The only problem with sleeping outside is that … you’re outside. Rumpl’s Wrap Sack solves all your crazy temperature woes.

The FCC wants to auction off spectrum that's behind next-gen Wi-Fi. Consumer advocacy groups say this will make connections busier and slower, and could affect under-resourced communities the most.

By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”

Unlike the other big streamers, Tubi only has a handful of original shows, most of them imports (their original movie selection is much larger). That's not to say it's a wasteland for TV addicts: The streamer might actually have too many shows, a vast and sometimes wild catalog that spans decades. As the likes of Netflix and HBO Max have slimmed down their catalogues, Tubi is growing, offering a mix of established hits, underrated gems, and more obscure offerings. For the sheer breadth of material on offer, it has become the first place I look for anything outside the current zeitgeist—like the following 18 shows, an entirely non-comprehensive sampling of what Tubi has to offer, crossing genres and decades.Gossip Girl (2007 – 2012) Occasionally referred to as the greatest teen drama of all time (certainly this side of 90210), Gossip Girl was a buzzy ratings champ for the CW back in the day, with its juicy, often scandalous storylines that veered so often into intentional satire that it was hard to ever get mad at the ridiculousness of any of it. Set among a group of well-heeled students on Manhattan's Upper East Side, its characters find their private lives being chronicled by the title’s mysterious master of gossip—so think of it as a proto-Bridgerton. You can stream Gossip Girl here.Babylon 5 (1993 – 1998, five seasons) J. Michael Straczynski’s wildly ambitious sci-fi epic was way ahead of its time, with a planned (more or less) five season story arc set on the titular space station. Babylon 5 is a remote outpost that becomes the last best hope for peace in the face of conflicting human and alien agendas—even more so after an ancient threat is awakened. With increasingly complex storylines that expanded over its run, this was a stab at prestige TV before that was a thing, and it still holds up (dated CGI effects notwithstanding. You can stream Babylon 5 here.Empire (2015 – 2020) Hip hop mogul and Empire Entertainment CEO Lucious Lyon (Terrence Howard) is dying, having been diagnosed with ALS at a young age. He wasn't planning to have to hand off his company so early, but nevertheless finds himself preparing his three very different sons (Trai Byers, Jussie Smollett, and Bryshere Y. Gray) to take the keys to the kingdom—by pitting them against one other. Into this already Shakespearean setup steps Lucious' ex-wife Cookie (Taraji P. Henson), just released from prison and harboring her own plans for Lucious's empire. You can stream Empire here. Mr. Robot (2015 – 2019) Social anxiety disorder, clinical depression, and dissociative identity disorder make up the potent blend of neurodivergences challenging Elliot Alderson (Rami Malek), a genius senior cybersecurity engineer at Allsafe Cybersecurity. In season one, he's recruited by an anarchist who goes by the moniker Mr. Robot (Christian Slater) to encrypt all the financial data of a global mega-conglomerate, thereby erasing massive amounts of debt (hey, real-life hackers, maybe take some notes?). The show starts strong and gets better across its increasingly labyrinthian four seasons—utterly preposterous while also feeling realistic in its technical detail. You can stream Mr. Robot here. Boarders (2024 - , two seasons) This British import feels a bit like a latter-day Skins, with a talented cast of young stars-in-waiting (including leads Josh Tedeku and Jodie Campbell) and a scholastic setting. At the (fictional) prestigious boarding school St. Gilbert’s, five Black teens are newly attending, having earned scholarships, but their integration into the existing cliques is less than smooth. The blend of coming-of-age drama with a willingness to take the piss when it comes to the whole rich private school thing makes this Tubi original a good time. You can stream Boarders here.Big Mood (2024 – , renewed for a second season) Another UK import and Tubi original (at least stateside), Big Mood stars Nicola Coughlan (Bridgerton) and Lydia West (It's a Sin) as a couple of besties in East London, living their best millennial thirtysomething lives. Well, kind of: Maggie's dealing with bipolar disorder, and unclear on whether she wants to continue with her medication as she sets out to write a play, while Lydia is doing her very best running a tanking dive bar inherited from her father. It's both a cute dramedy and an impressively frank exploration of the challenges of living with mental illness. You can stream Big Mood here. Vicious (2013 – 2016, two seasons) The old-school sitcom formula has never been executed quite this bitchily, with the inspired pairing of Ian McKellen and Derek Jacobi as Freddie Thornhill and Stuart Bixby, a couple of nearly 50 years who’ve developed a love-hate relationship. This cast, which includes Frances de la Tour and Game of Thrones’ Ian Rheon, is unbeatable, and the one-liners are hilariously nasty. You can stream Vicious here.The Haves and the Have Nots (2013 – 2021, eight seasons) Tyler Perry's old-school primetime soap was the show that practically built OWN; it was the then-new network's first scripted show, and an immediate breakout. It follows three families: The wealthy Harringtons and the Cryers are wealthy movers in Atlanta, Georgia, while the Young family is overseen by single mom Hanna, who's both a maid for the Cryers and confidante to the family matriarch. There's juicy tension galore between the three families, in no small part because of class differences, but also because they're all equally screwed. You can stream The Haves and the Have Nots here. Spartacus (2010 – 2013) Doing Ridley Scott’s Gladiator one better in terms of both narrative complexity and in hot shirtless gay arena action, Spartacus starts off as pure spectacle and grows into a juicy, high-gloss soap opera by series' end. Buoyed by performances from leads Andy Whitfield (who tragically passed away during the series' original run), Manu Bennett, John Hannah, and Lucy Lawless, it’s sword-and-sandals done right. A follow-up series is in development over at Starz, so it's a good time to catch up. You can stream Spartacus here. Broadchurch (2013 – 2017) Creator Chris Chibnall's dark crime drama didn't invent its particular sub-genre (whatever you call the one where two troubled homicide detectives butt heads in a gloomy town), but it did popularize it to the point that we've been inundated with countless imitators of wide-ranging quality. With the great pairing of Olivia Colman and David Tennant (joined by yet another Doctor Who Doctor, Jodie Whittaker), Broadchurch still stands alongside the best of its kind. You can stream Broadchurch here.Doctor Who (1963 – 1989, 26 seasons) Speaking of Doctor Who, even if you're current with the modern incarnation (if I can use "modern" for a show that started airing in 2005), you've got a lot of timey-wimey adventures to enjoy. Tubi has the entirity of the surviving 26-season original run, going all the way back to 1963 and the story of a mysterious old man living in a junkyard with his granddaughter. Seven doctors is enough to keep anyone busy for a while. Tubi has the show broken out by Doctor, but, if you want to start from the beginning you can stream The First Doctor here. Haven (2010 – 2015) Tubi is a haven for small gems like this, a five-season Stephen King adaptation originally produced by SyFy. Emily Rose stars as Audrey Parker, and FBI Special Agent sent to the small town of Haven, Maine on a routine case who gets drawn into “The Troubles," a series of harmful supernatural events that have recurred throughout the town’s history. A supernatural-case-of-the-week format gives way to a bigger mystery when Audrey comes to learn that this isn’t her first time in Haven, nor the first time she’s encountered the Troubles. You can stream Haven here.Scandal (2012 – 2018, seven seasons) Shonda Rhimes was already a powerhouse producer and screenwriter with several successful seasons of Grey's Anatomy under her belt when Scandal debuted, but its blend of political thrills and sexy, soapy drama is what solidified her brand, and her spot atop of the modern TV landscape. Kerry Washington stars as Olivia Pope, head of the DC-based crisis management firm Olivia Pope & Associates (OPA), who is the person to call when you've got a PR disaster to fix. If you want to get a sense of the stakes involved, consider that Tony Goldwyn costars as Fitzgerald Grant III, president of the United States, and also Olivia's lover. You can stream Scandal here. Buffy the Vampire Slayer (1997 – 2003) With word that Sarah Michelle Gellar (and company?) are returning to the wreckage of Sunnydale for a Hulu reboot, it’s probably not a bad time to visit (or revisit, or re-revisit) this seven-season teen vampire hunter saga. While the pacing might feel a little slow, and the effects a little janky, its blend of high school (and then college) angst, kick-ass monster fights, and genuinely laugh-out-loud comedy holds up. You can stream Buffy here.Heartland (2007 – , 18 seasons) If there’s a stereotype that middle-American viewers won’t watch foreign fare, this show puts the lie to it—at least when it comes to imports from Alberta (tariff-free!). Based on a popular book series from Linda Chapman and Beth Chambers (writing under the name Lauren Brooke), the show follows the lives of a family of horse ranchers in western Canada, led by sisters Amy and Lou (Amber Marshall and Michelle Morgan). Tubi currently has only the first 15 seasons of the drama, which has recently been renewed for a 19th. That’s Law & Order-level longevity, people. You can stream Heartland here.Highlander (1992 – 1998, six seasons) An classic of '90s-era syndicated action/adventure, Highlander stars Adrian Paul as the title hero, taking over from Christopher Lambert in the film series. Duncan MacLeod is an immortal warrior living in the modern(-ish) day, hunted by others of his own kind, whose goal is singular: to chop off Duncan's head in order to steal his power. Episodes typically involve some sort of flashback to an earlier era in Duncan's life where we first encounter the threat he'll face in the modern day. There's at least one good sword fight in every episode, and I can't imagine what more you'd want out of a series. Bonus: It carries over the films' kick-ass Queen theme song. You can stream Highlander here. Z Nation (2014 - 2019) The Walking Dead made prestige television out of the zombie apocalypse, but this SyFy channel original is all about zombies as a campy, gory good time.  Things kick off with a soldier who’s been tasked with transporting a package across country. The package in question is actually a human being, the survivor of a zombie bite who might be able to help create a vaccine (take note, The Last of Us fans). This one comes from the schlock-masters at The Asylum, purveyors of infamous B-movies like Sharknado, which should tell you all you need to know about the tone. You can stream Z Nation here.Columbo (1968 – 2003, 16 seasons) Peter Falk's sublimely rumpled detective practically invented the style that Peacock's Poker Face has recently revived: a crime (usually a murder) is committed, the viewers know whodunnit, and Columbo has to solve it. Early on in any given episode, we get to watch the crime being committed, though we don't always know the motive. The challenge isn't to figure out the culprit, but to discover exactly how TV's greatest detective is going to solve the case. You can stream Columbo here.

