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Books The Wheel of Time

Reading The Wheel of Time: Mat Faces Swords and Perrin Faces Arrows in Knife of Dreams (Part 11)

Mat and Tuon visit a shady inn, while Perrin narrowly escapes death…

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Published on April 23, 2025

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<p class="syndicationauthor">Posted by Stefan Raets</p><p class="ljsyndicationlink"><a href="https://reactormag.com/reading-the-wheel-of-time-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/">https://reactormag.com/reading-the-wheel-of-time-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812038">https://reactormag.com/?p=812038</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/the-wheel-of-time/" class="inline-block link-no-animation" aria-label="Link to term or tag The Wheel of Time 1"> The Wheel of Time </a> </span> </div> <h2 class="post-hero-title text-h1">Reading The Wheel of Time: Mat Faces Swords and Perrin Faces Arrows in <i>Knife of Dreams</i> (Part 11)</h2> <div class="prose post-hero-description prose--post-hero">Mat and Tuon visit a shady inn, while Perrin narrowly escapes death…</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 April 23, 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/reading-the-wheel-of-time-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/#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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role="img" aria-hidden="true"> <g clip-path="url(#clip0_1051_121783)"> <path d="M2.67871 17.4143C2.12871 17.4143 1.65771 17.2183 1.26571 16.8263C0.873713 16.4343 0.678046 15.9636 0.678713 15.4143C0.678713 14.8643 0.874713 14.3933 1.26671 14.0013C1.65871 13.6093 2.12938 13.4136 2.67871 13.4143C3.22871 13.4143 3.69971 13.6103 4.09171 14.0023C4.48371 14.3943 4.67938 14.865 4.67871 15.4143C4.67871 15.9643 4.48271 16.4353 4.09071 16.8273C3.69871 17.2193 3.22805 17.415 2.67871 17.4143ZM14.6787 17.4143C14.6787 15.481 14.312 13.6683 13.5787 11.9763C12.8454 10.2843 11.841 8.80097 10.5657 7.52631C9.29171 6.25164 7.80871 5.24764 6.11671 4.51431C4.42471 3.78097 2.61205 3.41431 0.678713 3.41431V0.414307C3.02871 0.414307 5.23705 0.860306 7.30371 1.75231C9.37038 2.64431 11.1704 3.85664 12.7037 5.38931C14.237 6.92264 15.4497 8.72264 16.3417 10.7893C17.2337 12.856 17.6794 15.0643 17.6787 17.4143H14.6787ZM8.67871 17.4143C8.67871 15.1976 7.89971 13.31 6.34171 11.7513C4.78371 10.1926 2.89605 9.41364 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8.72264 16.3417 10.7893C17.2337 12.856 17.6794 15.0643 17.6787 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 loading="lazy" decoding="async" width="740" height="407" src="https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_KODbook11-740x407.png" class="w-full object-cover" alt="Reading The Wheel of Time on Tor.com: Knife of Dreams" srcset="https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_KODbook11-740x407.png 740w, https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_KODbook11-768x422.png 768w, https://reactormag.com/wp-content/uploads/2021/11/ReadingWOT_KODbook11.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’s Reading The Wheel of Time is a bit of a short one, since the two chapters we’re tackling—chapters 11 and 12—are each finishing up the interludes of traveling/waiting that Perrin and Mat have been in for a little while. Neither is quite done with this stage of his journey, but it’s clear that the next time we revisit them, the action will have caught up to them again. Mat is now actively looking for a way to return Tuon home without getting her assassinated as an imposter, while Perrin is now, finally, only steps away from being able to enact his plan to rescue Faile. But I’m getting ahead of myself. First, let&#8217;s recap.</p> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>Luca’s show travels to the large and prosperous town of Maderin. Luca cautions everyone not to speak of the sinking village they saw the day before. He also says the performance is only going to be for one night, as they are leaving early the next morning. Selucia summons Mat to attend Tuon, who expresses her desire to visit a hell, the lowest and most dangerous kind of gathering space, where basically every patron is some kind of criminal and killing is not uncommon.</p> <p>Wondering how she even learned of such places, Mat tells Tuon that he couldn’t possibly bring a woman like her to a place like that without ending up in a knife fight. This seems to please Tuon for some reason. When Thom learns of Tuon’s desire to visit a hell, he suggests a place called The White Ring, which he already intended to visit to gather information. Mat guesses that Thom intends to take Tuon to a slightly rougher place and pass it off as a hell.</p> <p>The four of them set off into the town. Thom questions the guards about the state of the countryside, gleaning information about the local lords’ attitude towards the Seanchan. The White Ring turns out to be an inn with a woman’s garter on its sign—not a hell, but a rough place certainly. Mat checks all his knives before they go inside.</p> <p>He isn’t sure Tuon will be fooled by the place, where locals and outlanders seem to be drinking and dicing together as part of trade negotiations. Mat makes a bet with Thom about whether or not Tuon will accept The White Ring as a Hell, and loses his coin when a singer’s bawdy song convinces Tuon that it can’t be a reputable place.</p> <p>Tuon insists on ordering beer. She also insists on seeing Mat’s luck in action, so he participates in a dice game with a few locals and an apparently very inebriated Taraboner trader. But he realizes that the woman’s intoxication is an act, and one of the men, a merchant named Vane, quickly excuses himself from the game.</p> <p>Mat’s luck runs well and he wins every toss, explaining the rules to Tuon as he goes. But eventually he starts to worry that he’ll be accused of cheating. Buying a round for the entire room helps alleviate the danger of the crowd turning on him. On the very last toss the dice come up the Dark One’s eyes, meaning that Mat walks away from the table with only a little bit more than he sat down with. Tuon remarks that his luck isn’t endless.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“Nobody has endless luck, Precious. Myself, I think that last toss was one of the luckiest I’ve ever made.” He explained about the Taraboner woman’s suspicions, and why he had bought wine for the whole common room.<br><br>At the table, he held her chair for her, but she remained standing, looking at him. “You may do very well in Seandar.”</p></blockquote></figure> <p>While Tuon and Selucia visit the facilities, Thom comes to Mat with the information he has gathered from the other patrons. It is somewhat alarming. First, there was a killing in Jurador, only a day or two after the show left, that was clearly committed by the <em>gholam</em>. Somehow, it is still on Mat’s trail.</p> <p>Thom also reports that there is a Seanchan army assembled on the border of Murandy, and that every woman who wants to pass is forced to drink a tea that makes channelers go wobbly in the knees. Those who are affected are immediately collared. The army is also looking for someone matching Tuon’s description.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“They’re looking for an impostor, Mat. Somebody claiming to be the Daughter of the Nine Moons. Except the description fits her too closely. They don’t talk about it openly, but there are always men who drink too much, and some always talk too much as well when they do. They mean to kill her when they find her. Something about blotting out the shame she caused.”</p></blockquote></figure> <p>Thom convinces Mat that Tuon will be killed, whether she is recognized as the true Daughter of the Nine Moons or not. They begin to plan what they need to leave the show and take to the forest, perhaps letting Vanin lead them on a smuggler’s route. When Tuon returns, Mat insists that they leave at once, despite her complaints that she hasn’t seen a fight yet.</p> <p>When she hears his news, she assumes that her older sister is responsible for laying the trap; she&#8217;s even impressed with the ingenuity of it. Selucia remarks that this plot would be easily dealt with if Tuon were in the Tarasin Palace where she belongs, which results in Tuon rounding on her, furious, and apparently yelling at her using the secret hand signals they share. Selucia falls to her knees and bows her head, but the two go through some reconciliation as Mat watches and both are smiling tremulously and have tears in their eyes by the time it finishes. Mat is baffled.</p> <p>Mat is just reassuring Tuon that he’ll find a way to get her back to her people safely when a group of seven or eight people, armed with swords, appear. Mat shouts for Tuon to run and Thom to protect her as he himself charges, closing the gap and hurling knives. He receives some injuries but manages to take out every attacker except one, a snarling, rag-wearing woman with a knife. Mat tells her that he’ll let her go, but she throws herself at him. He narrowly escapes being killed by her when Tuon interferes, expertly subduing the woman. She demands to know why Mat nearly let the woman kill him, and he answers that he promised himself he would never kill another woman.</p> <p>Turning, he finds Selucia and Thom standing by half a dozen bodies and sporting a few of their own defensive injuries. Tuon is unmarked. She tells Mat that she won the game—he used her name before she used his.</p> <p>When Mat recognizes Vane, the merchant from the dice game, he realizes that their plans have to change, because no one will believe that this respectable merchant attacked them in the street and that they only defended themselves.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“Luca will give us horses to be rid of this.” It was very strange. The man had not lost a coin to him, had not wagered a coin. So, why? Very strange indeed. And reason enough to be gone quickly.</p></blockquote></figure> <p>Perrin rides with Tylee and Mishima into the town of Almizar, wearing his best silk coat in order to look as official as possible for this endeavor. Khirgan is curious about Perrin and his extraordinary life, but he expresses a wish for it to be ordinary. Balwer and Medore slip away, ostensibly to visit a friend of Balwer’s.</p> <p>The first stop is to talk to a Captain Faloun, who is in charge of the raken. Before Tylee can say what they came for, a clerk begins coughing up borer beetles. Everyone screams and begins climbing onto chairs.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Again and again the man vomited, sinking to his knees, then falling over, twitching disjointedly as he spewed out more and more beetles in a steady stream. He seemed somehow to be getting… flatter. Deflating. His jerking ceased, but black beetles continued to pour from his gaping mouth and spread across the floor. At last—it seemed to have gone on for an hour, but could not have been more than a minute or two—at last, the torrent of insects dwindled and died.</p></blockquote></figure> <p>Everyone is terrified, but Perrin points out that, whatever their supernatural origins, the beetles are still just ordinary beetles that can be crushed underfoot. No one else is willing to crush them, but Faloun sets his people to work carrying out the body and sweeping the insects away.</p> <p>Tylee negotiates for raken and fliers, and even obtains a map of Altara that was sent to Faloun by mistake. This is so fortunate Perrin wonders if it could be ta’veren power at work, though that seems impossible. She also arranges for extra soldiers to be put under her command, and Perrin’s letter smoothes the way for all of it.