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Fantasy Recommendation

Disco, Danger and a Jetpack: MoonFu Refuses to Pick One Lane

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A prince discovers that his father plans to steal the resource keeping another civilization alive.

That could be the foundation for a solemn fantasy drama. In MoonFu, the prince happens to be an owl who knows karate, flies with a jetpack, and dances to disco.

Creator David Santo has filled the G-rated animated adventure with combinations that should not fit together neatly, then placed them inside a story with real consequences. The result is a fantasy world that can move quickly, make children laugh, and still ask its young hero to confront a difficult decision.

MoonFu lives in Featherfell, where his father, King Talon, intends to take a life-giving diamond from a hidden society of owls. Following the king would place an entire civilization in danger. Defying him means challenging both his parent and the ruler of his kingdom.

The series does not separate that conflict from its more playful personality. MoonFu remains an energetic young hero rather than becoming a miniature adult delivering lessons to the audience. Sensei Hoot guides him, Flicker accompanies him, and the adventure continues moving through action, comedy, and fantasy.

Santo describes the concept as “along the lines of Kung Fu Panda but with talking owls.”

That simple description explains the accessibility of the idea, though MoonFu adds its own collection of royal politics, disco, aviation, hidden civilizations, and phone-first presentation.

The animated project was designed for vertical viewing, giving families a series made for the screen children already hold rather than a traditional production compressed into a smaller format. The pilot can be viewed through the MoonFu YouTube channel, where the growing project has now passed 1 million views.

Its Kickstarter pilot goal was reached in two minutes.

MoonFu has also moved through several other forms. The book reached No. 1 on Amazon Kindle, and the screenplay received first-place honors at 10 film festivals. KidsFirst.org has endorsed the project and its focus on enriching, age-appropriate entertainment that supports emotional resilience.

“There’s a huge need for shows that promote positive behavior,” Santo said. “MoonFu delivers life lessons wrapped in action and fun.”

That last part is central to the project’s personality. MoonFu is not asking children to pause the adventure so they can receive a lesson about courage, kindness, or conflict resolution. Those ideas are placed inside the choices the characters make while the jetpack remains lit and the story keeps moving.

The larger MoonFu storyverse is planned across animation, books, film, television, music, and merchandise. Featherfell has been designed with enough space for new stories, but the first impression remains wonderfully strange.

An owl prince is flying toward danger.

There is probably disco playing somewhere nearby.

Fantasy Recommendation

The Summer Adults Ruined in “The Florida Project”

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Moonee is six years old and living with her mother at the Magic Castle, a purple budget motel near Walt Disney World. To her, the motel is enormous. There are staircases to race down, abandoned buildings to explore and tourists who can be convinced to buy ice cream.

The adults see unpaid rent, complaints and another week they might not be able to afford.

Brooklynn Prince plays Moonee with such complete confidence that her behavior rarely appears performed. She spits on a car, starts trouble with her friends and talks to strangers with no fear whatsoever. Children adapt quickly to whatever surrounds them. Moonee has no reason to view the motel as temporary because nearly everything in her life has been temporary.

Her mother, Halley, sells perfume outside hotels and finds other increasingly risky ways to survive. Bria Vinaite gives her a confrontational energy that can be funny until it turns dangerous. Halley loves Moonee fiercely, but love does not make her stable. She treats every attempt at intervention as an attack and teaches her daughter to do the same.

Willem Dafoe plays Bobby, the motel manager, with exhausted patience. He repairs appliances, removes unwanted guests and tries to protect the children without pretending he can solve their lives. In one scene, he notices a suspicious older man speaking to the kids near the parking lot. Bobby gets him away from them quickly, with no speech and no request for gratitude.

Director Sean Baker photographs the area in bright colors. The Magic Castle, gift shops and oversized roadside attractions belong to the same tourist economy as Disney, only the families staying there will probably never enter the park. Helicopters pass overhead. Fireworks can be seen from a distance. Moonee grows up beside a fantasy kingdom built for other children.

The final section becomes painful once outside agencies arrive. Moonee has spent the movie treating every disaster as another adventure. When she understands that she may be taken from her mother, language finally fails her.

The closing dash toward Disney was filmed differently from the rest of the movie, and yes, it strains credibility. I don’t care much. Moonee runs toward the only happy ending she knows.

Featured Fantasy by Sub-Genres

“Stardust” Remembers That Fantasy Should Be a Little Messy

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A fantasy movie can survive a lot if it remembers to have a pulse.

“Stardust” has one. It is romantic, strange, silly, occasionally uneven, and full of characters who act like the magical world has been running on bad decisions for generations. That is part of its charm. The movie does not present fantasy as a pristine museum of chosen ones and sacred objects. It gives us witches chasing youth, princes murdering each other over inheritance, pirates with better emotional range than expected, and a young man who begins the story with terrible romantic judgment.

