Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces (2022), a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

A bunch of great games made with Unity dropped in May—across genres, budgets, and styles. Here’s a quick roundup of what shipped that anyone not still lost in Blue Prince should check out.IGF Awards Huge congrats to all the IGF finalists, especially the games made with Unity that dominated the awards this year — including Consume Me, which took home three wins! Fresh off their Audience Award win at the IGF Awards, The WereCleaner team joined us on stream. Check it out:Made with Unity Steam Curator Page Once again we sent out a clarion call for Unity staff to share which of your games they've been playing this past month. Be sure to see them all on our Steam Curator Page here:Working on a game in Unity? We’d love to help you spread the word. Be sure to submit your project.Without further ado, to the best of our abilities, here’s a non-exhaustive list of games made with Unity and launched in May 2025, either into early access or full release. Add to the list by sharing any that you think we missed.ActionShotgun Cop Man, DeadToast Entertainment (May 1)Deliver At All Costs, Studio Far Out Games (May 22)Pipistrello and the Cursed Yoyo, Pocket Trap (May 28)Bullet HeavenBioprototype, Emprom Game (May 19)Broventure: The Wild Co-op, Alice Games (May 15)Tower of Babel: Survivors of Chaos, NANOO (May 19 – early access)Cards, dice, and deckbuildersMonster Train 2, Shiny Shoe (May 21)Into the Restless Ruins, Ant Workshop Ltd (May 15)Casual, rhythm, and partyAmong Us 3D, Schell Games, Innersloth (May 6)Dunk Dunk, Badgerhammer Limited (May 8)Ithya: Magic Studies, BlueTurtle (May 7)Kulebra and the Souls of Limbo, Galla (May 16)Bugtopia, Nocturnal Games (May 21)Kabuto Park, Doot, Zakku (May 28)City and colony builderPreserve, Bitmap Galaxy (May 15)MEMORIAPOLIS, 5PM Studio (April 30)Darfall, SquareNite (May 8)Worshippers of Cthulhu, Crazy Goat Games (May 22)City Tales - Medieval Era, Irregular Shapes (May 22 – early access)ComedyPick Me Pick Me, Optillusion (May 28 – early access)Experimental or surrealistENA: Dream BBQ, ENA Team (March 27)FPSBloodshed, com8com1 Software (May 22)GRIMWAR, BookWyrm (May 16)Noga, Ilan Manor (May 30)HorrorLiDAR Exploration Program, KenForest (April 2)White Knuckle, KenForest (April 17 – early access)The Boba Teashop, Mike Ten (April 21)Out of Hands, Game River (April 22)Darkwater, Targon Studios (April 22 – early access)Management and automationBlacksmith Master, Untitled Studio (May 15 – early access)Liquor Store Simulator, Tovarishch Games (May 2)Animal Spa, Sinkhole Studio, Moonlab Studio (May 13)Toy Shop Simulator, PaperPixel Games (May 16)Alien Market Simulator, Silly Sloth Studios, Kheddo Entertainment (May 25 – early access)MetroidvaniaOirbo, ImaginationOverflow (February 11 – early access)SteamDolls - Order Of Chaos, The Shady Gentlemen (February 11 – early access)Narrative and mysterydespelote, Julián Cordero, Sebastian Valbuena (May 1)Duck Detective: The Ghost of Glamping, Happy Broccoli Games (May 22)Beholder: Conductor, Alawar (April 23)PlatformerPaperKlay, WhyKev (March 27)Bionic Bay, Psychoflow Studio, Mureena Oy (April 17)Once Upon A Puppet, Flatter Than Earth (April 23)PEPPERED: an existential platformer, Mostly Games (April 7)Ninja Ming, 1 Poss Studio (April 10)Seafrog, OhMyMe Games (April 15)Puzzle adventurePup Champs, Afterburn (May 19)Strings Theory, Beautiful Bee (Console release)Kathy Rain 2: Soothsayer, Clifftop Games (May 20)Poco, Whalefall (May 20)Axona, Onat Oke (May 28)Projected Dreams, Flawberry Studio (May 29)Elroy and the Aliens, Motiviti (April 2)Leila, Ubik Studios (April 7)Tempopo, Witch Beam (April 17)BOKURA: planet, ところにょり (April 24)Amerzone - The Explorer's Legacy, Microids Studio Paris (April 24)Roguelike/liteSavara, Doryah Games (May 6)Vellum, Alvios Games (May 2)Yasha: Legends of the Demon Blade, 7QUARK (May 14)An Amazing Wizard, Tiny Goblins (May 22 – early access)Garden of Witches, Team Tapas (May 23 – early access)RPGTainted Grail: The Fall of Avalon, Questline (May 23)The Monster Breeder, Fantasy Creations (May 6)Yes, Your Grace 2: Snowfall, Brave At Night (May 8)SandboxA Webbing Journey, Fire Totem Games (May 19 – early access)Islands & Trains, Akos Makovics (May 29)SimulationThe Precinct, Fallen Tree Games Ltd (May 13)Liquor Store Simulator, Tovarishch Games (May 2)Doloc Town, RedSaw Games Studio (May 7)Tales of Seikyu, ACE Entertainment (May 21 – early access)Trash Goblin, Spilt Milk Studios Ltd (May 28)Sports and drivingThe Last Golfer, Pixel Perfect Dude (May 28)Turbo Takedown, Hanging Draw (March 3)StrategyTeenage Mutant Ninja Turtles: Tactical Takedown, Strange Scaffold (May 22)Tower Dominion, Parallel 45 Games (May 7)9 Kings, Sad Socket (May 23 – early access)SurvivalDino Path Trail, Void Pointer (May 9)Survival Machine, Grapes Pickers (May 7 – early access)Oppidum, EP Games® (April 25)That’s a wrap for May 2025. Want more Made with Unity and community news as it happens? Don’t forget to follow us on social media: Bluesky, X, Facebook, LinkedIn, Instagram, YouTube, or Twitch.