Pros Excellent cooling performanceBrilliantly designed front fan bracketsBeautiful lighting effects in tested Ambience Pro RGB versionElaborate, web-accessible software controls for lighting, fans Cons Only minimal dust filtrationHigh price for our Ambience Pro test model Fractal Design Meshify 3 Specs 120mm or 140mm Fan Positions 6 120mm to 200mm Fans Included 3 Dimensions (HWD) 20.1 by 9.1 by 17.2 inches Fan Controller Included? Front Panel Ports HD Audio Front Panel Ports USB 3.2 Gen 1 Type-A (2) Front Panel Ports USB 3.2 Gen 2 Type-C Included Fan Lighting Color Addressable RGB Internal 2.5-Inch Bays 6 Internal 3.5-Inch Bays 2 Internal Chassis Lighting Color None Maximum CPU Cooler Height 173 Maximum GPU Length 349 Motherboard Form Factors Supported ATX Motherboard Form Factors Supported MicroATX Motherboard Form Factors Supported Mini-ITX PCI Expansion Slot Positions 7 Power Supply Form Factor Supported ATX Power Supply Maximum Length 180 Power Supply Mounting Location Bottom Side Window(s)? Yes (Tempered Glass) Weight 20.2 All Specs Fractal Design boosts its latest Meshify PC case with a trio of 140mm ARGB fans behind its now-iconic “crumpled mesh” front face. Starting at a mid-market $139.99 for its base model, the Meshify 3 also comes in upgraded versions with nifty extras that creep up the price. These include items like ARGB fan trim, ARGB side panel lighting, an ARGB strip surrounding the face panel, and even an ARGB controller that connects to the web. Taken together, all that can bump the price as high as the $219.99 MSRP for the deluxe, spectacular Ambience Pro RGB version of the case we tested. Whatever the feature mix you opt for, the case’s robust cooling performance shines. At the high end of the range, though, factor in the case’s biggest shortfall—its lack of inlet-air dust filtration—given what competitors deliver in $200-plus cases. Our current ATX tower favorite, the NZXT H7 Flow, isn't much better equipped with filters and isn't as striking as the Ambience Pro case in all its lit glory, but it costs much less.Design: A Crumpled ClassicPC-case feature trends have changed a bit in the eight years that Fractal Design has been putting its signature crumpled-mesh faces on classic mid-tower cases. (The aesthetic crumpling is easier to see in photos of the shinier black finish, such as the Meshify 2 we reviewed in 2021.) This latest version adds an air deflector at the front of the power supply shroud to force a bit more airflow past your hot graphics card. This Ambience Pro RGB variant’s feature set, as noted, has a USB-based ARGB controller, as well as lighting around the front face, along the bottom of the left side panel’s window, and on the three fans. Buyers willing to forgo most of the lit-up bling can get the basic “RGB” version with just the fan lighting for $159.99, and those willing to give up even that helping of ARGB can get the base “TG” version for $139.99. Our sample was in white; all three models are also available in black, and buyers who yearn for further simplification will find an additional “Solid” variant sold exclusively in black, with a painted steel panel on the left side in place of the window.Fractal Design has merged the headphone and microphone jacks of previous versions into a single four-pole connector on the Meshify 3. This connector functions as a normal headphone jack when one is plugged in; the extra pole serves the monaural microphone of a combined headset plug. Fractal also ditched the reset button of previous cases, but kept the twin USB 3 Type-A and a single Type-C port. And, this time around, the lighted power-on indicator ring that surrounds the power button is ARGB.(Credit: Thomas Soderstrom)Though the mesh that covers the face and top panel could potentially filter out some inbound dust, the only part of the Meshify 3 that’s explicitly designed as a dust trap is under the power supply’s air inlet. Sliding out from the case’s side, it’s partially disguised as a portion of the rear case foot.(Credit: Thomas Soderstrom)The Meshify 3’s back panel features a pattern of vent slots spaced to allow a fan to be screwed directly into the slots. Also back here are surface-mounted PCI Express expansion-card slots with replaceable covers, a plastic screw-tab cover with a built-in push tab at the bottom to ease its removal, and a removable power supply bracket that’s secured with two large knurled screws. Power supply insertion is through the case’s rear panel; the design lacks the space to slide in the power supply from the side.(Credit: Thomas Soderstrom)Both side panels are secured at the top with snaps, and Fractal Design added a pair of tabs to make that task a little easier. Those tabs also have screw holes, enabling you to further secure your side panels against accidental removal.A nylon pull tab at the center of the top panel’s back edge serves a similar function. To release that panel and lift it off, you must first slide it back a quarter inch or so.(Credit: Thomas Soderstrom)The front ARGB fans have 140mm frames, but there’s too little space behind them to mount a 420mm-format radiator vertically. That’s because radiator end caps tend to extend the total size by around 40mm (give or take 6mm).(Credit: Thomas Soderstrom)On the other hand, those really motivated to place a radiator behind the front panel’s fans will find that a 360mm-format unit will work, but only by removing the 140mm fans and flipping the fan-mount brackets over. (They are visible in the image below.) Fractal Design’s brilliance shines through with these very basic sheet-metal brackets that flip to support either 120mm or 140mm fans without hindering airflow.(Credit: Thomas Soderstrom)The top panel is fully removable to ease radiator installation and removal, but it does not benefit from the front panel’s design wizardry. While its straight-edged brackets will cover a portion of the fan’s blades when fans are mounted directly on them, its 330mm-plus of length is sufficient to support every 280mm-format radiator we can think of.Also, notice the removable cable shroud running up and down the case near the front. It is adjustable to fit motherboards up to 10.9 inches deep. That is less than the 13-inch max depth of Extended ATX, but it’s still sufficient to fit the slightly oversized enthusiast-class motherboard models that sometimes still get called EATX.(Credit: Thomas Soderstrom)The lower front fan’s air deflector is removable and sits far enough above the case’s floor to be used in conjunction with a pair of 2.5-inch drive bays hidden beneath it. (We don’t even want to think about how we’d manage the cables in that configuration, however.)We removed the cable shroud for a clearer shot of this area. Keen observers might note the mounting slot for its lower edge at the top of the photo.(Credit: Thomas Soderstrom)Two drive trays, three push-in cable clips, and the ARGB controller are all found behind the motherboard tray. The card bracket’s removable covers and the removable power supply bracket are shown in the image below detached and in front of the case, and the photo also shows the gap beneath the removable front fan duct into which some builders may want to install a pair of 2.5-inch drives.Recommended by Our Editors(Credit: Thomas Soderstrom)More drive storage is visible here on the back of the motherboard tray. Configured from the factory to hold two 3.5-inch drives, these brackets on the back of the motherboard tray can be repositioned to hold four 2.5-inch drives instead.