For this third issue, Virginie Yassef extended her stage adaptation of a text by writer Ray Bradbury, a master of speculative fiction. Lesser known are the plays by the author of The Martian Chronicles, which are filled with stage directions and mise-en-scène notes, including this strange and thought-provoking story The Veldt (1972). The savanna is the place of all projections and all wildness. In a house that could resemble those imagined by Jacques Tati, where everything is automated and all it takes is pressing a button for dinner to be served, an ordinary family—two parents, two children—discovers a new playroom. A futuristic pinnacle of technological and scientific progress, designed by top-tier engineers and psychiatrists, this play space allows the children to imagine anything, summon anything, make the unreal real, and the distant close. A cruel fable about the disintegration of the individual within the modern family, The Veldt becomes an ideal playground for Virginie Yassef, who in this youth-focused work retains only the dialogues between the parents and the lighting instructions, crafting surprises, movements, and shifts, with surprising dialogues set against gradients of colors and images created by the artist.