SciFi and Fantasy
SciFi and Fantasy

SciFi and Fantasy

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Spider-Man: Brand New Day Trailer Teases Mysterious New Villain
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Spider-Man: Brand New Day Trailer Teases Mysterious New Villain

News Spider-Man: Brand New Day Spider-Man: Brand New Day Trailer Teases Mysterious New Villain The fourth Spider-Man film in the Marvel Cinematic Universe is set to premiere in theaters in July By Vanessa Armstrong | Published on June 17, 2026 Screenshot: Sony Pictures Comment 0 Share New Share Screenshot: Sony Pictures The latest trailer for Spider-Man: Brand New Day sees Peter (Tom Holland) going through some changes (black eyes… you know what that means!), and having some anger issues since everyone he knows and loves has no memory of who he is. It’s a bummer! But we see him getting help from Frank Castle (Jon Bernthal) and Bruce Banner (Mark Ruffalo), and also saving MJ (Zendaya) even though she’s not quite sure who he is. There’s also an enemy who jumps from mind to mind that no one can see… except Peter. Here’s the official synopsis that spells everything out: It’s a BRAND NEW DAY for Peter Parker. Fighting crime full-time as Spider-Man in a world that doesn’t remember him—and the pressure of seeing his old friends move on without him—sparks a change in Peter he may not have the power to control. But that transformation might also be the only thing that can stop a shocking new threat to the city and those he loves – a powerful villain no one can even see. The world may have forgotten Peter Parker, but he hasn’t forgotten them. The movie comes from director Destin Daniel Cretton, who also worked on Wonder Man and Shang-Chi and the Legend of the Ten Rings. The script comes from Chris McKenna & Erik Sommers and Justin Kuritzkes, and you can see it in theaters starting on July 31, 2026. When you’re deciding where to watch it, keep this fun fact in mind: The movie comes in two native aspect ratios to fit both flat screens and scope screens. What does your local theater have? I don’t know! But Marvel wants you to know that whatever shape your screen takes, the film will look fabulous. While we wait for July 31, check out the latest trailer below on your flat-screen phone and/or laptop. You can also check out this Spidey Tracker website, which lets you see where in NYC a few of the trailer’s clips are set, get a little more info on some of Brand New Day‘s major characters, and seemingly see where a few upcoming promotional events will occur.[end-mark] The post <i>Spider-Man: Brand New Day</i> Trailer Teases Mysterious New Villain appeared first on Reactor.

Read an Excerpt From Among the Thorns by Jennifer K. Lambert
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Read an Excerpt From Among the Thorns by Jennifer K. Lambert

Excerpts Romantasy Read an Excerpt From Among the Thorns by Jennifer K. Lambert Two sorceresses of unrivaled potential clash to claim the greater fate and the heart of prince charming. By Jennifer K. Lambert | Published on June 17, 2026 Comment 0 Share New Share We’re thrilled to share an excerpt from Among the Thorns by Jennifer K. Lambert, a brand new romantasy set in the same world as Never the Roses—publishing with Bramble on July 14th. Ambitious young sorceress Rose of Northbrooke is about to graduate. She’s the only known dream sorcerer of her generation and she’s a remarkable one—formidably powerful, strikingly beautiful, and destined for greatness. No wonder she has a prince of the realm trailing her skirts.But when rumors of dream magic gone awry reach her ear, Rose discovers she’s not the only oneiromancer of her generation. And she might not be the most powerful.In a faraway cottage, Thorn has lived a simple and isolated life. She’s kept hidden by magic that prevents her from wandering past the cottage fence. Thorn longs to be a part of the world, to learn more about her magic, to be rescued by a prince who could love her with his whole heart.When she discovers there’s another dream sorceress out there who has everything Thorn has ever wanted—freedom, education, prince and all—her acceptance of her isolation transforms into a hunger for everything she has been denied. Everything Rose has.When Rose and Thorn meet, they realize their lives have been a lie and their fates have been carefully planned by political schemers. The outcome is clear: only one sorceress can live in the open, reap all the glory of her kingdom, and claim the prince’s loving hand… condemning the other to a life of perpetual non-existence. Buy the Book Among the Thorns Jennifer K. Lambert Buy Book Among the Thorns Jennifer K. Lambert Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget The girl, Thorn, lived at the far edge of the world, deep in the forest where the trees towered and grew bigger around than she could reach with both arms. In her simple cottage and garden, she grew up alone and isolated—but she lived a thousand lives through her sorcery. From an early age, she could lay hands on even a plain and empty brass box, and read the story better than in a book. Every object she touched offered illuminating glimpses of a world, shards of images that, pieced together, created a tapestry so staggeringly large and complex that Thorn could scarcely encompass it with her mind. All she knew was that, beyond the forest, there lived many other people in beautiful, crowded places called castles and citadels and cities. People with families that hugged each other and gave gifts with love. People who gave pledges of eternal affection with jewels that forever remembered those moments of intense emotion. The world also held evil. She saw those tales, too, spun out in silent imagery, soaked in violent emotions. Jealousy and hate and greed drove people to terrible crimes. She was safe at the cottage, within the thorny boundary of the rose hedge that billowed and bloomed. Summer brought the heavy honey-gold blossoms, filling the air with sweet scent and the buzz of bees, but in all seasons, the black-emerald canes wove an impenetrable barrier, thorns curved like blades, protecting Thorn from the terrors of the world. For a very long time, Thorn believed this was true. Her guardian, Jada, taught her how to use her magic, to touch the carefully bagged treasures and describe everything she saw and felt from them. Despite the moments of love and happiness she experienced, there were also terrible things, so she believed Jada that they were lucky to live where they did, safe and sound for always. Thorn hated it when Jada would depart for a day or two or three, leaving Thorn safely inside the enchanted rose hedge where she wouldn’t come to harm. She greeted her guardian’s return with frantic tears and pleas to be allowed to go along the next time. But someone had to feed the chickens and milk Nessie the goat and make the cheese and butter from her milk, to keep up with drying herbs and storing root vegetables for winter, to put away fruits into jars of preserves. Over time, Thorn lost her fear of being alone. She even began to look forward to the peacefulness of it, to the reprieve from worrying that she might make a mistake or reveal some fault requiring punishment and correction. And she looked forward to the stories she’d see in the trophies Jada brought back. Thorn would sit in the library at the desk she’d used since she was old enough to take lessons and record the provenance of each new treasure. Through her psychometry, she could see anyone who’d touched the object, and feel their emotions of that moment. This was the remanence people left behind, an echo of their presence in the world. The most recent experiences were usually the brightest and most vivid, almost always some busy marketplace with a jumble of avarice and delight on both sides of the transaction as the object changed hands. She could then go back in time from there, tracing each instance someone had touched the object, all the way back to images of its maker, and how that person had felt creating it. Sometimes she could go back even farther, to the mining or harvesting of its component parts. What made Thorn an especially effective psychometrist was that she could go so far back and see and feel so much. With her powerful gift for psychometry, Thorn excavated the deepest levels of an object’s history, which meant her provenance revealed more than anyone else’s. She’d identified several lost artifacts created by celebrated artisans, fetching Jada a pretty pile of coin—very necessary for the two of them living alone, with no support from anyone else. Left to her own devices, Thorn sometimes fell down the rabbit hole of tracing the remanence of some irrelevant component of an object. It slowed her down, becoming distracted by some sidenote of history, and Jada detested dallying. But Thorn couldn’t help being drawn in by the stories she saw, like those images of an exotic land made entirely of sand where a jewel had been mined or the surprising and horrifying twist when a bit of leather that appeared to be animal turned out to be human. She had to know everything, unable to look away even when the story turned out to be terrible. Thorn had learned to balance her curiosity with efficiency, quickly establishing the provenance needed for maximum resale value and then indulging herself with tracing the deeper histories. She