Movies & TV X-Men 97 It’s All About Faith and Redemption in X-Men ’97’s “Strange Land, Savage Heart” Nightcrawler offers an interesting religious twist on Xavier’s dream, but Exodus is no Magneto. By Ben Francisco | Published on July 31, 2026 Image: Marvel Animation Comment 0 Share New Share Image: Marvel Animation Our “official” cast continues to grow, with a full dozen characters featured in the opening credits—including a title card for Polaris for the first time. The episode opens with a flashback to the genocide in Genosha, with Colossus (Robert Cait) and Illyana (Courtenay Taylor) both rescuing bystanders from the wild Sentinel’s brutal destruction. Illyana sacrifices her life, leaving her brother Colossus grief-stricken.  In the present day, anti-mutant leader Graydon Creed (Ben Pronsky) declares his candidacy for President of the United States at a huge rally, with several attendees wearing yellow “Friends of Humanity” caps and other anti-mutant messages. The rally gets crashed by a group of mutants calling themselves the Acolytes, including Colossus, Frenzy, and Exodus (Bo Poraj). On live television, Exodus explains that the Acolytes are carrying on Magneto’s legacy and demands the release of all mutants being held by the government-sanctioned X-Factor team—or else Creed will die.  Image: Marvel Animation Despite the objections of X-Factor director Val Cooper (Catherine Disher), Professor X (Ross Marquand) sends a team of X-Men to the Acolytes’ base in the Savage Land to rescue Creed. Bishop (Isaac Robinson-Smith) and Polaris (Carolina Ravassa) flirt, and Nightcrawler (Adrian Hough) and Rogue (Lenore Zann) fret about their family drama, since Creed is a half/step-brother for both of them, all three being children of Mystique. The X-Men’s jet is hit by missiles—and worse, by radiation that disables all their powers. Polaris manages to deploy a parachute, allowing her and Bishop to land safely amidst dinosaurs and other prehistoric creatures of the Savage Land. After a crash-landing, the rest of the team is met by Colossus and a group of Acolytes. Shockingly, they don’t immediately fight. Instead, Nightcrawler asks that Colossus give them a tour of their home and an intro to the Acolytes’ way of life.  Colossus shows them a shrine honoring Illyana, Magneto, and other fallen mutants. He explains that Exodus offered him a home at one of the darkest moments of his grief, and that every day the Acolytes bring another mutant to the safety of the haven they’ve created in the Savage Land. Creed is bound in handcuffs but still alive—and reacts scornfully to Nightcrawler’s overtures. Nightcrawler asks for a trial to prove that his half-brother is worth redeeming, offering to join the Acolytes if he loses—so long as Colossus presides over the trial. Image: Marvel Animation On the outskirts of the Acolytes’ base, Bishop and Polaris continue to make eyes at each other while they gather weapons and make plans to disable the radiation tower that’s neutralizing their powers. The trial of Creed begins with a crowd of rowdy Acolytes booing the defendant as he spouts anti-mutant slurs. Exodus makes the case for the prosecution, noting that Creed founded the Friends of Humanity, created a virus that kills mutants, and has taken a string of wretched actions borne of his hatred for mutants.  For the defense, Nightcrawler interviews Creed, who reveals that their mother Mystique abandoned him as a baby and his father abandoned him as an adolescent—when he realized his son had no mutant powers. Nightcrawler posits that Creed does not hate mutants, but rather hates his two mutant parents for making him feel like being human wasn’t good enough. “Creed is just a man,” Nightcrawler pleads to Colossus, “haunted, just like us.”  Before Colossus can render his verdict, an impatient Exodus calls him a heretic and attacks him. Just in the nick of time, Bishop and Polaris swoop in riding pterodactyls and disable the tower, giving all the X-Men their powers back. Nightcrawler intervenes to protect Creed from Exodus, and a battle between the X-Men and the Acolytes ensues—with Colossus taking the X-Men’s side. In the chaos of the melee, Creed picks up a gun and shoots Exodus, who falls to the ground, apparently dead. Creed threatens Nightcrawler too, but he teleports them both to the cold Antarctic just beyond the boundaries of the unnaturally warm Savage Land. Kurt tells Creed that though he is not a mutant, he is very much his parents’ son. He shows his half-brother mercy by leaving him alive.  