SpindleTree of Ember

Nov. 25th, 2025 07:17 pm
[personal profile] ismo
Not the greatest of days, and I'm afraid I haven't the wherewithal to make any of the stupid little things that made it that way sound at all amusing. Perhaps one of the reasons is that I was looking forward to it being pretty nice, but once again, theory and practice failed to match up. I sent out an inquiry about the state of Madame's hearing aid. It has still not turned up, and Mademoiselle finally broke cover to say there's nothing she can do about it, as her family all have the flu. Okay . . . I try to maintain patience with regard to this rodeo, of which the monkeys do not belong to me. However, it has now been five days, and tomorrow will be six, since Madame has been able to communicate with the outside world. This is a long time for an old person with dementia to be completely cut off. Friends have made brief visits and chatted via writing notes, and I will do the same tomorrow, but it is distressing to contemplate. The temperature will begin dropping tonight, and wintry mix will ensue tomorrow, followed by snow and wind on Thanksgiving, just to make everything sublime. So far, the news calls it "pre-blizzard conditions." I really want to go see the Duchess, but if it's at all blizzard-like, I will really not want to drive out there, and yet I will not want to chicken out and risk hurting her feelings or feeling like a big old coward. As with so many things, one can only wait and see.

Is your heart hiding from your fire?

Nov. 25th, 2025 05:27 pm
sovay: (Renfield)
[personal profile] sovay
I had just been thinking about Jack Shepherd because he was one of the founding members of the Actors' Company which had sparked off in 1972 with Ian McKellen and Edward Petherbridge, whose memoir I was re-reading last night. He'd left the company by the time of their adaptation of R.D. Laing's Knots (1970) and thus does not appear in the 1975 film which seems to have been their only record in motion, leaving me once again with strictly photographic evidence of this sort of reverse supergroup experiment in democratic theater. (Shepherd at far right resembles a pre-Raphaelite pin-up in jeans, but I like to think if I had Caroline Blakiston's arm round my shoulders I wouldn't look that brooding about it.) Then again, I missed most of his film and famous television work, too: my reaction to his death is derived entirely from his astonishing Renfield in the BBC Count Dracula (1977), who holds more than a candle to the icons of Dwight Frye or Pablo Álvarez Rubio, a heartbreakingly weird and human performance of a character who may not be entirely sane in a world with vampires in it, which doesn't mean he's not to be trusted about them. I loved how much of his lucidity can be missed between his Victorian hysteria and his careful impersonation of a reformed lunatic which is not always and for good reason convincing. I loved his kiss of Judi Bowker's Mina, not his master's initatory drink, but a damned soul's benison, the offering of his life. Not just because he became my default horror icon, I thought about him more than any other character from that sometimes surprisingly faithful adaptation. His actor had such a knack in that role for the liminal, death seems on some level too definite to believe.
[syndicated profile] quomodocumque_feed

Posted by JSE

They asked me to do this piece as part of their series on great American immigrants. (Sorry, but it looks like this is paywalled for non-subscribers; I can’t see it, at any rate.)

It was fun to write, especially to get a chance to push back on the idea of von Neumann as a space alien who humans could barely comprehend. The real guy was fully human and much more interesting. There was a part I wanted to put in about how von Neumann’s late essay “Can We Survive Technology?” has a lot in common with the introduction to the Communist Manifesto, despite von Neumann’s vigorous anti-Communism. But I ran out of room and time. Maybe later!

[syndicated profile] reactor_feed

Posted by Vanessa Armstrong

News Assassin’s Creed

Netflix’s Assassin’s Creed Series Snags Eden Actor Toby Wallace in Leading Role

What that role is, exactly, remains to be seen.

By

Published on November 25, 2025

Photo: Bryan Berlin via Wikimedia Commons/Ubisoft

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/">https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832266">https://reactormag.com/?p=832266</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/assassins-creed/" class="inline-block link-no-animation" aria-label="Link to term or tag Assassin&#39;s Creed 1"> Assassin&#8217;s Creed </a> </span> </div> <h2 class="post-hero-title text-h1">Netflix&#8217;s <i>Assassin’s Creed</i> Series Snags <i>Eden</i> Actor Toby Wallace in Leading Role</h2> <div class="prose post-hero-description prose--post-hero">What that role is, exactly, remains to be seen.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Photo: Bryan Berlin via Wikimedia Commons/Ubisoft</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 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15.1976 7.89971 13.31 6.34171 11.7513C4.78371 10.1926 2.89605 9.41364 0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img fetchpriority="high" decoding="async" width="740" height="408" src="https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-740x408.jpg" class="w-full object-cover" alt="Toby Wallace Assassin&#39;s Creed" srcset="https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-740x408.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-1100x607.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-768x424.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-1536x847.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Toby-Wallace-Assassins-Creed-2048x1130.jpg 2048w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Photo: Bryan Berlin via Wikimedia Commons/Ubisoft</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>The <em>Assassin’s Creed </em><a href="https://reactormag.com/netflix-assassins-creed-series/" target="_blank" rel="noreferrer noopener">live-action television series</a> is moving ahead at Netflix, five years after the company signed a deal with video game company Ubisoft. Today the streamer announced that Toby Wallace is the first actor officially attached to the project.</p> <p>Wallace, whose credits include the movies <em>Eden </em>and <em>The Bikeriders</em>, as well as <em>The Society </em>and the upcoming season of <em>Euphoria</em>, is set to be a series regular and will apparently be a co-lead on the show. Who, exactly, Wallace is playing is unknown. <em><a href="https://deadline.com/2025/11/assassins-creed-toby-wallace-cast-netflix-series-1236628211/" target="_blank" rel="noreferrer noopener">Deadline</a></em> reports that the leads will be characters “said to be different from the games,” and that we’ll follow them “across pivotal historical events as they battle to shape humanity’s destiny.”</p> <p>The series is based on the popular video game franchise. In it, two factions—the Order of Assassins and the Templars (yes, those Templars)—are in an eons-long struggle to control humanity. The Assassins want to keep free will, while the Templars want to control and manipulate humankind’s future. In our near future, people with Assassin ancestry (which is a thing, I guess), with the help of technology, are able to relive their genetic ancestors&#8217; lives in a simulation called the Animus. Doing so will help them win this war, in part because it helps them gather what are called “pieces of Eden,” technology from beings that used to live on Earth before they were completely wiped out by a solar flare. Gathering these artifacts allows the Assassins to gather info on the Templars, counter their plans, and protect their secrets. And so on.</p> <p>But back to Wallace: given he’s a co-lead, odds are good he’ll either be playing an assassin in the near future who relives his ancestors’ memories, or he’s one of the ancestors in another time period. Or perhaps he’s the antagonist and a member of the Templars. Who knows!</p> <p>What we do know is that production on the series is set to start in Italy in 2026, and that location serves as the setting for the first season. The show is also led by Roberto Patino and David Wiener, with Patino working on <em>Westworld </em>and <em>DMZ</em>, and Wiener showrunning the second season of Paramount+’s <em>Halo.</em></p> <p>No news yet on when the <em>Assassin’s Creed</em> show will make its way to Netflix. [end-mark]</p> <p>The post <a href="https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/">Netflix&#8217;s &lt;i&gt;Assassin’s Creed&lt;/i&gt; Series Snags &lt;i&gt;Eden&lt;/i&gt; Actor Toby Wallace in Leading Role</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/">https://reactormag.com/netflixs-assassins-creed-series-toby-wallace-cast/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832266">https://reactormag.com/?p=832266</a></p>
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Posted by Vanessa Armstrong

News Wednesday

Wednesday Season 3 Cast Adds Eva Green as Morticia’s Sister, Ophelia Frump

We saw a glimpse of Aunt Ophelia at the end of Wednesday’s second season.

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Published on November 25, 2025

Screenshot: Showtime

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/">https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832236">https://reactormag.com/?p=832236</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/wednesday/" class="inline-block link-no-animation" aria-label="Link to term or tag Wednesday 1"> Wednesday </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Wednesday</i> Season 3 Cast Adds Eva Green as Morticia’s Sister, Ophelia Frump</h2> <div class="prose post-hero-description prose--post-hero">We saw a glimpse of Aunt Ophelia at the end of Wednesday&#8217;s second season.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Screenshot: Showtime</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 1.3 1.3v10.8a1.3 1.3 0 0 1-1.3 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0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="495" src="https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful-740x495.jpg" class="w-full object-cover" alt="Eva Green in Penny Dreadful" srcset="https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful-740x495.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful-1100x736.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful-768x514.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful-1536x1028.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/penny-dreadful.jpg 2000w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Screenshot: Showtime</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>The <a href="https://reactormag.com/wednesday-season-2-trailer-part-2-release-date-lady-gaga/" target="_blank" rel="noreferrer noopener">second season of Netflix’s <em>Wednesday</em></a> revealed that Wednesday’s mother, Morticia, has a troubled sister named Ophelia.</p> <p>With the <a href="https://reactormag.com/wednesday-season-three-renewal/" target="_blank" rel="noreferrer noopener">third season of the show moving ahead</a>, we now have news on who will play Wednesday’s mysterious aunt. According to <em><a href="https://deadline.com/2025/11/eva-green-wednesday-season-3-aunt-ophelia-1236628133/" target="_blank" rel="noreferrer noopener">Deadline</a></em>, Eva Green, whose previous credits include starring as Vanessa in <em>Penny Dreadful </em>(pictured above) and Miss Peregrine in <em>Miss Peregrine’s Home for Peculiar Children</em>, will take on the part.</p> <p>Aunt Ophelia will be a series regular for season three. We saw the character briefly from the back in the show’s season two finale, where she was writing “Wednesday must die” in her own blood in the basement of Hester’s mansion, where she is apparently imprisoned. Ophelia Frump (who some thought might have been Lady Gaga’s character in disguise) has blond hair in contrast with her sister’s dark tresses. She also has psychic abilities, just like her niece. Wednesday has a vision of her, in fact, in season two, when she reads her aunt’s journal.</p> <p>The casting news is exciting, and sees Green return to the genre space after <a href="https://reactormag.com/its-time-to-reevaluate-penny-dreadful-a-misunderstood-gothic-masterpiece/" target="_blank" rel="noreferrer noopener">her award-winning role in <em>Penny Dreadful</em></a> (a series well worth a watch if you haven’t seen it yet). It’s not clear when the season will go into production, which means we also don’t have news on when season three of <em>Wednesday</em> will make its way to Netflix. [end-mark]</p> <p>The post <a href="https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/">&lt;i&gt;Wednesday&lt;/i&gt; Season 3 Cast Adds Eva Green as Morticia’s Sister, Ophelia Frump</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/">https://reactormag.com/wednesday-season-3-cast-eva-green-ophelia-frump/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832236">https://reactormag.com/?p=832236</a></p>

emotional support coding

Nov. 25th, 2025 01:43 pm
yhlee: Alto clef and whole note (middle C). (Default)
[personal profile] yhlee
Lee Brodie's Starting FORTH, on the Forth programming language; m5stack Cardputer v.1.1 running ryu10's M5CardForth (Github)

I have Forth (programming language - see e.g. Leo Brodie's Starting Forth) running on this smol M5stack Cardputer v.1.1 (ESP32-S3) courtesy of ryu10's M5CardForth, which is also faster than my spending the next decade teaching myself ESP32-S3 assembler. :)

Next step: write a very smol choose-your-own-adventure-style text adventure in Forth.

Next step after that: ???

Next step after that: Considering porting either the Shuos Academy text adventure WIP [1] or Winterstrike (originally written for Failbetter Games for StoryNexus, which will be sunsetted by Jan 2026) to M5CardForth for the CardPuter because I am a TROLL. It could be a dumbass household game experience. :) :)

Heck, I could port some version of turnabout's fair prey or The Amiable Planet (Twine) to this! I love the thought of making TINY parser IF / text adventures for this smol device.

(All of these are my games. I give myself permission?!)

[1] I was writing/coding this for Choice of Games but we mutually agreed to cancel the contract because I was flooded out that year and it was no longer a doable workload alongside...finding new housing etc. I still have like 60% of the codebase already written in ChoiceScript and outline, though! I'd have to refactor but hell, I'd have to refactor anything. I can pretend it's pseudocode. :)

(I need a break from the current schoolwork, what can I say.)
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Posted by Emmet Asher-Perrin

There is a lot of entertainment out there these days, and a lot of fantasy, sci-fi, and horror titles to parse through. So we’re rounding up the genre movies coming out each month

Several horror movies hit theaters this month, including a sequel to Five Nights at Freddy’s and a reboot of an 80s slasher classic. The newest Avatar (the blue people, not the cartoon) movie also comes out.

Troll 2 — on Netflix December 1

What’s better than one giant ancient troll awakening in the Scandinavian wilderness and wreaking havoc upon the landscape? Two giant ancient trolls. Netflix’s original Norwegian monster epic became the most popular non-English language film when it released on the streaming service in 2021. The main cast returns for the sequel.

Five Nights at Freddy’s 2 — in theaters December 5

Based on the popular horror video game franchise of the same name, Five Nights at Freddy’s 2 takes place one year after the events of the first film. In the first movie, security guard Mike (Josh Hutcherson) spent five nights running from a group of haunted animatronics at an abandoned pizzeria. But his sister befriended the animatronics, so in this new movie she sneaks right back in. Five Nights at Freddy’s 2 will dive deeper into the origin of the pizzeria.