especially loved when she found romances tied to the objects. It happened most often with jewelry, given as tokens of love or promises of happy ever afters. The vibrancy of those emotions persisted in the gifts, along with images of kisses and embraces. Thorn lingered over the shimmering sensations of intimate affection, especially savoring the pieces that remembered being worn on the skin that lovers kissed and caressed. Experiencing those secondhand memories of loving and being loved, so unlike her solitary, friendless life, gave her both hope and a sense of despair. A different way of being existed, but she didn’t know how to find it. Eventually, she realized she would never find anything different unless she left the cottage. Only Jada could pass through the brambles surrounding them, so no one ever visited and Thorn could never leave. For a very long time, Thorn never questioned that essential truth. Until one day she did. It was a day much like all the days before, except that it was an exceptionally lovely summer afternoon. Thorn had fed the chickens, gathered eggs, milked Nessie, cleaned the kitchen following breakfast, started the dough for the day’s baking, and weeded the vegetable bed. Then, with Jada napping and a bit of time to herself, she took a new treasure—a jeweled belt buckle—out to the willow tree by the pond. She’d already catalogued it, meticulously writing out the relevant provenance. But on impulse, instead of putting the buckle back into its velvet bag, she’d slipped it into her pocket. She would put it back before Jada noticed its absence. She only wanted to play with it a bit more, to savor the lovely sense of it. And the prince she’d glimpsed inside. As a jeweled buckle, it was pretty enough, and gems usually fetched good coin. In this case, though, Jada had been especially excited, suspecting it had belonged to someone of importance. She could improve on the resale value with a bit of royal cachet. As Thorn received only images and emotions from the remanence lingering in an object, she couldn’t tell who exactly the royal had been. She could, however, describe him and the people around him: the rich clothing, the servants, the older man with a long red beard who touched it right before, who wore a crown—surely a king—and the person before that, a wealthy jeweler excited to see a royal court. The royal must be a young prince. He posed before a gilded mirror wearing the belt buckle, pleased with the flashing gems, the warmth of approval in the gift. He had glossy golden hair that waved to his shoulders, bright green eyes, a lovely smile. Thorn transcribed all the details she could glean about the jeweler, the origin of the gems, keeping to herself the sorry state of the miners in that distant underground tunnel. Thrilled with the success of her purchase, Jada treated herself to a glass of afternoon wine and lay down for a celebratory nap—giving Thorn a golden opportunity to savor the presence of the prince in the buckle just a bit longer. Because, more than his sense of physical appearance, Thorn loved his lighthearted nature, a natural humor and attractive enthusiasm for life. He seemed to be around her age, unusual for the treasures she examined. Under the willow tree, Thorn revisited that sparkling moment of the gift-giving, some kind of celebration, the king handing the prince the belt buckle, how much joy the gift had brought him. She was sorry the buckle had been later taken from him, stolen by a desperate servant who sold it to Jada in a back alley. Thorn sorted through and memorized other moments of sheer happiness from times the prince wore the buckle: him taking classes in dancing and swordfighting, riding horses through forests, a pair of hounds always with him. On the more poignant side, she recognized a loneliness in him that mirrored hers, a deep sadness, a feeling of not fitting in. Exploring those echoes of his heart reassured her of two things: that she wasn’t the only person in all the world to feel that way and that one could be a wealthy royal, surrounded by hordes of people, and still feel as alone as a girl in an isolated cottage. That someone out there had both—her gray loneliness and those moments of joy—rendered her hopeful and longing for more. That longing folded in with an indefinable restlessness, a kind of hunger that had begun to plague her. Some of it came from the dull ache of her menses, which had started only the year before and continued to arrive with inconvenient regularity. Jada said that meant she was becoming a woman like her, but that made no sense to Thorn. Jada had pale skin, redly chestnut hair, and blue eyes. Thorn already stood taller than Jada, topping the short and slender woman by a handspan. Would Thorn get shorter again, her brown skin and black hair lighten, her dark eyes turn to blue? When Thorn wondered aloud about such things, Jada laughed and called her stupid girl. The hunger refused to subside, instead blooming lush as the honey-gold roses and pricking her as sharply as those wickedly curved thorns. The craving for something became tangled up in those intimate moments the jewels recalled so vividly, the needing and wanting and loving, which made Thorn want to fall into dreamy fantasies, a reverie of those sensations and emotions. Now she added the prince to those dreams, imagining him coming to rescue her, like in the fairytale books. He would love her and kiss her and give her a jeweled ring to prove it, providing her with one of those shimmering moments of joy she so envied him. Except that he didn’t know she existed. How would she ever find him when she was forever tucked away in the cottage? How would he find her if no one but Jada knew she even existed? She had to find a way into his world. “When I’m finished becoming a woman,” Thorn asked very politely, after she’d snuck the belt buckle back into its bag, alongside the provenance she’d penned, “will I be able to go with you then, beyond the fence?” “No.” “Then when?” Thorn persisted. “I’d like to see the city someday.” She knew better than to mention her fantasy of meeting the sunny prince. Jada laughed her most scornful laugh. “The city is not for you, my little country mouse.” “Why not?” “It’s not safe for you.” “But when I’m a woman.” “Especially not then.” “But it’s safe for you.” “Yes.” “Why you and not me?” “Thorn.” Jada said her name on a sigh. “We are different people. No two people in all the world are alike, thus none of them lead the same lives or follow the same rules. I may leave this place; you may not. It’s a simple rule and one you’ve known all your life. You’re a stupid girl, but even you should be able to understand this basic truth.” “Doesn’t what I want matter at all?” Thorn demanded in growing frustration. At this, Jada stilled and turned to look upon Thorn. In these moments, her physical stature ceased to matter and she dwarfed Thorn in every way. As it did when she was displeased, Jada’s magic unfurled around her, seeming to take the shape of giant white wings, her hair frosting and rising also to bristle with a life of its own. If Thorn didn’t immediately apologize and promise to do better, those powerful wings would enfold her until she couldn’t move, her body drowsy as if she slept, though she didn’t feel sleepy in her head. She hated it. So, Thorn didn’t understand what drove her now to defy Jada, to run the risk of her displeasure, the suffocating suppression of those unseen wings. Except that she wanted the joy that awaited her in the outside world more than she was afraid. “Thorn.” Jada spoke her name with quiet menace, the wings of power stirring the air currents. Thorn quailed inside, but made herself stand tall. “You are allowed to want some things. But I have a duty to you. A sacred responsibility I have devoted myself to since you were born. All your life, I have protected you from danger. I know what’s best for you. Have I made myself clear or do you need me to contain you, for your own good?” Thorn’s brief rush of courage ran out and she shook her head. “I only asked,” she protested meekly. “You used to be such a sweet girl,” Jada observed. “I don’t know what I’ve done for you to be so unkind to me, so ungrateful for all I’ve given you—and given up for you.” “I’m sorry.” “I’m sorry,” her guardian mimicked in a whiny voice. “I have some more objects for you to evaluate. You can make it up to me by being useful. I need to be able to sell these in the city on my trip next week.” “You’re leaving again already?” “Yes, I told you that.” Thorn didn’t think she had, but she didn’t argue, of course. Instead, as she obediently catalogued the rest of the items, Thorn contemplated how she could turn the alone time to her advantage. Maybe she could use the opportunity to try to figure out how to pass through the fence like her guardian did. Jada always followed the garden path to the far end, where the deep shadows of the forest draped lavishly over the arched gate in the rose-covered fence, and she somehow opened it. Thorn had always been made to stand well back by the cottage, unable to see clearly. A few times, Thorn had tried the gate. The latch never budged for her. Worse, a feeling of repulsion made her skin itch all over, until Thorn couldn’t bear to stand so close to the gate any longer. That same feeling plagued Thorn any time she came too near the briar hedge, the golden roses seeming to lift their