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Christopher Nolan Says The Odyssey Addresses a Fantasy Movie Gap “That Hadn’t Been Filled”
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Christopher Nolan Says The Odyssey Addresses a Fantasy Movie Gap “That Hadn’t Been Filled”

News The Odyssey Christopher Nolan Says The Odyssey Addresses a Fantasy Movie Gap “That Hadn’t Been Filled” The director explains how his version of The Odyssey finally helps bring the story to life By Matthew Byrd | Published on July 14, 2026 Credit: Universal Pictures Comment 0 Share New Share Credit: Universal Pictures In an extensive interview with Vulture, director Christopher Nolan spoke about… well, pretty much everything you wanted to know about The Odyssey but were too afraid to ask or never had the chance. And while the entire piece is a fascinating read filled with valuable information, the most notable takeaway may just be this line that serves as both the soft premise of the piece and the film itself. “The genre of Greek mythology doesn’t really exist in movies,” Nolan says. “What I saw with The Odyssey is a gap that hadn’t been filled.” To be fair, Christopher Nolan doesn’t believe there is a total absence of Greek mythology movies. He even references movies like Jason and the Argonauts and Clash of the Titans as inspirations. He also certainly doesn’t believe that the story of The Odyssey is not well-known. He describes the challenges of “the Ur-text” problem, which is his phrase for a foundational story that has become so popular that it can feel stale. Instead, Nolan is seemingly pointing to a relative lack of entries in that genre as well as a relative lack of substantial entries. More specifically, he shares his belief that the relative lack of notable Greek mythology movies can be partially attributed to a lack of both the appropriate technology and the necessary vision to make such stories come to life. “Hollywood made all these incredible movies about the classical period of antiquity, but it was left to geniuses like Ray Harryhausen to visualize the more mythical aspects,” Nolan explains. “For a long time, it wasn’t technically viable to make this kind of film and give as much weight and validity to a fantastical story as you did to a non-fantastical story.” Nolan notes that The Lord of the Rings movies were a game-changer in terms of both the technology required to make such fantasy films and the vision to make those movies feel like proper blockbusters. But for The Odyssey, Nolan wanted to take things further by making a Greek mythology movie that feels a little more true to the spirit of the original narrative. The more mystical elements of the story are presented in a way that feels like a part of the world that the characters live in. That approach extends to the gods, which Nolan downplayed in terms of their actual on-screen appearances. “For me, having these remote gods with chess pieces or whatever, all the things you’ve seen in the past, felt alienating,” Nolan says of his decision to only show one god, Athena, in the movie. “It’s not so much about trying to be realistic; it’s just trying to see the gods the way these characters would have seen them.” Ultimately, you could certainly argue that Nolan is right to say there is, at least, a shortage of movies that properly explore the eternal legacy of Greek myths and treat such stories as true epics. We’ll find out if The Odyssey joins that elite group of films when the movie releases on July 17.[end-mark] The post Christopher Nolan Says <i>The Odyssey</i> Addresses a Fantasy Movie Gap “That Hadn’t Been Filled” appeared first on Reactor.