Honey Don’t! opens in theaters August 22. This review is based on a screening at the 2025 Cannes Film Festival.Ethan Coen’s desert detective comedy Honey Don’t! is a step down from what was already a disappointing departure. When older Coen brother Joel branched out from the duo’s acclaimed collaborations, it led to Shakespearean grandeur. There’s no shame in going a more playful route, as the younger Coen and co-writer Tricia Cooke did with Honey Don’t! and its predecessor, Drive-Away Dolls. But their second film in their planned “lesbian B-movie trilogy” is flimsy and insubstantial. It reads like a brisk, star-studded romp on paper: The plot concerns small-town California private eye Honey O'Donahue (Margaret Qualley), a consummate professional summoned to investigate the suspicious roadside death of a woman who had called her not 24 hours prior. Coen and Cooke zoom out to give us the lay of the land before agonizingly connecting each dot, between the deceased’s sexually exploitative church leader, Reverend Drew Devlin (Chris Evans), Honey’s fractured family life, and her advances towards alluring policewoman MG Falcone (Aubrey Plaza).Each of these subplots has its own subplots that drag Honey Don’t! further away from its mystery, including Reverend Drew’s involvement in international drug trade and Honey’s teenage niece Corrine (Talia Ryder) confiding in her about an abusive relationship. Honey occasionally follows up on leads, moving languidly between several matter-of-fact exchanges with no real emotional trajectory. The dialogue is delivered so flatly that you might struggle to differentiate the dramatic and comedic material in any given scene. Take, for instance, Honey’s many conversations with her doting, capable assistant Spider (Gabby Beans), which feel like they’re supposed to be banter between two quick-witted women, but result in awkward dead air for extended periods. The movie’s parched, dusty setting extends infinitely in establishing shots, but the characters’ interactions feel like that, too.What’s more, none of Honey’s sleuthing ever turns up useful answers. Notable discoveries and plot turns usually fall in her lap, and the story’s disparate threads end up being tied together through sheer coincidence. This might be intentional: Coen and Cooke are more concerned with the theme of feminine trauma and anger binding their storylines. However, it results in a plot-heavy film that continuously meanders on its way toward building on (or satisfying) its intrigue. There’s no single noir tradition that dictates exactly how a modern successor should operate; some of these stories focus on the mystery, while others use their underworld escapades as vehicles for charismatic characters – but that’s the main ingredient Honey Don’t! lacks. Qualley, through no fault of her own, is stuck pounding the pavement with little more than a mild scowl on her face, while Evans strains to embody a foul-mouthed douchebag with no further dimensions, much as he did in The Gray Man. The Biggest Movies Coming in 2025If Honey Don’t! has one redeeming performance, it’s that of Charlie Day as local detective Marty Metakawich. It’s a minor role made hilarious in a retrograde, tongue-in-cheek manner, since Marty keeps desperately asking Honey out on dates, no matter how many times she clarifies her sexual orientation. Unfortunately, like much of the supporting cast, Day’s role is truncated, and written first and foremost with its function in mind. His handful of scenes are all about nudging Honey’s investigation in a different direction, even though this seldom leads to interesting developments.Honey Don’t! lacks both visual pizzazz and the kind Coen-esque edge that made the brothers’ previous capers shine. Their zaniest works, like The Big Lebowski and Raising Arizona, let their sprawling ensembles loose in a fun-house-mirror reflection of reality. But this one feels far too plodding to draw your attention. It also reads too overtly like the product of a hasty first draft influenced by the window dressing of other, better noirs – the PIs, the lurid crimes, the femmes fatale – without the time or effort to examine what drew audiences to those movies in the first place.Honey Don’t! is a step down from what was already a disappointing departure.“There’s no better summary of the difference between what Honey Don’t! promises and what it delivers than the mood of the crowd at its Cannes premiere. As the logos for the festival and studio came up on screen, they were met with the kind of deafening roars typically reserved for midnight cult movies. But once Honey Don’t! was underway, the excitement slowly dissipated. Punchlines were met with scattered chuckles, and the movie’s violent bloodshed – part-cartoonish, part-viscerally upsetting – yielded befuddlement. You can’t judge a movie by an audience’s reaction, but in this case, it’s at least instructive.