</p> <p>Outside, Perrin has to reassure and strengthen his own people, who heard about the death by borer beetles.</p> <p>Tylee is not very confident that their trip to the manufactory—where they will be dealing with an Imperial functionary, not a soldier—will be successful, even with Perrin’s paper. She gives him strict orders not to speak unless he has to, and to always address her, never the functionary directly. After being made to wait, they are eventually greeted by someone called a Third Hand, who Tylee addresses as Honorable. They learn that there is just shy of five hundred pounds of tea currently prepared; the Hand boasts of how she has solved the problem of finding enough by paying some of the local farmers to grow the herb as their crop. She is clearly very proud of her accomplishment, suggesting that she might even be offered a new name for her achievement.</p> <p>Despite Tylee’s deference and the presentation of Perrin’s letter, the Hand refuses outright to give them all the tea she has—she has been very precise about her delivery schedule, never missing a shipment, and this would throw everything off. As Tylee starts to bargain for a smaller amount, Perrin interjevts, speaking carefully to Tylee that Suroth promised death for any hindrance to her plans, though surely “the Honorable” would escape Suroth’s wrath and that it will fall squarely on his and Tylee’s shoulders. The Hand relents, promising to have the tea and carts ready by the end of the day.</p> <p>Outside, Tylee praises Perrin’s strategic gamble, surprised to learn that Perrin merely intended to scare the Hand with the prospect of death and had no idea what he was actually doing.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“That woman knew she stood in the shadow of death as soon as she read Suroth’s words, but she was ready to risk it to do her duty to the Empire. A Lesser Hand of the Third Rank has standing enough that she might well escape death on the plea of duty done. But you used Suroth’s name. That’s all right most of the time, except when addressing the High Lady herself, of course, but with a Lesser Hand, using her name without her title meant you were either an ignorant local or an intimate of Suroth herself. The Light favored you, and she decided you were an intimate.”<br><br>Perrin barked a mirthless laugh. Seanchan. And maybe <em>ta’veren</em>, too.</p></blockquote></figure> <p>Tylee asks if Perrin’s marriage brought him powerful connections. When he turns in surprise, an arrow scrapes across his chest, another burying itself in his arm. Perrin realizes that, if he hadn’t turned at the exact right moment, he would have been killed. Tylee spots movements on a rooftop and sends Mishima after the attacker, then apologizes to Perrin, saying that it lowers her eyes that he has been hurt while under her protection. Perrin responds that it doesn’t—he never asked her to treat him like a child.</p> <p>The members of Cha Faile tend to Perrin’s injuries and remove the arrow in his arm, as Perrin sharply reminds Neald not to Heal him in the middle of a watching crowd. Tylee is surprised that Perrin would let the man touch him with the One Power. Mishima returns to report that two men with bows and quivers fell from the roof, but that they were already dead before they hit the ground—he thinks they took poison when they failed to kill Perrin.</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“If men will kill themselves rather than report failure,” Tylee said gravely, “it means you have a powerful enemy.”<br><br>A powerful enemy? Very likely Masema would like to see him dead, but there was no way Masema’s reach could extend this far. “Any enemies I have are far away and don’t know where I am.” Tylee and Mishima agreed that he must know about that, but they looked doubtful. Then again, there were always the Forsaken. Some of them had tried to kill him before.</p></blockquote></figure> <p>Perrin isn’t going to bring up the Forsaken, however, and suggests they find an inn where he can rent a room. He thinks of how it has been fifty-one days since he lost Faile, and wonders how many more will pass before he can get to her.</p> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>I think the most significant thing for me in these chapters is not just that both Perrin and Mat were attacked by Darkfriends, or even that Perrin seems to suspect the Forsaken’s hand behind it while Mat is left puzzled. What feels important is how <em>quickly</em> they were able to find them, in comparison to the first time Moridin/Ishamael gave their image to his followers. After Carridin/Bors and the other Darkfriends were given the images of Rand, Perrin, and Mat, it wasn’t too long before Rand and Mat had an encounter with some. It showed the boys, and the audience, how Darkfriends could be anywhere, but it didn’t quite give the impression that they are <em>everywhere</em>.</p> <p>This time, however, Mat happened into a random town where he was immediately clocked by a Darkfriend, who not only had the information about his appearance and the orders to kill him but could also quickly and easily scare up an entire gang of Darkfriends, a dozen or more, which would have been enough to subdue Mat if he hadn’t happened to have three extraordinary fighters with him.</p> <p>(I think that’s what Thom is saying to Selucia when he suggests that sometimes he sees things and then forgets him. I think she took part in the fighting and doesn’t want Mat to know about it, for some reason. Maybe just to keep the balance of knowledge and power favoring Tuon? Maybe because part of being Tuon’s protector is about being underestimated by potential enemies.)</p> <p>The ordinary people of this random town probably aren’t important Darkfriends, and they probably weren’t spoken to directly by one of the Forsaken, but I imagine it’s not that many steps up the chain of command to find one, either. It seems like either the number of Darkfriends has increased or their organization has improved a lot—perhaps both—which speaks to the fact that everyone knows how close the Last Battle is, and the Forsaken are tightening their grip on their army even as the Light scrambles to organize its own side of things.</p> <p>Perrin, in another city on a very different errand, was found just as quickly as Mat was. It was so interesting to see him have a <em>ta’veren</em> moment that was more like Mat and Rand’s experiences. In the case of the latter two, we have seen both Mat and Rand avoid death simply by moving at the right moment. Mat tripping just in time for the leaping <em>gholam</em> to sail over his head is one example, and Rand, meanwhile, has had a moment basically exactly like this one for Perrin, where an arrow that would have killed him missed <em>only</em> because he happened to turn at the perfect moment. (It has happened for Rand enough that I don’t even remember when that was, but I believe someone else was struck and killed instead. Fortunately for Perrin, it was a horse who took the arrow meant for him, and not a person.)</p> <p>Perrin’s <em>ta’veren</em> influence has always been more subtle, less easy to clock, than Mat’s warping of chance and Rand’s, well, everything. It was suggested that Perrin was able to convince the people of the Two Rivers to stand and fight the Trollocs because he exerted <em>ta’veren</em> power over them, but Perrin argued at the time that people were only listening because he made sense, and that’s a fair point. Even if his <em>ta’veren</em> nature took a result that could come from his speech and made it less likely, you can’t say for sure that it wouldn’t have happened even without his being <em>ta’veren</em>.</p> <p>Of course, you could argue that his avoiding of the arrow was also pure chance, but it certainly seems like a more extraordinary result than Perrin being able to convince his friends and neighbors—people he grew up with, who know and like him and who think similarly to him, being from the same place—to see things from his perspective. When you know someone is <em>ta’veren</em> and also see them have extraordinary good luck, you can probably assume that a twisting of the Pattern is to blame.</p> <p>Still, I think Perrin’s convincing of the Hand also shows his <em>ta’veren</em> power at work. This is not a woman he’s known since he was a boy, from a place and culture he knows well. His gamble in suggesting that Suroth would execute anyone getting in the way of “her” plans didn’t pay out because he made a calculated risk; he had none of the knowledge he needed in order to make those calculations. Instead, through sheer ignorance, he accidentally made the woman think that he was an intimate of Suroth’s, which was probably the only thing that would have convinced the woman to grant their request. As Tylee points out, she could just as easily have deduced that Perrin was “an ignorant local” making a social gaffe, which seems much more likely given the fact that, well, that’s the truth of the situation. The positive result, I think, can be put down to Perrin’s <em>ta’veren</em> nature swaying events in his favor.</p> <p>Perrin’s astonishment at Faloun’s possession of the map of Altara and his question about whether or not <em>ta’veren</em>-ness could be responsible for such a thing does have me thinking more about what it means to be <em>ta’veren</em> and why the Pattern creates people with such abilities. We know that <em>ta’veren</em> pull the threads of the Pattern around them, creating ripples that run outward, changing and affecting other threads down the line, and that the people who are <em>ta’veren</em> aren’t exactly in control over that effect. But we also know that the Wheel directs all lives and that the Pattern might bend a little for someone’s desire, their free will, if we can call it that, but that in the end everyone’s lives are at least somewhat directed by the spinning of the Wheel. When Moiraine decided to swear obedience to Rand, she compared the direction of the Pattern to channeling <em>saidar</em>: Control only comes through surrender.</p> <p>If the Wheel weaves as the Wheel wills, what is the difference between the Pattern bringing that map to be at the right spot for Perrin and his allies to have it and <em>ta’veren</em> power doing it? If <em>ta’veren</em> are a tool for the Wheel to affect threads of a Pattern it already controls, then <em>why</em> is that effect needed in the first place?</p> <p>I think we can find the answer in what is happening to the Pattern right now. As the Dark One is able to touch and exert influence over the Pattern, we are increasingly seeing strange events, from bubbles of evil, to ghosts and towns of dead people, to strange winds and… men filling up with bugs somehow? This latest event is a very odd addition to the effects of the Dark One’s touch, feeling more like a witch’s curse in a horror movie than the disintegration of creation, but Jordan understands the rules of his world better than I do, so I’ll accept it the same way Perrin does. It’s happening, and how is less important than my understanding of why.</p> <p>Back in chapter three, when Moridin ordered the other Forsaken to kill Perrin and Mat, he observed that they should be easy to find because they are <em>ta’veren</em>. Graendal responds with;</p> <figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“Finding ta’veren was never as simple as you made out, and now it’s harder than ever. The whole Pattern is in flux, full of shifts and spikes.”