Entertainment
The woman who revolutionized the fantasy genre is finally getting her due
Dennis Wilson Wise, University of Arizona
Think of your favorite fantasy or science fiction novel. You’ll know the author and title, of course. But can you think of its editor or publisher?
In publishing, the people who work behind the scenes rarely get their due. But on Oct. 1, 2024, at least, one industry pioneer got the limelight. On that day, PBS aired “Judy-Lynn del Rey: The Galaxy Gal,” the first episode of its new documentary series “Renegades,” which highlights little-known historical figures with disabilities.
A woman with dwarfism, Judy-Lynn del Rey was best known for founding Del Rey Books, a science fiction and fantasy imprint that turned fantasy in particular into a major publishing category.
As a scholar of fantasy literature, I had the good fortune to serve as research consultant for the PBS project. Due to time constraints, however, the episode could tell only half of del Rey’s story, passing over how she affected science fiction and fantasy themselves.
Judy-Lynn del Rey, you see, had very clear notions on what kind of stories people wanted to buy. For some critics, she also committed the unforgivable sin of being right.
The Mama of ‘Star Wars’
Over the course of her career, del Rey earned a reputation as a superstar editor among her authors. Arthur C. Clarke, who co-wrote the screenplay for “2001: A Space Odyssey,” called her the “most brilliant editor I ever encountered,” and Philip K. Dick said she was the “greatest editor since Maxwell Perkins,” the legendary editor of Ernest Hemingway and F. Scott Fitzgerald.
She got her start, though, working as an editorial assistant – in truth, a “gofer” – for the most lauded science fiction magazine of the 1960s, Galaxy. There she learned the basics of publishing and rose rapidly through the editorial ranks until Ballantine Books lured her away in 1973.
Soon thereafter, Ballantine was acquired by publishing giant Random House, which then named del Rey senior editor. Yet her first big move was a risky one – cutting ties with Ballantine author John Norman, whose highly popular “Gor” novels were widely panned for their misogyny.
Nonetheless, del Rey’s mission was to develop a strong backlist of science fiction novels that could hook new generations of younger readers, not to mention adults. One early success was her “Star Trek Log” series, a sequence of 10 novels based on episodes of “Star Trek: The Animated Series.”
But del Rey landed an even bigger success by snagging the novelization rights to a science fiction film that, at the time, few Hollywood executives believed would do well: “Star Wars.”
This savvy gamble led to years of lucrative tie-in products for Ballantine such as calendars, art books, sketchbooks, the Star Wars Intergalactic Passport and, of course, more novels set in the Star Wars universe – so many different tie-ins, in fact, that del Rey dubbed herself the “Mama of Star Wars.”
Afterward, she became someone who, as reporter Jennifer Crighton put it, radiated “with the shameless glee of one of the Rebel forces, an upstart who won.”
A big player in big fiction
Del Rey’s tendencies as an editor were sometimes criticized – often by competitors who could not match her line’s success – for focusing too much on Ballantine’s bottom line. But she also chose to work within the publishing landscape as it actually existed in the 1970s, rather than the one she only wished existed.
In his book “Big Fiction,” publishing industry scholar Dan Sinykin calls this period the “Conglomerate Era,” a time when publishing houses – usually small and family run – were being consolidated into larger corporations.
One benefit of this shift, however, was greater corporate investment in the industry, which boosted print runs, marketing budgets, author advances and salaries for personnel.
Ballantine’s parent company, Random House, was also known as an industry leader in free speech, thanks to the efforts of legendary CEOs Bennett Cerf and Robert L. Bernstein.
Accordingly, Random House gave their publishing divisions, including Ballantine, immense creative autonomy.
And when del Rey was finally given her own imprint in 1977, she took her biggest risk of all: fantasy.
The Del Rey era
In prior decades, fantasy had a reputation for being unsellable – unless, of course, your name was J.R.R. Tolkien, or you wrote Conan-style barbarian fiction. Whereas the top science fiction magazines often had distinguished runs, fantasy magazines often folded due to lack of sales.
