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Where the River Took Us

Texas Pulitzer winner discusses new podcast about life after July 4th flood

Natalie Grigson
May 29, 2026 | 11:30 am
Aaron Parsley

Aaron Parsley's new podcast "Where the River Took Us" looks at how the flood has impacted his own family and others this past year.

Photo courtesy of Texas Monthly

Less than a year ago, the Guadalupe River swallowed everything in its path. Houses. Roadways. Lives. For many Central Texans, time now splits cleanly into a before and an after, and for Aaron Parsley, senior editor at Texas Monthly, that divide is deeply, irreversibly personal. After winning a 2026 Pulitzer Prize for his firsthand account of the flood, he's expanding the narrative in Where the River Took Us, a seven-episode limited narrative podcast out now.

On July 4, Parsley's family was spending the holiday weekend together at their river house on the Guadalupe: Aaron and his husband Patrick; Aaron's father, Clint, and sister, Alissa; and Alissa's husband, Lance, and their two children, Clay and Rosemary. In the early, still dark hours of the morning, flood waters tore through the Texas Hill Country in what quickly became one of the deadliest natural disasters in recent history.

Aaron escaped. Patrick escaped. Lance escaped. Clint escaped. Alissa escaped, saving her daughter's life. But Alissa's 20-month-old son, Clay, did not.

Telling the story
In the days that followed, Parsley did what writers do: he wrote. Feverishly, at 1, or 3, or 4 in the morning, he wrote. His first-person account of the flood, which started out as an email to his boss, was the cover story for Texas Monthly last August. The story became an instant landmark piece — intimate and devastating in a way only someone who had lived it could make it. In the beginning of May, 2026, the story won Parsley his Pulitzer for feature writing.

Following up on the original story, Parsley has also written a new feature for Texas Monthly, a quiet reflection on life for his family since the flood, grief's persistence, and the strange, ongoing work of being changed by something.

In conversation with CultureMap, Parsley — speaking from his home office in Lockhart, where he and Patrick moved in December — was candid about the decision to keep his work focused on something so personal and traumatic.

"I will say that this experience itself, and then the story, and the response that I got to the story, was so overwhelming in all different kinds of ways," Parsley says. "It would have been on my mind no matter what. I was thinking and asking questions and exploring what this experience means. So, to be able to make that part of my job, I think, is a real privilege and a real opportunity."

The podcast features voices beyond Parsley's own. Listeners will hear from his sister, Alissa. From a father who lost his daughter at Camp Mystic. From the people who took Aaron and Patrick in when they crawled out of the river that morning. From neighbors who are still out there, still rebuilding.

Sitting down to formally interview his own family, including his husband and Alissa, was something else entirely.

"It was extremely strange," he says. "It was emotional. It made me feel really proud of them. Every single person showed up in the best way possible for something like this... And ultimately, those conversations are unforgettable to me, and I really appreciate that I was able to do that. I guess it sort of provided this moment for us to take some time, and sit face-to-face, and ask each other questions, and explore our experience and our lives since."

Being in the podcast studio helped, he says. "It's dark, it's quiet, we're right in front of each other. It's peaceful in there. It is an intimate setting, and I think it serves the purpose that we were looking for, which is to open up and share."

Moving forward
What Parsley is describing feels beyond journalism, though it is, of course, that too. It's a reckoning with his own personal grief, his faith, his relationship with those he loves, and his priorities in life.

"I was going to be looking at this experience no matter what," he says. "It felt right to be able to do that exploration about what it means to be a survivor of something like this."

The flood has reshaped nearly everything in his life. The move out to a smaller, quieter, and less hectic community than Austin happened faster than it might have otherwise. Patrick, a talented painter, is now pursuing his art full-time. Parsley describes a new relationship with spirituality, a changed family dynamic, and a clarity about priorities that comes from simultaneously losing so much, but not everything.

"It's been life-changing," says Parsley. "I've embraced that. I've wanted to prolong the experience of being changed by something. Continuing to write about it, and learn about it, and share about it has been a way that I can ensure that this thing that happened continues to shape my life."