</p></blockquote></figure> <p>Perhaps not all of these shifts and spikes are the Dark One’s influence, but I can’t think of what else they might be; certainly some of the fluctuations in the Pattern must be responsible for the ghosts and the other strange occurrences we’ve encountered. This suggests, therefore, that the ways that <em>ta’veren</em> affect the Pattern and the way the Dark One affects the Pattern are, in some sense, similar. Perhaps <em>ta’veren</em> effects are the exact opposite of the Dark One’s, creating order and harmony where he creates disorder and conflict, but they seem to work very similarly, on a functional level.</p> <p>It would make sense that <em>ta’veren</em> aren’t just granted their power so that they can be effective leaders in the last battle (or so they can survive long enough to get there), but also to affect the Pattern for the Pattern’s sake. I find myself wondering if Rand, in particular, might have a stabilizing effect on the Pattern. What humanity witnesses as spontaneous marriages and freak accidents might, if viewed from the Wheel or the Creator’s perspective, look like a shoring up of the threads themselves, a patch, or even a  re-weaving of a worn or breaking part of the Pattern. Perhaps that is why Rand seems to have a greater or lesser “random” effect on the places he goes. Perhaps the results have to do with whether or not that area of the Pattern needs a little TLC.</p> <p>This is all speculation, of course, but I do like where it’s taking me. The theory even suggests a way that the Bore might be fixed—not patched but actually rewoven into solidity. As we know, this must be possible, since the cyclical nature of time demands there be a point at which the Bore doesn’t exist so that it can be drilled in the first place. If Rand has the ability to reweave parts of the Pattern simply by being present in the place where it is frayed or torn, maybe he can find a way to bring that effect to bear on the Bore itself, perhaps with the aid of Mat and Perrin.</p> <p>Speaking of which, I’m so intrigued by the connection the three have through the swirling colors and visions of each other. So far they have all been too busy to stop and pay attention to it, and Perrin seems to have found a way to dismiss it from his mind at will, but this connection must exist because of their shared nature as <em>ta’veren</em>, and might well represent a way to combine their powers in some way. At the very least, it would be endlessly useful on the battlefield to be able to know what the other generals are doing at any given moment, no matter how far they are from your position, simple by thinking about them. Mat has already gotten some small use from the visions: He knows that Rand isn’t dead or captured the way so many rumors suggests.</p> <p>Maybe they’ll even find a way to communicate with each other through the visions, like some kind of <em>ta’veren</em> telepathy.</p> <p>I have to admit, I enjoyed the fact that Mat and Thom were able to fool Tuon with the fake Hell. Tuon is kind of annoying, I must admit. She’s an impressive person, to be sure, intelligent and highly competent, but she’s also just so narcissistic, so confident of her own superiority over everyone else, that it makes her kind of unbearable. Her “games” with Mat don’t really come off as flirtatious so much as a need to exert her own authority, and superiority, over him, and the way she keeps judging him like she’s grading a student or evaluating a slave is irksome at best. She may have won the game (the one only she knew they were playing) as to who would use the other person’s actual name first, but she also believed that a normal inn was the Hell she wanted to visit just because a singer’s performance is, in her opinion, too bawdy for a respectable establishment.</p> <p>Not that she thinks of it as an opinion. Seanchan don’t, as a matter of course, seem to be able to easily get their heads around the huge cultural differences between their nation and those they’ve come to conquer. Their hierarchical thinking is too rigid, too ingrained, for them not to bring that perspective to bear.</p> <p>I did particularly enjoy the cultural difference around what is considered too sexual for public spaces. The song being performed in the White Ring is deemed by Tuon to be too “salacious” for a respectable establishment, but she thinks that someone singing such a song should be more scantily clad. Since most <em>da’covale</em> are dressed in sheer robes, it’s clear that nudity and partial nudity are more common place in Seanchan. It is only seen in those of lower rank—the <em>so’jinn</em>, for example, don’t wear transparent clothing—but witnessing it would not be considered very scandalous when every slave owner would have at least a few sheer-clad <em>da’covale</em>. From the point of view of the rest of the nations, however, much less nudity is on view even among lower-class or less honorable women, but songs about making love are apparently alright in places where goods can be bought and sold, and business is conducted.</p> <p>In any case, I’m getting pretty tired of Tuon’s righteousness, especially after the reminder of her views on Aes Sedai and channelers. It would be nice to see Mat get an edge over her once in a while, even if she never finds out she was duped.</p> <p>Tylee’s shock that Perrin would allow Neald to Heal him was a good reminder of how the Seanchan see the One Power. She doesn’t make a point about it being the male half that would be used, though she could very well be thinking it, I suppose. Still, I am reminded that the Seanchan see the One Power—all of it, not just the male half—as being something Evil, emanating from the Dark. Like the Whitecloaks, they see female channelers as witches or monsters, and I wonder if they even see a difference between male and female channelers, other than the fact that one can be controlled and one can’t. Tuon brought this up when she collared the Aes Sedai, but for some reason it hit me especially when Tylee questioned Perrin’s willingness to be Healed.</p> <p>Perhaps this is because the <em>damane</em> don’t seem to know how to Heal. Their channeling is almost entirely focused on war, though we’ve heard of a few other things they can do, including some weather control, delving for ore, and fortune telling/Foretelling. With the Seanchan attitude towards the One Power being what it is (a legacy of Hawkwing’s final years of hatred towards the White Tower), it’s hard to imagine any of them being willing to be touched by the One Power even to save their own lives.</p> <p>Tylee mentioned needing to find more <em>a’dam</em> along with the <em>raken</em> and the Forkroot, yet another point towards the fact that many Shaido are probably going to end up collared. But perhaps some good will come of this as well. We know that <em>marath’damane</em> are being found everywhere due to the use of forkroot; with the warehouse emptied, there will be interruptions in supply that might allow some channelers to escape the Seanchan drag net.</p> <p>I’m not sure if Forkroot also affects channelers who have never touched the True Source before. We know the <em>a’dam</em> can indicate a woman born with the spark, but even there, girls are not tested at birth but when they are teenagers, around the time when anyone born with the spark would start touching the Source for the first time. Those who are not born with the spark but have the ability to learn are not affected by being collared, but <em>sul’dam</em> who have used the <em>a’dam</em> for a while are.</p> <p>This suggests that a woman or girl must have connected to the One Power in some way in order for the collar end of the <em>a’dam</em> to work on her. It can’t sense the potential, only the reality. Women born with the spark probably become connected to the One Power before they ever actually use it, hence the ability to collar them even before they have shown an ability to channel. But if it were possible to sense the spark in someone when they are newborns, I’m sure the Seanchan would test accordingly.</p> <p>So the question is whether forkroot would operate by the same rules. Would a woman with the ability to learn be affected by Forkroot even though she wasn’t born with the spark and has never channeled before? Would a six year old girl born with the spark but still years away from expressing that ability be affected by it?</p> <p>It’s hard to say, based on what we know so far. On the one hand, the Seanchan seem to be using the tea to find more <em>marath’damane</em> than they could find by the usual means, which would suggest that the forkroot test is more effective than <em>damane</em> sensing channelers as they pass. But there are only so many <em>sul’dam</em> and <em>damane </em>pairs, and the forkroot allows any Seanchan soldier to test a woman to see if she can channel, and to subdue her until a <em>sul’dam</em> can arrive with a collar. The increased number of <em>marath’damane</em> might simply be a numbers game, and nothing to do with forkroot being a more effective way to test for channelers or potential channelers.</p> <p>But what if it <em>is</em> more effective? It’s awful enough that the Seanchan have a quick and simple way to test women that can be employed by any one of their agents. If forkroot works on those born with the spark who haven’t yet manifested their abilities, or on women who only have the ability to learn, that is a crazy powerful tool for the Seanchan, or anyone with hostile intentions towards channelers, to have in their arsenal.</p> <p>However, unless forkroot is actually pretty rare, it seems more unlikely than likely that it could affect such a wide range of people, just because its nature would be more likely to have been discovered before now, but that’s not a guarantee; we have no idea how rare the plant is or how it was used before Ronde Macura discovered its unique properties.</p> <p>In any case, I hate the fact that the Seanchan have it, and in such quantities, and I hope that some good comes of Perrin and Tylee taking everything that was currently ready to be shipped. I’m also very curious to see what comes of the fact that Suroth has apparently made everyone think that Tuon is actually an impersonator of herself. No doubt she will present a “real” Tuon to complete the misdirection, probably Semirhage in disguise. Much of Tuon’s safety may depend on how the meeting between the Daughter of the Nine Moons and the Dragon Reborn goes—whether Rand detects a trap, whether Semirhage pulls her punches because of Moridin’s orders. Whether <em>ta’veren</em> power has a hand in any of it.</p> <hr class="wp-block-separator has-alpha-channel-opacity is-style-dots" /> <p>Before we get to that, it’s time to return to Caemlyn and Elayne’s struggle for the throne. I’m a little chagrined to admit that I actually forgot what was going on with her and the fact that there was actually fighting going on. Depending on how my reading goes, we’ll cover at least chapters 13 and 14, possibly 15 as well.</p> <p>In the meantime, did anyone else picture that clerk’s death by beetles to be just like all the people whose brain gets eaten by scarab beetles in <em>The Mummy</em>? Because I did. Also, I really enjoyed the description of Mat’s fighting prowess, and the fact that Tuon had to step in and stop him from letting his chivalry get him killed. Even if she’s not my favorite person, that was a good moment.[end-mark]</p> <p>The post <a href="https://reactormag.com/reading-the-wheel-of-time-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/">Reading The Wheel of Time: Mat Faces Swords and Perrin Faces Arrows in &lt;i&gt;Knife of Dreams&lt;/i&gt; (Part 11)</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-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/">https://reactormag.com/reading-the-wheel-of-time-mat-faces-swords-and-perrin-faces-arrows-in-knife-of-dreams-part-11/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812038">https://reactormag.com/?p=812038</a></p>