In 1975, though, del Rey hired her husband, Lester del Rey, to develop a fantasy line, and when Del Rey Books launched two years later, it landed major successes with bestsellers such as Terry Brooks’ “The Sword of Shannara” and Stephen R. Donaldson’s “The Chronicles of Thomas Covenant the Unbeliever.” Yet even though Lester edited the fantasy authors, Judy-Lynn oversaw the imprint and the marketing.
One lesser-known example of her prowess is “The Princess Bride.”
Today, most people know the 1987 film, but the movie originated as a much earlier novel by William Goldman. The original 1973 edition, however, sold poorly. It might have faded into obscurity had del Rey not been determined to revive Ballantine’s backlist.
She reissued “The Princess Bride” in 1977 with a dazzling, gate-folded die-cut cover and a new promotional campaign, without which the novel – and the film – might never have found its later success.
Accolades accumulate
Thanks to these efforts, Del Rey Books dominated genre publishing, producing more bestselling titles through 1990 than every other science fiction and fantasy publisher combined. Yet despite complaints that the imprint prioritized commercial success over literary merit, Del Rey authors earned their fair share of literary accolades.
The prestigious Locus Poll Award for best science fiction novel went to Del Rey authors Julian May and Isaac Asimov in 1982 and 1983. Other Locus awardees include Patricia A. McKillip, Robert A. Heinlein, Larry Niven, Marion Zimmer Bradley and Barbara Hambly.
Barry Hughart’s “Bridge of Birds” was one of two winners for the World Fantasy Award in 1985 and won the Mythopoeic Society Award in 1986. Even more impressively, Del Rey ran away with the Science Fiction Book Club Award during that prize’s first nine years of existence, winning seven of them. The imprint’s titles also won three consecutive August Derleth Fantasy Awards – now called the British Fantasy Award – from 1977 through 1979.
Yet despite these accolades, Del Rey’s reputation continued to suffer from its own commercial success. Notably, Judy-Lynn del Rey was never nominated for a Hugo Award for best professional editor while she was alive. When she died in 1986, del Rey was belatedly voted for a posthumous award, but her husband, Lester, refused to accept it, saying that it came too late.
Although the current narrative continues to be that Del Rey Books published mainly formulaic mass-market fiction in its science fiction and fantasy lines, the time may be ripe to celebrate the foresight and iconoclasm of a publisher who expanded speculative fiction beyond the borders of a small genre fandom.
Dennis Wilson Wise, Professor of Practice in English Literature, University of Arizona
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Discord Launches Teen-by-Default Settings Globally: What’s Changing (and Why It Matters)
Discord is launching teen-by-default settings globally in early March, adding privacy-forward age assurance, tighter access to age-gated spaces, and new default messaging and content filters.
Discord is rolling out a major shift in how its platform handles teen safety: teen-appropriate settings will become the default experience for all new and existing users worldwide, with age verification required to unlock certain settings and access sensitive or age-gated spaces.
The update is set to begin as a phased global rollout in early March, and Discord says the goal is to strengthen age-appropriate protections while still preserving the privacy, community, and meaningful connection that have made the platform a go-to for gaming and interest-based groups.
Teen-by-default, globally (starting in March)
Discord says the new defaults will apply to all users, not just new signups. In practice, that means accounts will start with a more protective baseline, and verified adults will have more flexibility to adjust settings or access age-restricted content.
Discord is also introducing an age-verification (age assurance) step that may be required to:
- Change certain communication settings
- Access sensitive content
- Enter age-restricted channels, servers, or commands
- Use select message request features
“Nowhere is our safety work more important than when it comes to teen users,” said Savannah Badalich, Head of Product Policy at Discord, adding that the company is building on its existing safety architecture with teen safety principles at the core.
Privacy-forward age assurance: how Discord says it will work
A big part of the announcement is Discord’s attempt to thread the needle between safety and privacy.
Users will be able to choose from multiple methods, including:
- Facial age estimation (video selfie)
- Submitting identification to vendor partners
Discord also says it will implement its age inference model, a background system designed to help determine whether an account belongs to an adult without always requiring users to verify their age. Some users may be asked to use multiple methods if more information is needed to assign an age group.