Why House of the Dragon Season 3 Changes What Happens to Rhaena
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Why House of the Dragon Season 3 Changes What Happens to Rhaena

News House of the Dragon Why House of the Dragon Season 3 Changes What Happens to Rhaena The change to Rhaena’s story could hint at bigger changes to come By Matthew Byrd | Published on July 14, 2026 Photograph by Theo Whiteman/HBO Comment 0 Share New Share Photograph by Theo Whiteman/HBO This article contains spoilers for House of the Dragon Season 3 and Fire & Blood. House of the Dragon hasn’t exactly shied away from making changes to its source material (George R.R. Martin’s Fire & Blood), but a fairly significant change to Rhaena Targaryen’s story in recent episodes has rightfully caused fans to ask what is happening to the character and where this is all going. For those who don’t know, a major plotline in House of the Dragon Season 3 sees Rhaena Targaryen tame and ride the dragon known as Sheepstealer. The identity of Sheepstealer’s rider remains a secret to many, though Daemon recently learned the truth and decided to lie to Queen Rhaenyra about it in order to protect Rhaena. This may all lead to some pretty incredible events, though we won’t get into too much detail about those here due to both potential spoilers and the possibility the show may make further changes to Rhaena’s story. The bigger talking point at the moment is the fact that Rhaena never rides Sheepstealer in Fire & Blood. That honor belongs to a young girl named Nettles who is able to tame Sheepstealer after feeding it captured sheep and slowly forming a bond with the wild creature. Nettles’ role in Fire & Blood is actually quite substantial from there, which naturally raises some questions about both why the character was cut from the show and why the most significant aspect of her character was given to another major player. Well, in an interview with IGN, House of the Dragon showrunner Ryan Condal explained the decision to make such a major change by hinting that the changes will eventually play into the much larger story involving Daemon and Rhaenyra’s relationship. “We knew that Sheepstealer’s rider, that character causes extreme strife for Daemon and Rhaenyra’s relationship. And that was sort of the place that we started in,” Condal says. “And it felt like pairing a wild dragon with a lady of noble blood that then becomes somewhat feral herself, which is a very interesting story to tell that helped keep us at the core of where we wanted to take Rhaenyra and Daemon’s relationship.” So, in essence, it seems like Condal felt that Sheepstealer playing such a big role in a major relationship between existing characters made it easier to justify simply incorporating the dragon into a consolidated version of that story rather than having to introduce an entirely new character. According to Condal, that change also allowed the writers to dodge some of the thornier elements of Nettle’s storyline that didn’t quite work with their adaptation. “It did not feel like, to us, an infidelity story [between Daemon and Nettles] was someplace that we wanted to go with Daemon and Rhaenyra given everything they had been through to this point.” Condal explains. “I think the audience really wants to see this couple work out, but they both have inextricable natures to them that they can only get so far away from. And we see that playing out with Daemon over the course of the season. But I think more interestingly for Daemon is for the first time, he’s doing something very self-interested, but he’s doing it in the name of protecting his daughter, which we haven’t really seen from him to date. It shows a more mature Daemon that’s still Daemon… And this is going to be a story that continues to obviously unfold, and evolve, and play out over the course of the season. We’ll have ripple effects that take us all the way into the end of The Dance of the Dragons.” That last line is quite interesting as it again raises questions regarding the future of Rhaena, Daemon, and Rhaenyra. At least it should be entertaining to watch that dynamic play out in the series’ much-improved third season.[end-mark] The post Why <i>House of the Dragon</i> Season 3 Changes What Happens to Rhaena appeared first on Reactor.

Read an Excerpt From Demons and Diplomacy by Megan Frampton
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Read an Excerpt From Demons and Diplomacy by Megan Frampton