(Credit: Thomas Soderstrom)Held in place by a hook-and-loop Velcro-style strap, the included ARGB controller has USB and PWM input on the top, proprietary combination connectors on the side, and an old-fashioned SATA power connector on its bottom to power it up.(Credit: Thomas Soderstrom)Note that Fractal designed special outer shells on the proprietary ARGB/PWM combo connectors. This design is to prevent them from being mistakenly connected to anything USB Type-C, from which they appear to borrow their form. As with several others, this photo again shows the 10mm gap between the bottom panel’s 2.5-inch drive mounts and the underside of the front fan’s air guide.(Credit: Thomas Soderstrom)As for the controller box itself, here’s a shot of the connectors that we couldn’t see in the ARGB controller’s previous photos, including the SATA power inlet.(Credit: Thomas Soderstrom)Of the two output cables we did see, one is for the case's chain of fans, and the other is for this version of the case’s “Ambience Pro” lighting. Four telescoping contact pins allow the front panel’s portion to separate easily from the rest of that latter cable without an awkward tether.(Credit: Thomas Soderstrom)Building With the Fractal Design Meshify 3: Perfect Parts PacksFractal's accessory kits are hard to top in terms of neatness and clear labeling. Start with the screws: The Meshify 3 includes 24 M3 mounting screws, nine #6-32 screws to attach the motherboard to case standoffs, four #6-32 screws with hex/Phillips combo heads for power supply installation, and eight #6-32 shoulder screws for mounting 3.5-inch drives on damping grommets. (Credit: Thomas Soderstrom)You also get eight damping grommets, four cable ties, and an extra motherboard standoff. (But no extra screw for it! Such is life.) Our case being the Ambience Pro RGB version, it also includes a breakout cable that goes from the case’s proprietary ARGB/PWM connector to a standard ARGB strip and a standard PWM fan, along with an extension cable for the proprietary connector.Connecting the case to our motherboard are a power-button lead, an HD Audio header cable for the headset combo jack, a 19-pin USB 3.x for the Type-A ports, and a Gen 2x2 Type-E internal cable for the single Type-C external port. The case’s RGB controller also connects to one our motherboard’s USB 2.0 breakout headers and one of its PWM fan headers.(Credit: Thomas Soderstrom)The white version of the Meshify 3 includes chrome hardware, but since our standard Asus ATX test motherboard is black, I flexed my design chops and used black screws to attach it. I can also divulge that I initially forgot to reinstall the cable shroud, which required me later in the build to remove the graphics card, install the shroud, and reinstall the card. Oops!(Credit: Thomas Soderstrom)The RGB controller uses a web interface to select its various lighting and fan modes, rather than forcing users to install software, and it stores those settings on the controller rather than leaving components in the OS. You can dictate a "startup" lighting effect separately from the regular run of lighting that the case cycles through. Using it allowed us to switch from the case’s soft blue default to something a little more, shall we say, festive.(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)The light controller’s “Sunset” mode looked like a softer variation of our CPU cooler’s Rainbow mode in this test. Nice.(Credit: Thomas Soderstrom)Testing the Fractal Design Meshify 3: Cool It, ManToday’s build leverages the ATX hardware from our most recent case evaluation platform, including its full-sized Cooler Master GX III Gold 850W power supply and mid-size Corsair iCue H100i RGB Pro XT CPU cooler.Apparently, that little scoop that pushes air upward from the lower of the three front fans does have some positive effect on overall case temperature. Our CPU, motherboard (voltage-regulator), and GPU numbers all show slightly lower temperatures than its five most closely-matched recently reviewed rivals. (These include the Corsair Frame 4000D, the SilverStone Fara 514X, and the MSI Velox 300R.)And just in case you thought that Fractal Design might have gotten its high score by overspeeding its fans a bit…it didn’t. Fan noise is tied for second place in this test group, behind the Super Flower Zillion Direct.The biggest nit we can pick is that some of the Meshify 3’s airflow enhancement might be due to its lack of flow-restricting dust filters.

The new ES90 electric car is the flagship of Volvo's latest digital safety tech.TT News Agency/AFP via Getty Images For decades, the Volvo brand has been synonymous with safety. But keeping passengers secure is no longer just about a strong cabin or cleverly designed crumple zones. Increasingly, safety is about semi-autonomous driving technology that can mitigate collisions or even avoid them entirely. Volvo intends to be ahead of the game in this era too. Its secret weapon? Something called “Gaussian Splatting”. I asked Volvo’s Head of Software Engineering Alwin Bakkenes and subsidiary Zenseact’s VP Product Erik Coelingh exactly what this is and why it’s so important. Volvo: Early Application Of Safety Data “We have a long history of innovations based on data,” says Bakkenes. “The accident research team from the 70s started with measuring tapes. Now in the digital world we’re collecting millions of real-life events. That data has helped us over the years to develop a three-point safety belt and the whiplash protection system. Now, we can see from the data we collect from fleets that a very large portion of serious accidents happen in the dark on country roads where vulnerable road users are involved. That’s why, with the ES90 that we just launched, we are also introducing a function called lighter AES where we have enabled the car to steer away from pedestrians walking on the side of the road or cyclists, which in the dark you can’t see even if you have your high beam on. This technology picks that up earlier than a human driver.” The Volvo EX90 SUV will also benefit from this technology. Volvo Cars uses AI and virtual worlds with the aim to create safer carsVolvo “If you want to lead in collision avoidance and self-driving, you need to have the best possible data from the real world,” adds Bakkenes. “But everyone is looking also at augmenting that with simulated data. The next step is fast automation, so we’re using state-of-the-art end-to-end models to achieve speed in iterations. But sometimes these models hallucinate. To avoid that, we use our 98 years of safety experience and these millions of data points as guardrails to make sure that the car behaves well because we believe that when you start to automate it needs to be trusted. For us every kilometer driven with Pilot Assist or Pilot Assist Plus needs