The strife is o'er, the battle done

Apr. 23rd, 2025 11:13 am
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The strife is o'er, the battle done;
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What I read

Made a rather slow progression through Li, Wondrous Transformations, and finished it, a little underwhelmed somehow. Some useful information, but a fair amount of familiar territory.

As a break, re-read of KJ Charles' Will Darling Adventures, Slippery Creatures (2020), Subtle Blood (2020) and The Sugared Game (2021), as well as the two short pendant pieces, To Trust Man on His Oath (2021) and How Goes the World (2021).

Then - I seem to be hitting a phase of 're-reading series end to end'? - Martha Wells, All Systems Red (2017), Artificial Conditions (2018), Rogue Protocol (2018) and Exit Strategy 2018), and the short piece Home: Habitat, Range, Niche, Territory (2020).

Also read book for review (v good).

Literary Review.

On the go

Martha Wells, Network Effect (2020).

Up next

Predictably, Fugitive Telemetry and System Collapse.

Also at some point, next volume in A Dance to the Music of Time for reading group (At Lady Molly's).

Still waiting for other book for review to turn up, but various things I ordered have turned up, so maybe those.

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Posted by Molly Templeton

News Philip K. Dick Award

Brenda Peynado’s Time’s Agent Wins the 2025 Philip K. Dick Award

Congratulations to the author!

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Published on April 23, 2025

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<p class="syndicationauthor">Posted by Molly Templeton</p><p class="ljsyndicationlink"><a href="https://reactormag.com/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/">https://reactormag.com/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812059">https://reactormag.com/?p=812059</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/philip-k-dick-award/" class="inline-block link-no-animation" aria-label="Link to term or tag Philip K. Dick Award 1"> Philip K. Dick Award </a> </span> </div> <h2 class="post-hero-title text-h1">Brenda Peynado&#8217;s <i>Time&#8217;s Agent</i> Wins the 2025 Philip K. Dick Award</h2> <div class="prose post-hero-description prose--post-hero">Congratulations to the author!</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/molly-templeton/" title="Posts by Molly Templeton" class="author url fn" rel="author">Molly Templeton</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 April 23, 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/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/#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=Brenda Peynado’s &lt;i&gt;Time’s Agent&lt;/i&gt; Wins the 2025 Philip K. 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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="448" src="https://reactormag.com/wp-content/uploads/2025/04/times-agent-740x448.jpg" class="w-full object-cover" alt="A crop of the cover of Time&#39;s Agent by Brenda Peynado" srcset="https://reactormag.com/wp-content/uploads/2025/04/times-agent-740x448.jpg 740w, https://reactormag.com/wp-content/uploads/2025/04/times-agent-768x465.jpg 768w, https://reactormag.com/wp-content/uploads/2025/04/times-agent.jpg 990w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> <p></p> </div> </div> <p>This past weekend, at Norwescon 47, the Philadelphia Science Fiction Society and the Philip K. Dick Trust <a href="https://www.philipkdickaward.org/" target="_blank" rel="noreferrer noopener">announced</a> the winner of the 2025 Philip K. Dick Award: <em>Time&#8217;s Agent</em>, by Brenda Peynado.</p> <p><em>Time&#8217;s Agent</em>, published last summer by Tordotcom, is a novella about a woman living in a near-future where pocket universes have been discovered. Some are tiny, some are massive, and many are unfortunately ripe for corporate colonization. When archaeologist Raquel gets stuck in one where time moves very differently than it does in our universe, she comes back to find her whole world changed. <em>The Washington Post</em> called it “A genre-bending sociopolitical commentary with prose that shines.”</p> <p>Adrian Tchaikovsky&#8217;s <em>Alien Clay</em> received this year&#8217;s special citation.</p> <p>The Philip K. Dick Award is given each year to a work of science fiction published in the United States in paperback original form. This year&#8217;s finalists included <em>City of Dancing Gargoyles </em>by Tara Campbell; <em>Your Utopia: Stories</em> by Bora Chung, translated by Anton Hur; <em>The Practice, the Horizon, and the Chain</em> by Sofia Samatar; and <em>Triangulum</em> by Subodhana Wijeyeratne</p> <p>This year&#8217;s judges were Maurice Broaddus, C. S. Friedman, Rajan Khanna, Carol McGuirk, and Carrie Vaughn. You can watch the award ceremony <a href="https://www.norwescon.org/con/p-k-dick-award/" target="_blank" rel="noreferrer noopener">here</a>.[end-mark]</p> <p></p> <p></p> <p></p> <p>The post <a href="https://reactormag.com/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/">Brenda Peynado&#8217;s &lt;i&gt;Time&#8217;s Agent&lt;/i&gt; Wins the 2025 Philip K. Dick Award</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/">https://reactormag.com/brenda-peynados-times-agent-wins-the-2025-philip-k-dick-award/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812059">https://reactormag.com/?p=812059</a></p>
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Posted by Molly Templeton

News Wednesday

Wednesday Will Need Sunscreen for Her Summer Return

Let’s play dollies.

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Published on April 23, 2025

Image: Jonathan Hession/Netflix

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<p class="syndicationauthor">Posted by Molly Templeton</p><p class="ljsyndicationlink"><a href="https://reactormag.com/wednesday-season-two-premiere-august/">https://reactormag.com/wednesday-season-two-premiere-august/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812049">https://reactormag.com/?p=812049</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> Will Need Sunscreen for Her Summer Return</h2> <div class="prose post-hero-description prose--post-hero">Let&#8217;s play dollies.</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/molly-templeton/" title="Posts by Molly Templeton" class="author url fn" rel="author">Molly Templeton</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 April 23, 2025 </p> </div> </div> <div class="post-hero-caption post-hero-caption-vertical [&amp;_a]:link"><p>Image: Jonathan Hession/Netflix</p> </div> <div class="quick-access 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https://reactormag.com/wp-content/uploads/2025/04/wednesday-S2.jpg 1500w" sizes="(max-width: 740px) 100vw, 740px" /> </figure> <div class="post-hero-caption post-hero-caption-horizontal [&amp;_a]:link"><p>Image: Jonathan Hession/Netflix</p> </div> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> <p></p> </div> </div> <p>August is back-to-school for many kids these days—including Wednesday Addams (Jenna Ortega), who returns to Nevermore Academy for another season of <em>Wednesday</em>. This time, she&#8217;s not alone: little brother Pugsley (Isaac Ordonez) is along for the ride. According to Netflix&#8217;s <a href="https://www.netflix.com/tudum/articles/wednesday-season-2-teaser-photos" target="_blank" rel="noreferrer noopener">Tudum</a>, the Addams adults, Morticia (Catherine Zeta-Jones) and Gomez (Luis Guzmán) will be hanging around campus, too. What greater horrors could await?</p> <p>Well, creepy dolls, for one thing. This trailer is light on plot, but there will be murders and secrets, and tricksy Tyler (Hunter Doohan) is back to bother Wednesday some more. Fred Armisen also returns as Uncle Fester, and of course so does Emma Myles as Enid; the sprawling season two cast includes Joanna Lumley as Hester Addams, Morticia&#8217;s mother; Steve Buscemi as Principal Dort; Thandiwe Newton as Dr. Fairburn; and a whole bunch of people whose roles have not been disclosed, including Christopher Lloyd, Billie Piper, and Lady Gaga.</p> <p><a href="https://www.netflix.com/tudum/articles/wednesday-season-2-teaser-photos" target="_blank" rel="noreferrer noopener">According to series co-creater Miles Millar,</a> “Wednesday goes into this season thinking she knows Nevermore. It’s the first time she’s returned to a school willingly. But as soon as she gets back, nothing happens that she’s expecting. She thinks she’s going to be in control, that she knows where all the bodies are buried, and she doesn’t.”</p> <p><em>Wednesday</em> has creators Millar and Alfred Gough as showrunners; Tim Burton, Paco Cabezas, and Angela Robinson direct. Season two will be released in two parts on Netflix: Part 1 on August 6th, and Part 2 on September 3rd.[end-mark]</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <site-embed id="15463"/> </div></figure> <p>The post <a href="https://reactormag.com/wednesday-season-two-premiere-august/">&lt;i&gt;Wednesday&lt;/i&gt; Will Need Sunscreen for Her Summer Return</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/wednesday-season-two-premiere-august/">https://reactormag.com/wednesday-season-two-premiere-august/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=812049">https://reactormag.com/?p=812049</a></p>
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Featured Essays nostalgia