Excerpts fantasy Read an Excerpt From Demons and Diplomacy by Megan Frampton A tantalizing pact between an ordinary woman and the silver-tongued son of the Devil is all that stands between Britain—and all hell breaking loose. By Megan Frampton | Published on July 14, 2026 Comment 0 Share New Share We’re thrilled to share an excerpt from Demons and Diplomacy by Megan Frampton, a new fantasy novel out from Berkley on August 25. 1851, London. All supernatural species have emerged from hiding, a result of The Great Revelation, led by Her Majesty, the vampiric Queen Victoria, and her dhamphir consort, Prince Albert.Cora Hastings is the British government’s Species Ombudsman, a human tasked with keeping the peace between supernatural creatures. It’s run-of-the-mill work: enforcing the newly created shifting parameters, negotiating contracts between species, and generally making certain all Londoners are treated equally.That is, until the Devil himself decides he wants to leave his hellish home and see the results of Prince Albert’s greatest accomplishment, the Great Exhibition. His arrival could upset the uneasy peace between creatures, and worse—he’s brought his son.The Marquis of Hell is diabolically good-looking, unnaturally perceptive, and, well, a demon. Cora navigates her sinfully seductive diplomatic assignment as best she can, until she catches wind of a secret conspiracy set to come to fruition at the opening of the Great Exhibition. This leaves her with an impossible choice: Either Cora enters an unholy alliance with the Devil’s son, or she watches as her world is torn asunder…. Buy the Book Demons and Diplomacy Megan Frampton Buy Book Demons and Diplomacy Megan Frampton Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget “Miss Hastings,” the marquis said, “come with me. It is not safe.” I glared at him, then at this hand still on my arm. “No, it is not. But how do I know it is safer with you?” After all, I had no clue how the creatures had gained access to this world from wherever they had originated. I shook his arm off. His eyes narrowed, and then he huffed out a breath before bending down to wrap his arms around my waist and hoist my body over his shoulders. I whacked him with my cane, right on his ass, but that did little to stop him. He carried me toward the entrance, then to the right, then plopped me down with little consideration for how I landed. “Just what—?” I began, then saw the harpy, the Devil, some of his entourage, the vicar—who seemed visibly inebriated—and a few frightened bazaar customers all gathered together. “How did it get opened?” the Devil thundered, plumes of smoke emerging from his mouth. I gathered that was what happened when he was truly angry. So perhaps this wasn’t his work? I’d assumed it had some connection, but he looked as perturbed as any of the other beings in the corner. Unless he was pretending to be outraged. That seemed above my pay grade, to be honest. “We’ll have to find out,” the marquis said grimly. “In the meantime, you stay here,” he commanded. He met my gaze. “Stay here,” he repeated in a stern tone. “Stay safe.” He whirled away before I could answer and headed back toward where the beings were streaming out from. I shrugged at the other people—and one devil—waiting there and took a deep breath before following him, wishing I had thought to ask our landlady if she had any potions that could disperse crowds of hellish creatures. I had my amulet, of course, but when Mr. Connors had given it to me, he’d stressed it was not to be used unless the situation was dire. I had to imagine the amulet’s effects might cause a diplomatic incident, especially if they affected the Devil. I was surprised the marquis seemed to be assisting those of us whose homes were here, not down below. Even more surprising was that the Devil was gathered with the other beings seeking refuge from the infiltration. If the Devil and his son didn’t know everything happening in their world, or at least couldn’t control it, then who knew what might happen, now that the barrier between the two worlds had been weakened? And who had weakened it? But on the other hand, were they even telling the truth? Definitely something to include in my weekly report to Mr. Connors. If I made it out of here. I watched as the marquis stepped on some of the beetle-like things with his solid black boots, flinching as they oozed a yellowish goo. But at least they didn’t move after. He had a particularly lethal-looking sword—where had that come from anyway?