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Babylon 5 Rewatch: “The Paragon of Animals”
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Babylon 5 Rewatch: “The Paragon of Animals”

Column Babylon 5 Rewatch Babylon 5 Rewatch: “The Paragon of Animals” A small world plagued by raiders begs the alliance for help. By Keith R.A. DeCandido | Published on March 16, 2026 Credit: Warner Bros. Television Comment 0 Share New Share Credit: Warner Bros. Television “The Paragon of Animals”Written by J. Michael StraczynskiDirected by Michael VejarSeason 5, Episode 3Production episode 504Original air date: February 4, 1998 It was the dawn of the third age… A meeting of the Interstellar Alliance representatives is not going well, as nobody beyond the big four—Earth, Minbar, Centauri Prime, Narn—wants to sign the Declaration of Principles. As the author of the declaration, G’Kar is taking that particularly personally. But the Drazi, Markab, Gaim, et al are mostly just interested in the sharing-technology part of the alliance and aren’t interested in having morality legislated to them. Garibaldi and Sheridan discuss the meeting after it’s over, with Garibaldi saying that the IA needs to show strength first—morality will take care of itself. Raiders attack the Enphil homeworld. The Enphil ask a Ranger for assistance from the IA. Sheridan, Delenn, G’Kar, Mollari, and Garibaldi meet to discuss how to get the other worlds to sign the declaration. G’Kar is madly rewriting it, thinking his revisions will make it more palatable. Mollari, meanwhile, is losing his will to live and volunteers to sacrifice his corpse to the Pak’ma’ra. (G’Kar seconds the motion.) Garibaldi talks about how they should use telepaths to gather covert intelligence. Sheridan’s objection that that’s against Psi Corps rules is met with derision by Garibaldi: they’re not Earth, they’re the IA, and they aren’t subject to Psi Corps’ rules. And the Minbari, the Centauri, and every other race that has telepaths uses them for various military functions. Garibaldi wants permission to ask Byron’s gaggle if they’d be interested, since they said they’d work for their place on the station. Sheridan reluctantly agrees. However, Byron says no before Garibaldi can even ask. Credit: Warner Bros. Television The Ranger who went to the Enphil homeworld stumbles through the jumpgate to B5 in a badly damaged White Star. He’s brought to medlab in a coma. Delenn says they need a telepath, so Alexander is hired to scan him. She gets the information about the Enphil and then the Ranger dies while she’s in telepathic communication with him. Alexander is rather devastated by this, and isn’t all that receptive to Garibaldi’s subsequent request for a favor. But eventually—after telling Garibaldi just how awful the experience of feeling someone die is—she agrees to try to convince Byron to accede to Garibaldi’s request. Delenn and Sheridan discuss the situation. The Enphil have asked for their help. This is exactly the kind of situation the IA was meant to be involved in. Sheridan regrets that they have to show the flag, as it were, before they even have their feet under them, but it needs doing. Since the raiders trashed one White Star, they need to send several, and Delenn suggests sending all the ones they can spare. The Enphil are on the edge of Drazi space, though the Drazi haven’t shown any interest in their world. Nonetheless, Sheridan lets the Drazi ambassador know what they’re doing, and the ambassador agrees to have a Drazi fleet rendezvous with the White Stars. After the meeting breaks up, the ambassador moves determinedly down a corridor, passing by Byron. In the middle of the night, G’Kar finally revises the declaration to his satisfaction—or, at least, to enough of his satisfaction that he’s willing to show it to others. He leaves a copy outside Sheridan’s quarters, and the president reads it aloud to Delenn. As he reads it, we see the White Star fleet heading to rescue the Enphil, the Enphil waiting for their asked-for assistance, and Franklin writing a condolence letter to the family of the Ranger. Alexander approaches Byron, who castigates her for constantly taking orders from other people. (Why Alexander doesn’t reply that she takes orders from people who specifically pay her to do the things they’re ordering her to do is left as an exercise for the viewer.) Byron is willing to loan out a couple of trained telepaths to Garibaldi if it’s what Alexander wants. So when she asks for it, he says yes. He also provides the very first bit of intel: the Drazi ambassador went from his meeting with Sheridan to contact his people and set up an ambush. Turns out that the Drazi have been supplying the raiders, and a Drazi fleet will ambush the White Stars and wipe out the Enphil homeworld. Credit: Warner Bros. Television When Alexander passes this on, Sheridan orders the White Stars to go ahead to the Enphil homeworld instead of rendezvousing with the Drazi fleet as originally planned. Sheridan thanks Alexander, saying she saved a lot of lives today. The White Star fleet shows up at Enphil to drive off the raiders and prepare for the invasion that’s coming. Sheridan shows this to a meeting of the ambassadors, and the Drazi ambassador is suddenly very nervous. Eventually it comes out that the Drazi are the ones coming, and can he please call them to warn them off so they don’t get massacred? Sheridan agrees, and he