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  • Joys of retrogaming

    Joys of retrogaming

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    My atari’s av-cable was beyond ******

    Joys of retrogaming. My atari's av-cable was beyond Bought a cheap multimeter and a new scart Went through every cable and pin to figure out which is which Same

    Bought a cheap multimeter and a new scart

    Joys of retrogaming. My atari's av-cable was beyond Bought a cheap multimeter and a new scart Went through every cable and pin to figure out which is which Same

    Went through every cable and pin to figure out which is which

    Joys of retrogaming. My atari's av-cable was beyond Bought a cheap multimeter and a new scart Went through every cable and pin to figure out which is which Same

    Same for scart. Added connectors

    Joys of retrogaming. My atari's av-cable was beyond Bought a cheap multimeter and a new scart Went through every cable and pin to figure out which is which Same

    Prayed to OSHA that I don’t cause a fire

    Joys of retrogaming. My atari's av-cable was beyond Bought a cheap multimeter and a new scart Went through every cable and pin to figure out which is which Same

    Success! Instead of paying some chump for a new cable I managed to spend even more money and repaired the old one myself

    There’ gotta be someone who gets off to this stuff.

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  • ‘Readvent of Calamity’ quest walkthrough in Dragon’s Dogma 2

    ‘Readvent of Calamity’ quest walkthrough in Dragon’s Dogma 2

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    “Readvent of Calamity” is a quest you’ll pick up in Dragon’s Dogma 2 the first time you return to Melve. It involves driving off a diseased drake (which is a dragon as opposed to the Dragon), helping out Ulrika, the leader of Melve, and then finding her when she has to leave town.

    Our Dragon’s Dogma 2 will show you how to start “Readvent of Calamity,” the steps you’ll have to follow to complete it, and where to find Ulrika.


    How to start ‘Readvent of Calamity’ in Dragon’s Dogma 2

    Image: Capcom via Polygon

    Once you complete at least one of Captain Brant’s quests (but before you complete “Feast of Deception”) and then head back to Melve (like for the “Oxcart Courier” quest), you’ll find the town under attack by a diseased dragon (or drake — the game is inconsistent on the name). After you deal a bit of damage by attacking the blisters on Puss the Magic Dragon, you’ll drive it off.


    When to visit Melve ‘from time to time’ in Dragon’s Dogma 2

    After the fight, you’ll get a quick cutscene where you talk to Ulrika, Lennart, and Sigurd. And then you’ll get an unhelpfully vague objective to “visit Melve from time to time.”

    You need to wait a day or three before you can continue the quest. Head out of town and take care of other quests for a bit. You can always fast travel to Melve quickly from Vernworth by using the oxcart.

    Dragon’s Dogma 2 map of Melve showing where to find Ulrika

    Graphic: Jeffrey Parkin/Polygon | Sources: Capcom via Polygon

    On your subsequent visit, check in with Ulrika at the large house in Melve. Inside, you’ll witness Ulrika and a government goon named Martin having an argument. The next day, you’ll learn that Ulrika has chosen to flee the village instead of cause problems for everyone.


    Where to find Ulrika in ‘Readvent of Calamity’

    Your next objective will be to figure out where Ulrika fled to. And you won’t have any clues. The short answer here is that Ulrika has fled to Havre Village.

    Dragon’s Dogma 2 map showing the location of Havre Village

    Graphic: Jeffrey Parkin/Polygon | Sources: Capcom via Polygon

    The longer answer is that she won’t (might not?) actually appear there until you complete a couple other quests.

    First, you’ll have to have completed “Monster Culling” for Captain Brant (which you probably already have). After that, you should poke around Harve Village to take on and complete “Scaly Invaders” which ultimately just has you driving out some saurians a few days in a row.

    Dragon’s Dogma 2 Lennart at the end of Readvent of Calamity

    Image: Capcom via Polygon

    After that, Ulrika will appear right at the town’s main crossroad. Talk to her, and she’ll send you back to Lennart in Melve. Report back to him in Melve’s big house, and you’ll get a reward of 4,500 gold and a Ring of Grit.


    For more Dragon’s Dogma 2 walkthroughs, here’s the best order for Captain Brant’s quests, plus how to rescue the caged magistrate, how to reach the Nameless Village, where to find Rodge, how to confront the Arisen’s shadow, and when to attend the coronation.

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    Jeffrey Parkin

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  • ‘House of the Dragon’ Season 2 Dueling Trailer Breakdown: The Green Trailer and the Black Trailer

    ‘House of the Dragon’ Season 2 Dueling Trailer Breakdown: The Green Trailer and the Black Trailer

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    It’s time, once again, to rally the realm with Mal and Jo as they return to give you their deep dive on the two dueling trailers for the new season of House of the Dragon! They begin with the “Team Green” trailer and discuss what the schemes of Alicent Hightower, Otto Hightower, Criston Cole, and more will be (07:15). Then, they move to the “Team Black” trailer to glean what they can from Rhaenyra, Daemon, and others (68:16). Finally, they take to the skies of speculation to see what they can predict using their knowledge of the book (1:43:30).

    Hosts: Mallory Rubin and Joanna Robinson
    Senior Producer: Steve Ahlman
    Additional Production: Arjuna Ramgopal
    Social: Jomi Adeniran

    Subscribe: Spotify / Apple Podcasts / Stitcher / Pandora / Google Podcasts

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    Mallory Rubin

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  • Road House, Anatomy of a Fall, Netflix’s Shirley, and every new movie to watch at home this weekend

    Road House, Anatomy of a Fall, Netflix’s Shirley, and every new movie to watch at home this weekend

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    Greetings, Polygon readers! Each week, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home.

    This week, Doug Liman’s Road House reboot starring Jake Gyllenhaal and Conor McGregor finally premieres on Prime Video. Not looking for a suave drifter turned bouncer slapping the mess out of surly bar patrons? That’s all right, there’s plenty new releases to watch on streaming this weekend. Anatomy of a Fall finally comes to Hulu after winning Best Original Screenplay at this year’s Oscars. Shirley, the new historical biopic starring Regina King, arrives on Netflix along with several other new releases on Criterion Channel and Starz. That’s not even mentioning the new movies on VOD this week, like the irreverent DIY comedy Dad & Step-Dad or the satirical historical film The Monk and the Gun.

    Here’s everything new that’s available to watch this weekend!


    New on Netflix

    Shirley

    Where to watch: Available to stream on Netflix

    Photo: Glen Wilson/Netflix

    Genre: Biographical drama
    Run time: 1h 56m
    Director: John Ridley
    Cast: Regina King, Lance Reddick, Lucas Hedges

    Regina King (If Beale Street Could Talk) stars in this biopic following the life of Shirley Chisholm, the American politician who became the first Black candidate for a major party nomination and the first woman to run for the Democratic Party’s presidential nomination. Notably, Shirley features one of Lance Reddick’s final performances as Wesley “Mac” Holder, Chisholm’s campaign manager and chief aide.

    Fighter

    Where to watch: Available to stream on Netflix

    A pilot resting his hand on the outer hull of a fighter jet in Fighter.

    Image: Viacom18 Studios/Marflix Pictures

    Genre: Action
    Run time: 2h 40m
    Director: Siddharth Anand
    Cast: Hrithik Roshan, Deepika Padukone, Anil Kapoor

    Not to be confused with the 2010 boxing drama starring Mark Wahlberg and Christian Bale, the latest movie from Pathaan director Siddharth Anand is like the Hindi equivalent of Top Gun: Maverick. Modern heartthrob Hrithik Roshan stars as the pilot of an elite Indian Air Force response team tasked with responding to a series of terror attacks.

    New on Hulu

    Anatomy of a Fall

    Where to watch: Available to stream on Hulu

    A dead, bloody body in the snow in Anatomy of a Fall, as someone near talks on the phone

    Image: Neon

    Genre: Crime thriller
    Run time: 2h 31m
    Director: Justine Triet
    Cast: Sandra Hüller, Swann Arlaud, Milo Machado Graner

    This Palme d’Or- and Oscar-winning French courtroom drama follows the story of a writer trying to prove her innocence following the mysterious death of her husband outside of their home. Was it murder or was it suicide? Beyond a simple interrogation of guilt, the film is a psychological thriller that delves deep into the complicated circumstances behind the couple’s relationship.

    New on Prime Video

    Road House

    Where to watch: Available to stream on Prime Video

    A man in a button-up shirt standing in a street at night.

    Photo: Laura Radford/Prime Video

    Genre: Action
    Run time: 1h 54m
    Director: Doug Liman
    Cast: Jake Gyllenhaal, Daniela Melchior, Billy Magnussen

    This reboot of the classic 1989 action film sees Jake Gyllenhaal step into the role of Dalton, a former UFC middleweight fighter who becomes a drifter after his career unceremoniously ends. Finding work at a roadhouse in the Florida Keys as a bouncer, Dalton must contend with a vicious landowner and his enforcer Knox (Conor McGregor) when they attempt to seize the property the roadhouse is built on.

    New on Criterion Channel

    Anselm

    Where to watch: Available to stream on Criterion Channel

    A man standing in a darkened studio surrounded by art supplies and large paintings.

    Image: Janus Films

    Genre: Documentary
    Run time: 1h 33m
    Director: Wim Wenders

    This documentary follows the life and career of painter-sculptor Anselm Kiefer. Shot in 6K resolution in a 3D format, the film attempts to blur the boundary between Anselm’s work and the movie itself.

    New on Starz

    Expend4bles

    Where to watch: Available to stream on Starz

    A midshot of Sylvester Stallone wearing a black beret and vest in the film Expend4bles.

    Photo: Yana Blajeva/Lionsgate

    Genre: Action comedy
    Run time: 1h 43m
    Director: Scott Waugh
    Cast: Jason Statham, Sylvester Stallone, Curtis “50 Cent” Jackson

    The fourth entry in the brash franchise has its best action scenes yet, hands the reins over to Jason Statham, and brings in Tony Jaa and Iko Uwais for some extra martial arts bona fides.

    From our review:

    Expend4bles stretches the franchise to its limits, and those limits frankly don’t reach very far. There’s a level of self-awareness to Expendables films that can make their paper-thin plotting and characterization excusable — in the end, they’re just a reason to see certain action legends interact with each other. But in a decade-plus of homage, the series hasn’t developed any stylistic flourishes of its own. Mission: Impossible movies have their signature stunts, Fast and Furious movies have their improbable applications of cars, but the Expendables lacks a comparable calling card. There’s nothing for fans to look forward to beyond Jason Statham’s resilient charm and Sylvester Stallone’s braggadocio. And frankly, there are plenty of other places for people who want those things to get them.