heavy blossoms to stare menacingly at her, the leaves peeling back to reveal curved black thorns ready to pierce her skin. Thorn knew that sensation meant wards. There were wards on the bookshelves Thorn wasn’t allowed to access, the enchantment blurring the titles of the books and pushing against Thorn coming anywhere close. If Thorn wanted to pass through the gate, she needed to learn to overcome that repulsion long enough to find a way through the wards. She had no talent for wardmaking, but maybe she could break wards? Undoing wasn’t the same as doing. Thorn could methodically test the forbidding briars to see if she could determine what kind of wards twined through them. Probably she wouldn’t be able to escape this time, but maybe she could learn? Or maybe she couldn’t. The thought saddened her immeasurably. She was trapped, perhaps forever. It didn’t help that her seat faced the bookshelf with the large piece of polished amber holding a butterfly poised in flight. None of its color remained; its once brightly scaled wings had leached away into deeper shades of tawny ocher, like the golden roses outside when they faded into brittle remnants, leaving this skeletal shadow preserved for all time. It might be melodramatic, but Thorn saw herself much the same way. Her life over before it began, she might exist forever in this safe bubble, all her color gradually leaking away and leaving her a remnant of the person she might have been. Fuming about it all, Thorn channeled her simmering frustration at her hemmed-in life into the psychometry analysis. Soon enough she had a detailed provenance for all seven remaining objects. They might be boring, but that also made them quick to get through. At least none had been soaked in violence. But, under their onslaught of impressions, she was already losing the lovely feelings from the prince’s belt buckle, too easily forgetting how that felt, how he felt. She couldn’t keep it, but—the rebellious thought bubbled up in her mind—perhaps she could keep a little piece of it. Feeling terribly brave and quaking inside with fear at being caught—though she could hear Jada’s snores echoing down the hall—she unpacked the belt buckle, careful to keep the creases of the paper intact. Working swiftly, she pried out a tiny jewel from the edge, from a place no one would notice, hopefully. With any luck, the next buyer wouldn’t see the gap, or they’d think it lost by accident. Surely no one would guess that meek and obedient Thorn had taken it. She pressed the tiny gem into a bit of sealing wax and secreted it in her apron pocket, checking first that no holes would allow it to escape her, and made herself take meticulous care in rewrapping the package and tying the strings to hold it closed. There. Giddy with the unaccustomed power of disobedience, and with Jada’s snores still audible, Thorn decided to look for books on rune-breaking. On the far side of the library, two walls of shelves held the locked and warded books too dangerous for Thorn. When she was littler, Thorn had tried to read the titles on the spines, straining her eyes in frustrating attempts to read the letters that blurred, bounced, and jigged out of meaning. Even if she resisted the itchy repulsion of the wards and put one eye right up next to the words, they refused to make sense. Thorn considered those warded shelves, which certainly contained useful information. She couldn’t access them until she learned to break wards, however, so that made for a neat circle that led nowhere. Instead she searched the shelves she was allowed to access for elementary books on runes. Then, realizing the snoring had stopped, hearing Jada’s steps approaching the library door, Thorn snagged the leftmost book at random, stowing it in a deeper pocket of her skirt, then scurried back to her worktable. Making a show of stretching, she pretended to be surprised by Jada’s entrance. “Is it time to make tea already?” she asked, then gestured at her documentation. “I just finished,” she added, surprised at how easily the lie came to her lips. She hadn’t outright lied to Jada since she was a child, and part of her braced for her mentor to know, as she always did, to scold her, for the punishing wings to batter her. But Jada did not notice. She simply scooped up the sheaf of documents, perusing the information with tight-lipped satisfaction. “These will fetch a pretty bit of coin. And yes—time for you to bake the scones and get the tea brewing. Make some of those cucumber and goat cheese sandwiches, too, with the crusts removed. I’ll be there in a bit.” With a relieved sense of having narrowly escaped a stinging punishment, Thorn turned to go—though she couldn’t help glancing back at what seemed to be a glaring hole where the book had been. She should have adjusted the spacing. She almost confessed at that moment, the text burning through her skirt. Jada glanced up from boxing the artifacts with their documentation. “What?” she snapped. “The scones won’t bake themselves and you know I hate it when tea is late.” Thorn fled for the safety of the kitchen. * * * Later that night, under the tent of her bedcovers, Thorn made a small light. Minor pyromancy was another of her weak skills, useful primarily for surreptitious reading past her bedtime—and for venturing into the dark, cramped, and decidedly damp root cellar. She pressed the sealing wax holding the jewel to the underside of her bedframe, where she could drape her hand over the side and caress the surface of the jewel, the prince’s sunshine like another light in her dark night. With one finger near the gem, and lying on her side with her back to the door, just in case Jada came to check on her, as she sometimes did, and ready to snuff the light at the slightest sound, Thorn read the opening chapter of the kiddie primer on runes in disbelief. She’d been lied to. It shouldn’t come as such a shock—after all, Thorn had been dancing around the edges of this discovery for quite some time—but she hadn’t expected this level of deception. For all that the primers on rune-scribing had emphasized the critical importance of perfect execution, it turned out that wardmaking could be accomplished without runes. In fact, by sheer luck, Thorn had picked up a text whose author disdained runes as a method for warding, entirely because accuracy could be so critical, which made them useless for a sorcerer under duress or distraction. The author, a sorcerer named Stearanos Stormbreaker, advised employing runes only for permanently installed wards, such as on a castle—or probably like the ones woven into the rose hedge—and only when they could be regularly reinfused with warding magic by their maker. Thorn allowed the book to close, contemplating the implications in wonder. That must be what Jada did when she left: she reinfused the permanent runes with warding magic. More important: the warding magic worked separately from the runes. Jada had made them sound like one and the same, but clearly they were not. Jada might have even hired some other sorcerer to inscribe the runes on the cottage fence when it was erected, or in the climbing roses themselves, and the sorceress had simply activated and deactivated them as she left and returned. All of which meant that Thorn could use the techniques this Stearanos indicated he’d describe later in the book to modify the wards to allow herself an opening in them. She didn’t need much, just a small gap for her to slip out, perhaps find a village. Eagerly, inspired and excited as she hadn’t felt in a long time, Thorn flipped to chapter 20: “Thinning, Fraying, Penetrating, and Shattering: Four Methods for Breaking Wards.” Reading quickly, she committed the instructions to memory. This way, she could return the book before she started making breakfast, before Jada was even awake. * * * “Remember,” Jada said, checking the bags Thorn had packed for her, “you will stay within the perimeter of the garden during my absence.” “Yes, Jada,” Thorn replied meekly. “Don’t ‘yes, Jada’ me, missy. I haven’t forgotten your rebellious questions. I must be able to trust that you’ll stay safe inside the fence.” “I understand,” she said, instead of “Yes, Jada,” but she must have sounded wrong, because her guardian focused on her, the sound of suffocating feathers beating in the distance. “If necessary,” she said softly, “I can make it so you can’t leave even the cottage.” “But then who would tend the chickens and Nessie?” Thorn pointed out. She didn’t know what Jada meant by this new threat, but she was sure she didn’t want to find out. “Don’t push me on this,” Jada warned in a quiet voice that was always worse than shouting. “If you give me any reason to believe that this new rebelliousness of yours will lead to the testing of boundaries any more than you’re already doing, I will confine you to this cottage. Or worse,” she added darkly. “Understand?” “I understand.” “Good. Now, go on down to the root cellar.” “The root cellar?” Thorn echoed, fear striking her heart to a faster beat, cold sweat immediately trickling down her spine. She hated the cellar with its damp smell and the worms dangling palely out of the dirt walls. Needing the brightness of it, the bravery in him, she put a hand in her apron pocket, lightly touching the prince’s presence in the gem she kept there by day. “Yes, Thorn. The root cellar. Don’t try my patience. Go.” She didn’t dare drag her