The New York Times published an article this week with a strange and bigoted claim about Asian women.The claim came when the newspaper reported, in line with the industry consensus, that for Apple to move any serious amount of iPhone production to the United States from Asia would result in making its gadgets prohibitively expensive.That's true, for reasons ranging from the United States' lack of specialized manufacturing equipment to its lack of properly trained workers. But alongside those reality-based issues, the NYT decided to throw in some bizarre race science."Young Chinese women have small fingers," the article reads, "and that has made them a valuable contributor to iPhone production because they are more nimble at installing screws and other miniature parts in the small device, supply chain experts said."For one thing, it's not even clear that the claim that Chinese women have small fingers is even true. Research on global hand size is lacking, but one study found that the average Chinese person has a hand size approximately equal to that of the average German. An analysis of hand size around the world, though it didn't include China, found that even the largest average differences in women's hand size between countries was negligible.And even if it was true, there doesn't seem to be a lick of evidence — or, for that matter, even anyone online making the claim — that small hands are preferable for manufacturing small devices. The closest thing we could find was a paper that found that surgeons with smaller hands actually had a harder time manipulating dextrous operating tools, which would seem to contradict the NYT's claim that small hands are an advantage for small specialized movements.Unsurprisingly, the NYT's bigoted claim went viral. One particularly compelling counterargument that emerged there: the smartphone repair technicians who engage in microsoldering fixes for broken iPhones are often men, and their larger fingers don't seem to be causing any issues."My favorite part is that [there are] adult men, in America, that do iPhone repair, and they often do repair tasks much more intricate than what assembly requires," one user noted. "Like nobody even thought about this for a second."Sarah Jeong, an editor at The Verge whose outrage at the NYT's assertion helped propel it to virality, pointed out that men do all kinds of skillful tasks on a tiny scale — such as for Warhammer 40K and other role-playing games that require users to hand-paint tabletop minifigurines."Grown ass men with sausage fingers are also out there painting tiny dolls using nail art brushes so they can play house... with their friends," Jeong joked. "American men have plenty of manual dexterity."Julia Carrie Wong, a senior reporter at The Guardian who also blasted the wild take, revealed that she emailed the newspaper to give them a piece of her mind. In response, a communications director there told her that the NYT "does not make racial or genetic generalizations" and was simply "[citing] experts who have experience with the industrial process in US and Chinese factories."That's a pretty wild claim even on its face: that the NYT is publishing race science based on anonymous experts.It also raises an ugly possibility: that the newspaper's use of the word "young" to describe the Chinese women working in Apple factories was supposed to insinuate something dark. Apple has a long history of getting caught employing child labor at its factories, who actually would have smaller fingers because they were minors — so it could be, whether the NYT understood it or not, that its "experts" were simply winking at the reality that it's hard to build affordable gadgets in a country with robust labor rights.Share This Article