In a holographic confab, Professor X and Val Cooper debrief. Xavier notes that the X-Men left Creed alive in Antarctica for X-Factor to pick up, as promised. Cooper tells Xavier that he’s playing a dangerous game and threatens to take away both X-Corps and the school if he crosses the line. Back at the X-Mansion, Nightcrawler welcomes Colossus home and asks if he had convinced him that Creed was redeemable back in the Savage Land courtroom. “No, you did not convince me,” Colossus says, “but you would have convinced Illyana.” In Athens, at Apocalypse’s abandoned base, the X-Force team finds what appears to be Apocalypse’s corpse, along with a charred playing card—the signature of the deceased X-Man Gambit! Image: Marvel Animation I was surprised this episode opened with a flashback to the genocide in Genosha, which was now over a season and a half ago. On one hand, seeing Illyana die “retroactively” felt like it detracted from the power of that moment. On the other hand, there’s a certain realism to it that I appreciated. When a tragedy happens on such a large scale, it can often take months or even years to know all the consequences and losses. Genosha is as large-scale as a tragedy can get, so it seems apt that the mutant community would continue feeling its losses and ripple effects for a long time afterward.  The rally scene was potent, not only because of Creed’s speech, but also for its portrayal of the crowd’s casual yet consuming bigotry against mutants. The yellow caps and anti-mutant chanting certainly have many disturbing real-world parallels, especially as we live through a time when expressions of xenophobia, racism, and other prejudices are often even more overt than they were just a few years ago. Creed scapegoats X-Factor specifically, accusing the current president of using tax dollars to fund X-Factor and protect mutants instead of humans. A mere few minutes later, Exodus calls X-Factor “race traitors” for rounding up other mutants. It’s a poignant depiction of just how badly collaborating with the oppressors can go—and how, when you try to play both sides against the middle, you may find yourself with no one on your side.  Image: Marvel Animation This episode continued the show’s trend of spotlighting a character who’s previously been underutilized, in this case focusing on Nightcrawler—and, to some extent, Colossus. As in other recent episodes, the writers do some interesting mixing and matching of storylines. This episode draws on the comics plot where Colossus joined the Acolytes in the wake of Illyana’s death, but in this version, she’s lost to the Genosha tragedy instead of the legacy virus. Colossus often has an… impressionable quality to his character, and this episode captures that aspect of him well with his multiple conversions and shifts. Nightcrawler serves as a kind of faith-oriented alternative to Xavier in this story, offering up an idealistic vision of mutant-human harmony, with a strong faith-based belief in the possibility of redemption for everyone. I thought that was well done, with some great voice work by Hough. And I appreciated that the show leaned into the complicated family dynamics between Nightcrawler, Rogue, and Creed, along with Mystique and Sabretooth (though the latter don’t appear in this episode). Dare I hope for them to round out the family by shining a light on Destiny’s role as Mystique’s long-time partner and the second mother figure for Kurt and Rogue? Nightcrawler provides an interesting variant of Xavier’s idealism, but Exodus… well, Exodus is no Magneto. I see what they were going for in this episode, juxtaposing Nightcrawler’s faith-based idealism with Exodus’s faith-based extremism. But it doesn’t quite come together for me, because Exodus never really gets a chance to explicate his point of view. Even in the trial, his prosecution of Creed is barely a paragraph long, accurately cataloging Creed’s many transgressions but never offering a clear case for why killing him is the best solution. In the comics, Exodus’s powers are amplified by faith, and part of me wishes they’d found a way to more explicitly integrate that distinctive aspect of him in this episode. It certainly would have dovetailed with the themes. This episode also left me with more logistical questions than usual. How did the X-Men locate the Acolytes’ base? Why were other mutants’ powers not affected by the tower? Do Bishop and Polaris have a natural knack for taming and riding wild pterodactyls? Most of these questions have easy potential off-screen explanations, and minor holes like these are inevitable in a 30-minute cartoon, but it felt like there was a bit more hand-waving than usual. That said, I low-key loved Bishop and Polaris flying on pterodactyls, even if it stretched credulity. Image: Marvel Animation This episode also gave us another round of cameos with the Acolytes, many of them pretty obscure. It was great to see Frenzy, but I’m not sure many fans were clamoring to see characters as random as Gargouille and… Random.  This episode again ended on a cliffhanger centered on Gambit’s apparent resurrection and Apocalypse. I continue to be skeptical about bringing Gambit back, but I certainly was surprised to see Apocalypse’s decaying corpse! We’ve mostly had bottle episodes since the X-Men got back to the 1990s; I’m interested to see how they bring all the threads together in the final two.[end-mark] The post It’s All About Faith and Redemption in <i>X-Men ’97</i>’s “Strange Land, Savage Heart” appeared first on Reactor.