—and was lopping the heads off the demonish creatures as he strode forward to the portal. I had to dodge bouncing heads and flailing bodies, but they weren’t alive. Or at least I didn’t think so. I used my blade to do the same, though it was not nearly as effective as his. I spotted a table with a variety of parasols—not sturdy umbrellas to help with repelling rain but ornately decorated items a lady might twirl above her head when taking a stroll in the park. I picked up two and unfurled them, holding them out in front of me like an incredibly flimsy, albeit beautiful to look at, shield. The handles were slim enough for me to grasp in one hand, so I was able to keep hold of my cane, the blade still out, in the other hand. “Why aren’t you back there with the rest of them?” the mar-quis said, sounding exasperated as he lopped off yet another head. “I can handle this myself.” It did seem as though he spoke the truth. There were many fewer creatures than before, and the unending stream emerging from the portal seemed to have ended. “I rather thought you might need back up,” I said, pitching my voice louder to be heard above the noise. He snorted, apparently deeming my comment unworthy of actual words. But just then one of the beetle-ish creatures attached itself to his leg, making that clicking noise as it attempted to climb up. He shook his leg, still on the attack in front of him, but the thing didn’t release its hold. I whacked it with my cane, not yet using the blade, because I didn’t want to accidentally stab the marquis—not that I thought I would actually hurt him but because I imagined he might be peeved, and I didn’t want to further irritate him—but the thing didn’t budge. The marquis was still moving, advancing and attacking a few more of the head-lolling creatures, and I followed, still batting at it with the cane. I closed one of the parasols, then got close enough so I could wedge the parasol between the creature and the marquis’s leg, hoping I could dislodge it. I had no idea what it was trying to do, but it wasn’t wanted, either here in this church or on the marquis’s leg. Eventually, it released its hold and fell onto the floor. I took a deep breath, then stomped on it, relieved I’d worn sturdy boots so the extruding goo wouldn’t reach my foot. “Hastings!” the marquis yelled, and I looked up to see him at the head of the church, his hair blowing about his face by some sort of hellish wind, his back pressed against the altar. He jerked his head impatiently, and I scurried forward, waving cane and parasol about my person to fend off the intruders. “What is it?” I asked as I reached him. “I’m quite good at languages, if you need me to recite anything. Or execute a partic-ular movement, I am also good at mimicry.” I prepared myself to perform an incantation or rite, hoping that the aftermath wouldn’t stain my gown. It was one of my favorites—I wished I had worn the fussy housekeeper gown after all; that one would hide a stain better than this one. He gave me an odd look, then nodded to the far edge of the altar. “I need you to hold that edge closed so I can push the door shut.” No rite? No incantation? Not even a bit of hand-waving? I frowned, moving to the other side of the altar. There was an opening, and I could feel wind whooshing from it, though thank-fully there weren’t any more beings coming through. I pushed on the edge, as he’d said, and he leaned against the plank that would securely shut the door, once shoved through the metal chamber on my side. “There,” he said, once it had gone through. I blinked. “That was it? That is all that is needed to close the portal from Hell? I assume it was Hell.” One corner of his mouth twitched, as though he was about to smile, and then his expression smoothed out again. Drat. I was hoping to see what a smiling marquis might look like. “It was Hell, yes.” He exhaled. “And it was not our doing.” Excerpted from Demons and Diplomacy by Megan Frampton Copyright © 2026 by Megan Frampton. Excerpted by permission of Berkley. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. The post Read an Excerpt From <i>Demons and Diplomacy</i> by Megan Frampton appeared first on Reactor.

Voracious Urchins, Angry Orcas, and Tuna Conspiracies: Helen Scales’ What the Wild Sea Can Be
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Voracious Urchins, Angry Orcas, and Tuna Conspiracies: Helen Scales’ What the Wild Sea Can Be

Books Seeds of Story Voracious Urchins, Angry Orcas, and Tuna Conspiracies: Helen Scales’ What the Wild Sea Can Be Exploring the history of the ocean, the critical environmental threats if faces, and strategies and solutions for its future By Ruthanna Emrys | Published on July 14, 2026 Comment 0 Share New Share Welcome to Seeds of Story, where I explore the non-fiction that inspires—or should inspire—speculative fiction. Every couple weeks, we’ll dive into a book, article, or other source of ideas that are sparking current stories, or that have untapped potential to do so. Each article will include an overview of the source(s), a review of its readability and plausibility, and highlights of the best two or three “seeds” found there. This week, I cover Helen Scales’ What the Wild Sea Can Be: The Future of the World’s Oceans. It’s a little bit census of climate impacts, a little bit exploration of cool ecosystems, and a lot of speculation about what might change in the ocean—for better and worse—in the coming decades. What It’s About There