feet, but Thorn couldn’t make herself hurry as Jada followed her through the kitchen. Opening the door, she peered into the unlit pit, chilly even in summer, the wooden steps down more like a ladder than stairs. “For how long?” she asked. “Longer, if you don’t get down there right now,” Jada answered, the magic wings wrapping around Thorn in silent threat. “Or do you need help?” While it wasn’t that much of a drop, it still hurt to land on the hard-packed floor, so Thorn quickly climbed down. “Count an hour,” Jada instructed, “and then you can come up. I’ll know if you cheat. Understand?” “I understand.” She shivered already. “Good girl. I’ll see you in a few days.” She shut the door, quenching the summer sunshine from above. Thorn crouched on the cellar floor, not wanting to sit in the damp, counting the minutes until she could climb out. She made a small light to keep her company, mentally practicing the ward-breaking techniques, rewarding herself by revisiting the prince’s memory of a ride through the woods for each repetition. When an hour plus a little extra—just in case—had elapsed, Thorn climbed up the steps, easing open the door into the kitchen. The cottage was quiet. Thorn was alone and free to attempt her escape. Just in case Jada came back for something she’d forgotten, Thorn resolved to wait for dusk. She completed her chores for the day. She milked Nessie and bedded the goat down in the little shed for the night. She put the chickens in their coop, too. Neither Thorn nor the dangers of the world could penetrate the wards, but animals could. The foxes and forest cats would love a goat or chicken dinner, given the opportunity. Once they lost a hen, one of Thorn’s favorites, an excellent hen, iridescent black with face tufts that she’d named Esmerelda and who’d wormed her way through the rose hedge and escaped. Apparently the wards kept only Thorn safe. She missed Esmerelda still. At last, the light turned from golden to violet, signaling the end of the gloaming and the arrival of twilight. Thorn strolled slowly, sedately toward the garden gate, as if someone or something might notice if she made any sudden moves. Although she’d looked out that small portal in the fence many times, she saw it as if anew. The white picket fence extended in an arc, making a trellis for the roses. Their black-emerald canes wove a dense barrier in and around the fence, the leaves bristling with tiny blades, the thorns long and curved, the buds and blossoms heavy, glowing with buttery light in the purpling shadows, as if they’d soaked up the sunset colors, radiating back the warm pink-tinged golds, their thick, sweet scent heavy in the still sum-mer twilight. The gate filled the opening, though not completely, closing off the only briar-free aperture. The silvery lines of the runes shimmered along the wooden slats of the fence and through the roses themselves, sending out their unfriendly prickles for her to go away. Resisting the discomfort, Thorn made herself trace their precise, perfect lines with a questioning fingertip, careful of the thorns. Jada’s magic, as familiar as Thorn’s own, infused the runes, but—as Thorn had wondered about—they’d been drawn and established by someone else. Her psychometry confirmed it, giving her an image of a tall, brown-skinned, and dark-haired man. He’d done the work with avid ambition and a fierce desire to protect—and as long ago as Thorn had been alive. A thousand questions flooded her mind, but she set those aside to focus on this task: to see if she could thin the wards enough to open the gate. She didn’t need to retrieve the book to do this. Thorn had developed her memory to perfectly reproduce the instructions from the text. She did get out the journal she’d put in her pocket. Precise documentation of all magical experimentation was good practice. So, Thorn had gotten her pink leatherbound journal off the shelf. Embossed with gold roses, the plush blank book had been a gift from years ago. Thorn had found it so pretty, the perfection of its creamy parchment pages too pristine to spoil. She’d never been able to bring herself to mar them with writing. Now it would hold notes that would lead her to a new life, one where she could go to the city herself and purchase all the blank journals that caught her eye. She’d found a kind of company in writing down her thoughts and expressing her feelings. Carefully noting the date and time, Thorn labeled the entry as attempt number one. She also recorded which technique she intended to employ. If the first didn’t work, she’d move to the second, and so on. She refused to allow any potential failures to dissuade her. She unraveled the ward with meticulous patience, loosening it just enough to ease open the gate a narrow width that allowed her to gaze out into the darkening forest. The woods marched dense with the columns of trees. Birds sang their evening song in the canopy. And a path led away from the gate, weaving through the trees to a distant road. A road that led to the greater world. Waiting for her. Allowing herself to feel the triumph of the moment, to savor the sweet taste of incipient freedom, she finally relaxed. She had succeeded. Jada need never know. It would be her little secret. And in the morning, she would— “Thorn,” Jada said, appearing suddenly on the path before her as if from nowhere, a wealth of rage layered into that single, quiet utterance of her name, invisibly potent wings unfurling in a promise of punishment that set her heart frantically pounding. Jada’s voice rose to a scream like a fox in the dark night. “What have you done?” Excerpted from Among the Thorns, copyright © 2026 by Jennifer K. Lambert. The post Read an Excerpt From <i>Among the Thorns</i> by Jennifer K. Lambert appeared first on Reactor.

Spicy Fables: Ayida Shonibar’s “An Unholy Terroir”
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Spicy Fables: Ayida Shonibar’s “An Unholy Terroir”

Books Reading the Weird Spicy Fables: Ayida Shonibar’s “An Unholy Terroir” Laugh about degeneracy today, and you’ll be tempted into degeneracy tomorrow! By Ruthanna Emrys, Anne M. Pillsworth | Published on June 17, 2026 Comment 0 Share New Share Welcome back to Reading the Weird, in which we get girl cooties all over weird fiction, cosmic horror, and Lovecraftiana—from its historical roots through its most recent branches. This week, we cover Ayida Shonibar’s “An Unholy Terroir,” first published in Kristy Park Kulski’s Stoker-winning Silk and Sinew: A Collection of Folk Horror From the Asian Diaspora. Spoilers ahead! I. “This is a fable. Or rather, a warning.” II. In an unnamed village, disease strikes. It robs victims of appetite, shifts their bones, and erodes their human features. Loved ones can only “grieve and watch them disintegrate.” Desperate, the villagers turn to their Provost. In return for their “respect…and a healthy portion of [their] earnings,” he explains things for “their simple perspectives.” Otto Ludwig provides an example of how “out of the unknowable, the Provost procured an actionable warning.” Otto could be a lazy child. Recently he neglected to draw water, delaying the Provost’s laundry. Heaven sickened Otto as a punishment for everyone’s educational failures. The villagers are “never again late to deliver on [the Provost’s] requests.” Yet the sickness lingers. Around winter solstice, a young woman arrives: hair black, skin brown, a shawl draped over her shoulders like a “woven exoskeleton.” Its brilliant colors contrast sharply with the villagers’ “uniformly monochrome attire.” They cannot stop staring. Titli has travelled from afar, trading silks she learned to make from her family. Stories about her spread “like the disease.” Some are gleaned from Titli herself. Others are “mere speculation…spun out of… expectations and fantasies.” Angelika, the Provost’s daughter, tells a tavern gathering that she finds Titli “rather lovely.” Others believe that their “shapeless” clothing hides fibrous, scaly skin; they breathe fire; their food is heavily spiced to mask human flesh. The Provost overhears them joking about cannibalism. Laugh about degeneracy today, he warns, and they’ll be tempted into degeneracy tomorrow! The stranger could turn them against each other, even make them oppose him! The villagers remain drawn to Titli. One day, she overhears them wondering about fire-breathing mechanics. She storms off. Angelika leads shamefaced villagers after her to apologize. Instead they witness her fall to her knees near the town well. Her face contorts, and yellow-green-purple flame shoots from her mouth into the well. Boiling water seethes. The villagers flee. Later, the Provost finds villagers bustling on celebratory errands. The sickness has vanished; Titli’s fire destroyed whatever contagion lurked in the well. But the Provost chastises them for rejecting heaven-sent correction! They won’t find Titli’s “oddities” captivating when her hellfire devours their homes. Titli overhears, and her eyes go dark and ugly. The Provost writes to authorities in the southern colonies, asking if they’ve encountered exploits like Titli’s. He’s just sent the letters when he realizes the village is ablaze with gold-green-purple flames. He joins in battling the fire, gratified by villagers’ cursing their former favorite. III. A hundred years before, northerners colonized the south. Injustice and mistreatment turned Titli’s