Dust Bunny — in theaters December 12

Mads Mikkelsen stars as a hitman for hire, who is asked by his young neighbor Aurora to kill the monster that lives under her bed. Aurora is convinced that the monster has eaten her family, but the hitman is pretty sure that her parents were killed by some rivals who actually meant to take him out. Dust Bunny comes from Hannibal and Pushing Daisies showrunner Bryan Fuller.

Silent Night, Deadly Night — in theaters December 12

A remake of the 1984 horror film of the same name, Silent Night, Deadly Night follows Billy Campbell, a murderer on who goes on a Christmas killing spree while dressed as Santa Claus. The original 80s movie spawned five installments. There was already a reboot in 2012, but it didn’t have much commercial success.

Resurrection — in select theaters December 12

In a future where humanity has lost the ability to dream, a woman dives into the dreams of a strange inhuman creature. She uses her ability to perceive illusions to figure out the creature’s visions of Chinese history. This surreal Chinese-language sci-fi drama is broken into six chapters, each representing one of the five senses (plus “the mind”).

Avatar: Fire and Ash — in theaters December 19

Return to the world of Pandora in the newest installment of James Cameron’s sweeping sci-fi epic. Last time, the Sully family learned the way of water by spending time with an aquatic Na’vi clan. This time, they go to the Fire Nation—wait, wrong Avatar. Ahem. This time, they visit an aggressive tribe of Na’vi known as the Ash people, who live alongside a volcano.

The SpongeBob Movie: Search for SquarePants — in theaters December 19

This is the fourth theatrical SpongeBob movie, following 2020’s Sponge on the Run. In this one, the ineffably cheerful sponge wants to prove his bravery to his miserly boss Mr. Krabs. So he travels to the deepest darkest depths of the ocean, in search of the Flying Dutchman.

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The post Here Are All the Genre Movies Premiering in December! appeared first on Reactor.

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Posted by Emmet Asher-Perrin

There is a lot of entertainment out there these days, and a lot of fantasy, sci-fi, and horror titles to parse through. So we’re rounding up the genre shows coming out each month

December might not have a lot of new genre shows coming out, but the ones that are premiering are all heavy-hitters. There are some highly anticipated shows returning, like Percy Jackson and the Olympians and Fallout. And Stranger Things ends, at long last! Yes, it also ended last month, but that was just part one of the ending. This time it’s for real!

Percy Jackson and the Olympians — Disney+ (December 10)

(Season 2) The second season of Disney’s Percy Jackson show adapts the second book in Rick Riordan’s Greek mythology middle grade series. Percy sets out on a quest to rescue his best friend, Grover the satyr, and also heal the protective pine tree that guards Camp Half-Blood. Along with Annabeth, daughter of Athena; Tyson, Percy’s newly discovered half-brother; and Clarisse, daughter of Ares, Percy journeys to the dangerous Sea of Monsters to recover the legendary Golden Fleece.

Tomb Raider: The Legend of Lara Croft — Netflix (December 11)

(Season 2) Netflix’s animated Tomb Raider show concludes with this last season. It takes place after the Tomb Raider Survivor trilogy and serves to bridge that timeline with the original games. Hayley Atwell voices adventuring archaeologist Lara Croft. In the first season, Lara ventured to a mythological Chinese mountain range in search of a goddess.

Fallout — Prime Video (December 17)

(Season 2) It’s a good month for video game adaptations! After an apocalyptic nuclear war, the Earth has become a wasteland and most survivors live in underground bunkers. A young woman named Lucy leaves her home and looks for her father in the remnants of Los Angeles. In the second season, she ventures to New Vegas — a location in popular Fallout spinoff, Fallout: New Vegas.

Stranger Things — Netflix (December 25 and 31)

(Season 5, Parts 2 & 3) Finally! The last season of Stranger Things — which premieres on the Wednesday before Thanksgiving — concludes. And don’t get too comfortable on Christmas Day, because the finale actually comes out on New Year’s Eve. The fifth and final season takes place a year after the fourth one. And the core cast wants to finally put an end to the creatures from the Upside Down, but their plan gets complicated when the U.S. military arrives.

The Copenhagen Test — Peacock (December 27)

Simu Liu stars in this sci-fi spy thriller, where he plays an intelligence analyst who learns his brain has been hacked. He must figure out who hacked into his brain, while proving his loyalty and competence to his agency. But he must do all that while the hackers have access to his every move and conversation.

[end-mark]

The post Here Are All the Genre TV Premieres Airing in December! appeared first on Reactor.

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Posted by Vanessa Armstrong

News The Exorcist

Mike Flanagan’s Exorcist Movie Is Still Happening & Scarlett Johansson Is Starring

The film is reportedly different than anything we’ve seen so far in the franchise.

By

Published on November 25, 2025

Screenshot: Universal Pictures

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<p class="syndicationauthor">Posted by Vanessa Armstrong</p><p class="ljsyndicationlink"><a href="https://reactormag.com/mike-flanagans-exorcist-movie-scarlett-johansson-details-cast/">https://reactormag.com/mike-flanagans-exorcist-movie-scarlett-johansson-details-cast/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832206">https://reactormag.com/?p=832206</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/news/" class="inline-block link-no-animation" aria-label="Link to term or tag News 0"> News </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/the-exorcist/" class="inline-block link-no-animation" aria-label="Link to term or tag The Exorcist 1"> The Exorcist </a> </span> </div> <h2 class="post-hero-title text-h1">Mike Flanagan’s <i>Exorcist</i> Movie Is Still Happening &amp; Scarlett Johansson Is Starring</h2> <div class="prose post-hero-description prose--post-hero">The film is reportedly different than anything we&#8217;ve seen so far in the franchise.</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/vanessa-armstrong/" title="Posts by Vanessa Armstrong" class="author url fn" rel="author">Vanessa Armstrong</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div 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17.4143H14.6787ZM8.67871 17.4143C8.67871 15.1976 7.89971 13.31 6.34171 11.7513C4.78371 10.1926 2.89605 9.41364 0.678713 9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img decoding="async" width="740" height="493" src="https://reactormag.com/wp-content/uploads/2025/02/jurassic-world-rebirth-trailer-740x493.jpg" class="w-full object-cover" alt="Scarlett Johansson in Jurassic World Rebirth" srcset="https://reactormag.com/wp-content/uploads/2025/02/jurassic-world-rebirth-trailer-740x493.jpg 740w, https://reactormag.com/wp-content/uploads/2025/02/jurassic-world-rebirth-trailer-1100x733.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/02/jurassic-world-rebirth-trailer-768x512.jpg 768w, https://reactormag.com/wp-content/uploads/2025/02/jurassic-world-rebirth-trailer.jpg 1500w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Screenshot: Universal Pictures</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>It’s been a hot minute since news broke that Mike Flanagan would be <a href="https://reactormag.com/the-next-exorcist-movie-might-get-mike-flanagan-as-its-director/" target="_blank" rel="noreferrer noopener">spearheading a new <em>Exorcist </em>film</a>. The franchise was originally supposed to have a new trilogy kicked off by <em>Exorcist: Believer, </em>directed by David Gordon Green. That film didn’t fare well commercially or critically, as <a href="https://reactormag.com/the-exorcist-believer-exorcist-sequel-movie-review/" target="_blank" rel="noreferrer noopener">our review of the film attests</a>. After it was released, Green left the franchise and in May 2024, Flanagan reportedly stepped in.</p> <p>Originally, there was speculation that Flanagan would take over the planned trilogy. But that movie fell off Universal’s production schedule, suggesting that maybe Flanagan was no longer involved. We now have news, however, that Flanagan is still very much into the <em>Exorcist</em> universe, and has created a movie that, according to <a href="https://variety.com/2025/film/news/scarlett-johansson-exorcist-movie-1236591122/" target="_blank" rel="noreferrer noopener"><em>Variety</em></a>, is a “radical new take” on the franchise.</p> <p>Flanagan’s film—he wrote the script and will direct and produce—will not be a sequel to <em>Believer</em>. It will, however, be set in the same universe as the original 1973 film, <em>Exorcist</em>, where a young mother (Ellen Burstyn) seeks help from two Catholic priests in order to exorcise a demon that has possessed her twelve-year-old daughter (Linda Blair).</p> <p>But wait, there’s more: Scarlett Johansson is also set to star in Flanagan’s film in an undisclosed role. Flanagan released an anodyne statement about the casting—“Scarlett is a brilliant actress whose captivating performances always feel grounded and real, from genre films to summer blockbusters, and I couldn’t be happier to have her join this <em>Exorcist</em> film”—which doesn’t shed any additional light on the actor’s character. <a href="https://reactormag.com/scarlett-johansson-faces-two-dozen-species-of-mean-dinos-in-jurassic-world-rebirth/" target="_blank" rel="noreferrer noopener">Johansson, who just starred in the latest <em>Jurassic World</em> film,</a> is familiar with revitalizing a franchise. Let’s hope she’ll help do the same here.</p> <p>Will Johansson play the one possessed, or someone trying to exorcise someone else possessed? We don’t know! We don’t know anything yet about Flanagan’s script, in fact, other than that it’s different than anything we’ve seen in the franchise before. Given Flanagan’s bona fides—<em>Midnight Mass, Doctor Sleep, The Fall of the House of Usher—</em>I’m optimistic about what we’ll get. We’ll have to wait, however, to see what the movie has in store for us. [end-mark]</p> <p>The post <a href="https://reactormag.com/mike-flanagans-exorcist-movie-scarlett-johansson-details-cast/">Mike Flanagan’s &lt;i&gt;Exorcist&lt;/i&gt; Movie Is Still Happening &amp; Scarlett Johansson Is Starring</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/mike-flanagans-exorcist-movie-scarlett-johansson-details-cast/">https://reactormag.com/mike-flanagans-exorcist-movie-scarlett-johansson-details-cast/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832206">https://reactormag.com/?p=832206</a></p>

Wake Up Dead Man Is a Miraculous Film

Nov. 25th, 2025 06:30 pm
[syndicated profile] reactor_feed

Posted by Leah Schnelbach

Movies & TV Wake Up Dead Man: A Knives Out Mystery

Wake Up Dead Man Is a Miraculous Film

Faith AND Reason??? In THIS economy???

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Published on November 25, 2025