to be safer than when you've driven it yourself. In the world of AI data is king. We use Gaussian Splatting to enhance our data set.” What Is Volvo’s Gaussian Splatting? “Cars are driven all around the world in different weather and traffic conditions by different people,” says Coelingh. “The variation is huge. We collect millions of data points, but it’s still a limited amount compared to reality. Gaussian Splatting is a new technology that some of our PhD students have been developing the last few years into a system where you can take a single data point from the real world where you have all the sensor, camera, radar and LIDAR sequences and then blow it up into thousands or tens of thousands of different scenarios. In that way, you can get a much better representation of the real world because we can test our software against this huge variation. If you do it in software, you can test much faster, so then you can iterate your software much more quickly and improve our product.” “Gaussian Splatting is used in different areas of AI,” continues Coelingh. “It comes from the neural radiance fields (NeRFs).” The original version worked with static images. “The first academic paper was about a drum kit where somebody took still pictures from different angles and then the neural net was trained on those pictures to create a 3D model. It looked perfect from any angle even though there was only a limited set of pictures available. Later that technology was expanded from 3D to 4D space-time, so you could also do it on the video set. We now do this not just with video data, but also with LiDAR and radar data.” A real-world event can be recreated from every angle. “We can start to manipulate other road users in this scenario. We can manipulate real world scenarios and do different simulations around this to make sure that our system is robust to variations.”Gaussian Splatting allows multiple scenario variations to be created from one real event.Volvo Volvo uses this system particularly to explore how small adjustments could prevent accidents. “Most of the work that we do is not about the crash itself,” says Coelingh. “It’s much more about what's happening 4-5 seconds before the crash or potential crash. The data we probe is from crashes, but it's also from events where our systems already did an intervention and in many cases those interventions come in time to prevent an accident and in some cases they come late and we only mitigated it. But all these scenarios are relevant because they happen in the real world, and they are types of edge case. These are rare, but through this technology of Gaussian Splatting, we can go from a few edge cases to suddenly many different edge cases and thereby test our system against those in a way that we previously could not.” Volvo’s Global Safety Focus This is increasingly important for addressing the huge variation in global driving habits and conditions a safety system will be expected to encounter. “Neural Nets are good at learning these types of patterns,” says Coelingh. “Humans can see that because of the behavior of a car the driver is talking into their phone, either slowing down or wiggling in the lane. If you have an end-to-end neural network using representations from camera images, LiDAR and radar, it will anticipate those kinds of things. We are probing data from cars all around the world where Volvo Cars are being driven.” The system acts preemptively, so it can perform a safety maneuver for example when a pedestrian appears suddenly in the path of the vehicle. “You have no time to react,” says Coelingh. Volvo’s safety system will be ready, however. “Even before that, the car already detects free space. It can do an auto steer and it’s a very small correction. It doesn't steer you out of lane. It doesn't jerk you around. It slows down a little bit and it does the correction. It's undramatic, but the impact is massive. Oncoming collisions are incredibly severe. Small adjustments can have big benefits.”Volvo's safety tech can detect pedestrians the human driver may not have seen.Volvo Volvo has developed one software platform to cover both safety and autonomy. “The software stack that we develop is being used in different ways,” says Coelingh. “We want the driver to drive manually undisturbed unless there’s a critical situation. Then we try to assist in the best possible way to avoid collision, either by warning, steering, auto braking or a combination of those. Then we also do cruising or L2 automation.” Volvo demonstrated how it has been using Gaussian Splatting at NVIDIA’s GTC in April. “We went deeply into the safe automation concept,” says Bakkenes. “Neural nets are good at picking up things that you can’t do in a rule-based system. We're developing one stack based on good fleet data which has end-to-end algorithms to achieve massive performance, and it has guard rails to make sure we manage hallucinations. It's not like we have a collision avoidance stack and then we have self-driving stack.” “There was a conscious decision that if we improve performance, then we want the benefits of that to be both for collision avoidance in manual driving and for self-driving,” says Coelingh. “We build everything from the same stack, but the stack itself is scalable. It’s one big neural network that we can train. But then there are parts that we can deploy separately to go from our core premium ADAS system all the way to a system that can do unsupervised automation. Volvo’s purpose is to get to zero collisions, saving lives. We use AI and all our energy to get there.”

ZDNET's key takeaways The Roborock Saros Z70 is now available for purchase for $2,599.The Saros Z70 is the first robot vacuum with a mechanical arm to lift lightweight objects and clean those missed areasThis robot vacuum performs impressively well, but you can expect some bugs with the OmniGrip mechanical arm function. View now at Roborock The Roborock Saros Z70 is currently on sale at Roborock for $1,999 for Memorial Day, down $600 from the usual price of $2,599.I've spent the past few years of my life turning my home into the closest version of the Jetsons' house that I can get, bypassing the midcentury decor and flying cars. While I'm pleased to report that many of the predictions made by the 1960s sitcom have materialized over the decades, many remain unrealized. The biggest one? Rosie the Robot. Also: This midrange robot vacuum cleans as well as some flagship models - and it's 50% offThankfully, many companies are rallying behind the effort to create a household assistant robot. However, after being lucky enough to test the Roborock Saros Z70 with a mechanical arm, I believe Roborock has a definite edge on the competition. While other companies have created different kinds of household robots, the Saros Z70 is a multifunctional robot that could be a stepping stone to the future of smart homes.  