    New to rent

    The Monk and the Gun

    Where to watch: Available to rent on Amazon, Apple, and Vudu

    A group of villagers and monks admiring an antique rifle.

    Image: Roadside Attractions

    Genre: Comedy drama
    Run time: 1h 47m
    Director: Pawo Choyning Dorji
    Cast: Tandin Wangchuk, Deki Lhamo, Pema Zangmo Sherpa

    Set in Bhutan during the mid-2000s in the wake of the king’s abdication, this satirical comedy follows the story of a young monk and an American gun collector who vie for possession of a rare antique rifle. Meanwhile, the people of Bhutan hold mock elections in their hesitant transition from living in a monarchy to a democracy.

    Bob Marley: One Love

    Where to watch: Available to rent on Amazon, Apple, and Vudu

    A smiling man with dreadlocks standing next to a band of musicians playing.

    Image: Paramount Pictures

    Genre: Biographical musical
    Run time: 1h 47m
    Director: Reinaldo Marcus Green
    Cast: Kingsley Ben-Adir, Lashana Lynch, James Norton

    This biopic follows the story of Bob Marley, portrayed by Kingsley Ben-Adir (High Fidelity), the acclaimed reggae singer and songwriter. The film follows Marley from his rise to fame in the ’70s up until his death in 1981.

    Dad & Step-Dad

    Where to watch: Available to rent on Amazon, Apple, and Vudu

    Three men sitting on the bed of a rusted truck in the middle of a field.

    Image: NoBudge

    Genre: Comedy
    Run time: 1h 18m
    Director: Tynan DeLong
    Cast: Colin Burgess, Anthony Oberbeck, Clare O’Kane

    This slow-burn character comedy follows a dad (Colin Burgess), a stepdad (Anthony Oberbeck), and a mom (Clare O’Kane) who agree to spend time with one another over a long weekend trip in the woods for the sake of their son Branson (Brian Fiddyment). Sounds awkward? You have no idea.

    Inside the Yellow Cocoon Shell

    Where to watch: Available to rent on Amazon, Apple, and Vudu

    A man standing at the entrance of a church with a wide field of trees and grass in the distance.

    Image: Kino Lorber

    Genre: Drama
    Run time: 2h 58m
    Director: Pham Thien An
    Cast: Le Phong Vu, Nguyen Thi Truc Quynh, Nguyen Thinh

    After his sister-in-law dies in a motorcycle accident, a man takes on the responsibility of shepherding both her remains and his 5-year-old nephew to the rural village where he grew up. A three-hour meditation on the fragility of life, the pain of grief, and the importance of being present, every frame of Pham Thien An’s Caméra d’Or-winning film is as gorgeous as it is melancholic.

    Land of Bad

    Where to watch: Available to rent on Amazon, Apple, and Vudu

    Two men in army camouflage holding rifles in a tropical forest.

    Image: R.U. Robot Studios/Highland Film Group

    Genre: Action thriller
    Run time: 1h 50m
    Director: William Eubank
    Cast: Liam Hemsworth, Russell Crowe, Luke Hemsworth

    Liam Hemsworth and Russell Crowe star in this military thriller about a rookie Delta Force officer who is lost in enemy territory when his team is ambushed. Refusing to leave without his comrades and with time running out, he’ll have to rely on a seasoned Air Force drone pilot to be his eyes in the sky in their desperate mission to escape alive.

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    Toussaint Egan

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  • Biden’s Budget, Pretty Privilege, and the Horrors of ‘Quiet on Set’

    Biden’s Budget, Pretty Privilege, and the Horrors of ‘Quiet on Set’

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    Van Lathan and Rachel Lindsay start the show off with some “gender wars” banter (02:21) and a quick shout-out (04:37) before diving into Biden’s proposed budget (18:42). Then, they talk about the Nickelodeon atrocities highlighted by the documentary Quiet on Set (50:13) and the internet’s reaction to Beyoncé’s latest drop (1:22:07).

    Hosts: Van Lathan and Rachel Lindsay
    Producer: Ashleigh Smith

    Subscribe: Spotify / Apple Podcasts / Stitcher

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    Van Lathan

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  • An All-Day Filipino Restaurant Is Coming to Jefferson Park

    An All-Day Filipino Restaurant Is Coming to Jefferson Park

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    Chicago’s Northwest Side Filipino community is robust and isn’t about to be shut out of the city’s Filipino American restaurant boom. Seafood City isn’t enough. Kathy Vega Hardy is readying to open her first standalone restaurant in early April in Jefferson Park. In August, closed her popular Filipino food stall, A Taste of the Philippines, inside Chicago’s French Market as she prepared to launch an independent operation.

    For this particular project at 5914 W. Lawrence Avenue, “independent” isn’t entirely accurate. Vega Hardy is partnering with another Filipino business, Crumbs and Cookies, a bakery that’s best known for sylvana, a cookie stuffed with flavored creams. Spouses Katrina and Mharloe Requiron founded their operation after the pandemic began in 2020. They’re splitting the space with Vega Hardy.

    Twenty-eight seat A Taste of the Philippines will serve a few desserts, such as their signature ube doughnut and turon (a sweet lumpia with ube drizzle), but the two businesses believe they complement each other with Vega Hardy offering mostly savory items like lumpia and pancit. Without a permanent home, Vega Hardy has been using the space at Schoolhouse Kitchen in Portage Park to cook food for her catering business which also includes pop-up dinners.

    Ube doughnuts and cheesecake bites.
    A Taste of the Philippines

    Chicago’s food scene includes prime-time players like Bayan Ko and Boonies Filipino Restaurant, plus a little Michelin-starred success story called Kasama. Mano Modern Cafe opened last year in West Town. Vega Hardy says her food fills a specific niche.

    “I wouldn’t call it upscale, but it’s not fast food either,” she says. “I feel I’m in the sweet middle ground.”

    Vega Hardy’s story has been well told around Chicago. She’s a Manila native who lived in Denver where she started A Taste of the Philippines as a food truck in 2012. As is the case with many Asian families arriving in America, few recipes are actually written down. Immigrant food in the States often tastes different because of guesswork in reformulating a recipe (there’s also a difference in ingredients that leads to changes). Vega Hardy has worked toward preserving Filipino culture while putting her own spins on items. But, as chefs who cook international cuisines can attest, it’s sometimes exhausting trying to sell food to folks unfamiliar with other people’s cultures. Food can be educational (Vega Hardy also teaches at Schoolhouse Kitchen), but it can be daunting: “I really thought I was the only Filipino person there,” she says of her time in Denver.

    When she moved to Chicago, she gained a following selling food at farmer’s markets before opening in the French Market in summer 2020. Even at the market, she sometimes got anxious having to explain her evolving menu to passersby who were strolling through the food hall browsing menu boards.

    An egg sandwich on pan de sal and a purple ube drink in a plastic cup.

    Egg sandwiches and specialty coffee are served.
    A Taste of the Philippines

    The commute from the Northwest Side to the West Loop was brutal, especially with construction on the Kennedy Expressway. Vega Hardy won’t have to contend with that headache as she’s a Jefferson Park resident. She’ll also have more room to be creative and productive (on an average day of lumpia making she can roll about 150; the number will now increase at the restaurant). Vega Hardy touts a vegetarian adobo made with local vendor Four Star Mushrooms. Now, fans of that Kasama operation might be familiar with their dish which was featured in some cookbook and also in a Chicago-based TV show called The Bear. Adobo can be a personal thing that varies depending on family preferences. Vega Hardy’s is a little bit more saucy. She talks about how the gravy properly coats the rice.

    A Taste of the Philippines will also serve breakfast with silog, sandwiches, and more. Longanisa — which will be used in a Scotch egg — will be made on premises. Imagine pan de sal with a fried egg and havarti cheese. The full espresso bar will have fun drinks with coffee from Veloria Coffee, another Filipino American business.

    Check back for more updates in the coming weeks.

    A Taste of the Philippines, 5914 W. Lawrence Avenue, opening in early April.

    5033 N Elston Ave, Chicago, IL 60630
    (773) 295-1658

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    Ashok Selvam

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  • Chicago’s Most Anticipated Restaurant Openings, Spring 2024

    Chicago’s Most Anticipated Restaurant Openings, Spring 2024

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    If this sounds like a broken record, it is — restaurants all around America are facing unprecedented economic challenges. Still, there are plenty of new projects to look forward to as 2024 is shaping up to be a big one in Chicago, especially as a mild winter has locals and tourists dreaming of outdoor dining during the spring and summer months. At Eater Chicago, we’ve listed 15 upcoming restaurants targeting a spring debut. Among them, seven are either relocations or sequels to existing restaurants. The latter means the new venues feature either more seating or bigger menus. It’s not the same song.

    There are also two tasting menu restaurants and three bars. New bars could indicate that the city is healing from the pandemic. And speaking of pandemic trends (when comfort foods concepts, like pizzerias, started sprouting up seemingly everywhere) there’s one new pizzeria opening — and it’s replacing another pizzeria. Time marches on. But at least Chicagoans can rely on delicious new options. Explore the most anticipated openings of spring below.

    Bayan Ko Diner owners Lawrence Letrero (left) and Raquel Quaderny.
    Aliya Ikhumen/Eater Chicago

    Address: 1820 W. Montrose, Ravenswood

    Key Players: Raquel Quadreny, chef Lawrence Letrero

    After Glenn’s Diner, a decade’s old greasy spoon in Ravenswood closed, the owners of Bayan Ko, a Filipino and Cuban restaurant a few doors east, saw an opportunity. The husband-and-wife team is opening their second restaurant, a greasy spoon with items like a Cuban smash patty melt, lumpia, and more. The diner will also serve classic dishes from the original Bayan Ko as daily specials. That space has since morphed into a reservation-only restaurant serving a set menu. Look for an April opening.

    Address: 3154 W. Diversey, Logan Square

    Key Players: Chef Mark Steuer, Milkhorse Hospitality

    The opening date for the bar replacing Lost Lake in Logan Square continues to slide. The target was December 31, but it’s been repeatedly pushed and now it’s April. Nevertheless, chef Mark Steuer, who’s long served southern cuisine at restaurants like Carriage House in Wicker Park and Funkenhausen in West Town, is bringing fun takes on comfort food, like cornbread with foie gras, and more. The space, once decorated with tropical and tiki vibes, is going in a different direction and leaning into ‘80s nostalgia. Steuer and company are touting the bar’s employee benefits rarely seen for restaurant workers — for example, PTO and health care coverage — is proof of their common decency.

    A cocktail in a blue stemmed glass.