Parsley also adds that the podcast is an immersive experience. Listeners don't just see the event that changed lives; they get access to the feelings and the unexpected details that come later.

"It's a depiction of what it feels like to survive something, and all these things that come with that," says Parsley. 'You don't just get back to normal life. There's all this stuff you carry with you, and I'm grateful to have the opportunity to explore that and present what we find in a way that I think is heartfelt and ultimately beautiful."

Where the River Took Us is written and hosted by Aaron Parsley and executive produced by Melissa Reese. Additional production and editing are by Patrick Michels and Sara Kinney. It is produced, engineered, and scored by Brian Standefer, with story editing by J. K. Nickell, fact-checking by Doyin Oyeniyi, and artwork by Emily Kimbro and Victoria Millner. Studio musicians are Jeff Queen and Peter Shults.

The podcast launched May 26 with the first two episodes immediately available on Apple Podcasts and other major podcasting platforms. All seven episodes will drop by June 30.

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Movie Review

20-year-old YouTube horror creator's Backrooms is an auspicious debut

Alex Bentley
May 28, 2026 | 4:00 pm
Chiwetel Ejiofor in Backrooms
Photo courtesy of A24
Chiwetel Ejiofor in Backrooms.

YouTube has become such a big part of the culture that it was only a matter of time before content creators started making waves in big screen filmmaking. Interestingly, most of them have made their names in the horror genre, including Danny and Michael Philippou (Talk to Me, Bring Her Back), Mark "Markiplier" Fischbach (the recent Iron Lung), and now Kane Parsons with Backrooms.

Set in 1990, the film centers on Clark (Chiwetel Ejiofor), who owns a rundown furniture store in a nondescript city. He is divorced and seemingly depressed, two things that come up in his multiple sessions with his therapist, Mary (Renate Reinsve). Lately, he has taken to sleeping in the store instead of going home, which allows him to notice strange electrical activity when the lights are supposed to be turned off.

When investigating the issues one night, he discovers a mysterious opening that leads to a completely different structure with a seemingly endless amount of rooms and corridors. Some of them are innocuous and some of them contain strange and creepy elements. With nothing else of interest in his life, Clark returns to the area night after night, eventually drawing in his employee, Kat (Lukita Maxwell), her boyfriend Bobby (Finn Bennett), and Mary.

The 20-year-old Parsons, helped by a number of well-known producers, demonstrates an astonishing level of filmmaking prowess for a first-time feature filmmaker. There is no trace of amateurishness in the progression of the story or the visual style of the film. Whatever confusion arises comes from the plot itself, which is designed to raise way more questions than answers.

Clark’s journey into the bewildering collection of rooms is full of intrigue instead of scares for most of the film, but when Parsons decides to amp things up, he really goes for it. The final third of the film contains some haunting imagery that defies description or explanation. It seems clear that Parsons’ preferred method of storytelling is to keep the audience off-balance, unable to predict what comes next.

What he also seems to understand, however, is that you have to give the audience something to hold on to, and in this case it’s the backstories of Clark and Mary. Both seem to be living differing versions of pathetic, uninteresting lives, but things revealed in their sessions broaden the scope of their stories. The strange world they find seems to reflect their respective traumas, giving a tenuous connection to reality that keeps the film from becoming too frustrating.

Ejiofor and Reinsve, both of whom are Oscar nominees, give the film an air of legitimacy that allows viewers to follow whatever odd roads Parsons wants to go down. Because it’s impossible to tell where the film is heading, the steady acting of Ejiofor and Reinsve is crucial in its success. Maxwell, Bennett, and Mark Duplass are good in brief appearances, but don’t appear enough to have a huge impact.

The ambiguous nature of Backrooms lends it the possibility of becoming a franchise, as Parsons could seemingly take it in any direction he wanted and have it feel part of the larger whole. Given how well done this and other recent films by YouTubers have been, the melding of the two seemingly disparate mediums makes more sense than ever.

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Backrooms opens in theaters on May 29.

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