Credit: Netflix

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<p class="syndicationauthor">Posted by Leah Schnelbach</p><p class="ljsyndicationlink"><a href="https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/">https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=831959">https://reactormag.com/?p=831959</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/movies-tv/" class="inline-block link-no-animation" aria-label="Link to term or tag Movies &amp; TV 0"> Movies &amp; TV </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/wake-up-dead-man-a-knives-out-mystery/" class="inline-block link-no-animation" aria-label="Link to term or tag Wake Up Dead Man: A Knives Out Mystery 1"> Wake Up Dead Man: A Knives Out Mystery </a> </span> </div> <h2 class="post-hero-title text-h1"><i>Wake Up Dead Man</i> Is a Miraculous Film</h2> <div class="prose post-hero-description prose--post-hero">Faith AND Reason??? In THIS economy???</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/leah-schnelbach/" title="Posts by Leah Schnelbach" class="author url fn" rel="author">Leah Schnelbach</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Credit: Netflix</p> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] 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height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img loading="lazy" decoding="async" width="740" height="433" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-740x433.jpg" class="w-full object-cover" alt="Benoit Blanc (Daniel Craig) leans against a tree in a shaded graveyard in Wake Up Dead Man" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-740x433.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-1100x644.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-768x449.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-1536x899.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-1-2048x1199.jpg 2048w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Credit: Netflix</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>I love <em>Wake Up Dead Man</em>. It may not be the best of the three Benoit Blanc mysteries, but it<em> is</em> my favorite, and, unless something truly cinematically extraordinary happens in the next six weeks, it will tie with <em>Sinners</em> as my favorite film of the year.</p> <p>Because I’m lucky and live in a city that hosted some early screenings, I’ve already seen it twice in the theater, and I’ll be seeing it at least two more times before it hits Netflix on December 12<sup>th</sup>. (I don’t just love this movie, I <em>New-York-City-ticket-price </em>love this movie.) In my screenings there were choruses of “<em>WHAT</em>???”s and “Oh, <em>NO</em>!!!”s at relevant moments. During the first screening, I heard more laughter in the first hour than I have in most comedies I’ve been to lately; the second audience was so intent during the film’s third act that the air actually felt <em>thick</em>. If you’ve liked any of Rian Johnson’s previous work, and if <em>Wake Up Dead Man</em> is playing in a theater near you, you should try to see it in as packed a theater as is safe for you.</p> <p>Don&#8217;t worry, I won&#8217;t be getting into spoilers in this review—but come back for a full spoiler discussion in December, once <em><em>Wake Up Dead Man</em></em> is available to everyone on Netflix.</p> <p><em>Wake Up Dead Man</em> is two movies grafted together—I think one works slightly better than the other, but they’re both extremely good, hilarious, <em>relevant</em>, and moving. One side of the movie is another excellent Benoit Blanc whodunnit, one of the locked room (locked tomb?) variety—full of twists, betrayals, reversals, and clues. The other is a nuanced conversation between faith and reason, in which both are treated fairly and respectfully—saying too much on this part of the plot will get us into spoilers, so I&#8217;ll revisit it in December. </p> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="620" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-1100x620.jpg" alt="Josh O’Connor as Father Jud Duplenticy in Wake Up Dead Man" class="wp-image-832141" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-1100x620.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-740x417.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-768x433.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-1536x866.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-2-2048x1154.jpg 2048w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Netflix</figcaption></figure> <p>Also, before I get into it, there is a line in this film, that—OK. Do you remember a few years ago, <a href="https://variety.com/2022/film/news/guillermo-del-toro-defends-martin-scorsese-offensive-essay-1235396271/" target="_blank" rel="noreferrer noopener">when Guillermo del Toro said</a>: “if God offered to shorten my life to lengthen [Martin] Scorsese’s—I’d take the deal”? There is a line in <em>this</em> film that I would, with zero hesitation, <em>give up a decade of my life to have written</em>. I didn’t even<em> laugh</em> when I heard it—my brain shorted out and I made some sort of horrifying guttural <em>choke</em>, and I missed the following lines because I was stunned at how good and concise it was, and how much it told us about the character who said it. (Oh, and on the off chance God reads the site: I’ll see del Toro and raise him as far as the Scorsese deal goes.) And to be clear: <em>that line isn’t even the best one in the movie</em>. It’s a throwaway gag—but it’s a throwaway gag <em>that I might get tattooed on me</em> in the near future.</p> <p>With that out of the way:</p> <p>I loved both of the prior Benoit Blanc mysteries for different reasons. The autumnal, cozy, warm-sweater-with-a-hole-in-it vibe of the first <em>Knives Out</em> was precisely my jam, but I also love the sun-drenched satire of <em>Glass Onion</em>—I know it has its detractors, but I admire a movie that tells you its plan and then <em>goes for it</em>. The latest entry is more ground-level than the second one. The story swirls around the congregation of a conservative Catholic Church. While most of them are upper middle class, we’re not on somebody’s private island, just a lovely village in Upstate New York. The mystery itself is the culmination of a dark, almost gothic story of religious mania, parental abuse, and sexual repression that has become a legend in the town.</p> <p>Father Jud Duplenticy (Josh O’Connor) is sent to assist Monsignor Jefferson Wicks (Josh Brolin) at Our Lady of Perpetual Fortitude. He quickly finds that the Monsignor (who insists on being called “Monsignor”, not “Father”—which tells you a lot about the man) has used his strong personality and fiery sermons to inspire cult-like devotion in his congregation. They’re not happy that Father Jud has joined them; they seem him as too soft, and they distrust his openness and empathy.</p> <p>The congregation consists of: Vera Draven (Kerry Washington), a successful lawyer,;her adopted son, Cy (Daryl McCormack); Lee Ross (Andrew Scott), a sci-fi writer whose popularity has fallen off a cliff as he’s become increasingly conservative and paranoid; Dr. Nat Sharp (Jeremy Renner), the town doctor who is extremely depressed about his recent divorce; Simone Vivane (Cailee Spaeny), a cellist with chronic pain issues who looks to Monsignor Jefferson Wicks for healing; Samson Holt (Thomas Haden Church), the parish groundskeeper; and Martha Delacroix (Glenn Close), the parish administrator who was practically raised by Wicks’ father, and who knows everything about everyone.</p> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="625" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-1100x625.jpg" alt="Glenn Close as Martha Delacroix in Wake Up Dead Man" class="wp-image-832143" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-1100x625.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-740x421.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-768x436.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-1536x873.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-4-2048x1164.jpg 2048w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Netflix</figcaption></figure> <p>By the time the murder happens, almost everyone in that list has a motive, but given the locked room nature of the crime, most of them did not have the opportunity.</p> <p>It goes without saying that the cast is excellent, but I’ll say it anyway—they’re all fantastic. Glenn Close in particular is mesmerizing, layering in real obsession under what at first seems like a prim church lady stereotype, and I will once again voice my hope that this is finally her year at the Oscars. Kerry Washington gets an incredible burn-it-all-down speech that is one of my favorite moments in the movie. And once again, Rian Johnson is astonishingly good at skewing a particular archetype of online bro from a bunch of angles, and Daryl McCormack is fabulous as dead-eyed wannabe politician Cy Draven, the incel Charizard to Rian Johnson&#8217;s earlier manosphere forms, Jacob Thrombey and Duke Cody.</p> <p>But really this movie is about a trinity: Josh Brolin’s Monsignor Wicks, Daniel Craig’s Benoit Blanc, and Josh O’Connor’s Father Jud. Brolin is transcendently shitty as Wicks, performing exactly the kind of arrogant, bigoted, wild-eyed blowhard who could create a conservative cult, while also showing us (and, occasionally, Father Jud) that it<em> is</em> a performance.</p> <p>I think this is Craig’s best turn yet as Benoit Blanc. He’s given a chance to shade in a little more backstory, and he runs with it, layering years of repressed emotion into a few lines (and seeding the emotional punches at the end of the film perfectly) while also still having fun—absolutely impeccable comedic timing.</p> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="627" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-1100x627.jpg" alt="Daniel Craig as Benoit Blanc in Wake Up Dead Man" class="wp-image-832144" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-1100x627.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-740x422.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-768x438.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-1536x876.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-3-2048x1168.jpg 2048w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Netflix</figcaption></figure> <p>But as good as everyone is, these movies really live or die by their protagonists, and it brings me great joy to say that Father Jud is a worthy successor to Marta and Helen, and that Josh O’Connor is perfect in the role.&nbsp; Father Jud is a difficult role—play it too straight and you’re a naif walking into a propeller, but add any snark, like <em>any</em> snark, and you undercut Jud’s extraordinary humanism. Go too broad and you make him pathetic, make him too cool and you lose the desperation of the plight he’s in. Everything he does feels true—there are moments where Father Jud and Blanc are practically a comedy double act, and he’s perfect; there are moments when he has to be so vulnerable and raw it’s genuinely <em>hard to watch</em>, and he’s perfect. I think Josh O’Connor might be my favorite actor at the moment, and there was not one moment in this film where I caught him acting.</p> <p>As has been discussed many times, part of the fun of the movies is that when we meet Benoit Blanc, a tall, handsome, blonde Southern man, a detective who is himself the son of a police chief—he seems, at first, like a pretty establishment type of person. But he turns out to be wildly empathetic and sensitive, he loves Sondheim, and he’s in this game for the truth, not to buttress the powerful. In the second film we learn that he’s queer, and living with a man named Philip, played by Hugh Grant. (In the new one we learn a <em>little</em> more about his background, a hint that his childhood may not have been exactly idyllic, and more slots into place—but he is still a mystery. We only know a few more things about him by the end, which is as it should be.) But my point is that this man, who could coast on his brains and his looks, is instead driven in his pursuit of the truth. In the first two films, as plenty of people have pointed out, he acts as a mentor and support beam to two young women of color who have been put in impossible, tragic situations by powerful white people. This one breaks that pattern to an extent. Instead of a vulnerable young woman, we get Father Jud, placed in an impossible, tragic situation by a more powerful white person in the form of Monsignor Jefferson Wicks.</p> <p>This is a locked room mystery. Plot-wise, it draws a bit on <em>The Hollow Man</em> by John Dickson Carr (published as <em>The Three Coffins</em> in the U.S.); tonally, there’s a heavy strain of Edgar Allan Poe. Benoit Blanc refers to the congregation as a flock of wicked wolves and he is not exaggerating—there’s a lot of dark stuff happening here. The central murder is seemingly impossible, and other violence follows. There are moments where the film almost tips into horror.</p> <p>Johnson has talked about trying to play fair with the audience. I can’t speak as well to this because I <em>never</em> figure mysteries out—in all of my time reading and watching them, I’ve literally only figured the killer out ahead of time once, and even then I didn’t see it until a few pages before the detective. I will say that this one seems a <em>little</em> more convoluted than the other two films, but when I watched the second time I noticed each detail, and the mystery does definitely make sense, and the clues are shown to the audience—it’s a just a more tangled web this time around.</p> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="627" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-1100x627.jpg" alt="Josh Brolin as Monsignor Jefferson Wicks in Wake Up Dead Man" class="wp-image-832145" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-1100x627.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-740x422.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-768x438.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-1536x876.jpg 1536w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-5-2048x1168.jpg 2048w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Netflix</figcaption></figure> <p>Nathan Johnson’s score is fabulous, and visually this movie is gorgeous. The sets, by Rick Heinrichs, are fantastic—especially the church with its <em>Moby Dick</em>-inspired pulpit. Once again Steve Yedlin makes everything glow, and the use of shadow and light are really pretty, but also thematically meaningful.</p> <p>(Also, in two instances, the use of light made me cry.)</p> <p>My one, very small, critique, is that they shouldn’t be marketing this film as the ensemble the two previous films were. The supporting cast is incredible, and everyone gets some juicy moments, but this movie really turns on the interactions of Monsignor Wicks, Father Jud, and Blanc. I’m only mentioning that critique here in the non-spoiler review because if you go into this expecting it to be as much of an acting hacky sack game as <em>Glass Onion</em> was, you might be a little disappointed—but again, the story between the main three characters is so good I didn’t much care.</p> <p>Now about that second movie.</p> <p>The actual reason I brought God up at the top of this review (other than my love for Mr. Martin Scorsese) is that this film is about battling interpretations of religion.</p> <p>Each of the Benoit Blanc mysteries is named after a song that becomes relevant to the film’s theme. This time out Johnson is homaging two songs: a Pete Seeger cover of a Leadbelly song that has a line about a dead man waking up, and a U2 song called “<a href="https://www.youtube.com/watch?v=xRI6cffvcO8" target="_blank" rel="noreferrer noopener">Wake Up Dead Man</a><em>”</em> (one of their strongest, I think, despite a guitar riff I detest), which is essentially Bono spitting accusations and occasional pleas at Jesus. It’s harsh, and unique in their oeuvre for ending on a note of ambiguity rather than faith.</p> <p>It’s an interesting choice for a title.</p> <p>Johnson has talked about this film being personal to him, and that it’s informed by the serious Christian faith he had in his younger days, and the fact that he does not have that faith now. He’s said that he wanted to see if a serious conversation about faith could fit inside of a murder mystery. But what I loved here is that this<em> is</em> a conversation. <em>Wake Up Dead Man</em> isn’t someone beating you about the head with their faith, <em>or</em> with the idea that faith is wrong. Two characters in particular stand on opposite sides of the faith/reason divide, and they treat each other with deep respect and affection—they simply don’t agree. But to be clear, this never becomes an argument between a character who reps “Faith” and one who has “Reason” emblazoned across their forehead—there are a lot of different strains and personal interpretations of Christianity roiling around the congregation of Our Lady of Perpetual Fortitude, and those all get time to argue with each other, as well.</p> <p>Johnson understands that none of this is a monolith. And he also understands that unless we start having real conversations with each other about this stuff—conversations, not hate crimes and personal attacks—we’re, uhhhh, <em>fucked</em>.</p> <p>Father Jud, Monsignor Wicks, and the members of the congregation would say they all believe in the same God, but in actuality there are a lot of different interpretations of the Divine getting thrown around Our Lady of Perpetual Fortitude—and that’s before we even get to the <em>non</em>-believers.</p> <figure class="wp-block-image aligncenter size-large"><img loading="lazy" decoding="async" width="1100" height="628" src="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-6-1100x628.jpg" alt="Josh O’Connor as Father Jud Duplenticy and Daniel Craig as Benoit Blanc in Wake Up Dead Man" class="wp-image-832146" srcset="https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-6-1100x628.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-6-740x422.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-6-768x438.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/Wake-Up-Dead-Man-6.jpg 1525w" sizes="auto, (max-width: 1100px) 100vw, 1100px" /><figcaption class="wp-element-caption">Credit: Netflix</figcaption></figure> <p><em>Wake Up Dead Man</em> is a conversation about faith and reason, and within that, a conversation about different types of faith. And that’s just it, it’s a <em>conversation</em>. Not a “debate.” Not one smirking arrogant privileged dude in a chair waving hypotheticals and bad faith around like a Spencer’s Gifts novelty sword, surrounded by people who are desperately trying to make him understand that they’re real people, not straw people for him to “pwn”.</p> <p>But here’s the<em> other</em> other thing. Nobody gets “pwned” here. (Well, except maybe the dead guy.) Father Jud and Benoit Blanc don’t agree on a couple things, but they respect each other, and they like each other, and they’re each able to give the other space to be.</p> <p>The film hinges on the ideas of grace and forgiveness. The film believes that everyone deserves them. And here’s the thing: <em>the film is correct</em>. That line up there, about the dude with the novelty sword? Good line, right? Funny, sharp (heh), shows my opinion pretty clearly. But that dude in the chair deserves forgiveness and grace as much as all the people surrounding him. As much as you, as much as me.&nbsp; And that isn’t even a religious thing, by the way, though it can be read that way. That’s just human. Humans are the ones who extend forgiveness and grace to each other in this world—if there’s some other cosmic element to it, cool, whatever, but that doesn’t invalidate the version we have here on the ground.</p> <p>Rian Johnson has created a film with real emotional depth that still functions as an entertaining, twisty, mystery. But he gives the film a separate engine by focusing on this idea of grace as well as the mystery itself. <em>Wake Up Dead Man</em> gives its audience all the fun of gathering clues, side-eyeing potential killers, and watching Blanc muse and pontificate, but by focusing on Father Jud’s need to fulfill his calling as a priest, I think Johnson has also written a story that will be worth returning to for its ideas, and its deep commitment to empathy for even its most broken characters.[end-mark]</p> <p>The post <a href="https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/">&lt;i&gt;Wake Up Dead Man&lt;/i&gt; Is a Miraculous Film</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/">https://reactormag.com/movie-review-wake-up-dead-man-knives-out-benoit-blanc-mystery-non-spoiler/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=831959">https://reactormag.com/?p=831959</a></p>
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Books Front Lines and Frontiers

Under the Sea: The Deep Range by Arthur C. Clarke

Saddle up, whaleboys!