are many benefits to being a marine biologist. For Dr. Helen Scales, one of those benefits is a career in nature writing, with books on topics ranging from seahorses to seashells to deep sea life. What the Wild Sea Can Be goes beyond any single genus or ecosystem, with each chapter diving (sorry not sorry) into a specific human impact on the ocean. For each, we get a sense of the system in question, why it’s both cool and important, why it’s in danger, and what’s being done to save it. As foundation, Scales kicks off with the ocean’s deep time history. Earth’s waters have changed dramatically over the aeons. Twenty-five-thousand species of trilobites flourished in the Cambrian and Ordovician, taking advantage of the initial wash of eroding minerals from the land to build exoskeletons and crystalline eyes. Though they were finally knocked out by the end-Permian extinction, ice age cooling and the loss of shallow inland seas made them vulnerable long before. Then the first fish came along and found them tasty. The point is twofold: oceanic change has a long history, and we shouldn’t underestimate how dramatically once-robust ecosystems can collapse. The ocean faces threats from a range of anthropocene activities. Climate change warms and acidifies water, pushing species into new habitats. This isn’t, unfortunately, a matter of whole ecosystems moving en mass—there’s no guarantee that a species will move alongside its food sources, or alongside shelter and protection from predators. At the same time, microplastics and other pollution interfere with growth, health, and fertility. Orcas, for example, have massive reproductive challenges due to the combination of being top predators (accumulating pollution from their prey) and their massive blankets of warming fat (which hoard those chemicals along with everything fat is supposed to store). Then there’s overfishing. Humans stress oceanic ecosystems not merely due to the amount of fish we eat, but via technological hunting methods that increase the speed and quantity of the catch alongside increasing bycatch of non-target fauna (e.g., longlines full of baited hooks that extend for miles) and collateral damage (e.g., bottom trawlers that cut swaths along the seafloor). Many of these methods also contribute to microplastic pollution. Despite what you hear from people complaining about straw bans, however, 80% of ocean plastics come from land-based sources—though not, to be fair, from straws in particular. Some solutions, like banning single-use plastics, or replacing fossil-fuel-based plastics with bio-plastics, require broad-strokes change. Others are more focused. Coastal kelp forests benefit dramatically from rewilding sea otters, whose populations collapsed from over-hunting in the 20th century. Sea otters eat urchins, which if not controlled will gobble young kelp before they can grow to shelter sea dragons, giant cuttlefish, sea hares, and wobbegong sharks. The kelp in turn protects the otters from sharks that are expanding territories in warming seas, and which keep the otters from migrating naturally. Kelp also draws down 18 megatons of CO2 annually, and absorbs nutrient runoff that otherwise leads to algal blooms and mass die-offs. Scales also talks about fishery reserves—and the importance of actual enforcement. There are a lot of ostensible oases where “illegal” fishing is at higher levels than in unregulated waters. The International Convention for the Conservation of Atlantic Tunas is sometimes called “the International Conspiracy to Catch All Tunas.” On the other hand, many fisheries—including now, finally, the bluefin tuna fishery—do recover with sufficiently strong controls. And in a few locations, no-take marine reserves allow populations to recover and thrive, often with results spilling into areas where fishing is allowed. Scales closes out with emerging controversies, proposals, and areas of wild speculation. Companies invest in mining polymetallic nodules for the growing battery market; people push back on the massive ecosystem disruption; other companies develop saline-based batteries that don’t require the metals in the first place. Activists attempt to sweep up the Great Pacific Garbage Patch, only to discover that they risk the same sort of bycatch as fishing technologies. People become less dependent on open-fished food and more on aquaculture, but krill get over-harvested to feed farmed fish. And so on. There are last-ditch compromises, such as keeping a library of coral in a climate-controlled repository until seas cool again. There are dubious possibilities that would be great if they panned out—blockchain-based tracking of seafood sustainability, for example, and AI-based tailored reef restoration, and lab-grown fish meat (currently running about $20,000 a pound and an eye-watering