Tristan starts out chasing the wrong woman, which is honestly useful. He is not introduced as a hero with ancient wisdom hiding under his village-boy haircut. He is young, eager, and foolish enough to think bringing Victoria a fallen star will earn him love. That kind of grand gesture is embarrassing in real life and extremely convenient in a fantasy plot.

Then he finds Yvaine.

Claire Danes gives Yvaine a nice sharpness. She is a star, yes, but she is also annoyed, injured, sarcastic, and fully aware that being treated like a prize is humiliating. Her chemistry with Tristan grows out of irritation first, which I prefer. They do not meet and instantly become a glowing romance poster. They bicker, misread each other, get dragged through danger, and slowly become better company than either of them planned.

Michelle Pfeiffer is having a fantastic time as Lamia. The movie gives her beauty, vanity, cruelty, desperation, and enough theatrical wickedness to keep the whole thing from becoming too soft. Her pursuit of youth has fairy-tale logic, but Pfeiffer plays it with real hunger. She is glamorous and disgusting in the same breath, which is the correct energy for a witch who would absolutely ruin your life to fix a wrinkle.

The princes are another pleasure. Their family dynamic is murder with paperwork. Every brother seems to understand the succession process as an invitation to remove relatives by any available method. It is dark, but played with enough dry humor that the brutality turns almost bureaucratic. These men are not noble rivals. They are inheritance goblins in good coats.

Robert De Niro’s Captain Shakespeare is the part people tend to remember, and for good reason. The performance is broad, but it is broad with purpose. He turns what could have been a throwaway pirate gag into one of the movie’s warmer detours. His ship gives Tristan and Yvaine space to change, and it gives the film a chance to become unexpectedly tender without losing its absurdity.

The movie is not elegant in the way some fantasy films are elegant. It has patches where the tone wobbles. Some jokes land better than others. Some effects carry that very specific mid-2000s sheen. The whole thing can look expensive in one scene and oddly cramped in another. I do not mind that much. “Stardust” has enough personality to survive its uneven surfaces.

What I appreciate is the way the film treats romance as a correction of appetite. Tristan begins by wanting love as proof of status. He wants Victoria because she represents an upgraded version of himself. His journey with Yvaine forces him to become less interested in being admired and more capable of seeing another person clearly. That is a better romantic arc than a hundred polished declarations under moonlight.

The ending is sweeter than I usually tolerate, but the film earns most of it. By then, the world has given us murder, vanity, greed, transformation, flying ships, family rot, and a star who just wanted to stop being hunted by everyone with an agenda. A little storybook closure does not feel like a betrayal. It feels like the movie admitting it was sincere all along, even while wearing a crooked grin.

“Stardust” is not flawless fantasy. It is better than that in some ways. It is lively, odd, romantic, funny, and just rough enough around the edges to feel handmade rather than embalmed. I miss this type of fantasy movie, the kind that lets adventure, comedy, danger, and romance share the same road without sanding every strange corner down.

Fantasy Recommendation

“MoonFu” Wants to Make Phone Entertainment Feel Safe Again

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The phone is not going anywhere, and family entertainment needs to deal with that reality instead of pretending kids are not watching stories vertically already.

That is where “MoonFu” has a clean and timely angle. The animated family adventure from creator David Santo is built for phone-first viewing, with a G-rated, mom-approved world designed to feel fun, safe, and emotionally useful for young audiences.

The newly shared “MoonFu” Short gives a fast look at that mission:

In the video description, the project is described as “an animated family adventure made for your phone,” with a direct nod to vertical video viewers. That positioning matters because “MoonFu” is not treating the phone like an enemy. It is treating the phone like the place where families already are, then asking what kind of story deserves to be there.

The series follows MoonFu, a karate-loving, jetpack-wearing, disco-dancing owl prince living in the fantastical realm of Featherfell. When he discovers that his father, King Talon, plans to steal a life-giving diamond from a hidden owl civilization, MoonFu is forced into a choice between serving his kingdom and saving an entire society.

That setup gives the show a bigger emotional frame than the character description alone suggests. The owl prince may be funny, colorful, and easy to market, but the story underneath is about courage, kindness, connection, and doing the right thing when pressure is coming from close to home.

The official MoonFu site expands on the series’ family-safe universe and prosocial focus: https://moonfustudio.com/

“MoonFu” is designed for kids ages 6 to 11 while also reaching mobile-native viewers through vertical pacing, humor, action, and emotional depth. The series is also endorsed by KidsFirst.org, adding another layer to its positioning as age-appropriate entertainment for families.