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Published on November 25, 2025

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/">https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832151">https://reactormag.com/?p=832151</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-vertical"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/front-lines-and-frontiers/" class="inline-block link-no-animation" aria-label="Link to term or tag Front Lines and Frontiers 1"> Front Lines and Frontiers </a> </span> </div> <h2 class="post-hero-title text-h1">Under the Sea: <i>The Deep Range</i> by Arthur C. Clarke</h2> <div class="prose post-hero-description prose--post-hero">Saddle up, whaleboys!</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/alan-brown/" title="Posts by Alan Brown" class="author url fn" rel="author">Alan Brown</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> <div class="flex gap-[30px] tablet:gap-6"> <a href="https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/#comments" class="flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase translate-x-[1px] translate-y-[1px]"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 18 18" aria-label="comment" role="img" aria-hidden="true" aria-labelledby="icon-comment-quick-access-"> <title id="icon-comment-quick-access-">Comment</title> <g fill="none" fill-rule="evenodd"> <path fill="#FFF" fill-rule="nonzero" d="M6.3 18a.9.9 0 0 1-.9-.9v-2.7H1.8A1.8 1.8 0 0 1 0 12.6V1.8A1.8 1.8 0 0 1 1.8 0h14.4A1.8 1.8 0 0 1 18 1.8v10.8a1.8 1.8 0 0 1-1.8 1.8h-5.49l-3.33 3.339a.917.917 0 0 1-.63.261H6.3Z" /> <path stroke="#000" d="M5.9 14.4v-.5H1.8a1.3 1.3 0 0 1-1.3-1.3V1.8A1.3 1.3 0 0 1 1.8.5h14.4a1.3 1.3 0 0 1 1.3 1.3v10.8a1.3 1.3 0 0 1-1.3 1.3h-5.698l-.146.147-3.324 3.333a.417.417 0 0 1-.282.12H6.3a.4.4 0 0 1-.4-.4v-2.7Z" /> </g> </svg> 0 </a> <details class="relative quick-access-details"> <summary class="quick-access-share flex items-center text-sm font-aktiv tracking-[0.6px] font-semibold uppercase"> <svg class="w-[22px] h-[22px] mr-[7px] icon-hover" viewbox="0 0 22 22" aria-label="share" role="img" aria-hidden="true" aria-labelledby="icon-share-new-quick-access-"> <title id="icon-share-new-quick-access-">Share New</title> <g fill="none" fill-rule="evenodd"> <circle cx="11" cy="11" r="11" fill="#FFF" fill-rule="nonzero" /> <circle cx="11" cy="11" r="10.5" stroke="#000" /> <path fill="#FFF" d="M5.993 13.464c.675 0 1.323-.266 1.806-.743l4.11 2.396a2.639 2.639 0 0 0 .368 2.451 2.583 2.583 0 0 0 2.227 1.043 2.59 2.59 0 0 0 2.09-1.3 2.64 2.64 0 0 0 .08-2.477 2.58 2.58 0 0 0-4.292-.54L8.344 11.94c.28-.616.31-1.319.086-1.958l3.952-2.303a2.564 2.564 0 0 0 4.263-.537 2.623 2.623 0 0 0-.078-2.46 2.573 2.573 0 0 0-2.075-1.293 2.566 2.566 0 0 0-2.213 1.033 2.622 2.622 0 0 0-.37 2.433L7.96 9.158a2.573 2.573 0 0 0-4.316.603 2.632 2.632 0 0 0 .172 2.501 2.58 2.58 0 0 0 2.178 1.202Z" /> <path fill="#000" d="M6.936 9.577c.322 0 .631.137.859.383.228.245.355.577.355.924 0 .347-.127.68-.355.925a1.172 1.172 0 0 1-.859.383c-.322 0-.63-.138-.858-.383a1.36 1.36 0 0 1-.356-.925c0-.347.129-.679.356-.924.228-.245.536-.383.858-.383Zm6.17-3.837c.323 0 .631.138.86.383.227.245.355.578.355.924 0 .347-.128.68-.356.925a1.172 1.172 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.924.227-.245.536-.383.858-.383Zm0 7.883c.323 0 .631.138.86.383.227.245.355.578.355.925 0 .346-.128.679-.356.924a1.171 1.171 0 0 1-.858.383c-.322 0-.631-.138-.859-.383a1.36 1.36 0 0 1-.355-.925c0-.346.128-.678.356-.923.227-.245.536-.383.858-.384Zm-6.17-.681c.499 0 .978-.21 1.334-.586l3.036 1.888a2.194 2.194 0 0 0 .272 1.93c.385.555 1.003.863 1.645.822.641-.04 1.221-.425 1.544-1.024a2.203 2.203 0 0 0 .059-1.952c-.286-.62-.841-1.044-1.48-1.13-.637-.085-1.272.18-1.69.705l-2.984-1.854c.207-.486.23-1.04.064-1.543l2.92-1.815c.415.522 1.046.784 1.68.7.633-.086 1.184-.507 1.468-1.123a2.188 2.188 0 0 0-.058-1.938c-.32-.595-.895-.977-1.532-1.018-.638-.041-1.251.264-1.635.813a2.179 2.179 0 0 0-.273 1.917L8.389 9.55c-.423-.534-1.07-.798-1.715-.702-.645.096-1.2.54-1.472 1.177a2.194 2.194 0 0 0 .126 1.97c.352.59.958.948 1.61.947Z" /> </g> </svg> Share </summary> <div class="quick-access-bubble"> <ul class="flex gap-6 text-black list-none"> <li class="flex"> <a class="flex items-center hover:text-red" href="https://twitter.com/intent/tweet?text=Under the Sea: &lt;i&gt;The Deep Range&lt;/i&gt; by Arthur C. 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fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img loading="lazy" decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2025/11/deep-range-header-740x407.jpg" class="w-full object-cover" alt="cover of The Deep Range by Arthur C Clarke" srcset="https://reactormag.com/wp-content/uploads/2025/11/deep-range-header-740x407.jpg 740w, https://reactormag.com/wp-content/uploads/2025/11/deep-range-header-1100x605.jpg 1100w, https://reactormag.com/wp-content/uploads/2025/11/deep-range-header-768x422.jpg 768w, https://reactormag.com/wp-content/uploads/2025/11/deep-range-header.jpg 1400w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>In this <a href="http://www.tor.com/tag/front-lines-and-frontiers/" target="_blank" rel="noreferrer noopener">bi-weekly series</a> reviewing classic science fiction and fantasy books, Alan Brown looks at the front lines and frontiers of the field; books about soldiers and spacers, scientists and engineers, explorers and adventurers. Stories full of what Shakespeare used to refer to as “alarums and excursions”: battles, chases, clashes, and the stuff of excitement.</p> <hr class="wp-block-separator has-alpha-channel-opacity" /> <p>While Arthur C. Clarke is more widely known for his books set in space, he also had a deep and abiding love for the sea, was an avid diver, and wrote many works that featured life on and under the oceans. Among the best of these is 1957’s<em> The Deep Range</em>.</p> <p>When I was searching my basement recently for books to review, I found two used copies of <em>The Deep Range</em>, which shows that while I hadn’t read the book yet, I had been intending to for quite some time—long enough for me to buy a copy, forget about it, and then buy another copy. The copy I used for this review is a Signet paperback reprint. While the copyright page states the first paperback edition came out in 1958, the $1.25 cover price would put this edition’s publication date somewhere in the mid-1970s.The uncredited cover painting features two divers who appear to be coming to the aid of a small white submarine caught in the tentacles of a gigantic sea creature.</p> <p>The book is divided into three parts. The first, “The Apprentice,” follows Walter Franklin as he learns the ropes of being a “whaleboy” (a play on the term “cowboy”). The second part, “The Warden,” follows him as he moves up the ranks and explores the secrets of the deep. And the third, “The Bureaucrat,” follows his career as a senior official, grappling with issues like the morality of using whales as a food source. And that moral dilemma is the biggest element where the book was overtaken by events in the real world. The mid-20<sup>th</sup> century was a time when scientists were convinced that the population would outgrow available food sources, and speculated that reaping more food from the sea was one way the shortfall could be mitigated. But in our real world, innovations that increased crop yields prevented the worst-case scenarios, and environmental groups were able to turn public sentiment against whaling long before any attempts were made to harvest them for food on a large scale.</p> <p>There is a flippant comment on the title page, “All the characters in this story are fictitious except the giant Grouper in Chapter Three.” And sure enough, there is an encounter in that chapter that describes the fish in the kind of detail that can only be the result of an eyewitness account. This is not the only place in the narrative where it is clear Clarke is drawing on real-world experiences, as well as real-world enthusiasm. The description of the Whale Bureau training facility on the Great Barrier Reef off the coast of Australia, for example, is detailed and evocative. This gives the story an energy that is sometimes lacking in Clarke’s other works.</p> <p>The science and technology Clarke presents, as in all his books, is thoughtfully considered and plausible. He describes plastic air bottles that hold many times what today’s steel bottles can hold—a reminder that in the mid-20<sup>th</sup> century, newly developed plastic was seen as a miracle material. The whaleboys do most of their work in tiny one- or two-man scoutsubs, speedy little craft equipped with all sorts of devices for herding whales and dealing with undersea threats. The active sonars are many times more powerful than we have at our disposal, which allows the whaleboys to easily navigate the sometimes-murky waters. Whales are also kept in controlled feeding and breeding areas by “fences” of sonar emitters. With our current knowledge of the effects of active sonars on sea mammals, I suspect that devices like this would be maddening to the whales, but that was not something apparent in the time when Clarke was writing the book. He also describes automated atomic powerplants being used on the sea floor to heat the water, and promote the growth of algae and plankton in gigantic fields that are then collected by gigantic floating harvesters. That use of atomic power seems dubious to modern eyes, but nuclear fusion was another technology seen as marvelous in the mid-20th century.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>About the Author</strong></h3> <p>Arthur C. Clarke (1917-2008) was an English science fiction writer who spent his final years living in Sri Lanka. He is one of the most influential authors from the formative days of the science fiction genre; with Clarke, Robert Heinlein, and Isaac Asimov often referred to as science fiction’s Big Three. I have looked at Clarke’s work before in this column, having reviewed <a href="https://www.tor.com/2018/10/25/science-and-a-thrilling-space-rescue-a-fall-of-moondust-by-arthur-c-clarke/" target="_blank" rel="noreferrer noopener"><em>A Fall of Moondust</em></a>, <a href="https://www.tor.com/2021/03/18/hi-stranger-new-in-town-rendezvous-with-rama-by-arthur-c-clarke/" target="_blank" rel="noreferrer noopener"><em>Rendezvous With Rama</em></a>, and <a href="https://reactormag.com/a-science-fiction-writer-in-space-sands-of-mars-by-arthur-c-clarke/" target="_blank" rel="noreferrer noopener"><em>Sands of Mars</em></a>, and you can find more biographical information in those reviews. And among his many other books were classics like<em> Against the Fall of Night, Childhood’s End, 2001: A Space Odyssey</em>, and<em> The Fountains of Paradise</em>.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Under the Seas of the Future</strong></h3> <p><em>The Deep Range</em> portrays a time when humanity has not only expanded into the solar system, but also into and under the seas. Written in 1957, it reflects concerns that humanity would not be able to feed the growing population of the planet unless new food sources were unlocked. The story is one of many nautical stories that appeared in science fiction magazines and novels in the 1950s and 1960s.</p> <p>Undersea stories have been a part of science fiction since the earliest days of the genre, and you can find an interesting discussion of the subject at the Encyclopedia of Science Fiction website in the article <a href="https://sf-encyclopedia.com/entry/under_the_sea" target="_blank" rel="noreferrer noopener">Under the Sea</a>. Among the earliest and most influential works is Jules Verne&#8217;s 1870 novel <em>Twenty Thousand Leagues Under the Sea</em>. I haven’t read that book myself, but will never forget the 1954 Disney movie version of that tale, which I saw from the back seat of our family station wagon at a drive-in sometime in the early 1960s. The movie had great sets and special effects, realistic-looking (and scary) monsters, and colorful performances from actors including Kirk Douglas, James Mason, and Peter Lorre. It became the standard by which I judged all future tales of undersea adventures, and indeed, the standard by which I judged action movies in general.</p> <p>In addition to tales of undersea exploration, tales of undersea warfare have also been a big part of the genre. One that had a profound impact on me (probably because I read it at far too young an age) was Frank Herbert’s 1956 novel <em>Under Pressure</em> (which also appeared under the title <em>The Dragon in the Sea</em>). It was a tense and claustrophobic novel which haunted my nightmares for a long time after I read it. In fact, because of the exotic nature of the setting and the prevalence of technology in the tales, stories of undersea warfare always felt like science fiction to me, even when they were set in the present day. There is a fine line, if indeed there is a line at all, between science fiction and a technothriller like Tom Clancy’s classic <em>The Hunt for Red October</em>.</p> <p>Nautical adventures have long been a staple on television, with notable shows like <em>Flipper</em>, <em>Voyage to the Bottom of the Sea,</em> and <em>seaQuest DSV</em>. <em>Doctor Who</em> has also visited the undersea world in a few adventures. Even viewers who turn their nose up at tales of aliens and other planets are willing to accept adventures set in areas of our own planet that are as yet unexplored.</p> <p>Dolphins were featured in many science fiction stories, as their intelligence has long fascinated humans. These books included Clarke’s own 1963 juvenile novel <em>Dolphin Island</em> (a book I’m pretty sure I checked out of the local library back when I was in grade school).</p> <p>And there have been more than a few undersea stories that are set under the seas of other planets. These include the seas that supposedly covered the surface of Venus, and seas on other worlds, such as in David Brin’s classic tale <em>Startide Rising</em>, where human and dolphin crewmembers work together to survive when stranded on a faraway planet, besieged by alien races determined to destroy them.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong><em>The Deep Range</em></strong></h3> <p>The main viewpoint character in the first part of the book is Don Burley, a seasoned whaleboy. Unlike the cowboys of the past century, whaleboys are civil servants, as the harvesting of whales is performed by the Whale Bureau, a minor part of a benign but stodgy worldwide bureaucracy that guides humanity. But the whaleboys are a colorful and adventurous bunch, and Don’s rescue of a whale and her calf from an attacking shark opens the book with an exciting action sequence.</p> <p>Don is then tasked with attending the training academy and becoming the personal guide for Walter Franklin, someone his superiors have brought in from another profession who they think will do well as a warden (or what more romantic people call a whaleboy). Don finds Walter to be withdrawn, and quickly decides he must be the survivor of some sort of trauma. He thinks Walter is a spacer, but then doubts that when he observes that Walter is afraid of flying. Walter reads the classic <em>Moby-Dick</em>, which is jokingly called the “bible” of the Whale Bureau. The training process gives Clarke a good opportunity to show the world of whale farming, and the equipment and submarines used in this activity, without drowning the reader in a sea of exposition. Don and Walter have some interesting adventures, and Walter proves to be an adept student, and actually proves more proficient than Don in scientific and technical matters. In the meantime, Walter meets graduate student Indra Langenburg, and the two form a mutual attraction. But a date with her triggers an episode of post-traumatic stress, and Walter must overcome the fears of his past. (I won’t go into more detail on that, because the unfurling of his mysterious past is an important part of the first section of the book.)</p> <p>The second part of the book jumps forward to a time when Walter is now a qualified warden and peer of Don, and the primary viewpoint character shifts from Don to Walter. Indra and Walter are now married, and mirroring the conventions of the 1950s, she has put her career on hold to raise children. Don and Walter are involved in an effort to find and capture a giant squid that has been preying upon the domesticated whales, an elusive creature they nickname “Percy.” That pursuit brings back memories of passages from <em>Moby-Dick</em>, and challenges them to the limits of their abilities. Then they try, but fail, to track down an even more elusive creature they nickname a “sea serpent,” which lurks in the deepest recesses of the ocean. The technological challenges of these projects are fascinating, and I found these passages among the most interesting parts of the book.</p> <p>The third and final part of the book follows Walter’s efforts as head of the Whale Bureau, dealing with bureaucratic infighting with plankton harvesters who argue their crops offer more calories with less cost than whale herding. And he is involved in a fascinating project to train orcas to herd other whales, which proponents compare to mankind’s retraining of wolves to be herding dogs. But then a Buddhist leader launches a campaign to end the slaughtering of whales, which Don initially opposes, until he realizes that he and the other wardens agree with the idea (and Clarke provocatively argues that Buddhism will eventually become even more influential than Christianity or Islam). The hearings on this proposal are interrupted when an undersea accident traps some influential leaders under a collapsed structure. This pulls Walter away from the hearings, and not wanting to delegate a risky task, he personally dives to rescue them. This gives Clarke a chance to end the book with not just a bureaucratic struggle, but also with an exciting action sequence.</p> <p>While reading, I found the shift in tone between the sections a bit jarring, but by the end, I saw how the structure allowed Clarke to tell a story with a grand scope, as he explored his future world from the deck plates all the way up to the highest echelons of government. The idea of the whaleboys, and the technology they use in their work, was fascinating to me.</p> <div style="height:10px" aria-hidden="true" class="wp-block-spacer"></div> <h3 class="wp-block-heading"><strong>Final Thoughts</strong></h3> <p>I’m glad I finally got around to finding my copies of <em>The Deep Range</em> and reading the book. The prose is a bit stiff, as it is in all of Clarke’s works, but the characters are solid, and the scientific and sociological speculation is fascinating, even in those areas where the real world has diverged from the future Clarke imagined. I’d recommend it to anyone interested in oceanic exploration as a solid and satisfying adventure story. And now it’s your turn to chime in: I’d love to hear your thoughts on <em>The Deep Range</em>, and would like to hear of other favorites stories that concern future adventures beneath the seas.[end-mark]</p> <p>The post <a href="https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/">Under the Sea: &lt;i&gt;The Deep Range&lt;/i&gt; by Arthur C. Clarke</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/">https://reactormag.com/under-the-sea-the-deep-range-by-arthur-c-clarke/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832151">https://reactormag.com/?p=832151</a></p>