News Blade Mahershala Ali Says He’s Done With Marvel’s Blade Reboot Marvel Studios still trying to ice-skate uphill By Molly Templeton | Published on July 31, 2026 Photo Credit: Netflix Comment 0 Share New Share Photo Credit: Netflix The future of Marvel’s long-gestating Blade reboot is somewhat hard to determine these days, but one thing is certain: Mahershala Ali is no longer in it. In a new GQ piece, writer Derek Lawrence asked Ali, “Mahershala, are we any closer to Blade finally becoming a reality?” The actor answered, “Not with me.” “For whatever reason,” Ali continued, “that project is not for me. If they wanted to do it, we would’ve done it. So I have to move on, and I have moved on.” Ali also sounds like he’s done talking about the project: “I feel ready to move on from the Blade questions. Those questions are for them. They didn’t want to do it, so they should answer that question.” Blade, with Ali as star, was first announced in 2019. The actor made a voice-only cameo at the end of Eternals, but that wound up being the extent of his involvement. The film has been through multiple writers and directors; in 2024, the second director attached to the project, Lovecraft County’s Yann Demange, also left. Last year, Variety ran a story about how some of the period-appropriate costumes for Sinners were purchased from Marvel; they had been intended for Blade. The movie was taken off Marvel’s release schedule in 2024. Earlier this month, Marvel Studios boss Kevin Feige told the Happy Sad Confused podcast, “I am feeling like a gigantic loser and failure that we didn’t get off the ground with Mahershala.” Whether that means Marvel will get Blade off the ground with someone else remains to be seen—but no matter how you slice it, not getting to see Ali as a leather-clad vampire slayer is a loss for all of us.[end-mark] The post Mahershala Ali Says He’s Done With Marvel’s <i>Blade</i> Reboot appeared first on Reactor.

News What to Watch What to Watch and Read This Weekend: Will I Love Boosters Fix Me? Plus: The mysterious case of the zombie orchids and a cockroach you will love By Molly Templeton | Published on July 31, 2026 Image: NEON Comment 0 Share New Share Image: NEON It is the end of July and I am staring at the moon at six in the morning, when it is still bright in the sky as the sun comes up behind the building. Every week I think, “Is it really this late in the summer already?” Tomorrow it will literally be August and I cannot process this. Summer has been a lot of things in my lifetime—including smothered in wildfire smoke, as it is for many people this year—but this one still feels different. It’s hard not to think that maybe it will feel a different kind of different in the fall, when it rains, when the midterms are (at long last) upon us. Every season is change, but this one is just a different shape somehow. And still there is art. There are unexpected flowers and wise cockroaches and books—so many books!—and, oddly, late-July big movies, and also a centaur robot with a chainsaw. I’m not sure that last one is art, but I’m also not sure it’s not art. When you are not considering the merits of deadly-looking disaster robots, hug your friends, call your reps, keep some masks on hand, and maybe let your lawn go wild. Who knows what might grow there? Good Things Can Come From Zombie Films As a certified wimp, I will not be watching 28 Years Later any time soon, no matter how good it is—but I most certainly will appreciate the unexpected benefit that happened when one abbey in Yorkshire let the grass grow long for the film’s shoot. The filmmakers wanted it to look more overgrown, and overgrow it did. And then the orchids bloomed. According to the BBC, hundreds of orchids bloomed at Fountains Abbey after the film shoot. “There had been no record of the flowers on the abbey site since the 1850s and the orchids had not been seen in living memory. 170 Years Later, nobody knows where they have come from or why they have germinated once again.” Cheeky little capital letters there on “170 Years Later,” no? Anyway. This has been your orchid report for the week! We could all use some nice flower news of late.   A Game of Thrones Is Technically a Millennial (Barely) If the internet is to be believed, August is the birthday month of A Game of Thrones, the first volume of George R.R. Martin’s Song of Ice and Fire series. You can now wish the book a very happy 30th birthday, should you feel so inclined. Yes, your favorite unfinished series comes in just under the wire as a Millennial, and if I were inclined to believe in stereotypes about generations, I might make some silly jokes here. But I’m not thus inclined, so I won’t. I will just say: Holy cats, how is this book thirty? I read it for the first time a decade and change ago, when it wasn’t even yet old enough to drink. (No, this metaphor doesn’t really work. But you know what I mean.) What’s interesting to me is that while I can find a hundred articles about the sold-out, extremely expensive Folio Society edition of the book, I cannot turn up just an essay considering it after all these years. Whether this is user error on my part, the demise of functional search