The ’90s Gothic Film Revival: Bram Stoker’s Dracula, The Craft, and Everything in Between

From lovelorn vampires to sexy supernatural revenge-seekers, ’90s movies were goth as hell.

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Published on April 23, 2025

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<p class="syndicationauthor">Posted by Sarah</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/">https://reactormag.com/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=811789">https://reactormag.com/?p=811789</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/featured-essays/" class="inline-block link-no-animation" aria-label="Link to term or tag Featured Essays 0"> Featured Essays </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/nostalgia/" class="inline-block link-no-animation" aria-label="Link to term or tag nostalgia 1"> nostalgia </a> </span> </div> <h2 class="post-hero-title text-h1">The ’90s Gothic Film Revival: <i>Bram Stoker’s Dracula</i>, <i>The Craft</i>, and Everything in Between</h2> <div class="prose post-hero-description prose--post-hero">From lovelorn vampires to sexy supernatural revenge-seekers, &#8217;90s movies were goth as hell.</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/emma-cole/" title="Posts by Emma Cole" class="author url fn" rel="author">Emma Cole</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 April 23, 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/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/#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 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12.856 17.6794 15.0643 17.6787 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 loading="lazy" decoding="async" width="740" height="493" src="https://reactormag.com/wp-content/uploads/2025/04/90s-Gothic-Horror-740x493.png" class="w-full object-cover" alt="Images from three gothic horror movies from the 1990s: Gary Oldman in Bram Stoker&#39;s Dracula; Helena Bonham Carter in Mary Shelley&#39;s Frankenstein; Fairuza Balk in The Craft" srcset="https://reactormag.com/wp-content/uploads/2025/04/90s-Gothic-Horror-740x493.png 740w, https://reactormag.com/wp-content/uploads/2025/04/90s-Gothic-Horror-1100x733.png 1100w, https://reactormag.com/wp-content/uploads/2025/04/90s-Gothic-Horror-768x512.png 768w, https://reactormag.com/wp-content/uploads/2025/04/90s-Gothic-Horror.png 1200w" sizes="auto, (max-width: 740px) 100vw, 740px" /> </figure> </div> </div> </div> </post-hero> <div class="wp-block-more-from-category"> <div> </div> </div> <p>“Gothic” movies have been around for a long time, hitting a peak in the early days of cinema with horror films like Tod Browning’s <em>Dracula</em> and James Whale’s <em>Frankenstein</em>. But the style fell out of favor in the 1940s as filmmakers focused on more contemporary settings and moved on from adapting classic literature to exploring more modern ideas. Hammer Film Productions brought the gothic back in the late 1950s and 1960s, with bloodier scenes and slightly racier subtext, updating the original monster movies for a more liberated audience. But as the years went on, horror once again pivoted away from more historical settings to contemporary or futuristic stories, often moving the typical tropes to settings like small-town USA or even outer space.</p> <p>In the 1990s though, things shifted once again, bringing a resurgence of gothic films that captured the attention of audiences and spilled out into the culture at large. The “gothic” in this context is not necessarily the same as the “Gothic” in literature: Though there are some overlapping themes in both genres, the films are ultimately more concerned with aesthetics than being bound by strict thematic guidelines. For instance, many Gothic novels often feature unreliable narrators, conflicting points of view, and convoluted narratives, telling stories through a variety of techniques (such as the epistolary structure of <em>Dracula</em>). Films borrowing from the genre typically tell a more straightforward story, streamlining the plot while keeping the moody and tense atmosphere.</p> <p>As the “goth” subculture grew in the ’80s and became a bit more mainstream in the ’90s, there was a split in a couple of different aesthetic directions movie-wise, largely hinging on whether the film had a historical or contemporary setting. Hollywood films that skewed historical, with lavish costumes and sets, took classic horror film imagery and updated it while keeping the focus on romantic relationships and tragic circumstances. They often adapted older novels and works of fiction, keeping the basics of the text and layering in images or characters that felt a little closer to what ’90s audiences looked for, with healthy doses of romance to broaden their appeal.</p> <p>For me, a teenager who had just seen the musical adaptation of <em>The Phantom of the Opera </em>on stage, thereby getting my first taste of opulent costumes and sets coupled with murder and forbidden love, the advent of these gothic films hit at the perfect time. The films of the era inspired and transported me, awakening a lifelong love of both horror and romance that only grows with each coming year. But my heart always comes back to these 1990s goth movies, so I hope you’ll join me for a closer look at the key films of the decade…</p> <p><site-embed id="15456"/></p> <p>The first film in the gothic genre I remember seeing was Francis Ford Coppola’s update of the quintessential vampire novel, <em>Bram Stoker’s Dracula</em> (1992). The adaptation was one of the top 20 films of the year at the box office, and it spurred a loose trilogy of highbrow, auteur-led films that mined the classic horror library. After <em>Dracula</em>, Coppola served as executive producer on <em>Mary Shelley’s Frankenstein</em> (1994), directed by and starring Kenneth Branagh. <em>Mary Reilly</em>, Stephen Frears’ take on <em>The Strange Case of Dr. Jekyll and Mr. Hyde</em>, followed in 1996. While I love all three films, for many people, myself included, <em>Bram Stoker’s Dracula</em> set the historical gothic horror romance bar pretty high.</p> <p>The 1992 production directed by Coppola brought a lush, gory, and sensual style to a story that was familiar to legions of horror fans. Stoker’s epistolary novel had been adapted a number of times previously, with varying levels of horror and romance in the mix, from Tod Browning’s 1931 film starring Bela Lugosi to Frank Langella’s turn as the Count in 1979’s <em>Dracula</em>.</p> <p>What sets Coppola’s version apart is the balance of sex and violence. You can&#8217;t have one without the other; the act of bloodletting is as necessary as the act of lovemaking, and these two facets of the story are explored much more explicitly than in previous adaptations. The decision to begin the film with a backstory is crucial to this balance. Dracula’s (Gary Oldman) renunciation of God when he finds out his love, Elisabeta (Winona Ryder), has taken her own life is portrayed as an incredibly romantic gesture, and it is immediately followed by a literal fountain of blood. Dracula’s entire raison d&#8217;être becomes consuming blood to prolong his existence, <a href="https://www.youtube.com/watch?v=EnnoUU4hRIk" target="_blank" rel="noreferrer noopener">crossing “oceans of time”</a> as he searches endlessly for his lost soulmate.</p> <p>This push and pull between sex and death plays out throughout the film. When Dracula&#8217;s brides materialize in Jonathan Harker’s (Keanu Reeves) bed, they don&#8217;t just want to suck his blood, they want to defile him as well. And when Mina (Winona Ryder) finally discovers where Lucy (Sadie Frost) has been disappearing to at night, we see a woman in the throes of sexual passion while also being attacked by a monstrous, wolf-like creature. The blending of romance and blood, sex and violence heightens the dramatic tension of the film, and creates a grand spectacle that left a lasting impression on me when I saw it (too young) for the first time.</p> <p><em>Mary Shelley’s Frankenstein </em>uses a similar blend of romance and violence to tell the story of Victor Frankenstein and his creature. The script for this version of the movie enhances the romance element of the story with plot points drawn from the James Whale film sequel, <em>The Bride of Frankenstein</em> (1935). Victor’s love life is featured more prominently, with Helena Bonham Carter playing Elizabeth, his adopted sister and eventual wife (an incestuous-adjacent pairing that echoes relationships in many Gothic novels). Victor wavers between wanting to spend time with Elizabeth and focusing on his research, seeking to overturn death. He abandons Elizabeth long enough for Victor to create life in the form of the Creature (Robert De Niro), and then he promptly abandons his monster and runs back to his lover. Unlike previous Frankenstein films, Victor does seem to genuinely care for Elizabeth. In contrast, Peter Cushing’s version of the character in Hammer’s <em>The Curse of Frankenstein</em> (1957) blatantly cheats on his fiancée and doesn’t seem much interested in her at all.&nbsp;</p> <p><site-embed id="15457"/></p> <p>That love and desire for Elizabeth is part of why this ’90s gothic take fits so well into the films of the era. There’s a bit more sex and a lot more shirtless Kenneth Branagh on the screen in this version, and the heightened drama amplifies the shock of the eventual violence. The climax of the film comes when The Creature bursts into Victor and Elizabeth’s honeymoon suite. The monster had tracked down the doctor, asking him to create a companion with whom he can share his undead life. When Victor betrays his promise, the Creature murders Elizabeth, literally ripping her heart out, so Victor can feel the same pain the Creature feels. The grieving doctor decides he has no choice but to reanimate his lover, with disastrous consequences.</p> <p>Hitting theaters only a week after <em>Mary Shelley’s Frankenstein</em>, <em>Interview with the Vampire</em> isn’t part of the unofficial ’90s trilogy of adaptations of classic 19<sup>th</sup>-century Gothic horror that would be capped off by the release of <em>Mary Reilly</em> in early 1996, but it definitely shares many of the same sensibilities, regardless of its source material. The Brad Pitt/Tom Cruise film adapting Anne Rice’s popular novel was plagued by production issues and even criticism from the author herself, who initially hated the casting of Cruise as the vampire Lestat de Lioncourt. Once she saw the film, though, she changed her mind and threw her full support behind the actor, claiming he fully embodied her favorite creation. Cruise is arrogant and cruel, seductive and charismatic as a vampire in search of a companion to share eternal life with him. The man he finds is Louis de Pointe du Lac, played by a dramatically morose Brad Pitt.</p> <p>Louis is mourning the death of his wife and thinks he has nothing left to live for; in other words, he’s a perfect mark for a monster like Lestat, who manipulates Louis into agreeing to become a vampire. The two embark on a centuries-long toxic relationship, unable to leave each other and hating most of the time they spend together. Not even the introduction of a “daughter” can save their broken family unit for longer than a few decades. When Lestat turns Claudia (Kirsten Dunst) into a vampire at the age of ten, he didn’t consider that she would be stuck in the body of a child even as her mind aged, and her resulting resentment over being treated like a kid and unable to pursue real love ultimately breaks up the family dynamic.</p> <p><site-embed id="15458"/></p> <p>This is such a messy, messy film, and one of my favorite examinations of toxic relationships on almost every level. Lestat and Louis, Lestat and Claudia, Louis and Armand (Antonio Banderas) …everyone is miserable and they take it out on each other in deliciously awful ways. Apparently, director Neil Jordan’s decision to film only at night (fitting for a vampire movie) made Brad Pitt so depressed that his character’s fog of despondence wasn’t entirely an acting choice. The classic gothic themes of curses from the past and unreliable narrators are both at play in <em>Interview</em>. The film uses the titular interview as a framing device, so we’re never quite sure if the version of the events we’re seeing is completely accurate.</p> <p>These highbrow gothics had, up to this point, found a pretty healthy audience at the box office. Big name directors and actors and big studio budgets screamed prestige, and viewers responded well to the mix of violence and romance that pervaded the films. But in 1996, two things happened that brought about the end of this style of gothic film: <em>Mary Reilly</em> was released to middling reviews and disappointing box office, and Wes Craven shattered the horror movie landscape once again with <em>Scream</em>. But even though <em>Mary Reilly</em> was less successful than its predecessors, I think there&#8217;s value in reexamining the film.