    This cocktail is called the Captured Shadow.
    Marisa Klug-Morataya/Dearly Beloved

    Key players: Chireal Jordan, Brian Galati

    Address: 900 N. Franklin Street, Near North Side

    Headquarters Beercade founders Chireal Jordan and Brian Galati have been reluctant to share details about their latest venue, Dearly Beloved, which takes over the former home of French dining stalwart Kiki’s. The duo calls it a “cocktail restaurant,” which means that drinks will be the main attraction inside the 6,000-square-foot space with rare spirits and other drinks with striking and surprising presentations. The food will focus on vegetables, tapping into the founders’ embrace of the unexpected in inventions like a zucchini dish designed to taste like filet mignon. It’s set to debut on Wednesday, May 1.

    A slender man wearing all black squatting in the woods.

    Feld owner Jake Potashnick at Froggy Meadow Farm.
    Barry Brecheisen/Eater Chicago

    Key player: Jacob Potashnick

    Address: 2018 W. Chicago Avenue, West Town

    Chicago native Jacob Potashnick is plugging away in West Town. Feld is a unique fine dining restaurant where Feld will draw upon his international work experiences with a tasting menu format. Imagine an open space where staff works in the middle of the dining room; Potashnick wants to keep everyone comfortably seated to keep the spirit of the room proper. He’s working with SPACE Architects and Variant Collaborative and they’re applying the final touches on the space. An avid social media user, Potashnick mentions the final stretch; he’s been busy taking meetings and, like many restaurant owners before the debut, is feeling a little anxious at this juncture. He’s even grown a mustache. Potashnick says they hope to debut with a few soft launch dinners before officially opening to the public in June.

    A dark plate holds four crispy spring rolls sitting on a green leaf.

    Egg rolls are a classic Khmai dish.
    Eater/Melissa Blackmon

    Address: 6580 N. Sheridan, Rogers Park

    Key Players: Mona Sang, Sarom Sieng, Loyola University

    A rare Chicago restaurant where traditional Cambodian food is the star, Khmai Fine Dining made a major splash in 2022 when chef and owner Mona Sang’s project was named one of Eater’s 15 Best New Restaurants in America. Khmai drew hoards of diners to Rogers Park for the rich, deep, and concentrated flavors that characterize Khmer cuisine. In late November, Sang closed the original location and she’s now signed a lease with Loyola University to bring her restaurant near the Rogers Park campus. An ode to Sang’s mother, Sarom Sieng, the new restaurant will expand service and offer breakfast and lunch, plus new dishes. Sang says she’s eager to accelerate the timeline as her mother — now age 80 and a survivor of the Cambodian genocide and a fixture in Khmai’s kitchen — is champing at the bit to get back to business in April.

    Key players: Jun-Jun Vichaikul, Naomi Hattori, chef Eric Hattori

    Address: 3443 N. Sheffield Avenue, Wrigleyville

    The Hotel Zachary and the owners of the Chicago Cubs, the Ricketts family, have reshaped Wrigleyville, squeezing out many independent businesses. But just south of the baseball field, spouses Jun-Jun Vichaikul and Naomi Hattori are taking their best swings at bringing something unique to the neighborhood under local ownership. The couple plans on opening their second location of Konbini & Kanpai, a Japanese American bottle shop, to Wrigley inside the former Dark Horse Tap. The new shop is larger than the Lakeview original and includes a full kitchen. They’ve brought on Naomi Hattori’s brother, chef Eric Hattori (previously of pan Asian food truck Piko Street Kitchen) to create a menu of casual nisei-influenced dishes like egg salad sands on milk bread and bowls of udon. Vichaikul promises an entirely new lineup of Asian spirits, beers, and cocktails like a sake-based Old Fashioned with ginger syrup and barley shochu. Stay tuned for an April or May debut.

    Indus

    Bhoomi co-owners Ajit and Such Kalra pose for a picture in their new location at Urban Space, located at 15 W. Washington St. in the Loop, Saturday afternoon, Sept. 18, 2021.

    Indus co-owners Ajit (left) and Sukhu Kalra pose at Urban Space in 2021.
    Pat Nabong/Sun-Times

    Address: 617 Central Avenue, Highland Park

    Key Players: Sukhu and Ajit Kalra

    The team behind Bhoomi, the food stall at the former Urban Space Food Hall — now known as Washington Hall — is opening a full-service restaurant in suburban Highland Park. Sukhu and Ajit Kalra are promising a menu with traditional dishes and modern twists, from curries to wagyu steaks, smoked meats, and a curated selection of wine paired with fun cocktails. The name pays homage to the Indus Valley. They feel it was one of the first to incorporate spices in their cooking, to make food about pleasure more than just sustenance. The new tagline for the restaurant is “Progressive Indian.” They’re looking at a May opening.

    Pita with a bunch of spreads and pickles.

    Kor is opening inside the Godfrey Hotel.
    Kor/Austin Handler

    Address: 127 W. Huron Street, River North

    Key Players: Soiree Hospitality, chef Onur Okan, Godfrey Hotel

    The owners of Rooh Chicago are opening their fourth restaurant brand with chef Onur Okan, a Turkish native who’s cooked at Michelin-starred restaurants like Aliena and Claudia. A wood-burning grill is essential to the menu, with grilled meats and veggies with Middle Eastern and Mediterranean influences. The owners are waiting for licenses and working with the Godfrey in hopes of a late March opening.

    A rendering of a new restaurant coming to Chicago.

    Minyoli

    Key player: Chef Rich Wang

    Address: 5420 N. Clark Street, Andersonville

    Taiwanese beef noodle soup, a staple embraced by many as the country’s national dish, will be the star at Minyoli, the first solo project from Boka alum Rich Wang. He’s taking over the former home of Land & Lake Kitchen and Passerotto in Andersonville. Wang’s a native of Taipei, and the menu includes a traditional beef noodle soup, characterized by a deep herbal broth infused with cardamom and cinnamon, filled with springy hand-cut noodles, and tender cuts of beef shank. He’ll also serve lu wei, or snacks braised in the same soup stock, and Taiwanese liquors, beer, and cocktails. The story’s personal for Wang, born in a juàn cun, a “military dependents’ village,” where much of the food originates. These Taiwanese hodge-podge enclaves were first established in the late 1940s toward the end of the Chinese Civil War to house Chinese military personnel and their families. Minyoli should debut in April.

    A square pie with pepperoni and ricotta.

    Profesor Pizza is a master of many pizza styles.
    Barry Brecheisen/Eater Chicago

    Address: 1610 N. Wells Street, Old Town

    Key Players: Anthony Scardino, Fifty/50 Restaurant Group

    Anthony Scardino has a competitive pizza background and has worked at some of Chicago’s best pizza restaurants. He’s got a passion for Italian food and thoughtfully produces some of the city’s best pizzas. After working at a few ghost kitchens, he’s ready to commit to Old Town where he’ll take over the former Roots Pizza near Wells and North, partnering with the restaurant’s owners, Fifty/50 Restaurant Group. The two parties promise a new restaurant that distills Scardino’s personality. As the restaurant neighbors Second City, there’s potential for collaborations with the legendary comedy troop. The target opening date is, and this is no misprint, April 20. Think about it. Then forget about it.

    A plate of slice ribs and a cup of red bbq sauce.

    Soul & Smoke is expanding in Evanston.
    Barry Brecheisen/Eater Chicago

    Address: 1601 Payne Street, Evanston

    Key Players: Heather Bublick and D’Andre Carter

    Soul & Smoke, a member of the Eater Chicago 38, is one of the city’s best barbecue restaurants thanks to the husband-and-wife team of D’Andre Carter and Heather Bublick. The two have fine dining experience, and it’s the little touches that lead to world-class brisket and ribs. Their first restaurant was in Evanston, and they are going big in the suburbs. Unlike their counter-service restaurant along the river in Avondale, the restaurant inside a 100-year barn will be full service. They’ll also have a “speakeasy-style dining room” with upscale offerings, a throwback to the couple’s day working at Moto in West Loop. Look for a late spring opening.

    Steingold’s is opening a location in Wrigleyville.
    Steingold’s of Chicago

    Address: 3630 N. Clark Street, Wrigleyville

    Key Players: Aaron Steingold, Cara Peterson

    American Jewish communities have long enjoyed a love affair with baseball, which makes it seem like beshert (Yiddish for “inevitable” or “pre-ordained”) that Steingold’s of Chicago is at work on a new location across from Wrigley Field. Chef and owner Aaron Steingold, a self-professed baseball historian who originally founded his modern Jewish deli in 2017, will bring his popular bagels, deli sandwiches, and a few new items (think latke-tot poutine and everything bagel-dogs on sticks) to the former home of West Town Bakery inside the Hotel Zachary. Culinary director Cara Peterson also promises special soft-serve ice cream in flavors like baklava with honey and salted caramel. While the debut’s been pushed; it won’t happen on baseball’s Opening Day as planned, Steingold tells Eater they hope to open in May.

    An assortment of Chinese food from 3 Little Pigs.

    3LP is expanding to Bridgeport.
    Aliya Ikhumen/Eater Chicago

    Address: 964 W. 31st Street, Bridgeport

    Key Players: Henry Cai, Maria’s Community Bar

    Henry Cai, the South Side native, continues to spread his culture with unique fast-casual offerings of Chinese-American and Cantonese cuisine. His signature dish is fried rice with three different types of pork, or “three little pigs.” After launching as a takeout-only spot he opened inside Molly’s Cupcakes in South Loop. He’s expanding once more in Bridgeport, where he’ll take over the space formerly occupied by Pleasant House Bakery, Pizza Fried Chicken Ice Cream, and Herbivore. Look for a mid-April or early-May opening with his signature chicken sandwiches and more.

    Chef Evan Funke looking at a tray of pasta.

    Evan Funke is an LA chef whose vision comes to Chicago in the form of Tre Dita.
    Wonho Frank Lee/Eater LA

    Address: St. Regis Chicago, 401 E. Wacker Drive, Lakeshore East

    Key Players: ​​Chef Evan Funke, Lettuce Entertain You Enterprises

    Chicago’s largest restaurant group, Lettuce Entertain You Enterprises, will complete its two-restaurant project inside the flashy St. Regis skyscraper this spring with the debut of Tre Dita, a Tuscan steakhouse from noteworthy LA chef Evan Funke (Felix), The bar opened in late February, but Funke promises much more when the restaurant debuts. Tre Dita will also house a pasta lab where the team can highlight the traditional pasta shapes of Tuscany. It’s scheduled to open in mid-March.