uses this as a way to show how important the Declaration of Princples is. Everyone signs it after that. Alexander returns to Byron and says she wants to know more about his people. Get the hell out of our galaxy! Sheridan really didn’t want to have to do a major show of force this soon in the IA’s history. He also, like Ivanova before him, hates it when Garibaldi is right. The household god of frustration. Garibaldi admits that he doesn’t like telepaths much, but he also thinks it’s ridiculous that they don’t use them. After Byron turns him down, he begs Alexander to plead on his behalf, promising that it’s the last favor he’ll ever ask—until the next time. If you value your lives, be somewhere else. Delenn is the one who recommends sending as much of the White Star fleet as can be spared to rescue the Enphil. If you’re gonna do a show of force, do a damn show of force… In the glorious days of the Centauri Republic… Mollari has hilariously little patience with the minutiae of being one of the leaders of the IA. Though it take a thousand years, we shall be free. G’Kar is constantly revising the Declearation of Principles, even still doing so after everyone has signed it. Credit: Warner Bros. Television We live for the one, we die for the one. For the second time in three episodes, a Ranger shows up just long enough to get killed. Obviously, these guys have the same life expectancy as a Starfleet security guard, and maybe Lennier should reconsider his new career choice… The Corps is mother, the Corps is father. Byron lectures Alexander on the subject of taking orders from other people when she should do things for herself. Alexander finds this argument compelling despite the fact that taking orders from people who pay her to do jobs is pretty much how she makes her living. Looking ahead. Sheridan makes the latest in a series of incredibly unsubtle references to the forthcoming Telepath War that we never actually got to see. Welcome aboard. Robin Atkin Downes officially makes Byron recurring with his return from “No Compromises”; he’ll be back next time in “A View from the Gallery.” The Drazi ambassador is played by Kim Strauss, who has portrayed a variety of heavy-makeup roles on the show—including the Drazi ambassador back in “The Fall of Night”; he’ll be back in this role in “A Tragedy of Telepaths.” Tony Abatemarco plays the Enphil leader and Bart Johnson plays the ill-fated Ranger. Trivial matters. The title comes from the title character’s “What a piece of work is man” speech in Act II of Shakespeare’s Hamlet, which Byron quotes in the episode to Alexander. Byron mentions that telepaths have to run songs through their head to help keep stray thoughts of others from invading their minds. This was likely inspired by Alfred Bester’s The Demolished Man, which was the inspiration for a lot of the use of telepathy in B5. The echoes of all of our conversations. “I was modifying Clause 12 in the Declaration of Principles. I was thinking that if I could make it more linguistically suitable to the Drazi, they might be open to signing it.” “Great Maker, I need a drink.” “Well, they don’t like to say ‘we commit’ to anything—they prefer ‘the universe, through us, agrees to’.” “Make that two drinks.” —G’Kar and Mollari discussing revisions to the Declaration of Principles Credit: Warner Bros. Television The name of the place is Babylon 5. “We are one.” There are three factors that keep this from being as good an episode as it might be. The first isn’t so much the episode’s problem as an issue with Garibaldi’s current status. After what Bester did to him, Garibaldi shouldn’t be entrusted with anyone’s lunch order, yet here he is being given a major piece of responsibility in the IA, which is absolutely bugnuts. I already covered this in my rewatch of “Endgame,” and my objection now is even stronger than it was then. The second is one I mentioned in the recap above: Alexander is used to taking orders from people because that’s how she makes her living. Yes, she is beholden to other people, but that’s part of the job description. If Byron was objecting to her doing these jobs, that would be one thing, but it’s written as him criticizing an aspect of her personality, which is not what’s going on there. The third is related, and that’s the spectacular limitations of Robin Atkin Downes, whose rants at both Garibaldi and Alexander are completely ineffectual thanks to Downes’ flat line readings. Whatever passion and insight there might be in Byron’s words are completely sucked away by the lack-of-charisma force field that Downes emits. Having said that, the main story is effective, showing what the IA is capable of, and what it stands for. G’Kar’s constant revising of the declaration is, I must admit from the perspective of someone who’s spent his life crafting words for a living, absolutely hilarious. (It reminds one of the old joke that, from a writer’s perspective, works aren’t finished, but simply released into the wild.) And Sheridan’s frustration with having to flex his muscles before the IA even has its shit together is well played by Bruce Boxleitner. I also very much like Garibaldi’s argument for why they should use telepaths, as the rules that Sheridan defaults to are Psi Corps’ rules, and why the heck would you follow those? Next week: “A View from the Gallery.”[end-mark] The post <i>Babylon 5</i> Rewatch: “The Paragon of Animals” appeared first on Reactor.