</p> <p>The love story in <em>Mary Reilly</em> is more subdued than in either <em>Dracula</em> or <em>Frankenstein</em>, but it still simmers under the surface of this gothic romantic horror film. The story is a retelling of Robert Louis Stevenson’s <em>Strange Case of Dr. Jekyll and Mr. Hyde</em>, but the main character here is Mary (Julia Roberts), a maid serving in Jekyll’s house (John Malkovich plays both Jekyll and his alter ego). She catches the eye of the doctor, who is searching for a way to curb humanity’s basest instincts. He’s developed a serum that suppresses negative thoughts and emotions, but there’s a catch: when he takes it, all the worst parts of him coalesce into a separate personality: Edward Hyde. Hyde is also intrigued by Mary, but he’s a lot less shy about letting his feelings be known.</p> <p>Mary is drawn to the doctor and his kindness, but she isn’t allowed to speak her feelings directly, given both the societal strictures of the Victorian Era and the class distinction between herself and her love interest. When Hyde begins to show up more regularly, Mary is shocked to discover she may also have feelings for this crass and violent man. Once again, love and violence are inextricably linked in this gothic film, and though none of these movies have happy endings, the somber tone of <em>Mary Reilly</em> really drives home the futility of falling in love with a monster.</p> <p><site-embed id="15459"/></p> <p>That’s not to say that all the gothic films of the ’90s era ended in tragedy. For instance, there were movies like… well, at least <a href="https://www.youtube.com/watch?v=1R3XMZYbiy0" target="_blank" rel="noreferrer noopener"><em>Sleepy Hollow</em></a> ends with a HEA (happily ever after, for non-romance fans). The 1999 Tim Burton vehicle for Johnny Depp is the last gasp of the Hollywood gothic (at least in big studio films) until Guillermo Del Toro’s gorgeous <em>Crimson Peak</em>. Retelling Irving’s “The Legend of Sleepy Hollow,” Burton brought his signature quirky aesthetic to an American style of gothic that played up the romance between police investigator Ichabod Crane (Depp) and Katrina von Tassel (Christina Ricci), a young woman whose family secrets hold the key to a string of gruesome murders perpetrated by the Headless Horseman (I rewatched this movie last year and I was surprised by just how gory it is).</p> <p>Blood and horror aside, <em>Sleepy Hollow</em> is a more lighthearted film than many of its predecessors. Murder and mystery abound, sure, but unlike the underlying despair that pervades the previous films discussed here, there’s a lightness that permeates the town of Sleepy Hollow. There’s no shortage of comic relief, as black as the humor is. Perhaps this is a nod to the snarky, sarcastic tone that gained in popularity when <em>Scream</em> and its copycats became the dominant brand of horror at the end of the decade. As the audience for horror began to skew younger again, studios leaned away from these more serious, historical films and toward a more contemporary vibe. But these new, urban-centric horror films also owed a debt to gothic sensibilities, just in a slightly different way. Let’s go back to the beginning of the decade…</p> <p>On the other side of the gothic spectrum, breaking away from literary and historical inspiration, was the angsty goth movement, which drew from the aesthetics of the more modern punk, industrial, and post-punk music. In these darker goth movies, filmmakers emphasized the horror aspects, and often romance played less of a central role in the narrative (though in many movies, there is still a love story plot). Filmmakers like Tim Burton and Alex Proyas looked to capture a modern audience more excited by action sequences and superhero-style stories and added a goth look to films like <em>Batman Returns</em> (1992), <em>The Crow</em> (1994), and <em>The Craft </em>(1996), borrowing their aesthetics from the larger music and fashion movements of the time.</p> <p><site-embed id="15460"/></p> <p>I won’t argue that <em>Batman Returns</em> is a true “Gothic” story—it’s definitely more superhero action film than anything else. But while director Tim Burton’s previous <em>Batman</em> film (1989) was a more straightforward origin story for Batman (Michael Keaton) and The Joker (Jack Nicholson), <em>Batman Returns</em> does feature many themes common to the gothic genre. The Penguin (Danny DeVito) curses the children of Gotham, particularly Max Shreck (Christopher Walken) and his firstborn Chip (Andrew Bryniarski). The duality of the characters is a common gothic idea. The Penguin and Shreck mirror each other in social standing and ambition;&nbsp; and Catwoman (Michelle Pfeiffer) and Batman are two sides of the same coin as well, fracturing their identities and choosing to fight for either good or evil.</p> <p>And there’s romance here as well, a much more satisfying exploration of a love story than in the previous film in the franchise. Selina Kyle is both a worthy adversary and partner for Bruce Wayne, and the chemistry between the two is palpable. (I think <a href="https://www.youtube.com/watch?v=eeEz9oE17ac" target="_blank" rel="noreferrer noopener">the ballroom scene</a>, where each discovers the other’s secret identity, might contain the most emotion ever shown in a Batman movie, and the Siouxsie and the Banshees musical backdrop adds yet another goth layer to this love/hate story.)</p> <p>With Burton at the helm, the aesthetics definitely borrowed from the gothic end of the spectrum, as most of his films do. Catwoman’s latex costume The Penguin’s dandyism combined with his exaggeratedly grotesque features; the strange circus-themed Red Triangle gang—all of these creepy, dark images took their inspiration from the subculture that was gaining traction outside of The Cure concerts and clove cigarette-scented goth bars. The city of Gotham itself was full of architecture and scenery that wouldn’t be out of place in Tod Browning’s <em>Dracula</em>, with menacing gargoyles looming over the streets, Wayne Manor’s expansive castle-like rooms, and of course, bats everywhere. As with later contemporary goth films, the look of the film is almost more important to lending a gothic vibe to the movie than the storyline. Director Alex Proyas would take this look one step further in 1994’s <em>The Crow</em>.</p> <p>Based on James O’Barr’s comic book series of the same name, <em>The Crow</em> is a love story, a horror story, a revenge story, and an examination of profound grief all rolled into one. Eric Draven (played by the late Brandon Lee) and his girlfriend Shelly Webster (Sofia Shinas) are brutally assaulted and murdered on Devil’s Night (the night before Halloween) by a vicious gang sent by Michael Wincott’s Top Dollar, a crime boss who wants to seize their apartment building. A year later, a crow spirit guide brings Eric back from the dead to seek revenge. Undead and seemingly invulnerable to injury, Eric tracks down the perpetrators of the attack and murders them one by one, getting closer and closer to Top Dollar and his half-sister (and lover) Myca, who are investigating this seemingly invincible vigilante. The themes of revenge, haunting, and the sins of the past are all very gothic in nature, and they permeate the entire film. Coupled with the pitch-black look of the film, it’s the ideal urban goth movie.</p> <p><site-embed id="15461"/></p> <p>There’s a palpable sense of grief that settles over the entirety of <em>The Crow</em>, and that grief is amplified by the tragic death of Brandon Lee on set. The young actor was shot and killed by a faulty prop gun, and while the producers were able to complete filming using a stunt double, the loss of the charismatic young actor cast a shadow over the movie. Nevertheless, it’s a propulsive action film driven by a macabre supernatural story that resonated with both audiences and critics (it was the 10th-highest grossing rated-R film of 1994).&nbsp; The dark aesthetic and paranormal elements paved the way for other action horror mash-ups, like <em>Blade</em>, <em>Underworld</em>, and <em>Resident Evil</em>, and studios began to look more closely at IP they could adapt from media such as comic books and video games.</p> <p><em>The Craft</em> (1996) wasn’t adapted from a popular book or game franchise, but it did capitalize on a resurgence of interest in Wicca and spellcraft. This movie is generally more grounded in reality than a story about the undead or superheroes, but it’s still firmly placed on the gothic spectrum (and was responsible for my love of crushed velvet and black clothing). Sarah (Robin Tunney) moves to L.A. with her dad after a traumatic experience in her hometown. She shows up at a new school and soon makes friends with a group of outcasts: Bonnie (Neve Campbell), Rochelle (Rachel True), and Nancy (Fairuza Balk). The trio needs a fourth person so they can perform their ritual to invoke Manon, a deity who can grant them powers, and Sarah seems like the perfect recruit.</p> <p>Their ritual is successful, and each person receives their wish, bringing them love, beauty, power, and revenge. But it’s not long before the girls, and Nancy in particular, hunger for more. Sarah begins to realize that maybe invoking such a potentially malevolent spirit is a bad idea, and the final act becomes a showdown between Nancy, seemingly the strongest of the four (she says she’s been blessed by Manon) and Sarah, who ultimately thwarts the rest of the coven. At the end of the film, Bonnie and Rochelle are warned against trying to challenge Sarah in the future, since unlike them, Sarah still has her powers. Poor Nancy is confined to a psychiatric ward for the murder of Sarah’s aggressive love interest Chris (Skeet Ulrich) and screaming that she can fly. The ending always fell a little flat for me, though it does incorporate some great gothic tropes (how many gothic stories feature asylums?). Nancy is given a much harsher sentence than I think she deserves, especially given that her murder of Chris comes not out of spite but because Chris tries to rape Sarah.</p> <p><site-embed id="15462"/></p> <p>Aesthetically, this film is rooted in goth subculture, though it’s much more mainstream than a movie like <em>The Crow</em>. The movie sparked a number of clothing trends, and the mashup between private school uniforms and Hot Topic chic left a lasting impression on alternative fashion girls everywhere (myself very much included!). <em>The </em><em>Craft</em> embraces the counterculture only as long as it doesn’t go too far; you can say “We are the weirdos, mister,” but you can’t actually harness your power and disrupt the system too loudly, or else you’ll be punished for it.</p> <p>The underlying message here feels like the beginning of the death knell for the goth era. No longer interested in exploring new territory and experimenting with new genres, <em>The Craft </em>is much more of a safe and straightforward teen film that wears the trappings of a subversive genre but never fully embraces them. As with the historical goth films of the decade, by the end of the 1990s, the themes that felt fresh and exciting were losing their novelty and mainstream audiences began to tire of goth-heavy tropes. There were attempts to further experiment with adding gothic elements to other genres (such as 1998’s <em>Dark City</em>, directed by Alex Proyas), but the boom had passed and studios began looking for the next new thing.</p> <p>And yet, while it may fall in and out of fashion to varying degrees, the gothic never really dies (fittingly, given all the vampires, revivification, and supernatural twists we’ve seen in just this small sample). We’ve seen remakes and sequels of a few of the films mentioned above in recent years, and the ongoing television adaptation of <em>Interview with the Vampire</em>, which leans even further into the emotional drama of the character dynamics than Neil Jordan’s film, is currently helping to resurrect our love for gothic horror (and deeply dysfunctional vampire relationships). With the success of Robert Eggers’ <em>Nosferatu</em> and the upcoming releases of Guillermo del Toro’s <em>Frankenstein </em>and Luc Besson’s <em>Dracula: A Love Tale</em>, we may be looking at the beginning of the next cycle of gothic horror films. As someone who’s never stopped watching these captivating ’90s goth movies, I couldn’t be more excited to see where we go from here. What’s your favorite ’90s gothic film? Have I missed an example that you love, or are you a die-hard <em>Bram Stoker’s Dracula </em>fan like me?[end-mark]</p> <p>The post <a href="https://reactormag.com/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/">The ’90s Gothic Film Revival: &lt;i&gt;Bram Stoker’s Dracula&lt;/i&gt;, &lt;i&gt;The Craft&lt;/i&gt;, and Everything in Between</a> appeared first on <a href="https://reactormag.com">Reactor</a>.</p><p class="ljsyndicationlink"><a href="https://reactormag.com/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/">https://reactormag.com/the-90s-gothic-film-revival-bram-stokers-dracula-the-craft-and-everything-in-between/</a></p><p class="ljsyndicationlink"><a href="https://reactormag.com/?p=811789">https://reactormag.com/?p=811789</a></p>
[syndicated profile] cakewrecks_feed