Discord highlighted several privacy protections in its approach:
- On-device processing: Video selfies for facial age estimation never leave a user’s device.
- Quick deletion: Identity documents submitted to vendor partners are deleted quickly (in most cases, immediately after age confirmation).
- Straightforward verification: In most cases, users complete the process once and their Discord experience adapts to their verified age group.
- Private status: A user’s age verification status cannot be seen by other users.
After completing a chosen method, Discord says users will receive confirmation via a direct message from Discord’s official account. A user’s assigned age group can also be viewed in My Account settings, and users can appeal by retrying the process.
Discord also notes it prompts users to age-assure only within Discord and currently does not send emails or text messages about its age assurance process or results.
What’s changing in the default safety settings
Starting in early March, Discord says it will assign new default settings designed to support age-appropriate experiences while keeping privacy front and center. Highlights include:
- Content filters: Users must be age-assured as adults to unblur sensitive content or turn the setting off.
- Age-gated spaces: Only age-assured adults can access age-restricted channels, servers, and app commands.
- Message Request Inbox: DMs from people a user may not know are routed to a separate inbox by default; only age-assured adults can modify this setting.
- Friend request alerts: People will receive warning prompts for friend requests from users they may not know.
- Stage restrictions: Only age-assured adults may speak on stage in servers.
Discord notes it previously launched a teen-by-default experience in the UK and Australia last year, and says this global rollout builds on that approach to deliver consistent protections worldwide.
Giving teens a seat at the table: Discord Teen Council
Along with the safety updates, Discord also announced recruitment for its inaugural Discord Teen Council, a teen advisory body intended to bring authentic teen perspectives into how Discord shapes their experience.
Discord says the Teen Council will consist of 10–12 teens and will help inform future product features, policies, and educational resources.
- Who can apply: Teens ages 13–17
- Apply by: May 1, 2026
The bigger picture
Discord says these updates build on its broader safety ecosystem, including tools and resources such as Family Center, Teen Safety Assist, a Warning System, and more.
Whether you’re a parent, a teen user, or an adult who uses Discord for gaming communities and group chats, the headline is simple: the default experience is becoming more restrictive, and adult access will increasingly depend on age assurance.
Source: PRNewswire
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Google Reclaims No. 1 in Kellogg’s 2026 Super Bowl Ad Review
Google’s “New Home” ad topped the Kellogg School’s Super Bowl Advertising Review, praised for its emotional storytelling and clear product value. It marks Google’s fourth win. Other notable performers included Anthropic and Novartis. In contrast, Coinbase and ai.com struggled due to unclear brand connections. AI and health advertising trends emerged prominently in 2026.
Google is back on top in one of the most-watched postgame scorecards in marketing.
The Kellogg School of Management announced that Google Gemini earned the No. 1 ranking in the 22nd Kellogg School Super Bowl Advertising Review, thanks to its emotional “New Home” spot—an ad built around the idea that AI can support life transitions through creativity and human connection. Kellogg says this marks the fourth time Google has taken the top spot in the panel’s rankings.
Not every advertiser had a good night. Kellogg’s review also called out Coinbase and ai.com for low grades, with panelists criticizing unclear brand linkage and fuzzy value propositions.
Why Google’s “New Home” ad won
According to Kellogg, Google’s top-ranked spot stood out for balancing two things that are hard to pull off in a Super Bowl window:
- Emotional storytelling that feels human
- A clear demonstration of product value
“This ad captures what Google has historically done best: pairing genuine emotional storytelling with a clear illustration of how the product fits naturally into people’s lives,” said Tim Calkins, clinical professor of marketing and co-lead of the Kellogg School Super Bowl Advertising Review. Co-lead Derek Rucker added that it feels like a modern evolution of that approach rather than a departure.
The review also notes the ad echoed the spirit of Google’s iconic “Parisian Love” spot from 2009—offering a nostalgic reminder of what has long defined the brand while updating it for a new era of AI-powered tools.