people into dagger-fanged monsters. Robbed of their textiles, her peoples’ fingertips unravelled into silken thread that they could weave in secret. When northerners retaliated, her family bound Titli into a protective cocoon. When she emerged, her people were gone. * * * The second time she breathes fire, Titli ignites the village. Horrified, she rushes to help. Later, she brings Angelika water. Angelika says she knows what Titli is. Titli wasn’t the first to start a fire in town—Angelika herself once accidentally started a fire in her father’s study, a sin she’s never before confessed. * * * Titli’s fingertip-silk becomes thick and tough, perfect for twisting ropes to help the villagers rebuild their homes. Eventually, the villagers value her structural cording and deploy it everywhere. The Provost reprimands Angelika for eating with the demon outsider. Before long, Titli will be eating her. IV. The Provost receives a letter from a southern authority who writes that the natives are “false people.” The fruit “that grows [in the colony] is as unholy as its terroir.” The colonists have trouble “maintaining civilization in this region.” He describes “demonic vipers shedding artificial skin” and “beastly wings projecting out of the shoulder blades.” V. Angelika comes to Titli’s room. They sit together on her bed. Does Titli truly eat people, Angelika asks. And would Angelika be someone she’d like to eat? Titli promises that Angelika will like it, and she’ll stop if asked. Angelika blushes. “Eat me, then.” * * * The Provost barges into Titli’s room to find Angelika moaning, with Titli’s head between her legs. He hauls Titli into the street, to the well. Titli kicks him, knocking his belt-pouch loose. It spills a journal, a sack of gold, and a tinted bottle. Angelika grabs the bottle. It’s one of her missing cosmetic tinctures, nothing her father could want, except— Ingested, the tincture’s a powerful poison. Realization strikes Angelica. Did the Provost poison the well? The Provost screams incoherently. Titli’s shifting in his hands, shoulders elongating, scales erupting through her clothes. Fangs erupt from her mouth. Her wings flap, lifting them both. The Provost calls for help. No one moves, and he falls howling into the well. VI. As dawn breaks, the villagers watch Titli fly away. They whisper goodbye, though she won’t hear. As they return home, the shouts of a drowning man fade behind them. Buy the Book Silk & Sinew edited by Kristy Park Kulski A Collection of Folk Horror from the Asian Diaspora Buy Book Silk & Sinew edited by Kristy Park Kulski A Collection of Folk Horror from the Asian Diaspora A Collection of Folk Horror from the Asian Diaspora Buy this book from: AmazonBarnes and NobleIndieBoundTarget What’s Cyclopean: “Terroir” is the unique flavor that food gains from the special properties of a particular location. It comes from the minerals in the soil and water (including its poisons), from climate, from local microbiomes, and from the practices of the people laboring to produce it. And perhaps it’s not only food that gains terroir from those practices. The Degenerate Dutch: Those people, over there, aren’t really human. Their false skins hide scales; they have wings and claws; they eat human flesh. They breathe fire. They are, in fact (according the Provost) degenerate. Weirdbuilding: Cannibalism is no laughing matter. Without it, what horrors would we ascribe to the Others in all our stories of exotic places? Anne’s Commentary I can’t be the only one who glanced at Shonibar’s title and misread “Terroir” as “Terror.” Right? Never mind. I can blame it on needing new lenses, not new eyes, or brains. Connoisseurs of cheese, chocolate, coffee, tea, whiskey, or wine wouldn’t confuse the two words, “terroir” being a key term in their enthusiasms. I like Benjamin Bois’ definition best: “Geographical origin is closely associated with the quality of grapevine products, and in particular wine. This connection between the place and the taste of agricultural products, probably dating back to antiquity, was formalised in the notion of “terroir.” A term of French origin used from the 12th century to designate an agricultural area, then a soil conferring singular properties to wine, the terroir has become in the 20th century a concept opening the influence of the place on the quality of the product to a very large number of natural and anthropogenic elements.” Their orthography might trick one into thinking terroir and terror are close etymological cousins. Actually, the root of the first is the Latin terr- or terra (earth, land), whose Proto-Indo-European (PIE) root is ters- (to dry). The root of the second is derived from the Latin verb terrēre (to tremble or shake). Its PIE root is tres-, also to tremble or shake. Latin terra goes to French terre goes to terroir. English has no snappy one-worder for this. You could go with “local character,” though that’s reminiscent of some half-crazy, half-savvy old guy in droopy overalls. An “unholy terror” is an English idiom that puts a darker twist on the more commonly used “holy terror,” which often has playful or even affectionate overtones. In Shonibar’s story, the word “terroir” is used just once. That’s in the letter the Provost receives from a “southern colonial authority,” who writes: “The natives of these lands are false people. Fruit that grows here is as unholy as its terroir.” Nice double-fisted casting of calumnies, that. First, the natives are “false people.” Does this mean they’re liars? Inhuman? Both? Second, the natives are reduced to fruit, and unholy fruit at that. It’s not likely they could ripen into worthy produce, living where and how they do! And lest the Provost misconstrue his descriptions as figurative, the authority includes drawings showing the natives’ “inhumanly extended teeth, which curved over the lower lip, past the chin, and were shaded with insinuations of dried blood.” An earlier passage describes colonization from the “native” point of view. Abused and labelled as beasts, the southerners began “fulfilling [the northerners’] prophecies of [their] savagery”: “Our fangs lengthened to daggers, our nails sharpened into swords…Our changing skeletons reached for any possibility of freedom.” Ultimately, they spun silk from their fingertips, thus clothing themselves with themselves. The dagger-teeth, sword-nails, and ability to shift their very bones, were clues to the possible cultural inspiration for Titli. The master shape-shifters of Hindu mythology are the Rakshasas. These demons can assume any form at will, but are most often depicted as having protuberant, even tusk-like teeth, and long, razor-sharp claws. They can fly or walk upon the air, normally through the use of magic rather than on physical wings. However, they can shift into monstrous  winged hybrids as well as into predatory birds entire. Fire-breathing Rakshasas are rare, but there is the story of Analasura, the Fire Demon who terrorized gods and men alike by shooting flames out of his mouth and eyes. Eventually, Lord Ganesha dispatched Analasura by swallowing him. (Good news: No more Analasura. Bad news: Ganesha suffered terrible heartburn afterwards.) In a Meer article, Asuras, Daityas and Rakshasas:  Mythical Forces Unveiled, Shilpa Sonawane describes the Rakshasa: “Rakshasas are often depicted as fearsome, grotesque beings who dwell in forests, cemeteries, and uninhabited terrains. Unlike Asuras and Daityas, who operate on a cosmic scale, Rakshasas are more connected to the earthly realm, representing chaos, destruction, and the untamed aspects of nature and human emotion. However, even among the Rakshasas, there are exceptions like Vibhishana, who chose virtue over familial loyalty, and Mandodari, celebrated for her wisdom and compassion.” Gods and Monsters explains why a Rakshasa Titli would be the ultimate nemesis for the Provost, self-proclaimed defender of order and virtue in his village-kingdom: “In the grand epics of Hindu tradition, the Rakshasas…are the disruptors of order, the challengers of gods and heroes. Their presence in stories like the Ramayana is not just as adversaries but as pivotal forces that shape the narrative. They are known to disrupt holy rituals, challenge the virtuous, and create upheaval in the celestial and earthly realms alike.” You go, Titli, I said. I was sorry that she flew away from the village so soon, but I guess her work there was done, and there were many more repressed, monochromatic villages to disrupt into cracking open their inhabitants’ minds a little, while having fun at the same time. Ruthanna’s Commentary If people are going to call you inhuman, and treat you as monsters, wouldn’t it be tempting, sometimes, to prove them right? To turn metaphor into clawed reality? Grow wings to fly away, talons to fight back, fire to take the sick anger from your belly and put it out into the world? It wouldn’t be comfortable, of course. It’s not safe. It’s more than survival, and less, to change that way. And it gives power to those who describe you, even if you become what terrifies them. This story feels familiar, and also makes me cautious in that familiarity. Shonibar is Desi and so is the experience with colonialism from which they draw—and with which I’m not deeply familiar. There’s kinship with stories about building golems, and with flying Africans, and with Blackfeet who can draw blood from