Posted by Jen

Ever see a cake so deliberately confusing that you're sure you're missing something obvious?
I mean, look at this thing:

Someone went through a massive amount of effort - different colors, squiggle techniques, flotsam arrangement - all to make a senseless, saggy clown volcano. Why? What does it mean?

 

Or how about this snapshot of prehistoric life found in a bakery window?

How I imagine this went down:

"Is that a bridge over all the dinosaurs?"

"Yeah. The Brooklyn Bridge."

".... are you sure?"

"100%"

 

And now, what appears to be candy corn, sandwiched between two half-rounds of plain cake, all smashed onto a bed of... pimento... brains?

Remember when balloons on cake was a thing? And flowers? Those were the days.

 

And finally, Susan found this under the heading (heh) "Naughty but Nice," so I assume it's NSFW... but I can't for the life of me figure out HOW:

Somebody get me a old priest, a young priest, and an anatomy book.

 

Thanks to Vanessa, Jacob B., Andrea P., & Susan C. for the world's naughtiest furry hockey stick.

*****

P.S. Here's a (hilarious) reminder that English is almost as confusing as these cakes:

P Is for Pterodactyl: The Worst Alphabet Book Ever

:D

******

And from my other blog, Epbot:

james_davis_nicoll: (Default)
[personal profile] james_davis_nicoll


In which the weather does not conspire against Ganta and Isaki, although other things do.

Insomniacs After School, volume 9 by Makoto Ojiro

Mystery Challenge: Babylon 5: Missing

Apr. 23rd, 2025 12:14 pm
badly_knitted: (B5)
[personal profile] badly_knitted posting in [community profile] fan_flashworks

Title: Missing
Fandom: Babylon 5
Author: [personal profile] badly_knitted
Characters: Garibaldi.
Rating: PG
Word Count: 300
Spoilers/Setting: Grey 17 is Missing.
Summary: Garibaldi usually loves mysteries, but he could have done without this one.
Content Notes: None needed.
Written For: Challenge 477: Amnesty 79, using Challenge 475: Mystery.
Disclaimer: I don’t own Babylon 5, or the characters. They belong to J. Michael Straczynski.
A/N: Triple drabble.




(no subject)

Apr. 23rd, 2025 09:54 am
oursin: Brush the Wandering Hedgehog by the fire (Default)
[personal profile] oursin
Happy birthday, [personal profile] damnmagpie!

[ SECRET POST #6683 ]

Apr. 22nd, 2025 06:31 pm
case: (Default)
[personal profile] case posting in [community profile] fandomsecrets

⌈ Secret Post #6683 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.


01.


More! )


Notes:

Secrets Left to Post: 01 pages, 23 secrets from Secret Submission Post #955.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Roof, Trail, ETS

Apr. 22nd, 2025 01:26 pm
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[personal profile] ranunculus
Yesterday was paperwork day.  I drew diagrams of how things should be set up in the arena for our two arena based events and then printed out diagrams of how the obstacles work.  That info is for the setup crew.  Next will be judges paperwork. 