Other top performers (and why they landed)
Kellogg’s panel also gave strong marks to:
- Anthropic’s Claude for “Can I get a six pack quickly?”
- Novartis for “Relax Your Tight End”
Rucker highlighted Anthropic’s advantage in a crowded AI category: the message was simple and clearly differentiated, which made it easier for viewers to understand what the brand is and why it matters.
The ads that fumbled: Coinbase and ai.com
On the other side of the rankings were ads that grabbed attention but didn’t connect the dots.
Kellogg said Coinbase aired a spot built around a karaoke-style use of a Backstreet Boys song, but the creative failed to establish a clear connection to the brand or its value proposition, resulting in a low rating from the panel.
ai.com also received a low grade, with panelists left unclear on what the product actually offered. “When you’re advertising new technologies, there’s a lot to learn from classic brand building,” Calkins said, adding that ai.com is a good example of what can go wrong when viewers are still wondering what the product is after the ad ends.
The bigger trend: AI wasn’t just a theme—it was the stage
Kellogg’s review makes it clear that artificial intelligence dominated Super Bowl advertising in 2026, both as a subject of brand storytelling and as a creative tool.
Brands including Microsoft, Amazon, and Genspark used the Super Bowl stage to define how their technologies fit into everyday life, ranging from emotional narratives to more functional demonstrations of performance and productivity. Meta returned with two spots highlighting its AI-powered eyewear, emphasizing the product’s “athletic intelligence.”
AI also played a role behind the scenes: Svedka said its spot featuring dancing robots was primarily created using AI.
Celebrity + nostalgia still work—if the brand is clear
As has become tradition, celebrity power was on full display, with brands stacking household names to break through the clutter. Kellogg also noted that nostalgia continued to be a reliable creative lever, with several brands tapping into 1990s pop culture to connect with millennial audiences.
“Many advertisers appeared to be playing it safe this year. Nostalgia and well-liked celebrities are two of the most reliable ways to do that,” Calkins said. The catch: familiar faces and throwback references can be a shortcut to attention, but they still need to be paired with a clear brand message to be truly effective.
Health advertising surged (including GLP-1 debuts)
Another shift Kellogg highlighted: a remarkable number of health-focused Super Bowl spots, covering everything from hydration and fiber intake to caffeine consumption and access to care.
Weight-loss medications were especially prominent, with Novo Nordisk (Wegovy), Ro, and Eli Lilly (Zepbound) all spotlighting their GLP-1 offerings. Rucker said Super Bowl ads have to entertain and educate at the same time—and he credited Novartis with striking that balance particularly well.
How Kellogg grades the ads: ADPLAN
The Kellogg School Super Bowl Advertising Review uses an academic framework known as ADPLAN to evaluate the strategic effectiveness of Super Bowl spots. The acronym helps viewers grade ads based on:
- Attention
- Distinction
- Positioning
- Linkage
- Amplification
- Net Equity
A full list of the rankings is available through Kellogg. To learn more, visit https://www.kellogg.northwestern.edu/news-events/super-bowl.aspx.
Source: PRNewswire
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Entertainment
Philly theaters unite to stage 3 plays by Pulitzer-winning playwright James Ijames
James Ijames, 2022 Pulitzer Prize winner for “Fat Ham,” is celebrated with a Citywide Pass in Philadelphia, offering access to three of his plays across different theaters. This initiative fosters collaboration among local theaters and showcases Ijames’ unique ability to create nuanced, character-driven narratives that explore complex queer and Black identities.
Bess Rowen, Villanova University
Most theater subscriptions offer a patron access to a single theater’s season. But Philadelphia’s new Citywide James Ijames Pass provides tickets to three James Ijames – pronounced EYE-ms, rhymes with “chimes” – plays at three theaters in Philadelphia. Subscribers will also get one mustard-colored beanie, one of Ijames’ signature accessories.