Here Are the Finalists for the 2025 Nebula Awards
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Here Are the Finalists for the 2025 Nebula Awards

News Nebula Awards Here Are the Finalists for the 2025 Nebula Awards Congrats to all! By Molly Templeton | Published on March 16, 2026 Photo: Science Fiction and Fantasy Writers Association Comment 0 Share New Share Photo: Science Fiction and Fantasy Writers Association The finalists for the 61st Annual Nebula Awards—which recognize work published in 2025—were announced last night. The Nebula Awards are voted on by members of the Science Fiction and Fantasy Writers of America (SFWA). This year’s categories include the first-ever Nebulas for Best Poem and Best Comic. As the SFWA website explains, “Like the Ray Bradbury Award for Outstanding Dramatic Presentation and Game Writing Award, these new awards celebrate the writers at the heart of productions that also involve editors, artists, publishers, producers, and a wealth of other team members who make the magic happen.” The winners of this year’s awards will be announced on June 6th during the Nebula Conference, which takes place in Chicago. Congratulations to all the finalists! Best Novel When We Were Real by Daryl Gregory (Saga) The Buffalo Hunter Hunter by Stephen Graham Jones (Saga; Titan UK) Katabasis by R.F. Kuang (Harper Voyager US; Harper Voyager UK) Death of the Author by Nnedi Okorafor (Morrow; Gollancz) The Incandescent by Emily Tesh (Tor; Orbit UK) Sour Cherry by Natalia Theodoridou (Tin House; Wildfire) Wearing the Lion by John Wiswell (DAW; Arcadia) Best Novella Disgraced Return of the Kap’s Needle by Renan Bernardo (Dark Matter INK) The River Has Roots by Amal El-Mohtar (Tordotcom; Arcadia) The Death of Mountains by Jordan Kurella (Lethe) Automatic Noodle by Annalee Newitz (Tordotcom) But Not Too Bold by Hache Pueyo (Tordotcom) “Descent” by Wole Talabi (Clarkesworld 5/25) Best Novelette “Our Echoes Drifting Through the Marsh” by Marie Croke (Beneath Ceaseless Skies 1/9/25) “Uncertain Sons” by Thomas Ha (Uncertain Sons and Other Stories, Undertow) “We Begin Where Infinity Ends” by Somto Ihezue (Clarkesworld 2/25) “The Name Ziya” by Wen-Yi Lee (Reactor) “Never Eaten Vegetables” by H.H. Pak (Clarkesworld 1/25) “The Life and Times of Alavira the Great as Written by Titos Pavlou and Reviewed by Two Lifelong Friends” by Eugenia Triantafyllou (Uncanny 3-4/25) Best Short Story “Through the Machine” by P.A. Cornell (Lightspeed 5/25) “Six People to Revise You” by J.R. Dawson (Uncanny 