The roof is almost complete.  Now we are waiting for the ridge vent materials. Apparently it will be a couple more weeks before they arrive, which is fine, there is no real rain in the forecast, and the roofers say that the roof is watertight in any case.  Michael says my sprinkler pipes are done, but I haven't picked them up yet.

This morning Donald and I "brushed out" a trail.  I had failed completely to drain the muddy swamp at the bottom of Buckeye pasture, it is still a churned up, gloppy mess so we needed an alternate route.  Yesterday Carrie and I walked a path from the east Clover Flats gate down the canyon to a point just past the swamp.  For years people have wound their way up and down the south side of the stream, dodging trees and low limbs.  It is a really pretty area when you aren't ducking something.  Unfortunately dozens of trees have been out competed by their neighbors, died and fallen or partially fallen, all along the route.  Other trees have branched out to take their place.  The resulting tangle of dead wood and new branches has effectively blocked all reasonable routes. Even the cows; who are masters of forcing their way through; had problems.   I chainsawed while Donald cleared up for about 4 1/2 hours before I felt the trail was clear and would be nice to ride.   This trail  will make a great trail link across the bottom of Jungle Pasture. 


We're the talk of the town

Apr. 22nd, 2025 04:33 pm
sovay: (Claude Rains)
[personal profile] sovay
Apparently if permitted to sleep for nine hours, my brain presents me with a cheerfully escapist dream of meeting Dirk Bogarde at a film festival and then spending the rest of the afternoon perusing his library and forgoing dinner in favor of sailing, which was probably more my idea of a good time than his, but I like to think if I hadn't woken when I did, he'd have introduced me to Anthony Forwood.
[syndicated profile] camestrosfelapton_feed

Posted by camestrosfelapton

In mid April 2015, the Sad Puppies were facing significant vocal pushback after sweeping the Hugo Award nominations. Notable blog post from people such as Naomi Kritzer and El Sandifer, highlighted the role of Vox Day and his Rabid Puppy campaign in engineering the shocking result. However, Day took a back seat and most of the news coverage and PR for the Puppies fell onto Brad Torgersen and Larry Correia. This undoubtedly led to layers of confusion and at times will full misunderstandings.

But what if there hadn’t been a Rabid Puppies campaign? Vox Day had been deeply embroiled in the controversies within the Science Fiction & Fantasy Writers of America (SFWA) and several years earlier he had an active interest in the Nebula Awards. However, he hadn’t shown much interest in the WSFS or the Hugo Awards. In 2014, Larry Correia had included Day as part of the Sad Puppies 2 slate, causing more controversy and hence more attention. Day claims that accusations that Day had gamed the 2014 Hugo nomination process as a major contributing factor to setting up Rabid Puppies.

So let us imagine that Corriea had NOT included Day in the 2014 Sad Puppies 2 slate. Day was busy with the more high profile culture war outbreak of GamerGate in 2014 and 2015, so it is not implausible that he would not have actively engaged with the Hugo Awards in 2015. For arguments sake, let us assume he didn’t or had a bad cold in early 2015 and stayed in bed. How would 2015 have turned out without the Rabid Puppies?

We don’t have a simple way of disentangling Rabid Puppy votes from Sad Puppy votes. There are definitely relevant figures in the Debarkle who sit comfortably in both camps, John C. Wright and Tom Kratman in particular. The two slates had a lot of overlap but also some relevant differences.

In Best Novel the slates differed by two novels neither of which made the final ballot. For the Sads this was Trial by Fire by Charles E. Gannon, a Baen author who often made the Nebula Award short list. For the Rabids the choice was The Chaplain’s War by Brad Torgersen. I assume this was a favour by Vox Day so that Brad would not been seen nominating himself in the slate he was running. Both the Sad & Rabid slate included he Dark Between the Stars by Kevin J. Anderson, which was a dreadfully boring book and which came fifth overall in the nominations with 263 votes. Trial by Fire didn’t make the cute with 199 votes and The Chaplain’s War fell even further short with 196 votes. So at most about 64 votes in play as the difference between the two slates.

For the sake of simplicity, I’ll knock 50 votes off all Puppy nominees as a rough way of imagining a Rabid-free set of nominees.

VotesTitleNew Rank
337Skin Game Jim Butcher1
322Monster Hunter Nemesis Larry Correia2
279Ancillary Sword Ann Leckie3
256The Goblin Emperor Katherine Addison4
220Lines of Departure Marko Kloos5
213The Dark Between the Stars Kevin J. Anderson6
210The Three Body Problem Liu Cixin7
168Lock In John Scalz8
160City of Stairs Robert Jackson Bennet9
149Trial By Fire Charles E. Gannon10
146The Chaplain’s War Brad Torgersen11
141The Martian Andy Wei12

The main difference is that The Goblin Emperor is a finalist on the first cut. It did end up being a finalist anyway but only because Larry Correia and Marko Kloos withdrew. This is where the hypothetical becomes more complex. Without the Rabid Puppies other categories would have had more non-slate finalists and without the Rabid Puppies there would have been less attention paid to the far right politics of the Puppies. Given that would Correia or Kloos have withdrawn?

I suspect Correia already planned to withdraw. He was on the slate to bring his voters along and the man knew he was going to be No Awarded on a matter of principle. To a large extent Jim Butcher was included in the Sad slate as a kind of Correia stand in: somebody with a large following but without Correia’s baggage. Kloos would have felt less pressure to withdraw if Day’s toxicity was absent. If both withdrew, then the Best Novel ballot ends up being the same. If only one of them withdrew in this Rabid free scenarion then the eventual winning novel The Three Body Problem wouldn’t have been on the ballot.

With Best Novella the situation is simpler. The Sad slate had only three nominees and even if we assume a lower vote for them I think it is likely that all three would have made it. That does mean the non-slate works The Slow Regard of Silent Things by Patrick Rothfuss and The Regular by Ken Liu would have been on the ballot. This has two effects in our hypothetical: the category would not have gone to No Award but also the overall heat caused by the Sad Puppies would have been less because it would have been one less category that only had Puppy nominees.

Best Novelette only had four Sad nominess but the fifth Rabid nominee “Yes, Virginia, There is a Santa Claus” by John C. Wright was deemed ineligible. All the Sad nominees had large votes and even assuming a big reduction without Rabid votes, they would have made it. That means the Novelette ballot would have been likely the same with Thomas Olde Heuvelt’s “The Day the World Turned Upside Down” coming in as the non-slate finalist.

Short Story was a bit of a mess. The Sad slate had five nominees as did the Rabid slate but the Rabid slate had two different works from the Sad slate. This was further complicated by one of the Sad finalist being ineligible (“Tuesdays with Molakesh the Destroyer”) and Annie Bellet disavowing the Sad Puppies and withdrawing. In the real 2015, the split slate meant that even with the loss of two finalists, the category was still a Puppy-sweep. The Rabid-only Turncoat by Steve Rzasa and The Parliament of Beasts and Birds by John C. Wright [click that link for a treat] got sizeable votes (162 and 151) which suggest better overall slate discipline by the Rabids. Without Rabid votes it is possible that none of the Sad finalists would have made it except for Annie Bellet, who may have had enough organic votes to have made it. I suspect Bellet would have withdrawn anyway but it is plausible that she would have been in a category with no other Puppy finalists in which case (and without the liability of Vox Day), maybe she wouldn’t have. Either way, assuming the Sad Puppy vote held up, Jackalope Wives by Ursula Vernon would have been a finalist and would have won in the final vote.

I’m not going to go through the rest of the categories one by one. What I wanted to demonstrate is that without the Rabid Puppies, of the main story categories it is likely only Best Novelette would have come close to a Puppy sweep. I assume we would have seen similar impacts down the ballot. Some categories might still have had Puppy sweeps (Best Related Work maybe) but without the Rabid Puppy votes the chance of non-slated works getting on the final ballot would have increased.

The net effect would have been an overall reduction in the rhetorical temperature. Without Vox Day’s involvement, the public political positions of the Puppies would have looked less extreme and their contention that their campaign was about fairness, variety and aesthetics would have been more persuasive to more middle-of-the-road Hugo voters. I think those of us on the left would have found it harder to encourage others to participate. Having said that, I assume Correia’s argumentative online presence and Torgersen’s capacity to shoot himself rhetorically in his rhetorical foot would still have riled up a lot of opposition.

With, fewer categories swept by the Puppies (possibly none), the impetus for voting reform would have been less. Possibly the measures enacted in the 2015 business meeting wouldn’t have happened, we can’t know for sure.

However, while it wasn’t obvious at the time, in 2015 GamerGate was actually running out of steam. While it had a bigger public profile than the Puppies, the disconnect between the supposed aims (“ethics in games journalism”) and the actual praxis (online harassment and whining) was unsustainable. The alt-right was nonetheless gaining traction culturally and figures like Vox Day and Milo Yiannopoulos were looking for a new cause.

In this hypothetical, I suspect the 2015 Hugo Awards sans the Rabids, would have been fractious but less heated than what we actually saw. However, it would have been a less decisive defeat for the Sad Puppies and possibly the rule changes would not have passed. With 2016 being a banner year for the Alt-Right and with the added political heat of Donald Trump’s presidential campaign, I suspect my hypothetical simply delays the arrival of the Rabids by one year and 2016 would have been the big battle for the Hugo Awards.

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