energy budget). There are also some obvious wins, like rebuilding and managing coastal wetlands. As long as we’re talking about the problems and taking them seriously, rather than trying to ignore them as we did for so long, we have many options for what the sea’s future might look like. If we follow those possibilities, it might become very wild indeed. Buy the Book What the Wild Sea Can Be: The Future of the World’s Ocean Helen Scales Buy Book What the Wild Sea Can Be: The Future of the World’s Ocean Helen Scales Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget This is a book I read due to immediate need, rather than as general contribution to my creative compost—homework for a high-seas adventure set in a highly-geoengineered future. I was looking for a mix of hopeful developments, distressing ones, and dramatic tradeoffs. I was also trying to figure out what role uplifted octopodes might play in minimizing the harm of a polymetallic nodule mine, which probably won’t even come up in that chapter. So, y’know, the usual woes of writing research. What the Wild Sea Can Be is a great source for this type of thing, full of crunchy conflicts and cool breakthroughs and the sort of high-risk high-tech ideas that appeal to a certain sort of funder. For a book that has “wild” in the title, I did sometimes feel that it wasn’t wild enough. Scales calls for fishing treaties that value species for their own sake, yet doesn’t bring up the Rights of Nature movement—which creates frameworks for treaties to take non-human perspectives seriously. Macfarlane’s Is a River Alive? tries hard to step outside the view of humans-versus-nature; this feels like it ultimately keeps humans separate. This limitation is especially clear when Scales talks about no-take reserves. There’s no suggestion that humans might have a long-term natural role in these ecosystems, alongside Anthropocene innovations like rewilding. There’s a sense that we can work to mitigate our harm, but that it would’ve been better if we were never involved at all. Extending this problem, Scales is respectful of Indigenous relationships with the ocean… in a way that almost totally ignores the role that Indigenous knowledge might play in preserving it. She’s careful to call places by their Indigenous names, and quotes Indigenous activists around the borders of international treaties. She mentions that the Siuslaw in Oregon feel kinship with otters. But beyond an Aotearoan no-take zone that inspired one in Scotland, there’s no mention of traditional fishing techniques, no Robin Wall Kimmerer-style research on how those techniques affect ecosystem health, no suggestion that excluding people from their ancestral ocean-tending grounds might be a problem. I know not every research field can have its own best-selling integrator of traditional wisdom and cutting-edge science, but basic examples aren’t hard to come by. There is also, somehow, no mention of Elinor Ostrom, who researched effective fishery management, and won a Nobel Prize for disproving the claim that the commons are inevitably tragic. So: frustrating, but also informative and engaging. I learned how warming oceans led tiger and great white sharks to Cape Cod, where I grew up on beaches free of both sharks and seals. I learned about the invasive lionfish that I’ve seen on menus (always somehow sold out, alas, despite their numbers). I learned about breeding coral polyps, and their photosynthetic symbionts, for heat tolerance. There’s a terrific discussion of the problems facing orcas, and the recent cetacean fad for ramming yachts. I learned about mass radiations (the opposite of mass extinctions!), and horrifying urchin mouths with mobile teeth (“Aristotle’s lanterns”!), and Elvis worms (they sparkle!). And there’s a real understanding of the degree to which change requires all sorts of community members and ecosystem participants—that you have to work with fishers and divers and scientists, that you need to take everyone’s needs into account to get agreements that last. The Best Seeds for Speculative Stories Beyond Cat Aliens. If you’re looking for weird models for non-humanoid aliens, the ocean might get you further than common household domesticates. No shade on people who’re into cat-girls, but consider a sand tiger shark-girl, and her fraught relationship with her twin, and the attendant ghosts of all their siblings who they cannibalized before their birth. Or a species based around the equivalent of deep-sea vents, with life focused around rare hubs and hazardous anywhere in between? (Oh wait, that’s stars, isn’t it? Have a metaphor.) We already have space whales. We need space octopodes and space otters and space coral. Beyond Pirates. One problem with marine reserves is that the ocean isn’t great with boundaries. Species