Two Things

Nov. 25th, 2025 08:36 am
muccamukk: Clara and Twelve stand next to the TARDIS on an alien planet. (DW: Pretty)
[personal profile] muccamukk
1. xkcd just made me cry (continuation of the cancer posts, which no one involved currently has.)

2. Mom gave me a ball of really pretty white yarn, which is wool with a bit of a halo, and maybe sport weight? Could be finger weight? Unsure? It's large enough to make a scarf, and I'm wondering if anyone can suggest a pattern that's: a) VERY EASY, b) maybe has a little bit of lace? I can do very basic lace, as long as it doesn't have too many steps.
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Posted by Sarah

Books Short Fiction Spotlight

Must Read Short Speculative Fiction: October 2025

This month’s short fiction recommendations include ghosts and grief, recipes and multiverses…

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Published on November 25, 2025

Covers of three SFF short fiction magazines and stories

No themes for this spotlight, only vibes. I’m too tired for themes. My brain is goo and my energy level is negative 62. October sucked the life outta me, y’all. These are the ten science fiction, fantasy, and horror stories I read last month that managed to break through the noise.

“Affinity Gradient” by Miah O’Malley

“It had been two years since Ori’s burial, and her tree was thriving.” Dr Kar Reul is studying changes in a tree after her human love is buried in its roots. Most trees bound up with a human, their “anomalies” fade over time, but Ori’s seem to be getting stronger. Kar doesn’t know if she’s imagining these changes or if it’s really Ori in some new form trying to send a message. A compelling story about grief and loss. (Phano—October 2025; issue 10)

“Ghosts of Summer” by Catherine Tavares

Tavares jumps around in time with her story about two people summoning ghosts as a sort of supernatural air conditioner during the heat of summer. It starts off rather playful, just two people playing around with necromancy. The ghosts are not bound by the linearity of time, which leads to a shocking revelation. The narrative is little vignettes from different days over the course of a long summer, including their temperatures, so that by the time the temperature dips, you know something very bad has happened. (Apex Magazine—October 2025; issue 151)

“Knife Plus” by Tracie McBride

The first of two stories on this list with an inanimate thing as the protagonist. In this case, it is, of course, a knife. “Knife does not exist on its own. It is always Knife plus. Knife in forge. Knife on bench. Knife in hand. Knife in flesh.” Things take a, ahem, sharp turn toward the end of this flash fiction story when Knife realizes it isn’t just for butchering meat. The story cuts to the bone, figuratively and literally. (Fantasy Magazine—Autumn 2025; issue 98)

“Mother Tongue” by Pooja Joshi

I’ve read a lot of short stories about language loss, but this is the first where the language itself is the narrator. Here, a language brought to a new land slumbers and wakes as the few remaining speakers pick it up on and off through their lives. It’s a bittersweet look at the cultural costs of colonization, assimilation, and immigration. But Joshi also uses the words “slumber” and “sleep,” reminding us that even though our cultures can be lost, sometimes we can regain them, even if only in fragments. (Augur—October 2025; issue 8.2)

“Phantom View” by John Wiswell

The narrator, the son of a man on hospice, discovers a vaguely human-shaped “rusty orange-and-black blurry streak” that is visible only through a digital screen. While he tries to balance his dying father’s medical care and his own needs as a disabled person with shifting mobility issues, he finds a strange sort of comfort in the presence of this entity. He reaches out to the being, and the response is not what he expects. The entity felt a little like an analogy to a neurodivergent person who was non-verbal, someone whose perception of the world and ways of interacting with others differs from what is more common, but that also doesn’t make their needs or ways of expression any less valid. It’s always nice to have a story about the complexities of being disabled run through the speculative lens. (Reactor—October 22, 2025)

“The Pretendian” by Jason Pearce

This was so interesting! The protagonist of this story, a man calling himself Leroy Whiskeyjack, claims to be Lakota. But it’s not that simple. I’ll let you discover for yourself what the twist is on this story. All I’ll say is that when I finished I was thinking a lot about identity, culture, and cultural appropriation. This is The Deadlands, so get ready for blood and bones. (The Deadlands—Fall 2025; issue 40)

“Singularities” by Cressida Roe

This is a story about stories. It’s also a clever use of the multiverse trope. A man lives his life non-linearly. Sometimes he meets a woman, sometimes he doesn’t. Sometimes he rescues her, sometimes he doesn’t. Sometimes they lie in bed together, sometimes he’s alone. But always their stories circle back to each other. Will he ever be able to grab a hold of her and not let go? Which version of their endless lives is the real one? Does it matter? (Kaleidotrope—Autumn 2025)

“Soul Food” by C. M. Harmon

Family recipes aren’t just about the food. They carry our history and heritage, our stories and dreams. In Harmon’s piece, the protagonist summons the Crossroads Man in a last-ditch attempt to save their grandmother’s life. The price? A prized family recipe for candied yams. But it’s more than just some side dish. “No one in the family knows where the recipe came from. My grandma insisted it was old when her grandma passed it to her. And not too far past that, our family history drops off into the jagged-toothed maw that was slavery. Where some families have black and white photos and ship manifests, we have that recipe.” Giving up the yams means losing much of what the protagonist is trying to save. What will they choose? (FIYAH—Winter 2025; issue 36)

“The Superposition of Ramen” by Jed Looker

“For now, let us simply speak from your subjective standpoint. It is sometime in the early 21st century and you are reading what we understand to be a highly regarded science-fiction and fantasy magazine.” Okay, lol, you got my attention. The penultimate On Spec before it shutters forever is full of excellent stories, but this was my favorite. I will tell you nothing about it at all except it involves alternate timelines, aliens, and the life-altering choice between “a French bistro and a Japanese noodle house.” A funny, clever tale. (On Spec—October 2025; issue 133)

“A Taxonomy of Extinct and Extant Birds of the Twenty-First Century” by A.P. Golub

I love an unusual narrative format, and this piece is a good example of why. It’s structured as little snippets on various birds, and written in second person POV. Each segment tells the reader a little about the “you” in this story, about their meet-cute, marriage, and that person’s eventual illness. And because it’s a Reckoning joint, there’s a strong throughline of environmental commentary. (Reckoning—Fall 2025)[end-mark]

The post Must Read Short Speculative Fiction: October 2025 appeared first on Reactor.