    Address: 2020 W. Division Street, Wicker Park

    Key Players: Stephen Gillanders

    Valhalla, a fine dining restaurant that started on the second floor at Time Out Market in Fulton Market, is relocating to Wicker Park inside the former Mirai Sushi space. Gillanders, a chef behind S.K.Y. Restaurant in Pilsen and Apolonia in South Loop, in early March, confirmed the move on Instagram, a month after applying for a liquor license. He writes: “Trends are avoided at all costs and every idea is met with the question: ‘Why?’ If an idea doesn’t truly have a positive impact on guest experience, it’s tossed out.” He’s declined to reveal exactly when the restaurant will open but writes “soon.”

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    Ashok Selvam

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  • Chicago’s Ukrainian Community Can’t Get Enough of This New Lincoln Park Cafe

    Chicago’s Ukrainian Community Can’t Get Enough of This New Lincoln Park Cafe

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    When Ukrainian couple Artur and Iryna Yuzvik opened their first U.S. coffee shop in late January in Lincoln Park, they tried to moderate their expectations. Their brand, Soloway Coffee, was a new entrant in Chicago’s dense and competitive coffee scene, and they weren’t sure if local caffeine aficionados would embrace their approach.

    Whatever fears the couple — also behind roastery and cafe chain Karma Kava in their hometown of Ternopil, Ukraine — harbored were put to rest almost immediately after the doors swung open at 2275 N. Lincoln Avenue. “We learned about long lines in Ukraine, but that’s nothing like here,” says Artur Yuzvik. “It was crazy, six or seven hours of a nonstop line.”

    Soloway Coffee owners Artur (left) and Iryna Yuzvik.
    Soloway Coffee

    Chicagoans aren’t the only ones beating a path to Soloway. One woman drove to Lincoln Park from Pennsylvania to get her hands on a Dotyk dripper, a sculptural ceramic brewing device sold at the cafe that’s made with clay from the city of Slovyansk in the Donbas region of eastern Ukraine, an area decimated by Russian military actions over the past two years. Ukrainian Americans are visiting the cafe from states like Wisconsin, Connecticut, and New York, with some “driving for five or six hours to refresh their memories of home [in Ukraine],” Artur Yuzvik says.

    The Chicago area is home to the second-largest Ukrainian American population in the U.S., with 54,000 people identifying as having Ukrainian ancestry. The community has dwelled in Chicago for more than a century, and recently, a fresh crop of Ukrainian American chefs has brought new attention to the country’s cuisine at spots like Anelya in Avondale and Pierogi Kitchen in Bucktown. On the East Coast, another Ukrainian coffee entrepreneur is putting down roots. Maks Isakov owned a coffee company in Vinnytsya, Ukraine, but was forced to abandon his business and flee the country when the Russian military invaded. He’s since founded Kavka Coffee in Camden, Maine.

    In Chicago, the enormity of the response from customers has prompted the Yuzviks to accelerate their expansion. They plan to soon sign a lease for a second location but aren’t yet ready to announce the address or neighborhood, divulging only that it will be “nearby” the original. They also say that it will be an all-day affair that transitions from morning to evening and will feature a large selection of sweets.

    A cafe filled with people.

    Soloway now only allows computers at two tables near the windows.
    Soloway Coffee

    At the original cafe, the couple has partnered with Chicago carb whiz Dan “the Baker” Koester on a menu of pastries like chewy cinnamon knots, flakey croissants (strawberry, lemon, and almond), and impossibly creamy burnt Basque cheesecake (“ugly outside but pretty inside,” Artur Yuzvik says). There’s also a selection of savory items including sandwiches and avocado burrata toast, though they plan to expand that lineup significantly and add more fresh produce. An outdoor patio, which the owners call “summer seating,” will open in May or June with more than two dozen seats. It’ll kick off with a borscht pop-up that aims to evoke memories of the traditional Ukrainian soup with a contemporary culinary flair. They’ve held numerous pop-ups in Ukraine and hope to continue that practice in Chicago.

    The first few months have been instructive for the Yuzviks, who say they were surprised to discover that their American customers tend to avoid sugary treats in the morning, instead ordering croissants and cheesecake around 2 p.m. They also hadn’t expected demand for iced drinks in the winter, but say they’ve seen entire families order cold brew on some of the chilliest days of the year.

    A table and stool inside a cafe.

    The cafe’s design is sleek and minimalistic.
    Soloway Coffee

    A shelf of coffee beans and jewelry.

    Iryna Yuzvik designs and sells coffee-themed jewelry.
    Soloway Coffee

    The most significant lesson since the cafe’s debut, however, emerged from a conversation the couple overheard among customers waiting in line. The group mentioned that employees at Chicago’s lauded Metric Coffee had praised Soloway and encouraged them to visit. The Yuzviks are friendly with Metric founders Xavier Alexander and Darko Arandjelovic and leaned on them for beans when they unexpectedly sold out weeks before the next shipment was due to arrive. Still, the idea of a coffee shop directing their customers elsewhere was entirely unexpected.

    “We were shocked and surprised,” Iryna Yuzvik says in Ukrainian, which her husband translates into English. “In Ukraine, it’s a bit different. In the U.S., it’s more about good relations and more friendly business.”

    Soloway Coffee, 2275 N. Lincoln Avenue, Open 7 a.m. to 5 p.m daily.

    Iryna Yuzvik smiles and poses while holding a tray of food.

    Soloway Coffee founder Iryna Yuzvik.
    Soloway Coffee

    A minimalistic cafe space.

    Soloway Coffee

    An employee in an apron stands behind the counter.

    Soloway Coffee

    A person pushes a tray of baked goods into an oven.

    The cheesecake is made with a Yuzvik family recipe.

    A ham sandwich on a plate.

    Ham sandwich (Swiss, parmesan, basil oil).
    Soloway Coffee

    A plate of avocado burrata toast.

    Avocado burrata toast (guacamole, scrambled eggs, arugula, cucumber).
    Soloway Coffee

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    Naomi Waxman

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  • The Winners and Losers of the 2024 Oscars

    The Winners and Losers of the 2024 Oscars

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    The 2024 Academy Awards are in the books, which means we’ve finally reached the end of awards season. (That sound you hear is countless pop culture bloggers breathing a collective sigh of relief.) While there weren’t too many surprises during the show, the Oscars did what it does best: celebrate some of the best movies of the year, while giving a generational filmmaker his worthy coronation on Hollywood’s biggest night. Below, we break down the biggest winners and losers from Sunday’s festivities.

    Winner: The Oscars

    The Academy may not want to consider itself to be in crisis mode, but the Oscars haven’t been in the best place lately: the ratings continue to be in a freefall, and the most memorable moments of the past decade happen to involve an infamous Best Picture envelope mishap and Will Smith slapping Chris Rock in the face. But even though most of the awards on Sunday night had predictable outcomes, the Oscars managed to be something the ceremony has sorely lacked: fun.

    Ryan Gosling blew the roof off the Dolby Theatre with his lively rendition of “I’m Just Ken”; a naked John Cena realized we can see him (more on that shortly); the acting categories tried something different by having former Oscar winners give stirring tributes to each nominee. These moments and more contributed to the Oscars accomplishing what it should strive to do each year: celebrating the power of cinema with humor and heart.

    Winner: The Christopher Nolan Victory Lap

    Sometimes, the Oscars take a while to anoint an artist with a long-overdue statuette. After delivering masterpieces like Raging Bull and Goodfellas, it took until The Departed for Martin Scorsese to finally win an Oscar; Leonardo DiCaprio, meanwhile, had to eat raw bison liver in The Revenant to receive the Oscar he had long been craving. In that spirit, the 2024 Academy Awards will forever be known as the Christopher Nolan Oscars, with Oppenheimer taking home seven awards, including Best Picture and Best Director. But what’s so thrilling about Nolan’s coronation on the Oscars stage is that it’s a result of what may be the best film of the director’s distinguished career: a three-hour biopic that captivated moviegoers around the world and made nearly a billion dollars in the process.

    Also exciting: Nolan is 53, which in filmmaking terms—health permitting—means he’s got decades ahead of him to outdo what he achieved in Oppenheimer. Perhaps this won’t be the last time we see Nolan going on stage to accept an Oscar or two; we live in a twilight world, after all.

    Loser: Barbie

    For anyone who felt like Barbie was already dismissed by the Academy, which failed to nominate Greta Gerwig and Margot Robbie for Best Director and Best Actress, respectively, the Oscars did little to dispel that notion. Despite being up for eight awards, Barbie only managed a single win, for Best Original Song, courtesy of Billie Eilish and Finneas O’Connell’s “What Was I Made For?” (One bit of good news: by winning, the 22-year-old Eilish and 26-year-old O’Connell became the youngest people in history to win two Oscars.)

    While Barbie was an outsider for Best Picture, it stood a much better chance of making some headway for Best Costume Design and Best Production Design. In both of these categories, though, Barbie lost out to Poor Things, which, as many people have noted, feels like a bizarro version of Barbie itself by way of Frankenstein’s Monster. It was a night to forget for Barbie, but that should be of little consequence. After all, Barbie was the highest-grossing movie of 2023: to paraphrase its Oscar-winning song, that’s what it was made for.

    Loser, Somehow: Killers of the Flower Moon

    Martin Scorsese has a long and storied history at the Oscars, and unfortunately, he’s often been on the losing end of things: both Gangs of New York and The Irishman had the honor of being nominated for 10 Oscars—and the ignominy of winning zero of them. Now, sadly, we can add Killers of the Flower Moon to that list, and like Scorsese’s previous epics, it deserved much better.

    There are two categories, in particular, where Killers of the Flower Moon should feel hard done by. For one, there was a time when Lily Gladstone seemed like a lock to win Best Actress: not only was her portrayal of Mollie Burkhart the soul of the film, but she would’ve become the first Native American to win an acting Oscar. Alas, the award went to Poor Things star Emma Stone, who looks like she’s living out the second season of The Curse in real time. And while Ludwig Goransson was widely tapped to win Best Original Score for his work in Oppenheimer, spare a thought for the late Robbie Robertson, whose music made a memorable imprint on Killers of the Flower Moon. All told, Scorsese’s latest masterpiece deserved better from the Academy; here’s hoping he has more luck with his adaptation of The Wager.

    Winner: Cord Jefferson

    In the past five years alone, American Fiction writer-director Cord Jefferson has put together an impressive body of work, writing episodes of The Good Place, Station Eleven, and HBO’s Watchmen miniseries, the latter of which won him an Emmy. (He was also a consultant on Succession, which just so happens to be one of the best shows of its era.) Now, Jefferson can add a Best Adapted Screenplay Oscar to his resume—in his directorial debut, no less—punctuated by a charming acceptance speech imploring Hollywood to make more $20 million movies instead of placing all their bets on one $200 million blockbuster.