those who’ve bled them dry. With reclaiming Deep Ones and Abdul Al-Hared. But none of these are identical, or even close—and our uniquenesses, identities unblurred with others, are part of what these stories insist upon. Our terroirs. The uniqueness that most grabs me, here, is the image of silk-spinning fingertips. Beyond the ability to fight back with violence, the silk offers economic independence and the ability to care for children. Most textile crops are grown in legible fields. This is also true in real life of silkworms and their attendant mulberries—not so for finger-spinning. Titli’s parents are able to hide their illicit production for a while, then at the last to spin her a protective cocoon. It ends her childhood, not only in the metaphorical way that parental death does, but as cocoons do, releasing her as an adult able to survive on her own. And now she, too, is shaped by the stories that people tell about her, even as she travels and lives among those people. But the Provost’s town has some special power of its own—and it may be part of the country where the colonizers come from, but it suffers on its own from their hierarchies. (What you do elsewhere is often first practiced at home, just ask post-enclosure peasants in Britain.) So the Provost offers “actionable” lies, demands for labor, and, it turns out, horrific deaths to keep everyone in line. It’s not him punishing people for being late with his laundry, it’s god. And it’s the Provost’s “simple” people, who must at some level recognize the unfairness of this, whose beliefs invoke Titli’s firey breath and wings. Perhaps the poison’s breakdown of their own flesh gives them some kinship with her own metamorphal abilities. I keep coming back to the first two sentences, which are easy to forget during what follows. Even in the context of the story, none of this is literal. A fable brings together archetypes, not entirely human, to support a moral. A warning tells a specific audience to do something differently. So we can imagine Titli’s all-too-brief tryst with Angelika and how they might think of each other after Titli flies away, but the two of them as individuals aren’t the main point; you can as easily worry that those unreachable grapes would have poisoned the fox (as real grapes poison real canids). This is emphasized by the point of view—first person plural, the “we” of both the Provost’s town and Titli’s family. This is a more complex fable than Aesop’s. It seems to me that the moral is that those suffering under colonial hierarchies in the imperial core, and those suffering in the colonies, have much to learn from each other and much to gain by working together—even though that collaboration won’t always be comfortable. Solidarity Forever! (It might say, in the little italicized sentence that appended each story, in my childhood copy of Aesop’s Fables, lest one miss the point.) And the warning, of course, is to the Provosts of the world, secure with their poisoned wells and their demands for service. Your time is coming. Next week, the “farce” of confession continues in Chapters 19-20 of Stephen Graham Jones’ The Buffalo Hunter Hunter.[end-mark] The post Spicy Fables: Ayida Shonibar’s “An Unholy Terroir” appeared first on Reactor.

Disclosure Day Puts Religion and Aliens in a Blender, With Mixed Results
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Disclosure Day Puts Religion and Aliens in a Blender, With Mixed Results

Featured Essays Disclosure Day Disclosure Day Puts Religion and Aliens in a Blender, With Mixed Results Ah, the beautiful oblivion of Vague Movie Catholicism By Leah Schnelbach | Published on June 17, 2026 Credit: Universal Pictures Comment 0 Share New Share Credit: Universal Pictures Disclosure Day could have just been a movie about aliens. Spielberg’s previous films Close Encounters of the Third Kind, E.T., and War of the Worlds each use religious allusions and imagery to tell their stories, and he and screenwriter David Koepp have once again woven a conversation about religion and faith into this newest outing. Unlike those films, however, I don’t think Disclosure Day explore these ideas as well as it needs to, and I’d like to parse through why—spoilers are going to be fully disclosed here, so hop in your inexplicable craft and fly away if you haven’t seen the film yet. First, we have two very different responses to an experience that is coded as divine. As a 20-year-old college student, Daniel Kellner (Josh O’Connor) has a conversion experience of a sort, and can suddenly, inexplicably, understand math in a way that seem synaesthesiac. He can look at equations and understand them, and, later, understand an alien language that translates itself into mathematics and English in his head, simultaneously. He quickly comes to understand that mathematics is the underlying language of the universe. But this knowledge is too much for him, it alienates him from people, he loses all of his friends, and comes to realize that he can’t remember a lot of his childhood. His gift divides him from humanity—until he meets Jane (Eve Hewson), who is the first person who understands him. Meanwhile, Margaret Fairchild (Emily Blunt), has an encounter with an uncanny cardinal, and can suddenly speak different languages with absolute fluency—but without realizing she’s doing it. It’s soon revealed that she can also look into people’s eyes and know intimate details about their lives, and cut though their own mental chatter to understand what’s most important to them. As my beloved colleague Emmet pointed out in their review, her gift merges empathy with telepathy—when Margaret sees into peoples’ minds, she understands whatever is troubling them, and says their true intentions back to them in a way that clarifies problems and solutions pretty much instantaneously. These “gifts” are extremely gendered, obviously, as are the characters’ reactions to them. Daniel used his gift to become a hacker, sold his brain to the highest bidder after a stint in prison, and now wants to disclose the truth without really thinking through the chaos it might cause. He’s had to live with the knowledge of aliens and it ruined his life—now he’ll inflict it on everyone else on Earth, consent or no. Margaret loves her gift (at least at first) even though it frightens her and gives her a headache; she chooses to float through much of the film dispensing wisdom and reminding people of their loved ones. Where someone like Scanlon would exploit this sudden advantage, it never seems to occur to Margaret to “use” her new power, or to withhold the knowledge these people need, and she responds to everyone with compassion even when it overwhelms her. Both of these abilities can be seen in religious terms. Daniel’s is kind of a mystical knowledge that cuts through all the distractions of reality, like Neo seeing the Matrix. Margaret’s gift can be seen as glossolalia, or speaking in tongues, a miracle that was visited upon the followers of Jesus on the Day of Pentecost in the Book of Acts. In that story, the Holy Spirit descends on people and allows them to speak languages they can’t possibly know, which, if I remember correctly, was taken as a sign that Jesus’ followers were holy, but also, more practically, that they could spread their Gospel more easily because the Spirit allowed them to transcend language barriers. In the modern era, speaking in tongues or glossolalia is practiced by certain Christian denominations—people are “taken up by the Spirit” and speak in a way that might not make logical sense, but is seen as a direct communication with the divine. (Other religions practice it, too, but the imagery of Disclosure Day is resolutely Christian for some reason—we’ll get into that—so I’m only using this example.) Speaking in tongues also kind of undoes the tragedy of the Tower of Babel. In case you’ve forgotten the story: in Genesis Chapter 11, pretty soon after the Flood receded, humans worked together to build a massive city and tower. They were able to work together well because they all had one common language. This made God nervous, but rather than hitting the reset button with another flood, God responded by giving people lots of different languages and scattering them across the Earth. It’s never clear how the aliens’ gifts to Margaret and Danny actually work, and, crucially, they are not asked if they want these gifts. They receive them as helpless children—which is one of the problems with the movie, because Disclosure Day is really about choice and consent, but never digs into those ideas enough to do anything with them. Which brings us to Jane, the character who becomes the site of religious conversations in the film. Jane is Daniel’s girlfriend, and they’ve only known each other a few months, which almost excuses the fact that all of their conversations are exposition dumps. Almost. After Daniel rescues her from the shadowy Wardex organization, she takes them to the St. Clare of the Dawn monastery to hide out, which is how Daniel learns that she was in training to be a nun a few years ago. The script attempts to cut off questions by having Jane say that she doesn’t tell anyone about her time as a nun because they’ll think it’s weird, but Daniel seems shocked that she has religious beliefs at all. He even asks if she left the nunnery because she lost her faith, which implies that this topic hasn’t come up at