1-2/25) “In My Country” by Thomas Ha (Clarkesworld 4/25) “The Tawlish Island Songbook of the Dead” by E.M. Linden (PodCastle 2/18/25) “Because I Held His Name Like a Key” by Aimee Ogden (Strange Horizons 6/16/25) “Laser Eyes Ain’t Everything” by Effie Seiberg (Diabolical Plots 5/25) Andre Norton Nebula Award for Middle Grade and Young Adult Fiction The Tower by David Anaxagoras (Recorded Books) Gemini Rising by Jonathan Brazee (Semper Fi) Wishing Well, Wishing Well by Jubilee Cho (Atthis Arts) Sunrise on the Reaping by Suzanne Collins (Scholastic) Into the Wild Magic by Michelle Knudsen (Candlewick) Goblin Girl by K.A. Mielke (self-published) Best Game Writing Spire, Surge, and Sea by Stewart C. Baker (Choice of Games) Clair Obscur: Expedition 33 by Guillaume Broche, & Jennifer Svedberg-Yen (Kepler Interactive; developer: Sandfall Interactive, Sandfall S.A.S.) Hollow Knight: Silksong by Ari Gibson & William Pelen (Team Cherry)* Dispatch by Ashley Jeffalone, Suzee Matson, Chris Rebbert, Chad Rhiness, & Pierre Shorette (AdHoc Studios) Hades II by Greg Kasavin (Supergiant Games) Blue Prince by Tonda Ros (Raw Fury; developer: Dogubomb) The Ray Bradbury Nebula Award for Outstanding Dramatic Presentation KPop Demon Hunters by Danya Jimenez, Maggie Kang, & Hannah McMechan (Netflix)* Sinners by Ryan Coogler (Warner Bros. Pictures)* Severance: “Chikhai Bardo” by Dan Erickson & Mark Friedman (Apple TV+)* Pluribus: Season One by Vince Gilligan (Apple TV+)* Superman by James Gunn (Warner Bros Pictures)* Murderbot: Season One by Chris Weitz (Apple TV+)* Best Comic Second Shift by Kit Anderson (Avery Hill) Carmilla Volume 3: The Eternal by Amy Chu (Berger) Helen of Wyndhorn by Tom King (Dark Horse) Fishflies by Jeff Lemire (Image) Mary Shelley’s School for Monsters: The Killing Stone by Jessica Maison (Wicked Tree) Strange Bedfellows by Ariel Slamet Ries (HarperAlley) The Flip Side by Jason Walz (Rocky Pond) The Stoneshore Register by G. Willow Wilson (Berger) Best Poem “To Be the Change” by Nico Martinez Nocito (Strange Horizons 3/10/25) “Though You Always Are” by Linda D. Addison & Jamal Hodge (Everything Endless) “They Said Robots Are” by Casey Aimer (Penumbric 6/25) “The World To Come” by Jennifer Hudak (Strange Horizons 12/22/25) “The Mourning Robot” by Angela Liu (Uncanny 9-10/25) “Care for Lightning” by Mari Ness (Uncanny 1-2/25) *Provisional nomination; awaiting acceptance and response on LLM-use.[end-mark] The post Here Are the Finalists for the 2025 Nebula Awards appeared first on Reactor.