It was a fun moment to be online. When the news broke on May 8 that Pope Francis’s successor would be the first-ever American to hold the sacred position—and a Chicagoan, no less—social media erupted with celebration and Windy City-specific memes. Within days, some of those memes had morphed into t-shirts for sale. As the conversation around Pope Leo XIV quickly spread to his environmentalist leanings and political opinions, though, the wellspring of unauthorized merchandise spread far beyond novelty shirts that read “Da Pope.” What has flourished in the days since is a broader pope economy that spans clothing, memorabilia, food, tourism, and more—both in the U.S. and in Rome. Demand in both places appears largely driven by Americans. Stateside fervor for pope merchandise is not without precedent, of course. A pontifical cottage industry sprang up around Pope Francis’s 2015 visit to Philadelphia, for instance. Along with t-shirts commemorating the event, Philly streets were flooded with plush pope dolls, life-sized cardboard cutouts, and other pope swag. There was even pope cheese, a mozzarella ball shaped like the bishop of Rome. Considering this level of entrepreneurial excitement marked the occasion of a sitting pope merely visiting the U.S., it’s no wonder so many people have found creative ways to capitalize on an American ascending to the papacy. No business like pope business The scope of the pope-based merch empire is already vast. It has a devotional side, with various faith-based online retailers lining up to sell prayer cards, framed portraits, and an insta-book called When the White Smoke Clears: A Guide to Pope Leo XIV’s Early Days, which currently has a June 30 release date.  Topps offered a limited-release Pope Leo-themed trading card for four days in May, and reportedly sold 133,535 units at $8.99 a pop. (Though the cards are part of a special Topps collection marking significant moments in sports and culture, Pope trading cards date back to the early 1900s.) The Pope Leo cards are now being listed at up to $199 on eBay. For those who would like something a little more three-dimensional, the National Bobblehead Hall of Fame and Museum recently put on presale two separate iterations of Pope Leo for $30 each. There’s also piping hot content on the way: Castletown Media’s forthcoming documentary, Pope Leo XVI: A Pontiff’s Path, which is expected to reside on an upcoming faith-based streaming service called CREDO. Perhaps some of the many viewers who made 2025 Oscar nominee Conclave a massive hit on streaming during Pope Leo’s election will be among the first to tune in. Unsurprisingly, Chicago has become the white-hot epicenter for stateside Popemania. The merch frenzy includes custom White Sox jerseys, in the wake of Pope Leo’s brother dispelling rumors of Cubs fandom and archival video footage confirming his Sox bona fides. The Chicago sports shop Grandstand claimed to Sports Illustrated that their Sox jerseys with the Pope’s name on it are outselling those of any other player on the team. The Sox’s home, Rate Field, took the team’s papal love public, installing a mural of him at the stadium.  Beloved Chi-town restaurant chain Portillo’s also named a new sandwich  The Leo, which it describes as “divinely seasoned Italian Beef, baptized in gravy.” Meanwhile, in Evanston, Bennison’s Bakery is offering limited edition cookies that bear Pope Leo’s likeness.  Chicago may eventually become an even bigger tourist destination for the faithful. The owner of Pope Leo’s now-decrepit childhood church—St. Mary of the Assumption, on Chicago’s south side—is reportedly in talks to convert the space into a place of worship for local congregations, with a food pantry named after the new pope. (The Chicago suburb in which he grew up intends to either purchase his childhood home that was up for sale, or obtain it through eminent domain, and allow it “to be viewed and visited by the public as a historic site.”) A lot of the papal tourism, however, is currently taking place in Rome. When in Rome Americans already account for the largest segment of tourist visits to Rome, with a record 2.5 million arriving in 2024 alone, according to The Guardian. Now that an American will occupy the Chair of St. Peter in Vatican City, though, vendors and various service providers are preparing for a full-on religious tourist invasion. Tour companies are reporting an increase in bookings for pilgrimages, especially from Americans. The owner of Atlante Star, a hotel in Rome known for its impressive view over St Peter’s Basilica, told The Guardian ahead of Pope Leo’s inaugural service on May 18 that the hotel was “mostly full with people from North America, and not just pilgrims.” And as in Chicago, culinary business owners near the Vatican, including gelato makers and brewers, are offering pope-themed confections to entice American visitors. Within two days of Pope Leo XIV’s election, posters, magnets and other small items featuring him have gone on sale in Rome pic.twitter.com/LfVJWXiYLE— Reuters (@Reuters) May 10, 