    Also, I’m gonna go out on a limb and say Jefferson became the first person to win an Oscar who used to be an editor at Gawker (RIP). It’s been a brutal few months in digital media; Cord’s Oscar win is a win for journos everywhere.

    Winner: John Cena’s … Bits

    To commemorate (?) the 50th anniversary of the time a streaker ran across the stage during the 46th Academy Awards, John Cena briefly appeared naked on stage to present Best Costume Design. Poor Things ended up winning the Oscar, but that’s not what viewers are going to remember. Yes, that was an (absolutely shredded) WWE star actually waltzing on stage with just an envelope covering his crotch. There’s a universe in which this bit about Cena’s, ahem, bits, failed spectacularly, but if Dave Bautista is the WWE-turned-actor GOAT, Cena is far and away the funniest performer who started out in professional wrestling. The fact that this moment didn’t fall flat is a testament to Cena’s gifts for physical comedy. (Also, shout-out to that quick wardrobe change.) Hollywood, keep putting John Cena in comedies—just make them better than Ricky Stanicky.

    Impossible to Categorize: Al Pacino Announcing Best Picture

    The Academy brought out some legends of cinema throughout the evening—none other than Steven Spielberg handed Nolan his Best Director Oscar—but the ceremony saved the best for last. Al Pacino was on hand to present Best Picture, and he was rightly given a standing ovation by the attendees when he came on stage. Even among A-listers, the living legend who starred in the Godfather trilogy, Serpico, Heat, Dog Day Afternoon, Scent of a Woman, and so many more classics is in a league of his own.

    But as has been proved throughout his iconic career, Pacino also marches to the beat of his own drum: You never know what he’s going to do, or how he’s going to enunciate a line of dialogue. (“She’s got a GREAT ASS” lives in my head rent-free.) And after all the anticipation for the final award of the night, Best Picture, my guy anticlimactically opened the envelope, looked inside, and said, “My eyes see Oppenheimer?”

    Yes, Al Pacino turned his Best Picture announcement into a question with all the energy of someone who was brought on stage without any advance warning. Give him an Oscar for this performance, and let him announce every category next year.

    Loser: Messi’s Haters

    For anyone who watched Anatomy of a Fall, the true star of the film is Messi, the family dog who was integral to the plot—all the way down to the final verdict in the courtroom. Messi genuinely delivered what might be the best performance a dog has ever given on-screen, and he was given the A-list treatment throughout awards season, giving “interviews” on red carpets and appearing at official Oscars functions. Incredibly, some awards strategists were pissed about Messi stealing the limelight in the lead-up to the Oscars, fearing that this good boy would sway Academy members to give their vote to Anatomy of a Fall, and there were even reports that he wouldn’t attend the ceremony. Well, suck it, haters: not only was Messi in attendance, he was applauding during the show and peed on Matt Damon’s star on the Hollywood Walk of Fame.

    Is Messi the reason that Anatomy of a Fall ended up winning Best Original Screenplay? Who’s to say, but between the dog and the soccer player he’s named after, it’s safe to say that America has Messi Fever.

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    Miles Surrey

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  • Oop! The Internet Cuts UP After Trey Songz Gets Up Close & Personal With Fans At A Baltimore Meet & Greet (Pics)

    Oop! The Internet Cuts UP After Trey Songz Gets Up Close & Personal With Fans At A Baltimore Meet & Greet (Pics)

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    Trey Songz is going viral for recreating sexual poses at a Baltimore meet and greet. The Roomies believe it was a poor choice to make in the midst of his pending assault cases.

    RELATED: Trey Songz Hit With Battery Lawsuit Following Alleged 2019 Assault Of A Bartender

    Although most of the pics were innocent, some of the photos he took with fans were on the provocative side.

    The Provocative Pics

    One snapshot shows a woman dressed in hot pink bending over in front of Songz. He has both hands placed on her back as he bites his bottom lip.

    In another photo, Trey embraces a fan as he holds up one of her legs in front of him. The singer grabs the back of her knee to secure it in place. The two stand crotch to crotch as they smile at the camera.

    The ‘Bottoms Up’ singer also hoisted a woman up, cradling her under the bum, as he looks up at the adoring fan.

    Many of the Roommates commenting under the IG post mentioned Trey’s sexual assault allegations. In addition to how the sexual nature of the pics were probably a poor choice.

    @s.nashay commented, “with all the allegations he got, this was a terrible idea.”

    @charliedoingtings added, “Hope no one paid for this. He’ll touch you inappropriately for free.”

    “Oh look, it’s consensual this time….,” @imitationbyjerell added.

    @nailz_by_dev simply wrote, “Cringe city.”

    Assault Allegations

    Songz has been sued by multiple women over the years for sexual and physical violence. As previously reported, a woman in Vegas accused him of exposing her breasts at a pool party in 2013.

    In addition, he was sued by two women who claimed Trey assaulted them at a 2015 house party.

    There has been case after case filed against the Grammy-winner. However, this hasn’t stopped the ‘Heart Attack’ singer from making his coins at shows.

    Despite the controversy, his fans seemed to be in agood spirits as they posed with Trey.

     

    RELATED: Whew! Watch Jacquees Accuse Trey Songz Of Yanking Out His Locs And Being A Sexual Predator

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    Carmen Jones

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  • 3 Body Problem is the kind of TV epic we need

    3 Body Problem is the kind of TV epic we need

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    When Game of Thrones ended in May 2019, the hunt was well underway for a series that could match its blockbuster scale. HBO was already talking spinoffs with George R.R. Martin, while Netflix’s The Witcher, Disney’s The Mandalorian, Apple’s Foundation, Paramount Plus’ Halo, and Amazon’s mega-budgeted gambit on a Lord of the Rings prequel bubbled at various stages of development and production. Five years later, all the shows exist — but there’s no clear champion. Even reactions to HBO’s prequel, House of the Dragon, were more golf-clap acclaim than calls of the second coming of a franchise.

    What the wannabe successors proved (that everyone seemed to know at the time except IP-hungry executives?) is that Thrones’ secret wasn’t scale, but substantive drama. A great show needs characters with big questions and big goals, but down-to-earth emotions. The balance of a continent could hinge on valiant knights and ancient prophecy and dragon battles as long as when those involved got mad, it felt like actual people getting mad. For all the finale-related flack, Thrones showrunners David Benioff and D.B. Weiss were afforded the time and space to adapt the human side of Martin’s sprawling narrative as well as its set-pieces. So it’s no surprise that while the rest of Hollywood chased tentpoles, Benioff and Weiss set their boyhood dreams of making a Star Wars movie aside (phew, crisis averted) to cash their chips on a deal where they could demand time and space and quality work that didn’t involve swordplay.

    And they actually did it: Teaming up with veteran TV writer Alexander Woo (The Terror season 2), their new Netflix series 3 Body Problem, like Thrones, feels epic in scale while probing the messiness of human instinct. Movies like Interstellar and Solaris ventured into deep space to confront our innate spirituality, but 3 Body Problem season 1 sticks close to home to the benefit of its characters, who juggle romantic relationships and work-life stress and impending doom. Still, there is something extraterrestrial out there in the universe, a cosmic unknown. Benioff, Weiss, and Woo treat that promise like a chemical pipetted into a petri dish. Just a few drops of knowledge cause an instant reaction with consequences that will only be felt hundreds of years in the future.

    Image: Netflix

    The showrunner trio adapts Liu Cixin’s famed Remembrance of Earth’s Past science fiction trilogy with both reverence and an eye toward storytelling economics. The core drama of 3 Body Problem season 1, focused on a set of physicists out to understand what the hell is going on in the universe, weaves together people, places, and things from across all three books in order to be propulsively paced while easily digested. Die-hard readers may miss Liu’s dense “far out, man”-core style, but the pillar moments remain. Early episodes bounce from China’s Cultural Revolution to present-day London to virtual reality landscapes that hold the key to greater mysteries. The prickly politics of solving Earth’s perilous future simmer across timelines. Benioff, Weiss, and Woo don’t dumb any of it down as they tear through the plot, relying on genre conventions to keep it all watchable. (British mysteries like Broadchurch and Happy Valley feel as much part of the show’s DNA as any sci-fi series.)

    Perhaps a 10- or 12-episode season would have made room for deeper character work, but the writers are pros at making every line of dialogue illustrative of their characters’ deeper motivations, and every silent gesture — staring at the stars, gasping at equations, even watching a kid play Mortal Kombat — speaks volumes. Unlike recent Netflix adaptations that have crammed long narratives into uncompromising run times by removing all downtime “filler,” 3 Body Problem is full of humanity’s quirks. The show has religious zealots, anxious nerds, quiet romantics, and Benedict Wong as a no-bullshit cop. There is a lot of mumbo-jumbo about quantum physics and gravitational interaction, but also one of the best on-screen meet-my-family awkward dinner dates in recent memory.

    Doing the Lord’s work is actor Jess Hong, a relative newcomer and the nexus of all of 3 Body Problem’s narrative strands. In a cast full of Game of Thrones veterans and big-screen talent like Wong and Eiza González (Baby Driver, Godzilla vs. Kong), Hong takes on the burden of making all of the show’s otherworldly turns feel totally natural. Whether her character, Jin, is sipping a beer and making pub chat or navigating the immersive third level of the least fun virtual puzzle game ever invented, she reflects an authentic reality that’s increasingly tested by the show’s oddities. 3 Body Problem ultimately questions whether we deserve the planet we have so often fucked up. Hong’s Jin, in all her ups and downs, glimmers with the kind of humanity that we want to believe in.

    Jess Hong as Jin wearing Victorian era clothing and holding up an apple in a throne room

    Jess Hong as Jin
    Photo: Ed Miller/Netflix

    It really helps that Netflix didn’t skimp on 3 Body Problem, which, for all its character drama, goes big when it needs to go big. Benioff and Weiss’ clout has bought them the kind of top-tier production value that I thought only David Fincher commanded; flashbacks to the 1960s/’70s China feel rich in detail, while scenes set in the present-day drama have a refined look, rather than the cheap digital sheen that’s plagued so many post-Fincher Netflix projects. Anyone haunted by awful renderings of VR in movies and TV will be relieved by the show’s intentionally uncanny, often fantastical digital worlds that look like actual Unreal Engine survival-game backdrops. And when 3 Body Problem kicks into a high sci-fi gear, the show gets truly mind-bending — and often gnarly. The giddy provocateurs who orchestrated the Red Wedding are absolutely at the helm of this series.