Santo has described the project as “Kung Fu Panda, but with talking owls,” which works because it gives the viewer an instant sense of the energy. Martial arts, comedy, animal adventure, heart, and a young hero learning who he is all live inside that comparison.

Episodes drop June 10 on Loopremium, giving “MoonFu” a vertical streaming home that matches the way the project is being presented. Loopremium can be found at https://loopremium.com/

The strongest thing about “MoonFu” may be that it does not sound afraid to be sincere. It is strange, bright, and owl-powered, but its promise is simple: families deserve stories that lift kids up instead of adding more stress to the screen.

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Humor and Conservation Meet in “Never Only”

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Laurie Fairchild’s debut novel Never Only pairs a serious environmental question with a sense of humor, which may be one of the most appealing things about it. The book asks readers to imagine Mother Nature weighing Humanity’s future, but it does not approach that idea as a cold exercise.

Instead, Mother Nature is presented as someone who has spent millennia learning from life on Earth and grieving the loneliness left behind by mass extinctions. Wanting clarity about Humanity’s intentions, she enlists a therapist to help her decide whether one species may need to be sacrificed to save the rest.

The novel comes from a writer whose life has been shaped by the natural world in a very direct way. Fairchild is a Cheyenne resident and biologist who earned a Bachelor’s degree in Animal Science from the University of Wyoming and a Master’s in Water Resources Science from the University of Minnesota. Her career began in Alaska during the Exxon Valdez Oil Spill, continued through seabird productivity work on the Pribilof Islands in the Bering Sea, and later extended into a range of positions with the United States Fish and Wildlife Service. She retired in 2019 as a habitat and wildlife biologist working with landowners in Minnesota.

Never Only is out today, which gives its Earth Day release a built-in relevance. It is not hard to see why a novel centered on conservation and life diversity would choose this date to enter the world.

Readers in Cheyenne can also catch the release event today from 5 to 7 p.m. at the Cheyenne Botanic Gardens. The evening includes a reading, refreshments, books for purchase, and a guided tour of the Botanic Garden Conservatory. Venue details are available at botanic.org.

Fairchild’s childhood adds one more layer to the picture. She grew up moving around the country with her family while her father worked as a geologist building and repairing large dams, and much of that life unfolded in rural places that helped shape her love of horses, the outdoors, and exploring habitats.

Book link

Uncategorized

A Study in Unease — R. Jacob Honeybrook’s “Thaddeus Greene’s Spooktacular House of Horrors”

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In Thaddeus Greene’s Spooktacular House of Horrors, R. Jacob Honeybrook transforms the spectacle of fear into something philosophical. His sixth horror work, released on October 20, 2025, doesn’t rely on the expected mechanics of terror. Instead, it builds a slow and deliberate unease, rooted in the question of whether redemption can truly exist.

The novella follows Mr. Belgrave, an ordinary man whose night takes a strange turn after he avoids a head-on collision. What begins as an accident spirals into a nightmare of spiritual symbolism. A wandering cat leads him to a cathedral, where a man dressed as a vampire, The Count, sells tickets to a carnival of grotesque displays. Yet as Belgrave explores its dark corridors, the line between theater and truth begins to collapse.

Honeybrook’s decision to write in a modernized 19th-century voice gives the story a haunting distance. The formality of the language contrasts with the modern setting, creating an atmosphere that feels unmoored from time. The result is a text that feels both familiar and alien, echoing gothic traditions while speaking to contemporary dread.

“This is the most surreal story I’ve written,” Honeybrook said. “It’s based on a dream I had, so I wanted everything to feel a bit off.” That intent permeates every paragraph, as if the narrative itself were caught between sleeping and waking.

Beyond his fiction, Honeybrook remains an active presence in modern horror. He co-hosts the Midnight Terrors Podcast with Kevin Roche and writes Honeycut, a weekly column for TBM Horror. Both platforms reveal the same intellectual curiosity that defines his prose.

Thaddeus Greene’s Spooktacular House of Horrors is now available as an eBook on Amazon, offering readers an experience that is both literary and unsettling.

To follow Honeybrook’s ongoing work, visit his Instagram page for updates on upcoming stories and collaborations.

horror

Behind the Red Nose: The Cosmic Insanity Driving The Killer of Devils: Clowns

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There’s a method to the madness in The Killer of Devils. As the clowns pile up and the bodies fall, it becomes clear that the face paint is more than a disguise — it’s a symptom. Of something older. Something spreading. Bloodstone weaves a layered mythology beneath the horror, hinting at cosmic dread and mental unraveling that goes far beyond the surface violence. The result is a book that’s as psychologically unnerving as it is action-packed — a rare balance, pulled off with expert control.

Synopsis

Calista “Cali” Lindquist is a final girl. She had to fight and destroy an unkillable beast. Now, she and her mother hunt monsters.

