said. Minot sneered at her but plopped the last flask in her outstretched hand. She unscrewed the top and handed it to Marnie, trying not to think of what she was bringing into the girl’s life. “Only a little bit,” she reminded her. Marnie nodded. Nes removed her own flask from her belt, lifting it toward Marnie’s. “Bottoms up.” Together they took a swig. The liquid inside burned a path down her throat, and she watched Marnie grimace as she swallowed. Nes stowed her own flask before setting Marnie’s on Phineas’s desk. Phineas raised a brow, not in interest but in boredom. Nes clenched her jaw. She would make him see Marnie’s value. “We made a deal, Phineas,” she said. “I work for you, and in exchange, you’ll break my father out of prison. You say you need a bloodhound. Well, I’ve found you my replacement.” She nodded to Marnie. The girl undid her cloak, revealing the dress she wore underneath. The dress itself was plain, save for the deep V that dipped well below her breasts and showed off the smooth skin of the girl’s sternum. Marnie reached for Nes’s hand. As the two clasped hands, the dim room filled with light. Bright and green, the exact color of the pure magic they’d seen earlier, it streamed from a spot between Marnie’s breasts. After a moment, Marnie let go of her hand and the light went out. Nes plucked the jar with the gravity-defying stone off of Phineas’s desk and tossed it to Marnie. The girl caught it. Again, that green light burst from her chest. The light went out only when Marnie set the jar back on the desk, effectively cutting off her connection to the magic in it. “See?” Nes said. Marnie’s reaction to diluted magic—her glow—could find Phineas new dogs. “Marnie is willing to identify magic users for you. She can replace me.” Phineas exhaled. “No.” Disbelief sputtered out of her. “What?” When Phineas deigned to look at her again, his gaze was possessive, unrelenting. “I said no. This girl cannot replace you. No one can. As I’ve told you before, my dear hound, you are irreplaceable.” Her heart tightened until it froze. Frost spread across her entire chest. Phineas continued. “I thought you were smarter than this. I can’t have a torch bursting to life every time we find someone using magic. The light would send a direct signal to every guard on patrol. This girl is nothing more than a poor imitation of you.” He was right about one thing. She was smarter than this. She had been a fool to think he would keep his word. She would not be so foolish again. Nes stared into the amber of her boss’s eyes and recognized the intent staring back at her. He thought he owned her. No one owned her. No one. Gadore was now as familiar to her as the freckles on her face. She could navigate the city with obstacles in her path or without any senses. She would find a way to free her father. Fingers splayed on the wood, Nes leaned over the desk until she was eye to eye with Phineas. “Find your own damned dogs,” she spat. “I’m through being your bitch.” Then she did something she’d never dared do in the two years she’d worked for Phineas. She turned her back on him. “Nes?” It was the use of her name that made her pause. “Aren’t you forgetting something?” She turned. “You leave, there’s nothing stopping me from turning you in.” For a second, she saw herself at the bottom of the Witch’s Well, slowly sinking, slowly drowning. It wouldn’t matter if she was innocent. Everyone knew once you were named as the possible Witch, your days were limited. It was every woman’s greatest fear. But she refused to let Phineas see such fear in her. He didn’t deserve it. And he didn’t deserve her. “Try it,” she said. She’d spent two years in his employ. She wasn’t the only one who had made the mistake of trusting the other. “And see what’s left of your business when you do.” This time, when she turned, he didn’t call her back. Excerpted from To Drown a Witch, copyright © 2026 by Lindsey Olsson. The post Read an Excerpt From <i>To Drown a Witch</i> by Lindsey Olsson appeared first on Reactor.

Hexed Trailer: Hailee Steinfeld Voices a Girl Discovering Magical Powers in a Magical World
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Hexed Trailer: Hailee Steinfeld Voices a Girl Discovering Magical Powers in a Magical World

News Hexed Hexed Trailer: Hailee Steinfeld Voices a Girl Discovering Magical Powers in a Magical World The feature premieres in theaters this Thanksgiving By Vanessa Armstrong | Published on June 16, 2026 Photo courtesy of Disney. © 2026 Disney Enterprises, Inc. All Rights Reserved. Comment 0 Share New Share Photo courtesy of Disney. © 2026 Disney Enterprises, Inc. All Rights Reserved. We have our first trailer for Hexed, Disney Animation’s next feature that centers on a goth girl named Billie (voiced by Hailee Steinfeld) who ends up expelled after she unexpectedly manifests magical powers that cause her to accidentally throw a bunch of trash at a teacher. The trailer released today gives us more of the story, including how she’s arguing with her mother (voiced by Rashida Jones) and inadvertently gets sucked into a magical world where she comes to realize that there’s nothing wrong with her. Just the opposite, in fact. Here’s the official synopsis: When Billie accidentally unleashes secret magical abilities, she’s hurtled out of suburbia and into a magical realm called Hexe, where she’s greeted by Ms. Quill (voiced by Tracey Ullman) and Elias Quire (voiced by Stephen Fry). As Billie’s spectacle-filled journey unfolds, she discovers family mysteries that could change the magical world of witches forever. The film is directed by Fawn Veerasunthorn and Jason Hand. “A wonderfully strange phenomenon is happening all around Billie, something she can’t explain,” said Veerasunthorn, whose previous credits include Raya and the Last Dragon, Moana, Moana 2, Frozen, and Frozen II. “She’s someone who has felt miscast in her own life, and it takes leaving her normal world behind and entering a hidden world of wild, unhinged magic to begin to understand herself.” Hand, who previously directed Moana 2 and wrote for Encanto, Big Hero 6, and Zootopia, had this to add: “Hexe is a place where Billie begins to feel seen for the first time in her life. She embarks on a journey of self-discovery that reveals a powerful connection to magic, and in the process uncovers long-held secrets about her family.” Hexed is set to premiere in theaters on November 25, 2026 (aka Thanksgiving weekend). Check out the first trailer below. [end-mark] The post <i>Hexed</i> Trailer: Hailee Steinfeld Voices a Girl Discovering Magical Powers in a Magical World appeared first on Reactor.