    I’m a little in awe of 3 Body Problem. Liu’s books are like a character study of humanity itself; there is inherently too much to chew on. But Benioff, Weiss, and Woo came ready to cook. Their adaptation is gripping from the start and already prioritizing the pieces needed for a coherent endgame. From the trilogy’s pages of information they’ve carved out a visual story, dazzling and frightening. There are nits to pick from episode to episode, leaps in logic that may not stand up to scrutiny, but it’s a show that, unlike the Game of Thrones imitators, swept me up. Most of those shows settled on escapism. 3 Body Problem feels like a true escape, an excuse to wonder about the vastness of the cosmos from the comfort of the couch and wonder, What if?

    3 Body Problem premieres on Netflix on March 21.

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    Matt Patches

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  • gruesome elderly dispensable

    gruesome elderly dispensable

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    gruesome elderly dispensable. I'm very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on

    gruesome elderly dispensable. I'm very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on

    gruesome elderly dispensable. I'm very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on

    gruesome elderly dispensable. I'm very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on

    gruesome elderly dispensable. I'm very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on

    I’m very drunk and decided to rewatch Avatar after watching nostalgia critics review of the shamaylan movie I had sucj a crush on Katara as a kid imagine ypr a 12 year old boy stuck in a ball of ice for 100 years and the first thing you see after waking up is a cute brown skin girl staring you practically nose to nose in the face boner

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  • Every Single Boka Restaurant in Chicago, Ranked

    Every Single Boka Restaurant in Chicago, Ranked

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    A six-table restaurant in Seaside, Florida, named Lazy Daze Cafe is to blame. The 1991 restaurant opening was the first from Kevin Boehm, who 12 years later would, along with Rob Katz, go on to establish Boka Restaurant Group. Boehm, then a University of Illinois student, was encouraged to drop out to pursue his dreams by his future famous writer roommate, Dave Eggers.

    “It was a two-person operation: myself and my girlfriend at the time, Theresa. Small menu, small wine list, centered around fresh fish from the gulf, a few pastas, sandwiches, and salads at lunch,” says Boehm. I’ve always thought of it as my bachelor’s and master’s education in restaurants, as every responsibility rested on both our shoulders.”

    Boehm went on to open other spots, including Indigo in Springfield, before meeting Katz, a Vancouver, British Columbia, native who moved to Chicago to work in the trading pits. Katz became a nightlife impresario, opening up places like the Elbo Room in Lakeview.

    Katz wanted to leave nightclubs and Boehm wanted an in to the Chicago restaurant market. The two met through mutual friends in 2002 in Old Town. “We sat for coffee at Nookies, and the meeting was supposed to be 15 minutes. We sat for four hours. We just clicked instantly, felt the same way about hospitality and food, and were both big believers that design was a huge part of the puzzle. We basically shrugged our shoulders and said, ‘Let’s do one. What’s the worst that could happen?’” says Boehm.

    Boka Restaurant Group’s Rob Katz (left) and Kevin Boehm.
    Boka Restaurant Group/Anthony Tahlier

    Boehm and Katz were once very much like the ex-GM of their beloved Chicago Cubs, Theo Epstein. Like with Epstein, who won two World Series championships with the Boston Red Sox and one with the Cubs, Boka’s success came in identifying unknown and undervalued top-level talent like Giuseppe Tentori, Lee Wolen, and Gene Kato. Now Boehm and Katz mostly partner with big-name celebrity chefs like Stephanie Izard, Michael Solomonov, and most recently, although it didn’t work out as planned, Daniel Rose.

    The real hidden feather in their cap is partnership with designers like Karen Herold of Studio K Creative, as well as AvroKO, who create interiors that beget immersive experiences. Through this formula, Katz and Boehm have earned reputations as empire builders.

    The following is a ranking of the restaurants that make up Katz and Boehm’s Chicago empire, from 2003 to present (though their influence now extends to New York and Los Angeles, with noteworthy spots like Laser Wolf Brooklyn and Girl & the Goat LA). We also stuck to restaurants, thus omitting Lazy Bird, Boka’s cocktail bar in the Hoxton hotel. Whether the contender is one of Boka’s OG stalwarts or its clubbier offerings, the paramount criteria for the rankings below was food quality followed by the level of commitment to experiential design and/or original style.

    1. Boka, 1729 N. Halsted Street, (312) 337-6070

    Boka

    Marc Much/Eater Chicago

    Deciding which of Boka’s stellar lineup of chefs is the greatest is kind of like asking which Avenger is the best. They’re almost impossible to separate. However, if someone put a Global cleaver to my jugular and made me pick, I’m probably choosing Lee Wolen. Wolen is a student of culinary history and a veteran of Eleven Madison Park. Though he runs a three-star restaurant (by choice) in Boka, many of his plates are four-star prix fixe-level studies in impeccable technique. From chefs Meg Galus to Kim Mok, the pastry program at Boka has also always offered a double threat unmatched by almost any other place in town save Daisies (whose chef Joe Frillman worked at two shuttered Boka restaurants, Perennial Virant in Old Town and Balena in Lincoln Park).

    2. Girl & the Goat, 809 W. Randolph Street, (312) 492-6262

    Girl & the Goat
    Marc Much/Eater Chicago

    Pairing it with a Top Chef and Iron Chef champion like Izard would make McDonald’s a first-tier restaurant. Adding in Boehm and Katz’s business and service acumen and Herold’s creative interiors made G&TG the real inflection point of Boka’s rise in Chicago, and maybe the launching pad for its current celebrity chef-driven multimarket restaurant domination.

    The smoky wood-fired oven, which churns out first-class bread you don’t mind being charged for, and the flame-charred walls make you feel like you’re eating inside a Pappy Van Winkle bourbon barrel. I’ve been to Girl & the Goat many times and it seems like I wait months or years between visits. But every time I return to a platter of wood oven-roasted pig face glistening with red wine and maple syrup, gooey with the remains of a breached sunny side egg, I wonder why I waited. At almost 14 years old, few local spots — save sister restaurant Boka, or Alinea and Avec — have stayed on top of their game for so long.

    3. Momotaro, 820 W. Lake Street, (312) 733-4818

    Momotaro

    Momotaro
    Barry Brecheisen/Eater Chicago

    Generally, after you’re assaulted by the pomp and circumstance of a well-designed restaurant, the luster often wears off. Stick around a while and you start inspecting a dining room, notice the smoke alarms, the exit signs, and the cheap paint. You start to feel like you’re in a fake set piece.

    Momotaro, though, is more than a restaurant. It’s a story. It’s not reality per se. Certainly never in history has a Japanese salaryman’s office/sushi bar/ 1960s airport lounge as frequented by Don Draper ever existed. And yet, the attention to detail, the pen stroke graffiti in the bathrooms, the bar menu — a vintage split-flap airport departures/arrivals style display — makes up a world so unique that it feels real.

    On my first visits, the hot food was the thing, but on subsequent visits, the sushi execution finally caught up with the vision. Silky lithe scrims of toro blanket plump toothsome grains of rice. Outside the city’s omakase stylings there may be no finer place for raw fish in Chicago. Girl & the Goat may have made the empire, but Momotaro is the spot that put Boehm and Katz on par with the best of the mega-restaurateurs.

    4. Alla Vita, 564 W. Randolph Street, (312) 667-0104

    A large dining room with wood frames to look like a garden

    Alla Vita/Anthony Tahlier

    There are hundreds of Italian restaurants in Chicago, but most are of the multigenerational-owned, Frank-Sinatra-got-hammered-in-this-very-booth, red-sauce variety. At Alla Vita, Lee Wolen brings a top chef’s eye to the cuisine, elevating beyond fried calamari with pillowy ricotta gnudi dripping in cacio e pepe cream. You also likely won’t find a more beautiful or stylish dining crowd in Chicago, a reflection of the sleek space that features hanging gardens and gauzy undulating lanterns that mimic the blazing energy weaving through the room.

    5. GT Prime, 707 N. Wells Street, (312) 600-6035

    GT Prime

    GT Prime
    Boka Restaurant Group

    I remember running over as fast as I could when GT Prime’s namesake Giuseppe Tentori took over the kitchen at Boka after he left as chef de cuisine of Charlie Trotter’s. Tentori had spent nine years working for Trotter, which, based on its exacting standards, is like spending 100 years in most other kitchens. Few, except maybe Matthias Merges, had put in that much time at Trotter’s and lived to tell the story with a great second act.

    But Tentori dusted off his shoulder and rode his bicycle/pasta machine, aka “The Black Stallion,” to glory at Boka and then at GT Fish & Oyster. Prime, which features the coolest taxidermy in Chicago (the oryx and sable antelope mounted in the front vestibule are nicknamed Chuck and Tenderloin, respectively) is Tentori’s true masterpiece. At Prime, Tentori took the steakhouse to a clientele beyond expense account folks who buy Louis Vuitton trunks by the busload. By curating small cuts of Japanese A5 wagyu and prime strip loin and mixing them in with silky tagliatelle or world-class lasagna, Tentori made a meat emporium a welcoming place for all real food enthusiasts again. As a bonus (ever since his other spot GT Fish & Oyster closed), you might even find its legendary clam chowder as a special here.

    6. Cabra at the Hoxton hotel, 200 N. Green Street, (312) 761-1717

    A large, spacious dining room with huge windows.

    Boka Restaurant Group

    The first time I ate at chef Izard’s Cabra, I thought it was some kind of time warp from the 1980s. Everyone on staff seemed to be wearing acid-washed mom jeans. The food wasn’t quite of the era, but it was inconsistent relative to Tanta, the superior Peruvian choice in River North. Since then, a tightening of the menu, focusing on mouthwatering ceviche and delightful chorizo queso dip, has created an infusion of new energy that allowed the brand to extend to Los Angeles.

    7. Duck Duck Goat, 857 W. Fulton Market, (312) 902-3825

    Duck Duck Goat

    Duck Duck Goat
    Anthony Tahlier/Boka Restaurant Group

    My love for Izard’s mashup of authentic and American Chinese is deep and endless. Were this a roundup of my subjective personal favorite Boka restaurants, it might be ranked higher. But in this ranking I’m looking for a superior mix of food quality, interior design, innovation, influence, and service, and the food quality and consistency at Duck Duck Goat has wavered in recent years, as with the recent receipt of a soggy Chongqing chicken. Still, as a regular diner, I just want to have fun, and DDG’s set-piece decor makes me feel like I’ve been dropped into Spielberg’s Shanghai in Indiana Jones. (No time for love, Dr. Jones!) And that environment still gives me pure delight.