On a crusade to ensure no one else experiences such horror and loss, Cali and her mother travel to Philadelphia to track a depraved soul who uses face paints and magic tricks to prey on the innocent. While hunting that monster, they cross paths with Collin, a faithful and treacherous follower of the enigmatic figure, Master Poppie. Building an army using an insanity inducing powder that turns regular people into murderous lunatics with painted faces, Collin and Master Poppie have their sights set on a dangerous prize.

As the number of villainous clowns increases, as well as the number of brutal deaths by their hands, Cali puts herself directly in their path. Speeding on a collision course of terror and carnage, she is ready to pay any price to keep the streets from running red with the blood of unsuspecting victims. However, beyond the horde of bloodthirsty clowns, there is one factor that could derail Cali’s mission she never took into consideration – her past.

It’s monster hunter versus murder clowns in an all-out battle of madness and mayhem! 

“The Killer of Devils features mobs of psychotic clowns, a kick-clown-ass heroine, and enough bloody mayhem and dark humor to fill a shopping mall. I loved every crazy, twisted, f***ed-up word of it!”
SAWNEY HATTON, author of Everyone is a Moon

Featured Fantasy by Sub-Genres

Jackal Among Snakes by Nemorosus 

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Though not all ended as expected, the Kingdom of Vasquer stands unified against the coming calamity. Even with its internal threats mitigated, enemies still lurk beyond the border. On a large belt of land to the northeast, an untamed forest of towering redwood trees known as the Bloodwoods experience tumult to such a degree it begins to spill over to Vasquer.

As the situation within the nearby nation proves increasingly dire, Argrave is forced to take direct action before a wave of hostile people and animals native to those towering woods are forced out, doubtlessly ravaging the kingdom. Unwelcome by both the indigenous elves and centaurs, the diplomatic mission promises to veer in countless directions. This time, however, Argrave has a nation at his back.

Dark Fantasy

The Death King by Penelope Barsetti

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I was fifteen when the Death King came for us.

With a mighty black dragon and the ability to command the dead, he raised an army of our fallen soldiers to fight for him—and conquered us in the night. My father, King Laurier of Scorpion Valley, couldn’t stop him. I tried to flee but came face to face with the man in black armor, the man who looked more like a god than a human. Instead of killing me, he chose to show me mercy…but it didn’t feel like mercy.

Not when the next ten years of my life are spent as a slave in the Arid Sands, digging for Black Diamonds from sunrise to sunset. I’m also the personal slave of General Titan—a man who has grown obsessed with me. The work under the hot sun is unbearable—but I prefer it to his company any day. I’ve never tried to escape because there’s nowhere to run in the desert, but all of that changes when I hear the news—that the Death King is coming.

I sneak out in the middle of the night to steal his dragon, but that backfires in my face—because you can’t steal a dragon. Khazmuda is no mindless beast. He can speak directly into my mind and hear my thoughts in return. The Death King is about to kill me, but Khazmuda changes his mind—because I have the gift.

The ability to speak with dragons.

The Death King spares my life once again and takes me back to his castle. He has no idea who I am, has no idea what he did to my family ten years ago. He asks me to fight for his cause—but he won’t tell me exactly what that cause is. And then he tells me he wants more from me…desires me more than any other because, like him, I have the gift.

I can’t deny he’s the most handsome man I’ve ever seen, with eyes black like midnight, a jawline as sharp as his dragon’s talons, the height of a mountain, and shoulders as broad as a stream. But no amount of attraction will ever change the fact that he destroyed my life. The answer is no—and it’ll always be no.

But the Death King doesn’t accept that answer.

Trigger Warning: Contains dark themes including rape and suicide.

Dark Fantasy

Caraval by Stephanie Garber 

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Welcome, welcome to CARAVAL, Stephanie Garber’s enchanting, NEW YORK TIMES bestselling fantasy debut about two sisters swept up in a mysterious competition filled with magic, heartbreak, and danger

Scarlett has never left the tiny island where she and her beloved sister, Tella, live with their powerful and cruel father. Now Scarlett’s father has arranged a marriage for her, and Scarlett thinks her dreams of seeing Caraval, the far-away, once-a-year performance where the audience participates in the show, are over.

But this year, Scarlett’s long-dreamt-of invitation finally arrives. With the help of a mysterious sailor, Tella whisks Scarlett away to attend. Only, as soon as they arrive, Tella is kidnapped by Caraval’s mastermind organizer, Legend. It turns out that this season’s Caraval revolves around Tella, and whoever finds her first is the winner.

Scarlett has been told that everything that happens during Caraval is only an elaborate performance. But whether Caraval is real or not, she must find Tella before the five nights of the game are over, and her sister disappears forever.

Continue the adventure in Legendary and Finale―out now!