A Feline Haunting: The Quiet Horror of The Cat
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A Feline Haunting: The Quiet Horror of The Cat

Column SFF Bestiary A Feline Haunting: The Quiet Horror of The Cat By Judith Tarr | Published on March 16, 2026 Credit: Next Entertainment World Comment 0 Share New Share Credit: Next Entertainment World The Cat (2011) is a Korean horror film. Horror-comedy, supposedly, but it’s not the laugh-track kind of comedy. More the classical type. When I first checked it out while looking for genre films about cats (and discovering that Zombie Cats From Mars cannot be bothered with subtitles or closed captions, so forget that), one review noted that it’s “not for everyone.” That gave me pause. I am not friends with grossout horror or explicit gore. I need not have worried. Maybe the “everyone” it’s not for is the person who likes the splashy stuff? It’s not exactly gore-free, but it is quite restrained. This is quiet. Literally. No screaming women. The cats express their opinions, but more often with hisses and glares than with yowls and screeches. It’s a gentle film, though parts of it are as ruthless as a cat can be. The settings are not fancy. A neighborhood pet shop. A high-rise, and the park nearby. A handful of unpretentious apartments. A psychiatric hospital. An animal shelter. A local police station. It’s winter, with snow; there’s a Christmas tree in one hard-earned scene. Pet-shop employee So-yeon assists her boss with the shop and serves as an animal groomer. As we meet her, she’s bathing a beautiful white cat named Bidan (Silky) and commiserating with her about the things her owner wants done, especially the hot pink spots on her cheeks. Hair dye, as she says to the owner, is not good for cats. The owner doesn’t care; she’s all about how she just knew pink was Bidan’s color. The boss backs her up. He’s on that side of the pet divide: we first see him sizing up little dresses for an unhappy cat. There are signs of something else going on. Things half-glimpsed out of the corner of the eye. A handprint on a glass divider. A little girl seen petting the cat while the owner fusses over her transport, who vanishes after a car passes between. Something even more subtle may be happening as well. Does So-yeon imagine the cat’s voice telling her “I like the way I am. This is not me. I hate it!”? Or are we hearing the cat’s own thoughts? Are cats telepathic? Can So-yeon understand them? So-yeon is profoundly claustrophobic. She can’t ride in elevators or on subways. She can’t be in any enclosed space. All the doors in her apartment have either been removed or left open. She tolerates the shop because its frontage is glass; she keeps the inner doors ajar. She is in therapy, and has been for years. Her therapist treats her with medication and encourages her to face her fears. This matters, as we quickly see how an elevator can be a deadly trap. Bidan’s owner, who lives in a nearby high-rise, is found dead in one as she returns from the shop. Police assume she had a heart attack. No one but the cat was on the elevator with her. So-yeon happens past the police cordon on her way home from work and encounters an officer she knows. He asks her to look after Bidan while they sort out the situation. The owner’s husband doesn’t want her; somebody has to look after her. Once So-yeon takes the cat to her apartment, she discovers that she’s brought in more than she bargained for. There’s something attached to the cat: the ghost of a little girl. The ghost is angry. Very, very angry. Nor is she the only one. So-yeon’s lighthearted friend Bo-hee (who just happens to be the ex-girlfriend of the policeman who entrusted So-yeon with the cat) has found out that you can get a cat for free at the animal shelter. She ignores So-yeon’s reminder that she had cat before and abandoned it. She did not, declares Bo-hee. It ran away. Now she wants a cat again, and she wants So-yeon to go with her to the shelter. This is a bleak place, out in the middle of snowy nowhere. A rough-looking man named Lee is on duty, euthanizing cats and incinerating them before he’s called to attend to the visitors. The cats in the poorly maintained cages are not in the best condition, but Bo-hee finds a pretty chinchilla cat and insists on adopting her. While Bo-hee and Lee depart for the office to complete the paperwork, So-yeon stays behind with the cats, including one that tips over the brink into death. She’s propped the door of the building open, but it falls shut and the power starts to flicker, triggering a massive attack of claustrophobia. But is that all it is? It’s not just So-yeon who reacts. The animals all go crazy, dogs barking, cats yowling. As Bo-hee and Lee come back and find So-yeon crouching on the floor in a state of gut-wrenching panic, the scene shifts to the police investigating the security footage on the elevator and wondering if there’s more to the woman’s death than a heart attack. Panic attack? Can a person die of a panic attack? one of the policemen wonders. Was it a panic attack? Things ramp up from here. The hauntings escalate. The ghost girl starts to get physical. So-yeon is dreaming or hallucinating: seeing visions of dead cats; waking in her apartment to find her father in a corner, drinking Bidan’s blood with a ladle; petting Bidan