The full pass, which costs US$130, includes tickets for the Arden Theatre’s “Good Bones,” which premiered Jan. 22 and runs through March 22, the Wilma Theater’s “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” which runs March 17 to April 5, and the Philadelphia Theatre Company’s “Wilderness Generation,” a world premiere that runs April 10 to May 3. There is also a two-show pass for $90 without “Good Bones.”
I’m a theater theorist, historian and practitioner who has written about Ijames’ work before and after his 2022 Pulitzer Prize. I believe this landmark collaboration between three important Philadelphia theaters is a fitting celebration of a multi-hyphenate theater artist who continues to champion his longtime artistic home.
Actor, playwright, director
Ijames, 46, was born in North Carolina and attended Morehouse College in Atlanta, Georgia. He earned his Master of Fine Arts degree at Temple University and stayed in Philadelphia after graduating.
Notably, this playwright’s MFA is in the study of acting. Ijames is also a talented director, and he performed and directed at multiple theaters around Philadelphia before starting to work as a playwright. He was also a tenured professor of theater at Villanova University, where I had the privilege to work with him and watch his creative process before he moved to New York City in 2025 to run the playwriting concentration at Columbia University.
Ijames was already a local celebrity in Philly before winning the Pulitzer Prize for drama for “Fat Ham,” his Hamlet adaptation centered on a queer Black Hamlet named Juicy and the legacy of his father’s barbecue joint. The New York theater scene took notice of him when the National Black Theatre staged “Kill Move Paradise” in 2017. This haunting piece is set in limbo, where unarmed Black men who have been killed by police examine how they have come to this place and how society continues to enable this pattern.
Other Ijames plays include “White,” a satire of the art world that tells the story of a gay white male artist who hires a Black woman actor to pretend to have done his work to see if that makes a difference in how his art is viewed. “TJ Loves Sally 4Ever” sets Thomas Jefferson and Sally Hemings’ relationship on a college campus where “TJ” is a dean and Sally is a student. And “Reverie” is a chamber play, which is an intimate meditation with an earnest and somber tone. In it, the father of a recently deceased Black gay man comes to meet the man he believed was his son’s partner.
Most recently, in 2025, Ijames partnered with the Australian pop singer Sia on a musical called “Saturday Church.” It is a story about reconciling queer community and Christian faith, and relying on the support of family, both biological and chosen.
Charting new dramatic territory
Although his theatrical styles and genres vary, at his core, Ijames writes nuanced, character-driven works that revolve around interpersonal relationships. His plays are playgrounds for performers, particularly due to his ability to write complex queer Black characters.
Influential American playwright Suzan-Lori Parks notes in her 1994 essay “Elements of Style” that the conflict between Black people and white people is the default trope of how Black people have been represented onstage – by almost exclusively white playwrights – for most of U.S. theater history. Parks posits that a way to avoid this centering of white conflict in Black lives comes from new dramatic territory that depicts conflicts between Black people and anything else.
Ijames never sets his Black characters in opposition to white society alone. He also refuses to take up the tropes of LGBTQ identity as incompatible with religion, or the idea that characters can be only gay or straight. Instead, Ijames creates narratives with queer religious people and pansexual men whose identities are not sources of conflict.
The citywide pass
The plays in the citywide pass offer an exciting cross section of what makes Ijames’s work so vibrant.
“Good Bones” is the story of a now-affluent Black woman, Aisha, who moves back to her blue-collar hometown. Aisha might be from this working-class neighborhood, but her elaborate renovations and white-collar sensibilities make her return seem more like gentrification than homecoming, at least as far as her local contractor can see.
“Miz Martha” follows the titular Martha Washington through a fever-dream-inspired trial in her final moments, as enslaved people care for her while knowing her death means their freedom.
And “Wilderness Generation” follows five cousins reunited in the U.S. South after many years apart, ready to talk about the secrets from their pasts.
With theater’s ever-changing and unstable financial landscape, I believe the Citywide James Ijames Pass is an exciting new subscriber model. The collaboration highlights Philadelphia’s theatrical talent and banks on local theaters working together to build audiences instead of treating each other as competition – a new development that could change how regional theater scenes operate.
Bess Rowen, Assistant Professor of Theatre, Villanova University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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