details View at Us.roborock The Roborock Saros Z70 is a premium robot vacuum and mop with all the bells and whistles you'd expect from a flagship, plus a mechanical arm to pick up objects. And I can't dive into a review of this product without immediately focusing on this robotic grip. When the robot vacuum is cleaning, it detects small obstacles it can handle and picks them up. The robot then navigates to a predetermined area to drop off the item. Then, the device returns to the spot the object occupied and resumes cleaning the area.  Maria Diaz/ZDNETThe Saros Z70 comes with a Roborock bin that you can place in your home for your robot to drop soft items into. It's a rigid cardboard bin that looks like a small trash bin you'd see under a desk or in a bathroom. After your robot creates a virtual map of your home, you place the bin and you add it to the map in the Roborock mobile app. You can also add a larger area for your robot to drop off other items, like slippers and light shoes. The biggest question, of course, is: does the mechanical arm work as intended? After testing it in my home, I'm pleased to report that it does -- at least the vast majority of the time.Also: I invested in this 3-in-1 robot vacuum, and it's paying off for my homeTo test the OmniGrip mechanical arm, I set out ten obstacles around the house several times and ran full cleanings. I also did smaller area cleanings with fewer objects. The robot vacuum sees the object and gives a voice prompt to announce it's going to sort an item. It deploys the mechanical arm and lines itself up to pick up the item.  The Roborock Saros Z70's OmniGrip mechanical arm can be remotely controlled to pick up and drop off items at will. Maria Diaz/ZDNETOnce the arm grips the item, the robot travels to drop it off. It lines itself up with the bin or designated sorting area and releases the object, then retracts the arm. Also: My picks for the best robot vacuums for pet hair of 2025: Roomba, Eufy, Ecovacs, and moreIn my tests, the Roborock mechanical arm picked up the intended objects 83% of the time. This is a great number for a robot that is effectively introducing this type of technology to the market. It's also a great number when you consider that the robot's initial rollout has a very limited number of items it can recognize and pick up.  Maria Diaz/ZDNETRoborock says the Saros Z70 currently recognizes socks, sandals, crumpled tissues, and towels under 300g (about eight ounces), and that new sortable objects will be added continuously via firmware updates. When I only used the recognizable objects, the robot gripped and relocated 90% of the items. When I added other small obstacles, like shoes, small cups, and plastic film, it gripped 75% of the objects.Also: This Ecovacs robot vacuum and mop is a sleeper hit, and it handles carpeting like a champAs a robot vacuum and mop, the Roborock Saros Z70's performance is outstanding -- I have zero qualms with it. It is one of the best robot vacuum and mop combos I've ever tested. It has the best obstacle avoidance feature I've seen thus far, so it doesn't get stuck on random objects, and it has an extendable mop pad to clean near edges. The robot also cleans quite thoroughly, much like the Saros 10 and Saros 10R, so you can count on it reaching pretty much every foot of your home.  Maria Diaz/ZDNETI did encounter some bugs with the robot's OmniGrip performance, but I can't fault Roborock for them. Aside from the fact that no robot vacuum is perfect (and this one nearly is), these bugs can be attributed to the fact that this is really new technology. Some bugs included the robot only vacuuming and "forgetting" to resume mopping after dropping off an object, and dropping objects that were hard to grip, like kids' water shoes.ZDNET's buying advice Maria Diaz/ZDNETThe Roborock Saros Z70 isn't the right robot vacuum for most shoppers. Instead, this robot vacuum and mop is perfect for early adopters who enjoy testing the newest cutting-edge technologies. As the first robot vacuum with a mechanical arm to be widely available on the market, you can expect to encounter bugs with the Saros Z70 -- it's only natural.Also: This robot vacuum might be better at cleaning than me - and I'm a neat freakEven so, I was thoroughly impressed with the robot's cleaning performance and the OmniGrip technology. I was also impressed with Roborock's fast and widespread launch of this robot after announcing it late last year. The Roborock Saros Z70 is the next level in robot vacuum technology, and it's pioneering the idea of a functional, multipurpose household robot that you can truly rely on.However, it is quite expensive. The Saros Z70 will vacuum and mop like the best robot vacuums on the market. But you must be aware that you're not paying for a robot vacuum alone; you're paying for the innovation of having a future-forward robot in your home.  When will this deal expire? Deals are subject to sell out or expire at any time, though ZDNET remains committed to finding, sharing, and updating the best product deals for you to score the best savings. Our team of experts regularly checks in on the deals we share to ensure they are still live and obtainable. We're sorry if you've missed out on this deal, but don't fret -- we're constantly finding new chances to score savings and sharing them with you at ZDNET.com.  Show more Featured reviews

Roborock Saros Z70 review: an innovative robot vacuum with a robotic arm that just can’t get a grip MSRP $2,600.00 Score Details “The Roborock Saros Z70 is a powerful robot vacuum and mop, but its robotic arm isn’t quite ready for the spotlight.” Pros 22,000 Pa suction Auto-detaching mopping pads Reliable navigation Slim profile Robotic arm is cool (when it works) Cons Robotic arm functionality isn't great Expensive “Why you can trust Digital Trends – We have a 20-year history of testing, reviewing, and rating products, services and apps to help you make a sound buying decision. Find out more about how we test and score products.“ Recommended Videos The Roborock Saros Z70 is the most innovative robot vacuum I’ve ever tested. Along with the ability to vacuum and mop, this unique gadget is equipped with a robotic arm. As it cruises around your home, it’ll pick up objects left on the ground, move them to a designated area, then continue with its cleaning routine. Or rather, that’s what it’s supposed to do. In reality, things are a bit of a mixed bag. First and foremost — the Saros Z70 does an excellent job of cleaning all types of floors. With heaps of suction and a premium spinning mop setup, it’s designed to tackle spills and debris with ease. But the robotic arm is the big selling point here, and it doesn’t do enough to justify its eye-watering price tag of $2,600 (inflated from the original price of $1,900 due to tariffs). Roborock offers products at a much lower price point capable of cleaning just as well as the Saros Z70. And because the robotic arm isn’t quite ready for the modern household environment, it’s hard to recommend to anyone except those who need to be on the cutting edge of the robot vacuum industry — which is a pretty niche crowd. Still, I’m excited to see where the technology goes. The Saros Z70 might not be ready for the spotlight just yet, but its successors will most definitely learn from its mistakes. It’s all about the arm Jon Bitner / Digital Trends The Roborock Saros Z70 can automatically