2025 Out on the streets of Rome, some vendors began to sell posters and trinkets bearing the new pope’s name and image within 48 hours of his election. No official Pope Leo XIV holy cards or rosaries have gone on sale yet in the Vatican gift shop, though, nor are any available at many of the other souvenir shops throughout the city, which are reportedly waiting for “the authorization of the dicastery,” a department within the administrative body of the Holy See, to be able to sell merch celebrating the new pope. Waiting seems like a wise move—and not just because it will give all remaining official Pope Francis merch a chance to sell out. Divine copyright protection The Vatican, it turns out, has a long history of legally protecting the pope’s image. Back in 2009, toward the end of Pope Benedict XVI’s tenure, the Holy See essentially declared a divine copyright. Citing a “great increase of affection and esteem for the person of the Holy Father” as contributing to broader use the Pontiff’s name and image, the Vatican emphasized that “it alone has the right to ensure the respect due to the Successors of Peter,” and therefore, to protect the Pope from unauthorized uses of his name, image, or any related symbols. Perhaps inspired by all the papal ephemera Pope Francis and his handlers would have seen during the 2015 trip to the U.S., the Vatican went on the offensive two years later. In 2017, it hired global law firm Baker McKenzie to protect the rights to its intellectual property. (Representatives for Baker McKenzie did not respond to Fast Company’s request for comment on the work it may have done, or continues to do, for the Catholic Church.) It’s unclear how long it will take for the Vatican to authorize official Pope Leo XIV merch. According to Italian news organization Agenzia Nazionale Stampa Associata, it could be as soon as a matter of weeks. In the meantime, the enterprising souls selling trinkets and sandwiches with the pope’s name appear to be taking advantage of a Wild West moment of slow trademark enforcement. In the long haul, those “Da Pope” shirts made in America fall under the parody allowance in the fair use doctrine, but the online merch store with the audacious URL officialpopeleoxiv.com seems destined for litigation. (The operator of the site did not respond to a request for comment, but WHOIS Domain Lookup shows that it went live on May 9 and operates out of Reykjavik.) Retailers selling rosaries decorated with Pope Leo’s face, and supposedly blessed by him, may be able to operate unimpeded for the moment. If any folks operating unauthorized shops are religious, though, a much greater punishment than litigation could serve as a deterrent.

This weekend is a major one for new movies, with the release of Mission: Impossible – The Final Reckoning and Disney’s live-action Lilo & Stitch remake in theaters. But even if you carved out two days for two major blockbusters, good news: Monday is Memorial Day. So why not spend your three-day weekend sneaking in one more movie? Per usual, a handful of worthwhile titles are leaving Netflix on June 1. Here are five you may want to catch before they’re shipped off to another platform or disappear into the pit of VOD, where you are unlikely to rent them. Cult of Chucky (2017) Is Child’s Play/Chucky the most underestimated horror franchise? Thanks to writer-director Don Mancini’s 37-year commitment to shaking up his slasher formula with each new installment, it’s certainly up there, even in the series’ direct-to-video era. Cult of Chucky picks up shortly after the events of 2013’s Curse of Chucky, which saw the murderous ginger doll stalk Nica Pierce (Fiona Dourif, daughter of Chucky voice actor Brad Dourif!) and slay her whole family. When the police arrive, Nica is ultimately charged with the murders, and hauled away to an institution. In Cult of Chucky, an abusive psychiatrist has convinced her she really was the perpetrator of the crime and Chucky was all in her head — until the doll shows up to kill more people. It’s bloodsplatteringly twisted fun. Mancini finds ways to get multiple Chucky dolls in the mix, and up the gross-out humor a few notches. Enjoy, sickos. Den of Thieves (2018) If you have yet to meet Big Nick (Gerard Butler), king of the scuzzy cops, hurry up: The terrific Den of Thieves 2: Pantera is also on Netflix, but you only have a week to catch the first installment in the series. Writer-director Christian Gudegast gives Heat a dirtbag makeover, as Butler’s bleary, on-the-verge-of-divorce antihero hunts down a team of ex-Marines who are pulling off elaborate bank heists. Pablo Schreiber (Halo) is piercing as Ray, the leader of the criminal operation, while O’Shea Jackson