    8. Swift & Sons, 1000 W. Fulton Market, (312) 733-9420

    Swift & Sons
    Barry Brecheisen/Eater Chicago

    This might be the best-designed of all the Boka restaurants. While I love the story of the Japanese salaryman told through Momotaro, I am foremost a Chicagoan — a faithful denizen of this former hog butcher to the world, one who screams “Da Bears!” and all that. Which is to say, my belly is often full of pork and my mind is truly raptured by the stories of the all-time local greats like Algren, Burnham, Sullivan, Wright, and Gustavus Swift.

    The vestibule of this place looks like the abandoned offices of Swift, the great meatpacking magnate, and the interior simultaneously conjures the elegance of the Titanic ballroom and the corporate art deco aesthetic of the Coen Brothers’ The Hudsucker Proxy. You can almost smell the aftershave dripping off the leather bench seating. Though it is the most “steakhouse” of all the Boka restaurants, chef Chris Pandel doesn’t just give you a simple baked potato bigger than a T. rex egg. He’s putting out bacon-larded and horseradish cream-spiked potato and ricotta-stuffed pierogies that would make most babcias jealous. There is creamed spinach on offer, but also chile crisp- and gojuchang aioli-spiked roast brussels sprouts, which is to say, just like GT Prime, Swift & Sons is not a Gibsons knockoff.

    9. Cira, inside the Hoxton hotel, 200 N. Green Street, (312) 761-1777

    A smattering of Mediterranean food on a table.

    Boka Restaurant Group/Galdones Photography

    Hotel restaurants demand all-day rigor, and few chefs are up to the challenge like Chris Pandel. The Hoxton hotel has become a coworking and de facto meeting spot for me over the last few years, and while the central location and comfy lobby play a role, it’s mostly because I know Cira’s gonna sate my cravings any time of day. If it’s early morning, there’s a perfect shakshuka waiting to break my fast. If it’s lunchtime, I’m digging into the crisp cumin- and coriander-perfumed falafel. If work is done and a celebration dinner is in order, I’m ordering a bowl of pistachio ravioli roofed with crisp breadcrumbs and gilded with saffron orange butter.

    10. Itoko, 3326 N. Southport Avenue, (773) 819-7672

    Scallop sushi in a bowl with avocado and slice jalapeño.

    Itoko
    Boka Restaurant Group

    I can count maybe a handful of dishes I still think about months after I visited a restaurant, but Gene Kato’s octopus at Itoko — a carpaccio flayed out like a giant hibiscus blossom and sprinkled with shiso and red onion slivers, then drizzled with the lifting acidity of ponzu — is one of them. If you’re looking for pristine sushi or perfectly toasted nori hand rolls bulging with king crab in an informal setting, Itoko is the spot in Lakeview.

    11. The Izakaya at Momotaro, 820 W. Lake Street, (312) 733-4818

    Momotaro

    The Izakaya at Momotaro
    Marc Much/Eater Chicago

    The Izakaya under Momotaro in Fulton Market has that hidden speakeasy vibe. Even though it’s not invite-only like the Aviary’s the Office, or hidden behind a graffiti wall as with the Violet Hour, like both those spots, Izakaya is a windowless lair where time seems to stand still. You can drink and drink and drink with friends, and even better, sop it up with salty snacks like sweet soy-pepper glazed tebasaki wings or a big bowl of chicken curry. The design magic of AvroKO is in full force, as the space feels the kind of place John Wick might stop by to plot his next assassination over shots of sake.

    12. GG’s Chicken Shop, 3325 N. Southport Avenue, (773) 819-7671

    A metal tray with a salad and chicken.

    GG’s Chicken Shop
    Boka Restaurant Group

    Stroller parent-friendly salads and crispy chicken sandwiches are usually the domain of a Chick-fil-A, not a super chef like Wolen. But add in perfect mahogany-crusted rotisserie chicken and incredible consistency, and this might be one of Boka’s most dependable and delicious spots. The only thing keeping it from ranking higher is its informal nature.

    13. Little Goat, 3325 N. Southport Avenue, (773) 819-7673

    Two hands grabbing a burger off a plate on a table.

    Little Goat Diner has moved to Lakeview.
    Boka Restaurant Group/Keni Rosales

    In the move from the more spacious OG location on Randolph, Little Goat lost square footage, but gained more character. The new vibe, a kind of retro Fonzie-meets-midcentury modern, is actually more creative than the original. But what it’s gained in design, it’s lost in consistency of service and food quality. Stick to Izard’s classics like the This Little Piggy, a sesame cheddar egg biscuit sandwich stuffed with Sichuan pork sausage, or the okonomiyaki packed with bacon and bonito crunch, and you’ll still be satisfied.

    14. Swift & Sons Tavern, 3600 N. Clark Street, (773) 360-0207

    A round metal bowl holds a circle of raw oysters on the half shell. It sits on a table beside two beers in tall pint glasses.

    Swift & Sons Tavern is across from Wrigleyville.
    Swift & Sons Tavern

    Except for the nearby Mordecai, this is probably one of the best restaurants in Wrigleyville. Then again, that’s a lot like being the tallest kindergartener: Everything is relative to the competition. Thronged on Cubs game days, service sometimes suffers. Not as serious as its brother, the bigger original Swift, informal eats like fried cheese curds or an Italian beef stuffed with shaved rib-eye are the moves here.

    820 W Randolph Street, Chicago, IL 60607
    312 888 3455

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    Michael Nagrant

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  • Imaginary is a mess of a horror movie, and not in the fun way

    Imaginary is a mess of a horror movie, and not in the fun way

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    It’s hard to know where to start in describing how bad Imaginary is. The new horror movie from Blumhouse and director Jeff Wadlow (Kick-Ass 2) starts with the simple but promising premise of a haunted stuffed animal and a malicious imaginary friend, but its bland characters, muddy storytelling, and lack of scares leave behind a movie more lifeless than a teddy bear with no stuffing.

    Imaginary’s mess of a story begins with a woman named Jessica (She’s Gotta Have It and Jurassic World Dominion’s DeWanda Wise) and her new husband, Max (Tom Payne), waking up after one of Jessica’s recurring nightmares. She’s being chased through a long hallway by a giant spider, who also happens to be the main villain in the children’s books she writes. The couple quickly decide that it’s time for them and Max’s two kids from a previous marriage, teenage Taylor (Taegen Burns) and much younger Alice (Pyper Braun), to move into Jessica’s childhood home, in hopes that the familiar setting will cure her of her nightmares. Max’s kids aren’t too happy about the move, though it isn’t quite clear how far they’re going or what their specific objection is.

    It isn’t really clear whether we’re supposed to believe Jessica wants to get along with her new stepdaughters, or if her rudeness to them is an accidental problem of the script and the performance. Either way, after a few days in the house, Jessica ignores Alice by sneaking out of the house during a game of hide-and-seek in order to take a work call, leaving Alice to explore the basement and find Chauncey the creepy teddy bear.

    Photo: Parrish Lewis/Lionsgate

    Chauncey quickly becomes Alice’s new imaginary friend, who she talks to constantly and takes with her everywhere. This part of the plot strongly evokes M3GAN, without ever getting near that movie’s knowing sense of fun. All this setup happens by about 10 minutes into the movie, and it’s also where the coherent details of the plot end.

    [Ed. note: The rest of this story contains significant spoilers for Imaginary. The good news is, reading about them is much more fun than sitting through all 104 minutes of the movie.]

    Chauncey’s arrival should also usher creepiness into Imaginary, but the movie gets so diverted by trying to piece together a story out of its myriad meaningless plot threads that it doesn’t have much time to dedicate to actual horror. In one scene, for instance, the children’s biological mother shows up at Jessica’s house without warning, attacks Jessica, reveals that she seems to psychically know there’s something evil in the house, gets arrested, then disappears for the entire rest of the movie. This scene is never brought up again.

    Shortly after that, Max just leaves his children with their new, clearly not up-to-the-task stepmom so he can go on a seemingly indefinite tour with his band. There’s also a creepy neighbor who just happens to have a fully illustrated academic textbook on imaginary friends that seems tailor-made for a lazy exposition scene. The movie even throws in two separate child-abuse plotlines that it eventually just shrugs off when they aren’t useful anymore.

    It’s tempting to try to read into this labyrinth of digressions to try to find some kind of meaning or intention, but Imaginary never makes that feel worthwhile. There isn’t a single character in the movie who feels worth rooting for, and the performances are entirely devoid of charisma. The script, written by Wadlow, Jason Oremland, and Greg Erb, is full of wooden dialogue that’s stiff and often feels almost completely nonsensical. Characters sometimes introduce new information like it’s a fact the audience has known forever.

    At other times, they treat seemingly obvious plot points like major, unguessable reveals — like when we find out that Chauncey once belonged to Jessica. None of these plot threads ever amount to much, and most of them are just left dangling by the end of the movie. If the filmmakers don’t care about them, why should we?

    A young girl played by Pyper Braun sits at the top of the stairs next to a teddy bear while an ominous shadowy figure lurk behind her in Imaginary

    Photo: Parrish Lewis/Lionsgate

    But as with any horror movie, most of this disaster could be overlooked if only the story was scary. Instead, that’s where its failures become most apparent. Imaginary doesn’t bring a single original idea to the horror genre. It’s entirely paint-by-numbers filmmaking that never even manages to create tension, let alone fear. Characters look under beds while the cloying score brings in a swell of strings to beg us to feel something. Chauncey moves on his own a time or two, and even transforms into a monstrous bear, but the scenes are lit so badly that the effect just looks cheap and underbaked rather than remotely terrifying. Watching sequences this rote is soul-crushing for a horror fan, and they make the moments where the movie slows down for its next attempt at a scare feel like they drag on for ages.

    The one briefly interesting sequence comes in the final third of the movie, when Alice has been tricked into visiting the world of the imaginary friends, and Jessica and Taylor have to rescue her. This world floats in darkness, and its only solid ground is a checkerboard floor in an endless hallway of doors. Sections of the world form staircases to nowhere, dead ends that drop into an abyss, and doors that seem to float upside down.

    None of these visuals are wholly original — they take aim at the middle ground between Twin PeaksRed Room and a Scooby-Doo chase scene, without any of the fun that combination implies. But even without originality, it’s far and away the best visual of the movie. Sadly, for most of their time in this world, the characters just charge blindly into doors and end up in the same boring rooms we’ve seen in the rest of the movie, each one shot essentially the same as it was in the real world, just a little bit darker.