vacuum, mop, detach and reinstall its mopping pads, empty its dustbin, and wash itself — but the reason you’re even thinking about spending $2,600 is because of its wild robotic arm. No other robot vacuum on the market offers this functionality. One of the biggest limitations of current robot vacuums is that they must clean around your mess. Forget to pick up a sock, shoe, or other object, and that portion of your home will be missed. The Saros Z70 attempts to fix this pinch point. Forget to pick up your dirty socks? It’ll pick them up for you, then return them to a specified point in your home. This should, in theory, result in a more comprehensive clean, as it doesn’t have to work around your mess — instead, it’ll simply clean up for you. It’s a remarkable idea for a robot vacuum, and the Saros Z70 is a fine first attempt at bringing this idea to life. Much like any new technology, it’s quite rough around the edges, but the proof of concept is there. It successfully picked up socks, slippers, and crumpled paper left out in my home. It would then bring them to a designated spot before continuing with its cleaning routine. When it works, it’s one of the coolest things you’ll ever see in the world of robot vacuums. Roborock But the successes of the robotic arm are overshadowed by its limitations. To be clear, Roborock is quite transparent with its restrictions. For example, detection doesn’t work very well (or at all, in some cases) on carpet. The grip is only capable of picking up items of 300 grams or less. If the robot detects furniture above it, the arm won’t fully deploy — protecting itself and your belongings from a collision. This means you’re essentially limited to picking up small, lightweight objects like socks and slippers from hard surfaces. Even if the robot detects something it should, theoretically, be able to handle, the grip often struggles. Designed as a set of prongs that reach down to lift objects, it frequently misses the object or grabs it awkwardly and later drops it. Simply put, the system takes way too long to be an effective solution for your home. When not in use, the arm stows away into a chamber at the front of the robot vacuum. This results in a streamlined footprint capable of slinking under most furniture for a robust cleaning. The entire system looks nice (as is par for the course with Roborock), though the functionality of the robotic arm leaves much to be desired. Mopping and vacuuming Jon Bitner / Digital Trends While the robotic arm is a bit of a letdown, this isn’t the case for the rest of the Roborock Saros Z70. It’s essentially a superpowered version of the fantastic Saros 10R, featuring 22,000 Pa of suction, the accurate StarSight Autonomous System 2.0 for navigation, an anti-tangle system to keep brushes free of debris, and detachable mops that can automatically be left behind in the dock while vacuuming. Several secondary features are bundled in for added convenience, such as the ability to check in on the device remotely via video calls and a child lock to prevent curious kids from meddling with the expensive robot. Toss in a side brush capable of rotating outward for enhanced coverage and a mopping pad capable of the same, and you’ve got a robot well-suited for providing one of the best cleans on the market — plus a few fun extras. Verdict As innovative as the Roborock Saros Z70 is, it’s not the right fit for most customers. Its combination of price and lackluster robotic arm performance means it’s just not capable of living up to expectations, and you’d be better off with the Roborock Saros 10 or Saros 10R. Both products provide similar cleanings at a fraction of the price. Having said all that, the Saros Z70 is still an exciting product. The first time its robotic arm deployed to pick up a sock, I literally shouted in excitement. It’s hard to overstate how cool this technology is — and how it could seriously revolutionize robot vacuums. The Saros Z70 is (hopefully) the first step on a much longer journey, and I can’t wait to see where Roborock takes us.

Want something sexy, silly, and scandalous? Then you'll treasure Honey Don't!, the latest collaboration between married filmmakers Ethan Coen and Tricia Cooke. The pair, who've been collaborating since the 1990 Coen Bros movie Miller's Crossing, brought audiences the madcap mayhem of Drive-Away DollsDrive-Away Dolls star Margaret Qualley reunites with Coen and Cooke, playing a title character once more. Honey O'Donahue is a small-town private eye who keeps her cards close to her chest. When a new client turns up dead in a suspicious car crash, she quips to the crumpled police detective on the scene (Charlie Day, perfectly cast as an affable dope), but won't give up a single observation. Unspoken, this is her mystery to solve. Over the course of this murder investigation, she'll cross paths with a moped-riding femme fatale (Lera Abova), a surly sapphic cop (Aubrey Plaza), and an ultra-vain cult leader (Chris Evans). It's a wild ride with twists, sex, and murder!  You May Also Like Margaret Qualley is dynamite in Honey Don't!While this is the second offering in Coen and Cooke's proposed lesbian trilogy, Honey Don't! doesn'tDrive-Away Dolls. The key to both films is Qualley, who sets the tone. In the first film, she was a chaotically comical masc with a Southern accent as thick as molasses and a libido as powerful as the sun. The movie followed her frenzied energy through pacing and plotting, taking wild turns with madcap energy. In Honey Don't!, click-clacking heels, pencil skirts or tailored flowing slacks with tidy but never bland dress shirts — reflects these old-school inspirations. So does her frankness; she carries a Katharine Hepburn attitude without the Mid-Atlantic accent. So when the aforementioned police detective flirts with her, she says, smooth as butter, "I like girls." (To which Day replies with a cheery bemusement, "You always say that!") Whether playing the cool gay aunt to a small army of nieces and nephews, uncovering a kinky clue, or hooking up with a one-night stand, Honey is suave and sharp, but also warm. This temperament sets her apart from the fleets of male detectives who've come before her, all swagger and steely glares. Plus, her attitude reflects the atmosphere of Honey Don't!'s setting: Bakersfield, California, a sunny place with a dark appetite.   Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Honey Don't! is a raw and refreshing caper.  