Jr. and 50 Cent give the Ocean’s 11-esque team its needed swagger. But Butler as Nick, bumbling around and failing at life, carries the movie, bringing in an unexpected amount of emotion as the story barrels toward its big Federal Reserve set piece. At 140 grimy, gun-heavy minutes, no one is really making movies like Den of Thieves at the moment. Ma (2019) Maaaaaaaaaaaa. Blumhouse understandably pitched this psychological horror film from [checks notes] The Help director Tate Taylor??? as “from the producer of Get Out and Halloween,” but Ma is much goofier and more meme-friendly than either of those movies — and for the better. It all lands thanks to Oscar-winner Octavia Spencer, whose vindictive, violent Sue Ann is on the wavelength of Kathy Bates’ Annie Wilkes in Misery and Glenn Close’s Alex Forrest in Fatal Attraction. At first, “Ma” is a local legend for buying kids alcohol and giving them a safe haven to party. But Sue Ann has an ulterior motive, and — well, shit goes down. Culture writers have found plenty beneath the surface of Ma over the years, especially in regard to how it grapples with race. But if that sounds heady, good news: the melodramatic horror surface is great, too. Ramayya Vasthavayya (2013) Fans of Indian action should check out this revenge thriller starring N.T. Rama Rao Jr. (RRR), who really seems to exist to walk in slow motion while preparing to beat the crap out of someone, so it’s good that we invented movies in time for his arrival on this planet. Compared to the hyper-stylish RRR or the playful action-comedy Mard Ko Dard Nahi Hota (aka The Man Who Feels No Pain), Ramayya Vasthavayya is pretty basic. Nandu (NTR) is falling hard for Akarsha (played by Indian mega-star Samantha) but he also has some secrets that means he will eventually need to cut people down with a machete. But boy, does director Harish Shankar make NTR look good doing it! Whether he’s getting smacked across the face with a lead pipe or pounding some goons, the actor delivers what the camera needs. Unhinged (2020) Much like Quentin Tarantino, we here at Polygon endorse Russell Crowe’s released-during-pandemic-times-and-therefore-seen-by-too-few-people movie Unhinged. Crowe is actually the villain in this road-rage horror-thriller, which stars Caren Pistorius as an overworked single mother who crosses paths with the wrong brute while rushing to get her son to school one morning. The title is apt: Crowe’s “The Man” is quite unhinged! And instead of brushing off the beeping car behind him, he goes full Duel on the unsuspecting mom. Crowe seems as committed to playing an animalistic terror as he was committed to playing Maximus in Gladiator, and yet he surprisingly did not win another Oscar for his work in Unhinged. 

The first thing you need to know about Honey O’Donahue is that she is a fabulous movie detective. Now you might be saying to yourself right now, “That just means she’s a great detective, right? A master solver of mysteries?” And sure. Maybe. Honestly, it’s a bit open to debate after watching Ethan Coen and Tricia Cooke’s new slinky potboiler, Honey, Don’t! But more important than the crime-stopping is how she pieces together the mystery of what it means to be a proper movie detective. She knows, for instance, that when a jealous spouse offers you money to confirm his husband is having an affair, you should kindly but firmly recommend he spend it instead on a romantic dinner that ends in candid conversation. She also recognizes the necessity of being not only smarter than the local dick on the police force, but able to remind him of this fact with snappy put-downs. She is a detective you simply enjoy watching drink, smoke, and carouse her way through the wreckage of a case, one dead body—or for that matter, a live one in her bed—at a time. And as played by Margaret Qualley with an authentic Carolina lilt, she ascends in Honey Don’t!’s best moments into becoming a kind of Southern-fried, queer Marlowe; a detective whose investigations are nearly impenetrable to follow, but like Bogie or Mitchum before her, you’re just happy to vibe in the patter of her day-to-day rigamarole. She is, in other words, a great creation for Qualley and the not-so-secret weapon in a character piece that sizzles despite the film’s deliberately (and perhaps too) shaggy plot. That plot, of course, involves dead bodies and criminal conspiracies-within-conspiracies on the outskirts of sunny Bakersfield, California. It’s there that local private eye Honey O’Donahue begins looking into the apparent death by car accident of a lonely woman in the community. She keeps her reasons to herself when the police gumshoe (Charlie Day) asks what her interest in the case is, just as