engines, or straight-up literary-essay burnout, I dunno. I would have liked to include something other than a date marker here. But at this point, can we even look past the fading anticipation for the next book and see this book clearly, thirty years later? Can I Convince You That a Cockroach is One of the Greatest Characters in Literature? The other week I read a handful of very short books over the course of a weekend. One was a small tome I had been moving back and forth across the country for literally decades: Archyology: The Long Lost Tales of Archy and Mehitabel, a posthumous collection of work by the genius Don Marquis. Marquis invented Archy, a cockroach who types on a newspaperman’s typewriter at night—being only a bug, he cannot use capital letters—in 1916. Mehitabel is Archy’s friend, a lady cat whose song goes, “i have had my ups and downs / but wotthehell wotthehell.” I met these characters when I was a teen, when I did not fully understand the sharpness of Marquis’ pen (or typewriter keys), and they have stayed with me ever since. Archy is, well, arch, and satirical, and far too wise for a lowly bug of the city, and sometimes these sly poems are exactly what you need in a hot, diarrhea-lettuce summer when the powers that be are letting everyone down. “boss what are you going to do,” archy types at one point, “with these spirits / who are miserable / and do not know it / who are iniquitous and proud of it / who are pitiable / and boast of their condition / who are defeated / and believe themselves victorious / who are corrupt / and contented / who are undeserving…” Archy continues in this vein before determining that this is a problem he will pass along to the sociologists. I don’t think we can leave it up to them anymore (if we ever could), but I felt a little better for how familiar this all was. Will I Love Boosters Fix Me? Is this a safe space to say that I have been struggling with movies? I have seen only a few movies this year and none of the ones I loved were the ones that I, a lifelong SFF fan, were supposed to love. None were even new! I loved Amadeus and I loved First Cow and I loved Showing Up. I loved the parts of The Mandalorian and Grogu that were a silent film about a little guy just doing his best in the swamp. (I stared at the wall for the megafauna murders. Get a new gag, Mandalorian!) I am anxious about the big movies. Will they be movies? Or toy commercials? Can I take another Spider-Man? Do I want to? Are they going to do my girl [redacted] dirty? I think I’m interested in Hope and Hot Spot. And Wicker. But I think maybe the whole problem is that I missed Boots Riley’s I Love Boosters. His Sorry to Bother You was one of the strangest, most wonderful in-theater experiences I had in the previous decade. This one, with its ensemble cast of shoplifters and (surely absurd but smart) commentary on capitalism, is so up my alley. It’s only available to rent, not to stream free-with-the-price-of-app subscription, but maybe it’s worth it. Maybe it can fix me.[end-mark] The post What to Watch and Read This Weekend: Will <i>I Love Boosters</i> Fix Me? appeared first on Reactor.

News Wonder Man Wonder Man Season 2 Reportedly Canceled at Disney+ After Renewal and Emmy Nomination What happened to Wonder Man? By Matthew Byrd | Published on July 30, 2026 Photo Credit: Disney+ Comment 0 Share New Share Photo Credit: Disney+ Variety is reporting that Wonder Man Season 2 has been canceled at Disney+ despite the show seemingly being renewed earlier this year and Yahya Abdul-Mateen II receiving an Emmy nomination for Outstanding Lead Actor. Though an official announcement has not been made at this time, the report suggests that the show’s writers have been released and that the writer’s room was never formally opened on the project. Sources inform Variety that Wonder Man‘s characters could still appear in other projects but that the show is effectively ending. If Wonder Man Season 2 is indeed canceled, then the decision to not move forward with the series will raise a lot of questions. At the time that Wonder Man‘s renewal was reportedly confirmed, outlets noted that very few Marvel TV shows in the Disney+ era actually receive second seasons. So far, only Loki and Daredevil: Born Again have received second seasons. As such, the news that Wonder Man was being renewed was something of an anomaly from a strict policy standpoint. But the idea that Disney and Marvel recognized Wonder Man‘s creative potential and gave the series the green light cheerfully suggested the potential start of a new era for the studios. Now, it’s really not clear what’s going on. Wonder Man‘s streaming numbers are something of a mystery (it only briefly appeared on the top 10 charts), but the series was a critical success and did garner a major Emmy nomination. The show certainly felt like it deserved a second season from a creative standpoint, and it feels like its behind-the-scenes story isn’t quite told yet. We’ll be sure to bring you more information about this situation as it becomes available.[end-mark] The post <i>Wonder Man</i> Season 2 Reportedly Canceled at Disney+ After Renewal and Emmy Nomination appeared first on Reactor.