Writer Tricia Cooke, actor Margaret Qualley and writer/director Ethan Coen on the set of their film "Honey Don't!" Credit: Karen Kuehn / © 2025 FOCUS FEATURES LLC The screenplay by Coen and Cooke is committed to dark humor, offering gleeful jokes about kinky sex, gruesome death, and the general idiocy of crooks and con men. As Coen directs Honey Don't!, it's tempting to look for comparisons in his shared filmography with his brother, Joel. Is Honey Don't! more Raising Arizona or The Big Lebowski? Burn After Reading or No Country for Old Men? But engaging in this debate risks overlooking the exciting exploration of crime stories that Coen and Cooke are building with their trilogy. Her stamp is clear and important here as the film's co-writer, producer, and editor. Yes, Honey Don't! pulls from film noir inspirations, as do several previous Coen Bros movies… and hundreds of other movies before that. But this crusty California setting gives fresh air to tropes like the femme fatale or the double cross. Where Drive-Away Dolls dug into the rich Americana and queer culture to be found in road trip attractions and lesbian bars, Honey Don't! embraces a less-familiar clutch of gnarly characters, sunbaked and deranged. Chris Evans is hilarious, freed from Disney constraints. Thank goodness that Chris Evans' MCU era has ended. Now the actor who has proven to be a sensational bastard in Knives Out can cut loose with characters who aren't remotely role models.  Related Stories In Honey Don't!, he plays Reverend Drew, a preacher who leads a congregation of dedicated minions who will grant any wish of sex or violence his twisted heart desires. Honey Don't! offers an array of beloved character actors, like Plaza, Day, Billy Eichner, and acclaimed theater performer Gabby Beans. And they are all game for whatever damned thing Cooke and Coen throw their way. Where Qualley plays the straight man to this cluster of kooky clowns, Evans is a ringmaster of his own circus. From the moment he flashes a comically insincere smile, there's a thrill of excitement. Playing punchlines with a gleeful obliviousness, Evans creates a sharp satire of a certain brand of religious leader who believes too much in his own bullshit. His physicality is suitably absurd. Whether he's barking orders in the nude or giving the most hysterical delivery of the word "oui" ever committed to screen, he moves like a cartoon caricature of an arrogant buffoon. Props to Evans for finding a new and fantastic way to continue being America's ass. What's most thrilling about Honey Don't! is perhaps also what's most frustrating about it. Coen and Cooke set up a mystery with a form that seems vaguely familiar at the start. But as Honey chases down the suspects and confounding clues, this story is anything but what you'd expect. And that comes down to the finale, which is sure to divide critics and audiences. Personally, I relished the final surprise of the film, as it suggests this story is bigger than one movie and maybe even one setting can contain. Instead of closure, Honey Don't! offers a taste of something sweet and wild, with the potential for more. And I'm not mad at that. Honey Don't! was reviewed out of the Cannes Film Festival. It will open in theaters on Aug. 22. Topics Film

Credit: Sea to Summit / Bote / Kelty / Mashable Photo Composite Deal pricing and availability subject to change after time of publication. Learn more about how we select deals. Best REI Anniversary Sale deals Best camping deal REI Base Camp 4 Tent $331.79 (save $142.21) Best water sports deal Bote Wulf Aero inflatable paddle board $475.09 (save $83.91) Memorial Day is just a few days away, which means it's time to think about every amazing outdoor adventure you have planned for summer of 2025. If last year's gear got put away wet and dirty, it's time to consider some upgrades. Instead of doing this the Thursday night before leaving for a weekend adventure on Friday, spend Memorial Day weekend sorting through your gear and deciding what needs a refresh.Coincidentally, the REI Anniversary Sale is on now through May 26 and has thousands of deals that take up to 30% off outdoor gear. Snag a new paddle board, replace the cooler, finally keep in touch with a Garmin inReach, or get a cozier sleeping bag.Plus, if you happen to be an REI member and you see something that's not on sale, use code ANNIV2025 to take 20% off. A lifetime membership to the REI Co-op costs just $30 which means joining to apply to 20% coupon could mean the membership has already paid for itself. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! You May Also Like In terms of what's on sale during the REI Anniversary Sale expect to see 30% off tons of REI Co-op brand gear, 20% off REI bicycles, and up to 25% off tons of camping gear from Nemo, Kelty, Therm-a-Rest and more. Below are some of our favorite deals or you can spend hours browsing the entire sale selection.Best camping deal Opens in a new window Credit: REI REI Base Camp 4 Tent $331.79 at REI $474 Save $142.21 Why we like itThe outdoors is a wonderful place to spend sunny weekends but it's no time to skip out on sleeping. You'll want to head out with a cozy sleeping set-up which relies on a functional tent, and that's where the REI Base Camp 4 Tent comes into play. It's part of the brand's Anniversary Sale which means you'll be saving 30% on the tent, scoring it for $331.79 instead of the normal price of $474. Related Stories In terms of function, the Base Camp 4 Tent is ready to sleep you and three friends with its durable materials that are also water repellent. The wide two door means no sleeper is trapped inside and everyone will have easy access for that inevitable 1 a.m. latrine trip. Of course, the pockets and hang loops make camp organization much easier. More camping dealsSea to Summit Ultra-Sil Dry Bag (3 pack) — $52.39 $69.95 (save $17.56)GSI Outdoors Glacier Stainless Base Camper Cookset — $67.39 $89.95 (save $22.56)Kelty Low Loveseat — $97.39 $129.95 (save $32.56)Helinox Chair Zero — $104.89 $139.95 (save $35.06)Rumpl Original Puffy Blanket (two person) — $149.19 $199 (save $49.81)Sea to Summit Traveller 45F Down Sleeping Bag — $149.19 $199 (save $49.81)Coleman Cascade 222 2-Burner Camp Stove — $164.99 $220 (save $55.01)NEMO Dagger OSMO 2P Tent — $374.89 $499.95 (save $125.06)Best water sports deal Opens in a new window Credit: Bote Bote Wulf Aero inflatable paddle board $475.09 at REI $559 Save $83.91 Why we like itYou've tried out the paddle boards from the local rental shop and decided it's a great way to get out on the water, but have you tried your own? Bote makes some impressively designed paddle boards and the Bote Wulf Aero is on sale during the REI Anniversary Sale for $475.09, down from the usual price of $559. At 10 feet 4 inches in length, the Bote Wulf means you can spend the day out on the water instead of on the crowded shoreline and the included travel bag means everything is so much easier to carry to the lake. You'll also get a three-piece adjustable SUP paddle, a hand pump, a coiled leash, and a removeable Aero center fin, and an Aero repair kit.More outdoor gear sales at REINRS Ninja PFD — $119.89 $149.95(save $30.06)Garmin inReach Mini 2 — $299.99 $400 (save $100.01)Cannondale Topstone 3 Bike — $1,119.93 $1,400 (save $280.07)Salsa Journeyer Sora 700c Bike — $1,169.09 $1,299 (save $129.91) Topics Outdoors Lauren Allain Contributor Lauren Allain is a freelance journalist covering deals at Mashable. She graduated from Western Washington University with a B.A. in journalism and holds an M.B.A from Webster Leiden. You can find more of her work online from publications including Reader’s Digest, U.S. News & World Report, Seattle Refined, and more. When she’s not writing, Lauren prefers to be outside hiking, bouldering, swimming, or searching for the perfect location for all three.