under a quilt, then lifting the quilt to find the ghost girl glaring at her. And always there are cats, sitting on the edge of shadows in the street or in the park. Watching. So-yeon’s father, we learn, is a patient in a psychiatric hospital. His room is on a high floor. She goes to see him, but when she gets there, she can’t do it. The tension keeps on rising. Bo-hee gets rough with her new cat and pays a terrible price—while So-yeon is in the next room. So-yeon cuts her finger while cutting up raw chicken for Bidan, and is appalled when Bidan licks the blood. So appalled that she tries to take the cat back to the owner, but he refuses. “Throw it away or kill it, I don’t care.” So-yeon can’t kill a cat. She can’t keep Bidan, either; she’s far too creeped out. She takes the carrier to the park, opens the door, apologizes but leaves—and runs into an old woman wandering barefoot in the street. So-yeon takes the old woman to the police station. Granny is known there; she has dementia and she often wanders. Her son always comes and retrieves her. This combination of kindness and cruelty, protection and abandonment, is the heart of the story. By now we know that if you mistreat a cat, however mild or heedless it may seem from the human perspective, you pay. We also know that the ghost girl has a strong connection with the cats. She has a cat’s eyes, and at times a cat’s claws. As the story winds toward its end, we learn who the ghost girl is, and who Granny is, and why the cats are so angry. So-yeon is central to the resolution, along with the young policeman whom she’s had a crush on since she met him. Not only does she have to face her fears; she has to redress a number of great wrongs. She shows us how humans’ cruelty to one another can harm and even kill, and how carelessly humans can treat animals. The cats strike back on both fronts. They, with the ghost girl’s help, are the instruments of justice. It’s no accident that the last voice in the film is that of a small, grubby, abandoned kitten. “Mew,” it says, sternly. And roll the credits. Among the last of these is the most reassuring. NO CATS WERE HARMED IN THE MAKING OF THIS FILM. I needed to know that.[end-mark] The post A Feline Haunting: The Quiet Horror of <i>The Cat</i> appeared first on Reactor.

How To Read Sixteen Books at Once (At All Times)
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How To Read Sixteen Books at Once (At All Times)

Books Jo Walton Reads How To Read Sixteen Books at Once (At All Times) Jo Walton has a perfectly simple system — see if you can keep up! By Jo Walton | Published on March 16, 2026 Photo by Vrînceanu Iulia [via Unsplash] Comment 0 Share New Share Photo by Vrînceanu Iulia [via Unsplash] Before I had an e-reader I used to read only one book at a time like a sensible person, and I’d read all of it straight through. I still do this sometimes. If I want to just carry on reading one particular thing I will do it, and that’s what I mean when I write about a book in my monthly reading list here and say “I couldn’t put it down.” But once I got an e-reader I started to read in a different way. I’ve written before about how it’s the library in my pocket. I began to cycle through different books, reading a chapter of each. It’s possible for me to be reading too many things and so not get to read anything often enough, and with some experimenting, and because of the way the old Kindle interface used to work, I settled into reading sixteen things at a time because that feels like the right amount. I like it because it means I can read long boring books that I want to read but don’t want to read exclusively because they’re a slog. I like the way I can have poetry and letter collections in my daily reading without having nothing but that. I like reading a variety of things. So how do I do it? I have a “collection” on my Kindle called “currently reading.” Somebody here on Reactor suggested this when I was furious that they changed the interface so that whatever you’d recently opened was at the top and things couldn’t be put away tidily and not interrupting the two pages of eight books each that I was actually reading. (Like everyone, I frequently look things up in books I have already read.) In “currently reading” there are always sixteen books, no more or less. When I start describing this it sounds ridiculously complicated, but it isn’t at all in practice. I’m not suggesting anyone else do this, it’s just what I like to do. I read two novels, one mainstream and one science fiction or fantasy, and whenever I finish one of them I begin another, so I am constantly reading two novels. I make sure the novels are different from each other not just in genre but in feel and often time as well, so that they go together well by being different. For instance, last summer I was reading the Wolf Hall books, and I wanted to read Eifelheim but it felt too close, so I waited to start it until I was done with the Mantel. I also read a non-fiction book that I am reading “fast”—that is, at the same speed I am reading the novels. The non-fiction one of these three can be anything, just something interesting that I want to read. I cycle through such that I read a chapter of one of these three books, then I read three other things, and then I read a chapter of another of these three books. So