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Posted by Sarah

Books Reading The Wheel of Time

Reading The Wheel of Time:The Gathering Storm (Part 9)

Egwene and Gawyn examine the division of the White Tower…

By

Published on November 25, 2025

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/reading-the-wheel-of-time-the-gathering-storm-part-9/">https://reactormag.com/reading-the-wheel-of-time-the-gathering-storm-part-9/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832031">https://reactormag.com/?p=832031</a></p><post-hero class="wp-block-post-hero js-post-hero post-hero post-hero-horizontal"> <div class="container container-desktop"> <div class="flex flex-col mx-auto post-hero-container"> <div class="post-hero-content"> <div class="post-hero-tags font-aktiv text-xs tracking-[0.5px] font-medium uppercase"> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/articles/books/" class="inline-block link-no-animation" aria-label="Link to term or tag Books 0"> Books </a> </span> <span class="mr-3"> <i class="inline-block w-2 h-2 rounded-full mr-[5px] bg-blue"></i> <a href="https://reactormag.com/tag/reading-the-wheel-of-time/" class="inline-block link-no-animation" aria-label="Link to term or tag Reading The Wheel of Time 1"> Reading The Wheel of Time </a> </span> </div> <h2 class="post-hero-title text-h1">Reading The Wheel of Time:<i>The Gathering Storm</i> (Part 9)</h2> <div class="prose post-hero-description prose--post-hero">Egwene and Gawyn examine the division of the White Tower&#8230;</div> <div class="post-hero-wrapper"> <div class="post-hero-inner"> <p class="post-hero-author text-xs font-aktiv uppercase font-medium [&amp;_a]:link-hover">By <a href="https://reactormag.com/author/kjbarrett/" title="Posts by Sylas K Barrett" class="author url fn" rel="author">Sylas K Barrett</a></p> <span class="post-hero-symbol relative top-[-2px] hidden tablet:block">|</span> <p class="text-xs uppercase post-hero-publish font-aktiv"> Published on November 25, 2025 </p> </div> </div> <div class="quick-access post-hero-quick-access mt-[17px] tablet:hidden"> 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9.41431V6.41431C2.21205 6.41431 3.64538 6.70197 4.97871 7.27731C6.31205 7.85264 7.47471 8.63597 8.46671 9.62731C9.45805 10.6186 10.2414 11.781 10.8167 13.1143C11.392 14.4476 11.6794 15.881 11.6787 17.4143H8.67871Z" fill="currentColor" fill-opacity="0.2" /> </g> <defs> <clippath id="clip0_1051_121783"> <rect width="17" height="17" fill="white" transform="translate(0.678711 0.414307)" /> </clippath> </defs> </svg> </a> </li> </ul> </div> </details> </div> </div> </div> <div class="post-hero-media "> <figure class="w-full h-auto post-hero-image"> <img loading="lazy" decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_TGSbook12-740x407.png" class="w-full object-cover" alt="Reading The Wheel of Time on Tor.com: The Gathering Storm" srcset="https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_TGSbook12-740x407.png 740w, https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_TGSbook12-768x422.png 768w, https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_TGSbook12.png 951w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>This week on <a href="https://reactormag.com/columns/reading-the-wheel-of-time/" target="_blank" rel="noreferrer noopener">Reading the Wheel of Time</a>, we will visit Egwene in the White Tower and then Gawyn in Dorlan, as each learns a little more about the Aes Sedai and how the rest of the White Tower work. Egwene makes progress in her mission to save the Tower, and Gawyn learns a little about Egwene’s fate. It’s chapter 12 and 13 of <em>The Gathering Storm</em>!</p> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>In the White Tower, Egwene has been summoned for lessons by Bennae Nalsad. She is puzzled why Bennae would summon her a second time—sisters never ask to give her more than one lesson. Under the cover of testing Egwene’s ability to think like an Aes Sedai and manage difficult situations, Bennae basically admits that she has gotten in trouble for asking about the Thirteenth Depository, something she was not supposed to know about. Egwene deftly deduces why Bennae’s superiors might be alarmed that someone found out a secret she should not, and gives Beanne a clever and diplomatic way of handling the situation.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“I am always willing to help, Bennae,” Egwene said in a softer voice, turning back to her tea. “In, of course, hypothetical situations.” For a moment, Egwene worried that she’d gone too far in calling the Brown by her name. However, Bennae met her eyes, then actually went so far as to bow her head just slightly in thanks.</p></blockquote></figure> <p>Leaving Bennae’s quarters, Egwene finds a novice waiting with a summons to Nagora, a White Sitter, in which she is presented with a very similar test about managing an aging Warder. Next, she is summoned to Suana Dragand, who tests her on healing weaves and remarks that the Yellows would very much like to have Egwene in their ranks.</p> <p>Cautiously, Egwene asks Suana about the division between the Ajahs, and pushes her to start trying to do something about it with the other Sitters. Suana is reluctant to accept Egwene’s advice, but she doesn’t give Egwene punishment for calling Suana by her first name.</p> <p>Finally, she meets with Meidani, who attempts to resist regarding Egwene as Amyrlin. Egwene’s stronger will quickly wins out, however, and she begins to question Meidani about why she remained in the Tower after the identity of the rebel spies was discovered, and why she takes dinner with Elaida so frequently. When Meidani’s answers are unsatisfactory, Egwene begins to suspect that the Three Oaths are somehow involved. Attempting to circumvent these, she asks if Meidani can <em>show</em> Egwene why she cannot leave the Tower. After some hesitation, Meidani decides she might be able to.</p> <p>Since they cannot leave together without raising the suspicion of Egwene’s guards or members of the Red Ajah, she decides she must trust Meidani with the secret of Traveling. After Meidani assures her that she accepts Egwene’s leadership and promises not to share what Egwene reveals to her without Egwene’s permission, Egwene demonstrates the weave to make a gateway. Meidanai is strong enough to replicate the weave and open a gateway, and after expressing surprise at how easy it was to accept Egwene’s leadership, she takes Egwene through it.</p> <p>Egwene is surprised when she emerges in a disused corridor deep in the Tower, and more surprised when Meidani warns her that what she encounters may be dangerous.&nbsp;</p> <p>She knocks on a door and Warder answers, clearly surprised to see Egwene. Inside, Egwene finds four sitters, all of different Ajahs. They are shocked and upset that Meidani has managed to circumvent her oath, and begin to upbraid her, while Egwene is switched with air for speaking without leave. Egwene figures out that Meidani has been given a fourth oath, and is appalled.</p> <p>As the discussion continues, Egwene persists in speaking as an authority and demanding answers from the others, forcing them to meet her and debate that subject. Realizing that Saerin is the leader of the group, she focuses on her, and Saerin proceeds to use logic to explain to Egwene why she cannot be Amyrlin. But Egwene refutes every point, ending with the fact that one of the Sitters who voted to dispose Elaida has turned out to be a member of the Black, therefore rendering her vote invalid. Since Siuan was deposed by the bare minimum of Sitters required, that makes the unseating stilling of Siuan, and the murder of her Warder, an unlawful act.</p> <p>They are forced to concede her point, and Egwene presses the matter by pointing out that they are all serving the shadow as long as they remain divided. After making Meidani confirm in front of the others that she accepts Egwene as Amyrlin and will follow her orders, Egwene declares:</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“I charge you, then, to continue your work with these women. They are not our enemies and they never were. Sending you back as a spy was a mistake, one I wish I’d been able to stop. Now that you are here, however, you can be of use. I regret that you must continue your performance before Elaida, but I commend you for your courage in that regard.”</p></blockquote></figure> <p>Egwene asks if they have the oath rod with them now, and is disappointed that they don’t. Still, she charges them to obtain it as soon as possible and to remove the fourth oath of obedience from Meidani. Saerin only answers that they will consider it, prompting Egwene to tell them that the Hall will eventually be told what they did, and that she would like to tell the Hall that they were not seeking Power.</p> <p>With a parting shot about them being able to summon her if they want to talk and a mention of her ability to Travel, Egwene leaves, followed by Meidani, who expresses astonishment over Egwene’s success when she should have been “strung up by [her] heels and howling.”</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“They are too wise for that,” Egwene said. “They’re the only ones in this blasted Tower—besides maybe Silviana—who have anything resembling heads sitting atop their shoulders.”  <br><br>“Silviana?” Meidani asked with surprise. “Doesn’t she beat you every day?”<br><br>“Several times a day,” Egwene said absently. “She’s very dutiful, not to mention thoughtful. If we had more like her, the Tower wouldn’t have gotten to this state in the first place.”</p></blockquote></figure> <p>As they head back, Meidani remarks that Egwene really <em>is</em> the Amyrlin.</p> <p>In Dorlan, Gawyn is sparring against two Warders, Sleete and Marlesh. Sleete is a very skilled swordsman while Marlesh is a serviceable one, but Gawyn beats them in the fight, as he has the previous two times they have sparred. Sleete extends him quiet respect, while Marlesh suggests that they find Gawyn a sword with a Heron mark on it. Gawyn insists that he is not a Blademaster. Marlesh countered by reminding him that he killed Hammar, and that he should have taken that Blademaster’s sword when Hammar fell.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“It wasn’t respectful,” Gawyn said. “Besides, I didn’t have time to claim prizes.” Marlesh laughed, as if at a joke, though Gawyn hadn’t intended one. He glanced over at Sleete, who was watching him with curious eyes. </p></blockquote></figure> <p>Once Marlesh has gone off with his Aes Sedai, Sleete takes Gawyn aside and tells him about how, despite being a Green, his Aes Sedai, Hattori, only has one Warder. Sleete tells Gawyn that Hattori asked Sleete to be the one to look for men worthy enough to join them, and Sleete has finally found a man he would like to add to the team—Gawyn himself.</p> <p>Gawyn is flattered but reminds Sleete that his loyalty is to Andor. Sleete counters that Gawyn has served the White Tower and fought with the Warders, and that he is one of them now. He also suggests that, to have Gawyn, Hattori would move to Caemlyn.</p> <p>Gawyn agrees to think over the offer, then sets one of the Younglings to keep watch for anyone coming by and proceeds to cautiously ask Sleete what he thinks of what happened in the Tower. Sleete replies that it is bad, that Aes Sedai should never fight Aes Sedai and Warder should never fight Warder. When Gawyn presses him, Sleete tells Gawyn that there are wise heads in the Tower, who will eventually do the right thing and end the division—with fighting if necessary, hopefully another way. He tells Gawyn that nothing is worth this division.</p> <p>He also admits that Hattori doesn’t have much influence in among the Aes Sedai, but that she didn’t like the feel of the White Tower and so volunteered for the mission to al’Thor, not knowing what it was really about. She just didn’t want to be in the Tower.</p> <p>He also tells Gawyn that Hammar would have understood why Gawyn made the choices that he made, and that they were both doing their duty and that there were no good decisions to make that day.</p> <p>Gawyn is left pondering this, and is even tempted to agree to be bonded by Hattori, but he knows that he could never be happy as a Warder, except if he was Warder to Egwene. And Gawyn doesn’t trust Aes Sedai, even if he has supported him.</p> <p>After briefly trying to get into a meeting of the high-ranking Aes Sedai and being refused, Gawyn finishes inspecting his men, thinking about how he only supported Elaida because of the way Siuan treated Egwene and Elayne. But he has to ask himself if Elaida would treat them any better.</p> <p>Gawyn is shocked when he runs into Katerine Alruddin, who left the camp for the White Tower a week ago. He overhears part of her conversation with some other sisters about the wilder Accepted that the rebels made a fake Amyrlin, and how the girl had been captured and “made to howl every day.” And then he hears the name “al’Vere.”</p> <p>He stops Katerine, asking with as much respect as his stunned mind can manage for her to tell him about the rebel Amyrlin. Katerine confirms the name, and Gawyn also learns that Traveling has been rediscovered—this is how Katerine returned to Dorlan without anyone knowing, and is presumably how Gareth Bryne’s army is supplying itself.</p> <p>But all Gawyn can think about is how Egwene has been captured, and is being tortured and probably stilled. How she will soon be executed. He realizes he has to go to her, and he can’t let any of the Younglings knows what he is doing—they will remain loyal to the Aes Sedai over him, if forced to choose.</p> <p>He uses going on a routine inspection of the outer camp as cover for his departure, and his own lieutenants believe him, although the protest his going alone. But Sleete appears as Gawyn is saddling his horse, and makes it clear that he knows what Gawyn is really doing.</p> <p>Gawyn knows that Sleete could stop him if he wanted to—Gawyn might best him in a fight, but even if he killed Sleete, the fighting would draw the attention of others. He asks why Sleete isn’t trying to stop him.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“Perhaps I just like to see men care,” Sleete said. “Perhaps I hope you’ll find a way to help end this. Perhaps I am feeling lazy and sore with a bruised spirit from so many defeats. May you find what you seek, young Trakand.” And with a rustle of the cloak, Sleete withdrew, fading into the darkness of oncoming night.<br><br>Gawyn slung himself into his saddle. There was only one place he could think to go for help in rescuing Egwene. </p></blockquote></figure> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>Okay but <em>where is that</em>?</p> <p>Rude little cliffhanger there, Sanderson.</p> <p>The only thing I can think of is… is Gawyn going to the rebel camp? Since he has learned that they made Egwene their Amyrlin, even if he thinks that they are using her and treating her badly, they would still ostensibly want her back, and I can’t think of any other allies Gawyn would have access to. He doesn’t know that Elayne has taken the throne, and she’s too far away anyway, and the only other person who might theoretically want to fight the White Tower to save Egwene is Rand. And I can’t see Gawyn believing that Rand would protect Egwene—he clearly believes that Egwene doesn’t understand that Rand has changed, and is only sticking to his promise out of loyalty to her, not because he thinks there is a chance she might be right that Rand isn’t the villain he appears to be, and actually didn’t kill Morgase.</p> <p>Gosh, it sure would be useful if Morgase revealed herself again. I don’t know what it would take for her to feel safe doing that. She might want to wait until she with someone she knows—even if Perrin and Faile seem like good, trustworthy people, revealing her identity is still something of a risk, and after everything she has been through, she will probably only feels safe when she is back in Caemlyn and Elayne’s rule is solid and secure.</p> <p>In any case, I’ve been reflecting this week on how, even though we didn’t really learn anything in chapter 13 about Gawyn that we didn’t already know, this was the first chapter that really made me feel like I understood, and could empathize with, his perspective and struggles.</p> <p>I think this is because of the way the tight POV often gives us an unreliable narrator. For me, at least, it’s easy to forget how little information Gawyn has, even post Dumai’s Wells, about the division in the White Tower and the current politics. With the exception of how obvious it is that Elaida is trying to kill off the Younglings, he has no context to understand why Siuan made the choices she did, or why she was deposed, or how the Aes Sedai are viewing this civil war within the Tower.&nbsp;</p> <p>As a reader, I find it easy to get frustrated when characters don’t have access to the information we have, and that has been especially true of Gawyn, since both his hatred of Suian and his belief that Rand killed his mother are completely reasonable from his point of view, but so unreasonable with just a little bit of context that he doesn’t have access to.</p> <p>This theme of access to information (and lack thereof) is a huge one in <em>The Wheel of Time</em>. And when it comes to the division in the White Tower, it’s easy (for me, anyway) to forget how little even most Aes Sedai know about what happened. It really helped me have a nuanced perspective when Egwene pointed out the dangers of conducting important business like the removal of an Amyrlin in secret. For me, this really threw into relief how confusing the whole experience would have been for <em>anyone</em> not involved in the secret meeting of the Sitters to decide Suian’s deposal. It isn’t just that Aes Sedai who were out of the Tower don’t know the context Siuan’s removal or why half the Tower reacted violently against it—most of the sisters in the Tower during the fighting wouldn’t have understood what happened, and would have been required to make a very quick decision, in some cases after the fighting had already broken out, about who to trust and who to support, which is part of the reason that some of the split ran along Aah lines—no Red was going to question if Elaida was raised legally, and no Blue was going to believe that Siuan’s deposal was justified or fair.</p> <p>We saw a bit of what that experience would have been like during the chapter in which it happened, because much of it was seen through Min’s eyes. But Min isn’t Aes Sedai, so I think it was still easy to discount how bewildering the situation was for most of the sisters themselves, and even moreso for their Warders and for the other members of the Tower, like the Guards and the Younglings.</p> <p>It gives me a lot more empathy for the undecided sisters, those who were out of the Tower when the devision occurred and who are now trying to wait out the conflict without taking sides. We have seen Elayne and Nynaeve get frustrated, asking themselves how any of them could still be considering siding with Elaida, and while I think there is a point at which the undecided sisters do have a moral obligation to learn as much as they can so they can make a choice and help restore the White Tower, I can understand much better the difficulty of their position now than I could when I was in Nynaeve or Elyane’s perspective. Or when I am in the perspective of any of the other rebel Aes Sedai, for that matter.</p> <p>Sleete’s conversation with Gawyn is actually the first time we’ve gotten a clear idea of how the Warders felt about what happened, and it was very poignant how closely his sentiments echoed those Egwene expressed to the Black Ajah hunters. The Warders know even less about why the conflict erupted than the average Aes Sedai—most sisters don’t discuss Tower business with their Warders, and while I think most Warders are very loyal to the White Tower and all Aes Sedai, their first and primary loyalty and focus is to their personal sister—they follow her lead above all, even to the point of fighting against other Warders.</p> <p>We don’t get to see how painful that must have been for the Warders in question. As Gawyn is reflecting on Steele’s journey returning to his Aes Sedai after being injured at Dumai’s Wells, he thinks about how very few people ever know about the work Warders do, and that few of them are remembered, except by other Warders. “You [don’t] forget your own.”</p> <p>These Warders were called on to cut their brothers down, and while Gawyn’s guilt and grief is very real, it must have been so much worse for men who have lived in the White Tower side by side for years and years. Gawyn is a newcomer to the Tower, after all, and although he respected his teachers like Hammar, they weren’t his family.</p> <p>Sleete sees the fighting and division of the Tower as one of the worst things that could happen, but he doesn’t seem to hold any grudges. His desire is the same as Egwene’s—to see the White Tower reunited and the two factions made friends and partners again. If that takes violence, then it must be done with violence, but the goal is not to punish the losing side for their transgressions. It is to make the White Tower truly whole, again.</p> <p>And perhaps that is the biggest argument for Elaida being removed from the Amyrlin Seat. Egwene’s argument that her raising was unlawful because at least one member of the Black Ajah was involved in her raising is a great weapon because of how important Tower law is to the Aes Sedai, but the best moral augment is that Elaida wants to continue dividing the Aes Sedai. No sister should be okay with an entire Ajah being dissolved. No sister should accept an Amyrlin demoting a full Aes Sedai back to being an apprentice. If Egwene offers a true reunification, than for the good of the White Tower and the world, it feels like the duty of every Aes Sedai to choose her path over Elaida’s, whether or not Elaida was raised legally or not.</p> <p>Honestly, given the state of the White Tower, I’d argue that there is more than enough grounds to depose Elaida legally, if that was an option the current Sitters in the Tower wanted to pursue.</p> <p>In any case, I was very moved by the way that Steele expressed a confidence in the Aes Sedai’s ability to do the right thing and to get through this trial, a faith in the White Tower to heal itself. And when it comes to Gawyn, I&#8217;ve been sympathetic to his struggle to come to terms with his actions during the fighting, especially his guilt over killing the Warders, but his sections have overall felt a little silly to me, because it feels so obvious to me, the readers that Elaida is terrible and that she is trying to get rid of the Younglings. His sections always felt a bit whiney to me, but I think I’ve been too hard on the guy. He was thrust into a dangerous and confusing position and made the best guess he could and he’s had to live with those consequences ever since.</p> <p>I really appreciated Steele taking the time to absolve him for Hammar’s death—Steele himself probably killed Warders that day, and he understands that neither he, nor any of the other Warders, nor Gawyn and his Younglings were responsible for what happened that day. Hopefully, letting go of that guilt will allow Gawyn to see a little more clearly, and he won’t feel like he has to stay on the path he has chosen because abandoning it would mean that he was wrong to fight Hammar.</p> <p>Gawyn reflects that he could never be a Warder except to Egwene, but I don’t know how he could be Warder to an Aes Sedai <em>and </em>first prince of the sword, unless he was Warder to Elayne. Steele makes the point that Hattori would go to Andor if it meant bonding Gawyn, but there would still be a conflict of interest, and I can’t see how Gawyn could manage two dueling loyalties that way.</p> <p>Speaking of Hattori, she is another example of a sister with less power who is overlooked due to the Aes Sedai hierarchy system, and I am kind of in love with her and Steele. Their circumstances are different, but there is something that reminds me of Moiraine and Lan, and I’d happily read a whole book just about Hattori and Steele having adventures.</p> <p>Also the point that Hattori felt the dark influences in Tower and wanted to get away from them is <em>fascinating</em>.</p> <p>Egwene’s journey in Chapter 12 was also fascinating. We got to see her display her skills in leadership and diplomacy, which we have seen before but have always felt a bit secondary, in my eyes, to her strength of will and strength in the Power. We see her able to use logic as well as any White Sister, offer political and social guidance to women much older and more experienced than her, and deftly suss out the truth about Meidani and the secret cabal of Black Ajah hunters. I have so much empathy for Meidani ​​and all the Salidar spies, caught by the hunt for Black Ajah members and forced to be bound by an oath of obedience. Obviously there is a difference of degree, but it’s impossible not to think of Galina’s despair as she was held by Therava. Especially in Meidani’s case, since she is being forced to be in proximity to Elaida, who is not unlike Therava when it comes to sadistic tendencies.</p> <p>I am really hopeful that Egwene’s involvement will help ease things for Meidani. She will still have to interact with Elaida, but if she feels like those sending her on such a dangerous mission actually have her back, that danger will feel very different, and she will perhaps be strengthened by Egwene’s faith in her and acknowledgement of her service.</p> <p>Egwene points out to Seaine, Doesine, Yukiri, and Saerin that “loyalty is better earned than forced,” and boy does that ever sum up the reason she is going to beat Elaida in the end. Beyond the fact that Egwene has a better idea of what needs to be done to deal with Rand and to prepare the White Tower for the Last Battle, beyond Elaida’s need for personal glory, beyond even her inability to see how those left in the Tower are being divided against each other to the point where the entire White Tower is about to fall apart for good, Elaida can only envisage commanding loyalty through punishment and decrees, up to the point that she is considering putting an oath to the Amyrlin in with the Three Oaths that sisters swear when they are raised. Elaida punishes and hounds and frightens and chases, Egwene <em>leads</em>.</p> <p>The Amyrlin is called Mother after all. She is not a monarch, or a general, or a dictator. She is the highest in the hierarchy of power, but she is meant to care for her daughters, to teach and guide them. And from everything we have seen, especially since she has been captured, Egwene is prepared to do just that.</p> <p>This, I think, is what Meidani is speaking about when she exclaims at the end of the chapter that Egwene really is the Amyrlin. Egwene is confused because Meidanai has already formally acknowledged this fact and agreed to obey her as the Amuyrlin, but that was because Meidani had little choice, and because she was maneuvered into accepting the logic and lawfulness of Egwene’s position. Egwene’s ability and desire to care for her people, however, is a completely different and higher aspect of being Amyrlin, as is her ability to understand what truely makes the White Tower.</p> <p>Egwene’s readiness to praise Silviana for doing here duty, even though it comes at a personal cost to Egwene, shows how she can rise above petty feelings of injury and vengeance and put the good of the Tower before all, and <em>that</em> is what Meidani is awed by.</p> <p>Looks like the secret about Traveling is finally out of the bag, though. Katerine is teaching it to the sisters in Dorlan to help deal with Bryne and the rebel army, and it’s not going to take very long for everyone else to learn it, I think. Elaida’s followers knowing how to Travel isn’t great for Egwene and the rebels, but I can’t help thinking about how the Seanchan have captured Aes Sedai who know about Traveling, which means that they almost certainly have it or will have it shortly.</p> <p>Since we know that Egwene’s dreams are always true, this means that the Seanchan are going to attack the White Tower, and I’m sure they will do so using Traveling. The Tower Aes Sedai knowing Traveling can’t stop the Seanchan from having that advantage, but perhaps they will be able to better maneuver if they have the weave as well.</p> <p>Gosh, I really am worried about that attack. I don’t want to see even one more woman collared by the Seanchan, and I know that they will be. I’m still really upset about the Wise Ones Tylee carried off.</p> <p>Speaking of Wise Ones, it looks like Cadusane is going to be calling in Sorelia to help in the interrogation of Semirhage in chapter 14, and I think that is going to be really, really interesting to read. And then we’ll be checking in with Rand again in chapter 15.</p> <p>I hope everyone has a great week, and I’ll see you next time![end-mark]</p> <p>The post <a href="https://reactormag.com/reading-the-wheel-of-time-the-gathering-storm-part-9/">Reading The Wheel of Time:&lt;i&gt;The Gathering Storm&lt;/i&gt; (Part 9)</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/reading-the-wheel-of-time-the-gathering-storm-part-9/">https://reactormag.com/reading-the-wheel-of-time-the-gathering-storm-part-9/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=832031">https://reactormag.com/?p=832031</a></p>
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Posted by Sarah