she keeps him at further distance when he presses if she wants to discuss the case over drinks. “Book club,” she answers curtly. But didn’t she just tell him she had a book club meeting two days ago? “Dostoevsky, we’re really struggling with it.” The truth of course is Honey has eyes more for the likes of M.G. (Aubrey Plaza), the no-nonsense cop in charge of the station’s evidence locker, than she does for members of the male persuasion. But it’s fair to wonder if her real passion is for verbally sparring with almost anyone who crosses her path. That includes the local fuzz, as well as her sister and a wayward teenage niece, who both have a habit of not wanting Honey’s advice while implicitly yearning for her approval; it likewise pertains to the paranoid client (Billy Eichner) who wants to disgrace his husband at any cost; and you can sure as hell bet she saves her most scathing witticisms for the likes of a pastor at a local church who calls himself Reverend Drew (Chris Evans). Drew has big used car salesman energy, and the more Honey breathes it in, the more his congregation looks like a cult. All parties wind up involved in ways great or small in a scheme that proves more intricate than one might guess. But the key element that really gives momentum to the whole web is the perpetually bemused smile on Qualley’s face, which can simultaneously appear both empathetic and contemptuous in an unblinking glance. It’s a part clearly written toward Qualley’s talents by Coen and Cooke, who after working previously as director and editor on films like The Big Lebowski and O Brother, Where Art Thou? have combined forces as writers and film editors. And like last year’s Drive Away Dolls, the pair imagine Honey Don’t! to be part of a “lesbian B-movie trilogy,” a film which leans lightly into the exploitation of grindhouse cinema while also offering a frothier narrative for LGBTQ cinema than, say, the tragedies that Oscar voters so love. Honey Don’t! is intentionally slight and sleight of hand while setting up the type of boneheaded criminal conspirators who populated so many Coen movies of yore, back when Ethan was writing with Joel. I would also say that despite its happy desire to titillate and objectify, the film feels closer in line with the original film noir movement of the 1940s and ‘50s with its most base pleasures coming from dialogue and performance. Qualley is again the charismatic sun around which everything else orbits, but Plaza also gets plenty of room to build a character miles apart from her frequent Parks and Rec type. To be sure, M.G. has a deadpan about her too, but it’s more bitter, deadly variety—the kind of hard edge that can only come from being sharpened by a lifetime spent as the other in a small, Christian town. Meanwhile Evans is having fun as another creep, although six years on from hanging up Captain America’s shield, and then trying on the sleazebag sweater in Knives Out, it’s fair to wonder if he is now typecast in the other direction. Reverend Drew is a bit more one-note than Knives Out’s Ransom, but it works for the arch and typically dimwitted criminal comedy that Ethan and Joel began their directing career fixated on. Drew is at the focal point of an underworld rife in sex, drugs, and murder, but the mechanics of it—and how it intersects with Honey’s other investigations—is obscure. If one sits down and thinks about it, there seems to really be a greater narrative plotted out by Cooke and Coen left teasingly off-screen, and which would make it all snap into place. But as they appear determined to draw on films famous for their “plot doesn’t matter” legacies, the writers elect to keep Honey and audiences somewhat in the dark all the way to the end credits. The choice benefits from what a gem of a role the title character is for Qualley, funneling all of the film’s attention toward Honey O’Donahue’s swaggering hips and gait. However, it also makes the film slightly frothier and fleeting than it probably needed to be. The writers and star have built such a great character, you want to see her utilized for more than the B-movie aspirations set before her. Yet while working within the purposeful confines of this box, the creatives have succeeded in crafting a merry little murder yarn full of style and devastating zingers. This might be the second part of a thematic trilogy, but one leaves also hoping it’s the first part in a series of cases, and next time Qualley and Honey get to sink their teeth into a larger Coen crime syndicate. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Honey Don’t! premieres at the Cannes Film Festival on May 24 and in theaters on Aug. 22.

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