When Warhammer Was Radical: The Egalitarian Origins of the Fantasy Battle Game

By Zhu Bajiee

Warhammer is held up by the far-right as a shining example of a fictional property that enshrines the authoritarian ideal of “might makes right” and encapsulates an exclusionary worldview that seeks to justify intolerance and violence against the Other while enforcing strict social hierarchy, making mockery of egalitarian values and ideas of social progress. Yet it was not always thus…

Escape from the Pondox Corporation: Mark Beyer and the Mystery of the Mundane

By Daniel Elkind

Whenever I get to thinking about the old New York City, with its cheap book marts and thriving alt-weekly trade, its surplus of less unaffordable apartments, and tolerance (or indifference) to street art that hadn’t been curated or vetted to death—in short, the turnstile-jumping bridge-and-tunnel life that began disappearing long before 9/11—I think about Mark Beyer…

‘Callan’: Television’s First Anti-Establishment Spy Series

By Joseph Oldham

He was a working-class loner, with roots in the social realist British New Wave of the late 1950s and early 1960s—plays, novels, and films associated with the “angry young men” exploring the very class tensions that Wilson’s “New Britain” had ostensibly smoothed over. Callan occupied a violent and grubby world, with one foot in the sinister bureaucracy of a professional intelligence service, and another in the criminal underworld of London…

Death at the Fair: Britain’s Ghost Trains

By Richard McKenna

The itinerant fun fairs that stalked the British Isles, descending at regular intervals upon some desolate local field like shoddy Fortean dream cities, were once a major part of the informal national calendar. As a child growing up in the hinterland of the world’s most beautiful town—the gleaming futurist metropolis known as Doncaster, South Yorkshire—I was lucky enough to live near a fuck-off massive one…

Squaring the Circle: An American Becomes One of the ‘Children of the Stones’

By Michael Grasso

I’m not likely to add much to the thousands upon thousands of words penned over the past decade or so on how formative an experience watching Children of the Stones (1977) as a kid was. Now considered one of the signal works forming the foundation of the British folk horror and hauntological aesthetics, the series is a brilliant melding of folk memory and technological aspiration, of magic and science, of tradition and progress, done in that ineffable way that only the British seem able to express satisfactorily…