Movies & TV Star Trek: Strange New Worlds Haunted — Star Trek: Strange New Worlds: “The Griffin Incident” We’re getting haunted again this week… By Keith R.A. DeCandido | Published on July 30, 2026 Comment 5 Share New Share Star Trek and the horror genre have a very bizarre history, and not a particularly good one. The original series foisted “Catspaw” on us for reasons passing understanding, and TNG’s stabs at horror range from the boring (“Conspiracy,” “Schisms”) to the ridiculous (“Sub Rosa,” “Genesis”). DS9 (“Empok Nor”) and Voyager (“The Haunting of Deck Twelve,” which managed to have no haunting and no scenes on deck 12) both failed at it, while Enterprise managed to both hit (“Impulse,” which was actually quite good) and miss (“Strange New World,” which was very much not). And here we are with SNW now taking it’s third (!) stab at horror, following the truly dreadful “All Those Who Wander,” the low point of season one, and “Shuttle to Kenfori,” one of the better episodes of season three. “The Griffin Incident” starts off giving me “The Slaver Weapon” vibes. Like that animated episode, the action focuses on three crewmembers: Spock, a guy in gold, and a woman in red. It was Sulu and Uhura in the Larry Niven-penned episode, and it’s Jim Kirk and La’an in this one. The premise is that our trio of intrepid heroes were at a Future Leaders of Starfleet conference. They’re on their way home when they pick up a distress call only to find a ship that’s been missing with no explanation for years: the U.S.S. Griffin. Thrilled at getting to solve the mystery, they board the ship only to find that it has artificial gravity working and a breathable atmosphere despite a complete lack of power. And that’s only the start of the weirdness. Unlike “The Slaver Weapon,” the rest of the cast does actually appear in the episode, but the focus truly is on Spock, La’an, and Kirk. All three of them experience intense hallucinations that play on their fears. Image: Jan Thijs/Paramount+ One thing I neglected to mention in my review of “Valles Marineris” last week is that, after punching the raptor in the head, La’an felt no pain, even though the force of her punch broke her hand. She’s concerned that her Augment genes are altering her body chemistry in some way (last week, M’Benga asked if she was planning to enslave humanity, and he was only half-kidding, especially since La’an’s answer was that she wasn’t sure). By the episode’s end, she’s so far gone that she stabs Kirk, nearly fatally. That, however, isn’t the only fear that La’an has to deal with—there’s also the omnipresent fear that, truth be told, most security chiefs would have. They find logs made by the Griffin’s security chief expressing dismay with the fact that the entire crew was being affected by all sorts of weirdness and they were all doing harm to each other, and there was nothing she could do about it. The security chief’s job is to keep the crew safe, and so that sense of helplessness is something that La’an understands. Adding to the confusion is the lack of any remains of the crew.  In Spock’s case, he encounters a hallucination of T’Pring. What’s especially fun about this one in particular is that the hallucination acts like T’Pring would if she was unexpectedly transported to the Griffin against her will. It distracts Spock, making him think that this might be the actual T’Pring—there’s been enough unexplained and unexplainable weirdness going on that he has some doubts—so that when the fake T’Pring straps Spock to a biobed and clips the points on his ears, it rather catches him off-guard… One of the things SNW has done really well with Ethan Peck’s younger Spock is taking advantage of the fact that we saw Spock grinning in “The Cage” when he played with the singing flowers, yet when we see Spock on the original series eleven years of story time later, he’s embraced the logic of his Vulcan half to a significant degree. SNW has done a nice job of showing Spock’s progression from the one to the other, and they’re taking their time with it. The hallucinatory T’Pring’s declaration that Spock should just cut the tapers off his ears and be done with it is another step toward it, a bucket of metaphorical ice water in Spock’s face that could very easily drive him in the opposite direction from the fake T’Pring’s declaration. Kirk’s odyssey on the Griffin, however, is my favorite part, for a number of reasons. On the face of it, it’s ridiculous how often Paul Wesley has appeared on this show. (There was a delightful fake Star Trek novel cover, done in the style of the old 1980s-era covers painted