Books Science Fiction

Consider Setting Your Space Operas on Saturn

…or more precisely, on one of its many, many moons!

By

Published on November 25, 2025

Credit: GSFC/NASA

Concept art of Saturn and several moons

Credit: GSFC/NASA

It’s fashionable amongst persons of a certain age to moan about how the future has not lived up to expectations, how children are rude and everyone is writing a book, or how goods and services provided today are inferior to those provided forty years ago1. However, there is one aspect of our future that everyone I queried agreed has delivered beyond expectations (at least, once it became clear that was the most efficient way to end the conversation). That’s the state of planetary science.

There was a lamentable period between July 1965 (when Mariner 4 arrived at Mars) and March 1979 (when Voyager 1 arrived at Jupiter) in which the impression given by our space probes was of a dead, boring Solar System. The Moon was an airless dead rock, Mars was a nearly airless dead rock, Venus was an overheated dead rock, Mercury admittedly had a fascinating spin-orbit resonance but was still a dead rock.

Furthermore, the impression given wasn’t just of a dead Solar System, but a static death. Terms like “primordial” were thrown around. The Solar System wasn’t just dead—it had been dead and unchanging for billions of years. I can tell you, this was a major bummer for anyone who was, as I was, a kid in the 1960s and 1970s.

Once the images of Jupiter’s moons began trickling in, at a hilariously low baud rate, that changed. Jupiter’s moons were clearly dynamic worlds. Europa, at least, seemed to have a subsurface ocean. Our understanding of the Solar System was transformed, a process that is ongoing.

A convenient example of the pace of revelation would be John Varley’s 1979 Titan, whose plot is set in motion by the discovery in 2025 of a twelfth Saturnian moon. Unfortunately for Varley, the twelfth Saturnian moon is not a vast alien habitat suitable for thrilling adventures, as we learned when it was discovered just a year later, in 1980, along with two more moons. Even more moons followed.

In March 2025, the number of moons known to be orbiting Saturn jumped from 1462—already far more than Jupiter’s 97—to 274, thanks to the discovery of 128 previously undetected small moons. I am going to go out on a limb here and speculate that there are probably a metric whackload of small bodies that have yet to be spotted. Further, given that Saturn already has so many more known moons than Jupiter (even though Jupiter is much closer to us, which makes spotting Jovian moons easier) Saturn will probably be able to keep its lead3.

So, what does that matter to hard-working science fiction fans and writers? Aside from the sheer awesomeness of Saturn’s moon system, Saturn, or at least its moons, have tremendous potential, from a space opera perspective.

As you may recall from this semi-recent essay, space operas seem to require a multiplicity of worlds and a certain grandeur of scale. However, as I pointed out in that essay, given judicious worldbuilding choices, the Solar System can provide that scale. Saturn alone can deliver that scale.

Some folks will point out that those new moons are fairly small; most of them are barely over 3+ km diameters. That’s quite true. However, even a dinky moon is large in human terms. If my slide rule does not betray me, a 3 km diameter ice moon might mass about 12 billion tonnes, or fifteen New York Cities. Put together, the newly discovered moons probably mass about two thousand New York Cities.