move, habitats change, and you can’t just outline a park and leave it alone. Says Scales: “The way reserves are set up will have to become a lot more responsive, with plans and regulations that can change and adapt as the environment changes.” This opens up a lot of fascinating future jobs in tracking those changes, in trying to predict “not only where species exist now but where they will likely move to,” and in redirecting threats in real time. Some of this might involve telling ships to slow down near whales (as already happens in a few places), but it might also require more direct—and dramatic—confrontations. Another source of jobs, and stories, is reef restoration, which Scales suggests needs “a techno-centric transformation on par with the industrialization of agriculture.” I’m not convinced that near-term robotics are up to the precision required to successfully replant polyps without breaking older coral, but it’s worth speculating what it would look like—and maybe prodding some research. (Alternatively, consider: uplifted octopuses.) New Growth: What Else to Read There’s an overwhelming cornucopia of oceanic non-fiction out there. At the human surface, Elliot Rappaport’s Reading the Glass: A Captain’s View of Weather, Water, and Life on Ships is a great, McFarlane-ish mix of shipboard adventure and explanation of how we predict the weather that makes shipboard life adventurous. Sy Montgomery’s The Soul of an Octopus is the seed for my uplifted octopodes. (Apologies to my wife for not using the Greek pluralization every time. Apologies to everyone else for using it most of the time.) Elizabeth Kolbert’s Under a White Sky: The Nature of the Future is next on my list for brainstorming geoengineering tradeoffs. Warren Belasco’s Meals to Come: A History of the Future of Food is on my list for what seafood we’ll be eating, and how we’ll get it from water to table. The cornucopia of oceanic fiction is not lesser. James Cambias’ A Darkling Sea has a great alien seafloor vent ecosystem, even if it doesn’t have many women of any species. You can find sapient octopuses in Shelby Van Pelt’s Remarkably Bright Creatures and Ray Nayler’s The Mountain in the Sea. There’s a really excellent shark in Diane Duane’s Deep Wizardry. Nnedi Okorafor’s Lagoon begins with a prologue from the point of view of a swordfish and gets weirder and more awesome from there. Mira Grant’s Rolling in the Deep and Into the Drowning Deep really appreciate marine biology, and the value of studying something that’s trying to eat you. I will stop there, dammit. Share your own aquatic story recommendations in the comments![end-mark] The post Voracious Urchins, Angry Orcas, and Tuna Conspiracies: Helen Scales’ <i>What the Wild Sea Can Be</i> appeared first on Reactor.

Loki Creator Michael Waldron Is Now Developing a Nova Movie for Marvel
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Loki Creator Michael Waldron Is Now Developing a Nova Movie for Marvel

News Nova Loki Creator Michael Waldron Is Now Developing a Nova Movie for Marvel It’d be cooler if it were a Cassandra Nova movie By Molly Templeton | Published on July 14, 2026 Screenshot: Marvel Studios Comment 0 Share New Share Screenshot: Marvel Studios Marvel continues to put many—or at least some—eggs in its Michael Waldron basket. The creator of Loki (pictured above), writer of Doctor Strange in the Multiverse of Madness, and co-writer of Avengers: Doomsday is now developing the studio’s Nova project, which has morphed from a series into a feature film. According to Deadline, Waldron’s involvement became known last week, “when Waldron’s WGA card was leaked with the project being listed as a credit leading to the reveal that Waldron had been brought on to tackle a new pitch.” The character of Nova was created in 1976 and is basically a superpowered space cop. As Marvel explains, “Chosen at random by the dying Xandarian Rhomann Dey to receive his Nova Corps powers, teenager Richard Rider found himself thrust into the role of superhero, a role he grasped with relish.” In comics, he’s had some run-ins with the Skrulls, who keep turning up in recent Marvel projects; was a member of the Secret Avengers; and appeared in a Guardians of the Galaxy storyline, among other adventures. Marvel has been trying to make Nova happen since at least 2022, when Moon Knight writer Sabir Pirzada was attached to the project. Two years later, it was announced that Nova would be a series with Criminal Minds’ Ed Bernero as showrunner. But in 2025, Nova was one of the TV projects that Marvel put on pause (along with Strange Academy and Terror, Inc.). It remains to be seen if and when Waldron’s version will arrive in theaters.[end-mark] The post <i>Loki</i> Creator Michael Waldron Is Now Developing a <i>Nova</i> Movie for Marvel appeared first on Reactor.