my sixteen is actually more like three plus thirteen. I get through those three much faster than everything else because I read them more frequently. When I sit down to read, I’ll usually read a chapter of one of these three things, say about ten minutes, then three of the other things, cumulatively about ten minutes, and then a chapter of the next of the three things, about ten minutes, and so on, so that in an hour of reading I’ll have read three chapters and nine little chunks. Bear in mind that if at any time I don’t want to stop reading something I won’t—if I ever feel like I don’t want to close a book and go on to the next I’ll just keep reading that one. Of the thirteen other things, two of them are always short stories, usually a single author collection and an anthology with stories from multiple authors. Generally one will be science fiction or fantasy, and the other will be something else, mystery, mainstream, something. Occasionally I just have one short story collection and one classic novel. Again, I make sure they’re also not too close in feel and time to the novels I’m reading, so when I was reading the Christie ghost stories collection I didn’t read any other mystery, when I was reading an anthology of retold fairytales I didn’t read any other fantasy of that kind. So, of my sixteen things, four are always fiction, and I feel this is about the right proportion. I read two books of poetry, again generally one by a single author and one anthology with poems by multiple authors. I read two letter collections, making sure they’re never from the same century, again so they feel different. I love letter collections, they’re such an interesting form and such a great way to really get to know someone. They’re one of the hardest things to find, oddly, and something where I always want recommendations. I’m always reading something translated from Greek or Latin. Right now, and for a long time past (and I predict for a long time to come) my classics slot is filled with Pliny’s Natural History, which is very long but has very short entries. It’s like reading a two-thousand-year-old encyclopedia, and it’s simultaneously very boring and weirdly fascinating. It’ll be going on forever listing animals, and then it’ll suddenly say “And the first one seen at Rome was brought into the Colosseum by Nero…” and for a moment it’ll be like an outtake from I, Claudius in the middle of the encyclopedia. I’m also always reading at least one thing translated from a language that isn’t Greek or Latin. I always read one “relevant”—that is, research—history book, and one “irrelevant”—that is, just for fun—history book. Actually, these are the most slippery categories, because I’m usually reading something that’s relevant for the papal election, and sometimes also something that’s research for a future novel that I may or may not write. These can also be biography or memoir. Then there’s a travel memoir, which is something I really enjoy reading. And I am reading the “Harvard Shelf” which gives me an element of randomness, or at least choices I didn’t make myself. If I hate whatever it is, I skip on to the next thing. I am always reading one epic from another culture. Separately, I am always reading a primary source. This is just something historical that’s an actual primary source, written at the time, not something written about history, later. It can be anything. At the moment it’s the Memoirs of Philip de Commines, Containing the Histories of Louis XI and Charles VIII of France, which is fascinating and which I feel like nobody else has read at all. (Which is one reason why reading primary sources is useful.) You can read a whole lot of secondary sources about a period and they pull things together and have perspective and see things, but sometimes they get into a loop where they’re all using the same primary sources, and indeed using the same translated bits of them, and there will be all kinds of other sources they don’t notice. So I wish I’d read Commines before I wrote Lent but oh well, and I am reading it now. I also read something that is criticism or reviews or book history. Right now, I’m reading Arthur Ransome’s History of Story-Telling and before that I was reading the Robert Ebert collection for a long time. And those of you who can count will see that this is eighteen categories! But it’s always sixteen books, because some categories overlap. The non-fiction book I am reading “fast” is also always in another category. And things in translation can overlap with any other category—they can be letters or poetry or short stories or novels or primary sources or epics. (Having said that, I’m often reading more than one translated thing, but that’s just good. The idea is to make sure I am reading at least one.) Epics are often poetry, and in translation, and so when I was reading the Ramayana it was in three categories at once. When it works, this makes a lovely reading symphony where the different books are like different instruments coming together in contrast and harmony; when it doesn’t work it can be jarring, but that doesn’t happen all that much. What can happen is that I put in too many things in the category of “need to slog through it” and not enough that’s fun, and then I need to adjust. If I’m not enjoying something, anything, and if I don’t have to read