Many space opera worlds give the impression of being not much larger than a Paramount backlot. The area of fifteen New York Cities combined is generally held to be larger than a Paramount backlot. Even ignoring the large moons (and why would we?), there’s enough easily accessible material in the Saturn system to justify a vast constellation of space cities4, each one of a size around which authors can easily wrap their minds.

Rather conveniently for your budding space opera author, many Saturnian moons abound in organic material, which is to say, the stuff from which living organisms are made5. Many protagonists are living organisms, so it’s pretty handy to have organic matter from which to construct them. In fact, there are speculations that moons such as Enceladus and Titan might already have life-bearing oceans; science is still out on that.

Saturn’s orbital dynamics offer intriguing plot potential. First, getting from one moon to another moon demands only modest delta vees and for most of the major moons, modest travel times.

Second, because it is so far from the Sun, Saturn is isolated in terms of delta vee and travel time from the other planets. Getting around within Saturn’s moon system will always be inherently faster and easier than travelling to Jupiter or to the inner system. Therefore, Saturn’s penumbra is a natural region.

Third, while the largest of Saturn’s moons orbit share a common plane and direction, Saturn’s smaller, irregular, moons include a number of dynamic families, moons whose paths around Saturn are similar to the other members of the family but different from other moons. These may be remnants of bodies whose capture by Saturn was kinetically exciting. Examples include the Inuit group, the Gallic group, and various subgroups of the Norse group, such as the Phoebe and the Kari. Again, because travel within families will be easier than travel between families, those families represent natural divisions.

Granted, transportation barriers aren’t the only factor defining borders. Just ask Ireland or Korea.

Admittedly, there is one resource in which the Saturn moon system is deficient6: heavy elements. Materials readily on hand around Saturn are mostly lighter elements and their compounds. Still, Saturn seems adept at capturing passing objects and it would not be surprising if a handful of M-type asteroids had been captured. Scarce resources are, of course, the stuff of which plot-driving conflicts are made.

I would argue that Saturn’s moons appear to offer every detail essential to space opera, with the added benefit of allowing authors to delay writing by investing time in calculating orbital parameters. Plus, Saturn has those beautiful rings, a spectacle no other planet can match!7 So, if you’re considering writing a space opera, consider setting it around Saturn.

  1. For an example that has personal relevance, old time appliances were often as durable as T-34s and about as energy efficient. ↩
  2. Not counting the ring particles as individual moons, or the count would be considerably larger. Speaking of the rings, because they orbit within the Roche limit of a gas giant, their orbital velocity is high and therefore retrieving material from the rings would be difficult. Well, except for groups living in the rings themselves. I don’t know that a habitat in the middle of a region filled with small, extremely fast-moving objects would last all that long. Yeah, the rings are mostly orbiting in the same direction at roughly similar speeds, but it still seems like it would be like living in a revolving cement truck drum filled with gravel. Plus, Saturn’s main rings have “an energetic particle and gamma ray photon radiation environment” which may not appeal. We probably don’t have to worry about corporations strip-mining the rings. Worst-case scenario, artists might squabble over what colour to paint the rings. ↩
  3. Jupiter has the lead with respect to giant moons, four to Saturn’s one. However, most of the Jovian giant moons are within Jupiter’s powerful Van Allen belts, where an unprotected human could receive a lethal radiation dose in the time it took to drink a cup of tea. Although since the moons also don’t have atmospheres as such, an unprotected human would be doing very well not to die in the first minute or so anyway. Not to mention their tea would boil away in the vacuum. ↩
  4. Without necessarily being fast. Saturn’s farthest moons have orbital periods in excess of four years. Assuming minimum energy transfer orbits, travel time could be measured in years. ↩
  5. And which can also be used to make plastic, which I suspect will dominate building materials. ↩
  6. Two, including the current lack of space habitats. Three, if fusion isn’t an option. The downside of being so far from the Sun is that solar power will be that much more difficult, although it should still be workable. ↩
  7. The rings, being thin, are essentially invisible to co-planar moons. This constitutes full disclosure for real estate regulatory purposes. ↩

The post Consider Setting Your Space Operas on Saturn appeared first on Reactor.

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[personal profile] larryhammer
Essential life experience: having a twelve-year-old rant at you for 10 minutes about how the existence of sweet potatoes offends them.

---L.

Subject quote from Let’s Go Crazy, Prince and the Revolution.
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Posted by JSE

OK, they are not really the same thing. But I got you reading, right?

Here’s the sense in which they’re all the same thing. Let G be a group and H < G a subgroup. Let m > 1 be an integer. Write Orb_m for the set of orbits of G by simultaneous left multiplication on (G/H)^m, and f for the natural map from (G/H)^m to Orb_m. Let R be a subset of Orb. We say a subset S of (G.H) is an R-set if f(S^m) lies in R.

Master question: How large can an R-set be?

A lot of natural and popular questions are of this form, and I would argue that the unpopular questions of this form are also pretty natural! Perhaps this observation has been made before, but it’s new to me.

(Remark that you should only read if you’re pedantic: if R doesn’t contain m-tuples with repeated elements, then S^m can’t map to R, because S^m does have elements like that. So silently, in the examples below, I will mostly mean S choose m rather than S^m. I don’t want to commit to that forever, so if you really want it to be S^m, you can deal with that by appopriately adding some degenerate orbits to R.)

Some examples:

Sphere packing: G is AO_n, the affine orthogonal group or group of rigid motions, and H is O_n, so G/H is R^n. Take m=2. Then Orb is identified with the nonnegative real numbers, and f takes a pair of points to the distance between them. Let R be the interval [d,D]. Then an R-set is a set of points in R^n such that the distance between any two is at most D (i.e. we’re contained in some fixed big sphere) and at least d (the points don’t get too close together.)

(If having to choose an upper bound D annoys you, feel free to take G = O_n and H = O_{n-1}; then Orb is a finite interval [0,r] and you can just take R to be [d,r].)

Cap set: G is the group of affine linear transformations of F_p^n, and H is GL_n(F_p), so G/H = F_p^n. Take m=3 again. Orb is whatever it is, but one of the orbits is the set of (x,y,z) such that x,y,z are distinct and x-2y+z=0. Call this orbit, oh, I dunno, 3AP. Let R = Orb – 3AP. Then an R-set is a cap set, and indeed we want to know how big an R-set can be.

Turán problem: G is S_n and H is S_2 x S_{n-2}, so G/H is the set of unordered pairs in [n], or the set of edges in the complete graph K_n. m is arbitrary. Now let Γ be a graph with m edges. Any injection from v(Γ) to [n] gives you a point in (G/H)^m, and all such are carried to each other by the action of S_n. Call that orbit [Γ], and let R be Orb – [Γ]. Now a subset S of (G/H)^m is an m-edge graph on n vertices, and S is an R-set just when no m distinct edges form a copy of H. How large can such an S be? That is the Turán number ex(n,Γ), and the Turán problem is to say whatever we can about it.

A lot of problems can be written in this form. (Especially a lot of problems Erdős worked on.) The Heilbronn triangle problem. Problems about subsets of space with forbidden angles. Turán problems for hypergraphs. The Guan-Ramos conjecture and the related Erdős matching conjecture. Bounds for error correcting codes (here take G to be the semidirect product of F_2^n by S_n, and H to be S_n, and m=2, so that Orb is just the set of Hamming distances and the choice of R exactly allows you to exclude whatever distances you want on differences between codewords.) Families of r-dimensional vector spaces of k^n such that any two intersect transversely. The happy ending problem. (G = AGL_2, H = GL_2, m arbitrary, Orb_m = m-tuples of points in the plane up to affine linear equivalence, R = m-tuples not forming a convex polygon.)

Variants

There are many variants of the master question, which allow you to incorporate an even wider range of popular questions under its generous sheltering wings. For instance: you could impose a bound on the size of f(S^m) instead of asking f(S^m) to lie inside a fixed R. (Now you’ve got the Erdős distinct distance problem.) Or instead of a hard constraint you could ask which pairs (|S|, f^{-1}(R)) are possible; the original question asks for which |S| the two entries can be equal. (Now you’ve got the Erdős unit distance problem.) And what do we mean by |S|, anyway? When G is finite, so’s S, but when G is a Lie group (and yes, friends, I do mean either real or p-adic), one had better ask which conditions on R guarantee that S is finite. (Easy exercise: show that a subset of R^2 such that no three points form an angle of less than 0.0001 degrees is finite.) (Harder: the Erdos-Szekeres theorem that R-sets are finite when R is the set of non-convex m-gons that appears in the happy ending problem.) At any rate, there’s no need to insist that S be finite. Maybe “how big can S” be means “how big can its Hausdorff dimension be!” (Still pretty easy exercise: show that a subset of Q_p^* in which no three points form an equilateral triangle has dimension at most log 2 / log p.)

Or, in any one of these cases, you could ask about the chromatic number version of this question: how many pieces do I need to partition (G/H)^m into if each piece P_i has f(P_i) disjoint from R? For sphere packing (O(n) version), this asks: how many pieces of diameter 1 suffice to cover a large sphere? The (spherical) sphere packing number provides an obvious lower bound. This has got to be a known problem, right?

Families

This part is going to be a little more vague and not completely thought out, but I want to write it down so I remember it.

Let me comment that these problems typically come in families. I’m going to be kind of vague about what one should mean by that, because I’m not wholly sure. Take the Turan problem, for example. That’s really a list of problems, one for each n, or at least each sufficiently large n, given by data G_n, H_n, and R_n. But in a way they’re all the same, right? In particular, Orb_m doesn’t change with n (or at least it doesn’t for n large enough) As it happens I am very familiar with this vague notion of seuqences of things, each with an action of S_n, which are somehow all the same — they are functors from the category FI of finite sets with injections, which I’ve written a lot about over the years. In particular, (G_n/H_n) is a finitely generated FI-set, which you can read more about in the paper of Speyer, Ramos, and White. Never mind the definitions; just accept that there’s a reasonable notion of what counts as a family of (G,H,R) instances in this context.

Similarly, I think the cap set problems as n varies should be thought of as a family.

What about the continuous cases? I’m a little less clear there but let me make a stab at at least one kind of thing that should count. Let G be the affine generalized orthogonal group on R^2, i.e. the group of rigid motions where you’re also allowed to dilate, and let H be GO(2). Then G/H is R^2 and Orb_3 is the set of similarity classes of triangles. Write K_n in Orb_3 for the set of triangles such that the ratio between two edges never exceeds n. Then a K_n-set has size bounded by const*n^2 (because a K_n set is more or less the same thing as a packing of unit circles in a circle of radius n.) If U is some OTHER set subset of orb, I would consider a family of problems to be given by R = U intersect K_n, with n growing.

In the first two cases, write (G/H)_n for (G_n/H_n) and in the third case write (G/H)_n for K_n. Note that in all three cases we have an easy asymptotic formula for the maximal size of a ((G/H)_n)-set. Call this size S_n. Then here’s what I’d like to guess.

Vaguely stated guess: In any family of R, if we write m_R(n) for the maximal size of an R-set in the problem indexed by n, then the limit

γ_R = lim_n log(m_R(n) / S_n)

exists. This should be a basic invariant of R that measures how “restrictive” it is.

One could even be more aggressive and ask whether there are constants c_R, γ_R such that

m_R(n) = c_R |S_n|^γ_R + o(|S_n|^γ_R).

which is true in lots of cases where the behavior of m_R(n) is understood!

Is that too abstract? Let me give some sense of what it means. For cap sets, it says the size of the largest cap set in F_q^n grows like q^{γn} or maybe q^{(γ+ε)n} or something. This is known and pretty easy, but what’s not at all known or easy is what γ is. I proved a theorem with Giswijt that γ < 1. I have no idea whether the more aggressive statement is true! I don’t know how to rule out that it’s some kind of funny q^{γ n + epsilon}. For the Turán problem, the guess says log ex(n,Γ) / log n approaches a limit in n; is that known?

If I asked how many points there could be in a unit line segment, no two separated by less than 1/n, and no “approximate three-term APs”: three points x,y,z satisfying y in [(1/2+δ)x + (1/2-δ)z, (1/2-δ)x + (1/2+δ)z], is that maximum asymptotic to some c n^γ, with γ depending on δ? In this context, one might imagine that γ is the largest dimension a set with no δ-approximate 3-term APs could have (throwing out the minimum distance requirement that forces the set to be finite.)

And the aggressive guess would say that, I dunno, if I asked how large a collection of k-element subsets of [n] could be if no m of them shared at least t points, the answer would also be asymptotic to some c n^γ. Believable! I have no reason to believe any of this except that the cases where these problems are solved, e.g. the problems discussed in this survey of set intersection problems, all seem to have answers of this form.

My instinct is that γ_R should be much easier to compute, and that c_R, which is more like a sphere-packing constant, should be more subtle.

Here’s a very concrete question. Take G = S_n, H = S_{n-k}, m = 2. So Orb_2 is just the set of double cosets H \ G / H, which indeed stabilizes for large n to some finite set you can describe combinatorially. For each subset R of this finite set, the guess says there’s some corresponding γ_R, and these numbers are monotone increasing under set inclusion. So… what are they?

I have not thought about this very hard! I am posting with the idea that people will tell me which parts of this are already understood, and which parts are wrong, and in what directions there’s more to say or ask.

Petrichor

Nov. 24th, 2025 11:26 pm
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[personal profile] aurumcalendula
I'm revisiting Petrichor (I'd gotten busy after the second episode and didn't get around to picking it back up until now).

Episode 3:

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