all. She replies that she lost her “calling”, and he has no further questions, even though most people would ask the follow-up of: “and what’s the difference between ‘faith’ and a ‘calling’, exactly?” His ignorance of her religious beliefs raises other questions, because we soon learn that Jane wears a  large, gold, ornate crucifix around her neck. Not a small Dana Scully-style cross, not a tiny little saint medal, but a large, gold, ornate crucifix. Like, Dominic Torretto would wear this thing. Now, if her former Mother Superior, Sister Maura (Elizabeth Marvel), gave her that crucifix right before the two of them go on the run again, cool. But if she’s been wearing that the whole time she and Daniel have been dating, how has he not noticed it??? The movie uses Jane’s status as a nun-in-training to tee up all of its conversations about religion, but it makes some really weird choices about them. Again, I’m only harping on this because they brought it up. Koepp and Spielberg chose to make this movie a conversation between religious faith, belief in aliens, and whether the general populace has a right to know truths about their universe, but they don’t really give the conversations enough time to play out. Faced with the truth about aliens, Jane immediately says that people have been “raised to believe in God” and that this will shatter that belief. “People have been raised to believe in a supreme being, and now you want to show us actual supreme beings? …the world can’t handle both.” Well, but, not everyone on this Earth has been raised to believe in a Supreme Being. And not everyone defines “Supreme Being” the same way! It’s clear that this is a personal issue for Jane—she was already questioning her faith enough to leave a nunnery, she’s embarked on a secular life, she’s in a new relationship with a troubled guy, and now she’s just found out that her whole conception of reality might be wrong. That’s a lot! But she’s applying her own crisis to everyone, and the film doesn’t give her character enough time and space to explore that. And by using a Catholic character to stand in for people of any faith, the film straitjackets its own spiritual discussion. The film takes its questions about consent and choice to the furthest extreme by including multiple scenes of torture—and these ideas are wound inextricably into a discussion of faith and spirituality through the film’s treatment of Jane. We see Daniel wield the alien MacGuffin in the movie’s opening scene, but he’s obviously winging it. His old boss/current adversary Noah Scanlon (Colin Firth) knows how to use it, and the measured way he talks Daniel through the scene implies that the MacGuffin might blow everyone up. So we know the device is powerful, but we have no idea what it actually does. A few scenes later we see Scanlon use it, and, at least in his hands, it isn’t an incendiary device or a laser or anything like that—it seems that it can create a much more aggressive version of the mind meld that Margaret accomplishes by looking into a person’s eyes. The term people use for this is “diving”, apparently; Scanlon attempts to “dive” on Daniel, but is unceremoniously ejected from the other man’s mind. So he turns his attention to Jane. When Daniel wants to share his knowledge with Jane, he starts with a tape of Nixon using alien corpses to impress a TV star—it’s kind of weird and funny and a handy way to tell the audience why Wardex handles all the alien stuff now, and keeps government officials out of it. But the very next thing he shows her is a horrifying torture scene. Spielberg doesn’t make us watch it, we just hear the alien screaming in pain while we watch Jane stare in horror and cry. This is key, and one of the parts of the movie that works for me. Jane, who is still in at least some shock, still bruised and terrified from being kidnapped, and still mostly in the dark about what the hell’s going on, is instantly empathetic with the alien. She doesn’t ask if it threatened us, if it did anything violent, she isn’t afraid of it, she’s upset for it. Spielberg is trusting us to buy into her empathy, and to then extend empathy to the aliens ourselves. But the other thing here is that we then see Scanlon torture Jane. As I said, when we meet her she’s already beaten up. The interrogation the film does show us is more mental torture than physical. And this only happens to Jane. We never see them do anything to Daniel, we never see him with black eyes or bloody teeth, we see them inserting a needle into his arm, but then Margaret rescues him. Meanwhile Jane has a split eyebrow, her mind is invaded, and she’s on the run alone with no contacts from Hugo Wakefield (Colman Domingo) to help her. This is Daniel’s mission, and Margaret is the other one who’s been given a gift, but it’s Jane who actually suffers. Jane seems to feel Scanlon trying to get into her mind. Her first response is to pray in Latin. Then she pulls the large gold ornate crucifix off her neck, and clutches it in her hand as she walks into a room and sees him, or more accurately, a projection of him, sitting at a table in the safe house. Here is where it gets slightly ambiguous: He holds the alien device in his right hand, and seems to control her right hand during much of the scene. It’s possible that he also controls the left hand and makes her pull the crucifix from her neck, and squeeze it until the sharp corners tear a hole in her hand to torture her. But given that Jane first holds it to pray with it, I think it’s much more likely that she’s using it—she pulled the crucifix off and is squeezing it to ground herself, and as Scanlon forces her to answer questions about Daniel she gouges the crucifix into her palm until it becomes a kind of stigmata. He uses her religion against her. When she mentions the monastery of St. Clare of the Dawn, Scanlon refers to St Clare of Assisi’s miracle of being in two places at once, laughs, and says that he, too, is in two places at once—fulfilling her fear that the aliens’ technological superiority might replace people’s desire for belief in divinity and spirituality. But then he takes it further. She’s clearly fighting him the whole time. Her words are being forced from her, and the scene cuts to her clenched bleeding fist a few times. She finally pushes him out for a moment—but then she drops the crucifix into the puddle of blood that’s pooled on the floor next to her chair. When he forces his way back inside her, he twists her faith even further. He tells her that while he doesn’t want to hurt Daniel, if Wardex can’t capture him, he’ll need Jane to “stop” him. She tries to refuse, and he quotes Jesus’s line in Gethsemane to her: “Father, if thou be willing, remove this cup from me” and then makes her say the rest of the line back to him: “…nevertheless not my will, but thine, be done.” He tells her that she doesn’t have to be afraid because he’ll be with her—“he” being Noah Scanlon, using alien tech to invade her mind without her consent, not God. In all four canonical Gospels, when Jesus walks into the garden he knows what’s going to happen to him. In the three Gospels (Mark, Matthew, and Luke) where he asks for the cup to pass from him, in only one (Luke) is an angel sent to him. Otherwise, in all three, he sorrows unto death, his sweat is as blood, and God remains silent. Scanlon’s interrogation becomes a horrific perversion of a scene that Jane presumably still finds meaningful. He knows she’s reaching for her faith, and he uses it against her. And it’s particularly awful because the point of that moment in the Gospels is that Jesus walked into his own death, knowingly, by choice. He could have run, after all—plenty of messiahs and prophets have run over the years—but he chose to stay. He put God’s will for him to die above his own desire to live, that’s the point. Scanlon is forcing Jane to murder someone she loves, and there’s no choice involved. She uses a crucifix to gouge a hole in her hand to try to get him out of her head, and he tells her that she’s about to go to her own crucifixion, of a kind, and that her will means nothing to him. THIS, to me, needed to be the heart of the movie. Disclosure Day is about choice and information and consent, no? And using this particular scene as one of the biggest crux points makes a narrative promise that the rest of the film fails to meet. But I’ll come back to that in a moment. As if Jane’s character wasn’t enough, Disclosure Day uses a sort of vague Catholicism to represent all religion, even though we don’t need it for this film. There are no cathedrals, no significant light filtering through stained glass, no anachronistic confessionals. A few months ago, when Rian Johnson wanted to tell a story about faith, manipulation, and Christian Nationalism, he chose Catholicism rather than the Evangelical tradition he was raised in because, as he said himself, Evangelical churches tend to look like Pottery Barns. It made sense to go for something a little more grand, and use Catholic imagery in a dramatic way. But why here? Credit: Universal Pictures With a whole world of religious symbolism, the only expression of faith we see is Catholic. Using it for Jane makes sense, especially for the interrogation scene, because the violence and terror of the crucifixion underpin what Scanlon is doing to her. But the only other overt religious imagery we see is a woman falling to her knees and crossing herself in front of Margaret—as Margaret yells “I won’t be your religion!” and runs away. Now, the only people who cross themselves are members of a few specific Christian denominations. The way the woman does it is explicitly Roman Catholic—Eastern Rite Catholics and Orthodox Christians make a slightly different gesture, and many Christians wouldn’t make that gesture at all. It means a specific thing, and invokes a specific set of traditions, so having the woman do it in response to Margaret kind of implies that this woman considers Margaret a part of that specific religious tradition. But we never know what Margaret’s own beliefs are. She understands the religious gesture, and reacts violently against it, but we have no idea if she was also raised in a tradition that would use the sign of the cross in this way. I didn’t notice any religious paraphernalia in the model of her house? It’s possible that she, like a lot of people over the last four decades, was raised as a “none”?    