it—if I’m not reading it specifically for research—I’ll stop reading. I don’t skim, as I’ve mentioned before. But as long as the overall mix is fun, then reading a few pages of something that’s objectively deadly dull is OK. I mentioned that all through the long time I was reading the Browning-Barrett correspondence I smiled every single time I saw the title in my list. If there’s something where I feel like I’m slogging through it (Pliny) but getting a weird kind of enjoyment out of it that’s fine, but if there’s something where I sigh every time I see it then I toss it back and read something else. I recently gave up on The Letters of St Ambrose because I wasn’t having fun. As for how I select things to read, it’s the usual combination of leaping on new books from writers I like, recommendations from people (including people here), algorithms telling me about things, and completely fortuitous finds, with a tiny bit of publishers trying to get me to blurb things. (I almost never get anything I want from this last method, but I will sometimes try the book if it sounds promising. And occasionally, just occasionally, it will be great and I will be happy.) So I have a huge (196) queue of books sitting on my Kindle waiting to be read, and I have other books I know I want to re-read in the fairly near future. Whenever I finish a book, I find a book in that queue that’s in the right category and that feels like it fits with the rest of everything, and I slot it in. Another advantage of this method is that I rarely have the empty feeling of finishing a book and needing to find something else. I may have finished a book, but I still have fifteen other books on the go! If I finish something that’s in multiple categories and I replace it with something that doesn’t fill all of them, then a category will be unfilled for a little while until I finish something else. If I’m reading some relevant or irrelevant history book, or a travel book, and it’s unexpectedly terrific, it gets promoted into the “fast” slot—sometimes with the current fast book going back down into the slow, and sometimes when I finish the current fast book. That’s it, really… it’s all perfectly simple.[end-mark] The post How To Read Sixteen Books at Once (At All Times) appeared first on Reactor.

Buffy the Vampire Slayer Revival is Dead at Hulu, But Vampires Never Die
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Buffy the Vampire Slayer Revival is Dead at Hulu, But Vampires Never Die

News Buffy the Vampire Slayer Buffy the Vampire Slayer Revival is Dead at Hulu, But Vampires Never Die It may be dead, but it’s still pretty By Molly Templeton | Published on March 16, 2026 Screenshot: 20th Century Fox Comment 0 Share New Share Screenshot: 20th Century Fox Maybe it was always too good to be true. On Friday, news broke that the Buffy the Vampire Slayer sequel series, reportedly subtitled New Sunnydale, would not be moving forward at Hulu. Returning star (and executive producer) Sarah Michelle Gellar broke the news herself in an Instagram post, saying that she wanted fans to hear it from her. But she closed her comments with, “If the apocalypse comes, you can still beep me.” Gellar was on press tour for Ready or Not 2: Here I Come, on which she had been enthusiastically speaking about the new show. On Friday morning, before the cancellation was announced, ComicBook.com ran an interview with Gellar in which she discussed why she’d said in the past that she would never return to Buffy’s stylish yet affordable boots—and that it took some time for her to even sign on to the reboot series: “Mind you, I also said no to Chloe [Zhao] many times in the beginning, as well. Her passion, and her reasoning for wanting to do it, and why now, and why it is necessary.” Zhao was a producer on the series and the director of the complete pilot episode. She is also an Oscar-winning movie director whose Hamnet was up for eight Oscars last night. On the red carpet, she told Variety: “I had an incredible, incredible time with Sarah [Michelle Gellar], with all the cast and crew doing this. And we, first and foremost, see ourselves as the guardians of the original show,” Zhao said. “Our priority for Sarah and for us has always been to be truthful to the show, to be truthful to our fans. So, things happen for a reason, and we keep our hearts open and we welcome the mystery. And what this might lead us to.” When pressed on whether that last bit meant that the pilot might not be fully dead—whether the producers might try to find another home for it—Zhao only said “Welcome to the mystery” again. According to Deadline, Hulu “remains high on the Buffy IP and plans to regroup and mull a possible new incarnation of the beloved franchise.” Along with Gellar, the new series was set to star Ryan Kiera Armstrong as a new Slayer; Armstrong also took to Instagram to share a photo of herself in a perfect costume, captioned, “your slayer.” In an Instagram Story (no longer viewable), she thanked Gellar, Zhao, and showrunners Lilla and Nora Zuckerman, and said, “We brought this back for you guys, and Buffy is such a big part of all of our lives, and it’s not going anywhere. So who knows what the future will hold.”[end-mark] The post <i>Buffy the Vampire Slayer</i> Revival is Dead at Hulu, But Vampires Never Die appeared first on Reactor.