by Keith Birdsong, that showed Anson Mount as Pike and Paul Wesley as Kirk and the title was, Star Trek: Why Are You Always on My Ship?) I feel like I’m the only person who likes Wesley’s performance, as he’s mostly riffing on the way William Shatner played the role in the early first season as an easygoing friendly person. (Though he did do a good job of channeling third-season Shatner in “A Space Adventure Hour.”) Image: Jan Thijs/Paramount+ But as time has gone on, SNW has done a good job of tying together a lot of bits of Kirk’s backstory into a more coherent narrative than 1960s television and a series of movies that only happened once every couple years could manage. The fact that Kirk even had a brother really only came up in “What Are Little Girls Made Of?” and was technically a plot point in “Operation—Annihilate!” when Sam Kirk was killed. Here’s the thing—that Kirk’s brother Sam and sister-in-law Aurelan were killed barely seems to have any impact on the captain in the latter episode. And if you read James Blish’s prose adaptation in Star Trek 2, you’ll see that Aurelan was just some random person from Deneva, and there was no mention of Sam or their son Peter. And here’s the thing—the story that Blish wrote is not all that different from what was aired. The biggest difference is the lack of artificial suspense with Spock being temporary blinded. On top of that, back in “Subspace Rhapsody” it was established that Kirk was, in season two, seeing Carol Marcus and was pregnant with their son David, both characters established in The Wrath of Khan. That’s another relationship that really only got significant play in that movie, though Kirk’s relationship with his son got dealt with in The Search for Spock and The Undiscovered Country (with Carol never even mentioned in those two films).  “The Griffin Incident” establishes that, by this time, Kirk and Carol have broken up, but Kirk is attempting—and failing—to be part of David’s life. In fact, he was supposed to meet up with Carol and David after the Future Leaders of Starfleet conference, but because of the detour to the Griffin he winds up missing her. Image: Jan Thijs/Paramount+ One of the high points of this episode is when the landing party thinks that Enterprise has received their distress call. Pike, Number One, Ortegas, Uhura, and Sam Kirk all beam over. The Kirk brothers have a really lovely conversation, with Jim asking Sam how he manages to have a family while serving in Starfleet, and Sam says, “I don’t.” They have a really good talk about how Sam struggles with balancing his Starfleet career with his family, and they also take some shots at their father.  It turns out that that isn’t really Sam, which is disappointing as that conversation really is wonderful. (At the episode’s conclusion, we find out that Sam’s on leave visiting his family, which is a nice bit of irony.) We find this out slowly, as Uhura reacts with an uncharacteristic lack of understanding when La’an accidentally nearly kills Ortegas with the transporter, and when Pike and Number One join T’Pring in trying to mutilate Spock. At no point do we get any kind of explanation of what happened to, and what’s happening on, the Griffin, exactly, and I gotta say I’m of two minds about that. On the one hand, why and how it’s happening isn’t really relevant—what the episode is about is exploring these three characters’ fears, and it does so very effectively. But there’s also a sense of betrayal, of copping out, on the part of the script, credited to Robbie Thompson, one of the show’s executive producers (and who previously worked on Supernatural, a show that this episode shares a lot of DNA with). Star Trek has almost always had a scientific explanation for even the most far-out phenomenon. One time when they didn’t—Voyager’s “Sacred Ground”—it actively pissed me off. They dance around it, at least, by saying that the ship will be sent to Division 12, which is the Federation’s version of Area 51, the place where weird stuff is sent that nobody can figure out. (In Lower Decks’s “Much Ado About Boimler,” it was Division 14, but hey, division numbers change after a century, I guess?) Pike mentions to M’Benga that he previously sent six items to D12—four of them turned out to have a rational explanation behind them. He’s still waiting to hear about the other two.  All of which is a decent fig leaf over the lack of explanation, but it still rankles a bit. But only a bit, because it is an effective horror piece.[end-mark] The post Haunted — <i>Star Trek: Strange New Worlds</i>: “The Griffin Incident” appeared first on Reactor.