So why does “God” = Catholicism? In this film from a Jewish filmmaker who believes that aliens are real, and a screenwriter who grew up Catholic but now identifies as an agnostic on both God and aliens, because he feels that human knowledge is simply too narrow to know about either of them for sure? Why not include other faiths as the movie rolls along, or people who aren’t religious at all? Daniel scoffs at Jane’s fears about a spiritual crisis, but he also doesn’t push back by telling us where he stands—he just repeats his Fox Mulder-esque belief that people deserve “the truth”. We never know where Hugo stands on any of it, just that he agrees with the aliens that empathy is the greatest tool sentient beings have, and that the aliens are nearer to God than humanity because of it. But again, Hugo just uses the word “God” without giving any detail about what it means to him. Spielberg and Koepp give us a movie about literally superhuman empathy, and all the imagery revolves around Jesus, whether in the form of a main character relying on a crucifix for strength, her found family of nuns praying together as Margaret’s broadcast begins, or a character who makes the sign of the cross when faced with Margaret’s empathy powers. Not to knock Jesus—I’m a longtime fan—but when he’s the only holy figure you invoke in your movie about whether God maybe also created aliens as well as life on Earth, it starts to feel kind of constricted. The movie’s one other attempt to grapple with that is also under-cooked. When Daniel grabs Jane and speeds away from the safe house, Scanlon still has hold of her mind. He made her pick up a knife and hide it as a fail safe, and finally he forces her to raise the knife to stab Daniel as he drives. She looks into her reflection in the knife, sees the her eyes are still Scanlon’s brown rather than her own blue, and again falls back on religion to fight him in a way—this time by driving the knife into the bloody hole in her palm. Again, it doesn’t go far enough. She need to put the knife further in, it needed to be a lot more brutal and the wound needed to impact her movement after that, but the movie shies away from giving us a more detailed self-stigmata scene. It also doesn’t matter, because Scanlon’s still in her brain, and she ends up betraying Daniel without even knowing she’s done it.   I like what this is gesturing toward, though. In a moment of unimaginable terror, Jane reaches toward her faith, and while it helps, it doesn’t defeat the evil. This throws her into a different crisis—from worrying that disclosure of alien life will destroy people’s faith in God and cause chaos, to a much more personal one. Her attempt to use her faith as a shield didn’t really work. Does that mean her faith isn’t real , or not strong enough? As she asks Sister Maura, does God love us? Are we less loved, if God created us but also these other sentient beings? Are we the elder siblings, or the babies of the family? If we came first, why weren’t we enough? The movie had an opportunity to dig into a Paradise Lost angle here and avoids it—the conversation is between Jane and Sister Maura over the phone, and never gets into the depths I felt it deserved. Sister Maura is quite clear that, yes, humanity is God’s superior creation on Earth, but that doesn’t mean that there aren’t a trillion aliens cooler than us. And she makes the larger point that if you believe in an infinite God, why would you also assume that God would make a whole universe and only populate it with humans? The scene begins with a young nun coming into a chapel and calling Sister Maura to the phone. The conversation cuts between the Sister and Jane several times as they talk—but those aren’t the only cuts. Jane is making this call from a busy diner. She’s initially seated at the counter, but two men sit next to her, and she moves over to a booth. A waitress seats a couple in the booth right behind her, so she moves across the room again. Seconds later a hand comes down on Jane’s shoulder—it’s the same waitress asking for money, because Jane agreed to pay for a group of teens in exchange for the phone she’s using. On the one hand I liked this. Jane is having what might be the most important conversation she’s had with anyone in her life, but it’s being interrupted constantly by mundane life stuff, because no one else in the diner knows or cares about her need for a quiet moment. The reality of daily life intrudes constantly, in the way that it would. But at the same time, because we never get a moment to really settle in ourselves, we’re also yanked out of the conversation. We never get a moment to think about what Maura and Jane are saying to each other, or to think about how we’d react in this conversation. The movie doesn’t settle on Hewson’s face for long enough to let her react, even though, given her scenes with the alien interrogation video and the her own interrogation, it would have communicated more than the choppy dialogue did. This is a woman who has questions about her own faith, who then throws herself into that faith in a moment of terror. This attempt at protection fails. She’s compromised, she’s almost used to murder someone she loves, she betrays her partner, who then lets himself be arrested to give her time to escape. She’s wracked with guilt and horror about all of this, all while not even knowing if she agrees with the mission she’s on. We needed to sit with her longer to let all of that play out through this conversation, to set up the last act when she becomes the hero who saves the day when all hope is lost. A thing she’s doing even though she’s not sure it’s right. This is an act of faith from her, faith in humanity, which is clearly being bolstered by Sister Maura’s reassurances. And since Josh O’Connor’s already here, we might as well compare this to the phone call scene in Wake Up Dead Man. That scene is also riddled with cuts, between O’Connor’s Father Jud, on the phone with Louise (Bridget Everett) and an increasingly annoyed Benoit Blanc (Daniel Craig.) The first half of the scene jumps around frenetically between the two frustrated men, as Louise’s interminable voice drones along on her end of the phone call. But then, when Louise reaches out to Father Jud for empathy, all the movement stops. The camera holds on Jud’s face for a while as he listens to her, only cuts to her once when her voice breaks with emotion, and only cuts back to Blanc to contrast his growing frustration with Jud’s realization that Louise needs him more than Blanc does. The emotional shifts in this scene do the work to set up the last hour of the film, as Jud reasserts who he is, and how his faith fuels his decisions. Theoretically, this is also what Disclosure Day’s phone call scene is meant to do. But because Jane never gets the moment of quiet and calm—Sister Maura does, a little bit, but she doesn’t need it like Jane does—this scene doesn’t quite do enough to underpin Jane’s decision to help Daniel and Margaret. Jane’s just gone for most of the rest of the movie, only to swoop in and save the day with The Last MacGuffin. She doesn’t get another conversation with Daniel about where she stands now, or how this has impacted her faith. She doesn’t even get a moment with the alien! One last note: the final word of the movie is “Listen”. The word “listen”, or “hear”, is “Shema” in Hebrew—the first word of the foundational prayer of Judaism, which is often called the “Shema” or “Shema prayer”. I wasn’t raised in Judaism (but I’m a longtime fan) and this connection did not occur to me until well after I finished this essay. So the film could be said to literally end by honoring Judaism, but only after two-and-a-half hours of acting like the nation is divided into #TeamCatholic and #TeamAlien, and only in a single word, in English, which will probably not be as recognizable to the moviegoing public as nuns and aliens. As should be clear from many of my essays for Reactor, I love it when filmmakers tackle religious ideas in their work. But if Spielberg and Koepp wanted us to engage with Disclosure Day as discussion of faith, God, and aliens, they needed to give their audience room to think about the questions they raise.[end-mark] The post <em>Disclosure Day</em> Puts Religion and Aliens in a Blender, With Mixed Results appeared first on Reactor.

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.