    Imaginary didn’t have a high bar to clear. In a year that’s been lacking interesting horror movies so far, with the other Blumhouse entry Night Swim as the only real bright spot, all this movie ever really needed to be was some silly fun with a few good scares. Instead, it gets lost in a maze of awful storytelling and frustrating characters, all without offering anything more than the stock-standard horror tropes that have been done better in a million other movies.

    Imaginary is in theaters on March 8.

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    Austen Goslin

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  • Remembering Richard Lewis, Comedy’s Proud Prince of Pain

    Remembering Richard Lewis, Comedy’s Proud Prince of Pain

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    Richard Lewis wasn’t the first neurotic stand-up comic, but he was one of the best—and, as contradictory as it sounds, probably the most comfortable. “When I’m on stage, I’m the happiest I could ever be,” he told me in 2022, during an interview about his friend Warren Zevon. “I’m just in touch with who I am, and want to express it. It’s just calm. It’s like the eye of a hurricane.”

    Lewis, who died of a heart attack on Tuesday at 76, wasn’t being hyperbolic. Over the course of his career, he spoke and wrote candidly about his strained relationship with his parents, drug use, alcoholism, depression, body dysmorphia, the pain caused by multiple surgeries, and most recently, his experience with Parkinson’s disease. That the Jewish guy with the poofy mane of black (and eventually gray) hair withstood that barrage is both extraordinary and admirable. But what made the self-described “Prince of Pain” special wasn’t his tolerance for personal torment. It was his ability to spin angst into affability. Self-deprecating jokes poured out of Lewis, but the sweat of a desperate hack never did. After all, his act wasn’t a put-on. It was just him.

    Lewis was a paranoid person: “On my stationary bike, I have a rearview mirror,” he once quipped. His childhood was rough: when New York magazine asked him about his most memorable meal ever, he said, “It was in 1981—the first Thanksgiving I ever had without a social worker present.” And he always found himself in bad situations: in fact, Yale credited him with popularizing the phrase “the (blank) from hell” after his ’70s routine about a cursed date.

    For the last 25 years, Lewis happily turned his inner turmoil outward as a recurring character on Curb Your Enthusiasm. In the HBO sitcom, now in its final season, he played an even more miserable version of himself opposite his real-life friend Larry David. Whenever Lewis popped up on Curb, something memorable happened. His delivery of the simplest lines were laugh-out-loud funny. Like when Larry dipped his nose into Lewis’s coffee in Season 10 and Lewis bellowed, “What are you, a fuckin’ goose?” Or when Lewis was shocked to find Larry selling cars at a dealership and shouted, “What are you, fuckin’ Willy Loman?” None of the show’s guest stars, it seemed, were better at breaking David. Often, when the two were meant to be arguing in a scene, you could tell how giddy they both were to be going back and forth with each other. “Richard and I were born three days apart in the same hospital and for most of my life he’s been like a brother to me,” David said in a statement on Wednesday. “He had that rare combination of being the funniest person and also the sweetest. But today he made me sob and for that I’ll never forgive him.”

    Lewis was good at making other comics laugh. He was a regular on The Tonight Show Starring Johnny Carson, The Howard Stern Show, Late Night With Conan O’Brien, and The Daily Show. He was also one of David Letterman’s favorite guests, appearing on Late Night 48 times. To Lewis, Letterman’s support was a miracle. But it made sense. “It was just an amazing break for me that he understood me,” Lewis told me. “I bring that up because I’m so self-deprecating, and so is David. He’s so hard on himself.”

    Lewis’s late-night ubiquity and his first two stand-up specials, I’m in Pain and I’m Exhausted, combined to help make him famous. By 1989, he was costarring in a sitcom with Jamie Lee Curtis called Anything but Love, a will-they-or-won’t-they rom-com that ran for four seasons on ABC, in which Lewis played a magazine columnist named Marty Gold. The fact that an anxious comedian could carry a hit show about a journalist is a bitterly hilarious reminder of the hold both of those professions used to have on America. It’s also proof of how likable Lewis was, even when he wasn’t spilling his guts in a comedy club.

    I was too young for his comedy back in the early ’90s, but I remember seeing Lewis in commercials for one of the decade’s strangest products: BoKu, a juice box … but for grown-ups. In the long-running campaign, the eternally black-clad comedian basically just did his stand-up act, simply holding one of the soft drinks in his hand for 30 seconds at a time. When I interviewed him, he said that he had a hand in writing the ads—and he had a ball doing it. Leave it to Richard Lewis, the only man who could sell non-alcoholic juice boxes to adults.


    Lewis could relate to people who’d gone through hell. Listening to him talk about Zevon, it was obvious that he revered the musician, and obvious why. “Some of the songs were very self-deprecating,” he said. “He was an exquisite writer.”

    “A couple years before I bottomed out and got sober, I remember I was at the Palm restaurant in L.A., and there was a great table of a lot of rockers,” Lewis continued. “Warren was there, and I had never met him before. I wasn’t at the dinner, I was just wandering around the restaurant. It was about six guys, and I knew most of the table. But when I saw Zevon, I was just thrilled that I had the chance to just tell him what I thought about him.”

    It turned out that Lewis and Zevon were practically neighbors. They even shopped at the same expensive Laurel Canyon grocer. “I loved it when I ran into him at the store buying $20 granola,” Lewis said. “I would walk around with my cart with him, and try to keep him there as long as possible. When I would make him laugh, I could see his face. He would laugh so loudly, but he took that first one or two seconds to breathe and take it in. Then he just let it out. It was like he really appreciated funny. I knew that, as a friend. Of course I loved that he admired me. You feel like a million bucks.”

    Toward the end of Zevon’s life, when he had cancer and had fallen back into his old habits, he stopped talking to Lewis. It was the singer’s way of protecting his friend. “Because he knew I was sober …” Lewis said. “He was a tough guy, but that was what he did to me, and I understood it, and I loved him for it. I didn’t want to force the issue and call him. I did email him, though, and tell him what I thought about him, and that I understood, and that I loved him.”

    Lewis compared Zevon to someone else he’d gotten to know in New York. “I used to hang out at Mickey Mantle’s bar and restaurant,” Lewis said. “It was near my hotel in Central Park South. Mantle and I were both alcoholics. I would often times bring my work with me and sit at the bar or in a booth, and go over concert material for hours and drink. He really dug me, Mantle. He had two pictures of me hanging. I say this with a great deal of pride: I was the only non-sports figure to be in that restaurant. There were hundreds of pictures of ballplayers, and me. What’s wrong with this fucking picture? It was crazy.”

    Lewis recalls watching Bob Costas’s emotional TV interview with Mantle. It was 1994, about a year before the Yankees great died of liver cancer. The Hall of Famer spoke openly about his alcoholism and failings as a parent. “Here’s the guy going out and wanting to tell people that he might have been worshiped,” Lewis said, “but he could have lived his life a much better and a much healthier way.” That summer, Lewis told me, “I got sober.”

    As permanently anguished as he was, Lewis knew he was fortunate to have an outlet for his pain. It’d be a cliché to say that comedy saved him, but it did seem to keep him going until the very end. In the face of a Parkinson’s diagnosis, he returned for the final season of Curb. In last week’s “Vertical Drop, Horizontal Tug,” Larry and Lewis are in the middle of a golf round when Lewis tells Larry that he’s putting him in his will. Larry, of course, is mad about it. He doesn’t need his friend’s money. He says he’ll just donate it to charity. The incredulity, of course, leads to another delightfully familiar argument.

    “I’m giving it to you anyway, pal,” Lewis says.

    “Oh my God, fuck you,” Larry replies.

    That was Lewis. Even when life was cursing him out, he refused to give up.

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    Alan Siegel

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  • Electronic Arts cuts jobs for more than 670 workers

    Electronic Arts cuts jobs for more than 670 workers

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    Electronic Arts is laying off 5% of its workforce, or around 670 of the company’s workers. EA employed around 13,400 people by the end of last March, according to a regulatory filing. Sixty-five percent of those employees are located outside the U.S., it said at the time. Notifying impacted employees “has already begun and will be largely completed by early next quarter,” EA CEO Andrew Wilson wrote in a note to staff published Wednesday.

    Wilson also said EA is “moving away from development of future licensed IP that we do not believe will be successful in our changing industry.” Instead, it’ll focus on “owned IP, sports, and massive online communities.”

    “We are also leading through an accelerating industry transformation where player needs and motivations have changed significantly,” Wilson wrote. “Fans are increasingly engaging with the largest IP, and looking to us for broader experiences where they can play, watch, create content, and forge deeper connections. Our industry exists at the cutting edge of entertainment, and in today’s dynamic environment, we are advancing the way we work and continuing to evolve our business.”

    No specific games were mentioned in Wilson’s note, although EA is currently developing several games based on licensed properties, like a reported third Star Wars Jedi game, along with Marvel’s Black Panther and Iron Man. EA announced in 2022 that Respawn was developing three separate Star Wars games, one of which was Star Wars Jedi: Survivor. The two others were unannounced; one of those games, a first-person action game, has been canceled, according to Video Games Chronicle. “As we’ve looked at Respawn’s portfolio over the last few months, what’s clear is the games our players are most excited about are Jedi and Respawn’s rich library of owned brands,” EA entertainment and technology present Laura Miele said in a statement to the publication.

    The cuts come almost one year after EA laid off around 700 people, or 6% of its staff, in March 2023. Earlier in February of this year, The company also laid off “a small number of staff” earlier this week as it ceased operations on EA Sports MLB Tap Sports and F1 Mobile Racing. (These layoffs may be included in the 670 number announced Wednesday.) Those games are presumably part of the company’s plan to “sunset” several games, as Wilson noted in the letter to staff.

    EA expects to spend $125 million to $165 million on these layoffs and other cost-cutting measures. Office space reductions will cost roughly $50 million to $60 million, while $35 million to $45 million is expected to go toward “costs associated with licensor commitments,” according to a securities document filed Wednesday. EA said it’ll spend $40 to $55 million on employee severance, which is on top of the $170 million to $200 million EA spent last year on its reorganization cost-cutting plan. (EA, at that time last year, expected to finish the actions related to those costs by Sept. 30, 2023. This time around, it expects to be finished by Dec. 31, 2024.)

    Image: Respawn Entertainment/Electronic Arts via Polygon

    In late January, EA released its recent financial results where it reported earning $7.6 billion in the past 12 months before Dec. 31, 2023. Of that, EA made $5.8 billion in gross profit. EA reported that its net bookings are up by 1% year-over-year — part of that is related to its live service success, where it earned a “record $1.712 billion,” 3% more than last year. “On a trailing twelve-month basis, live services were 73% of our business,” EA wrote. In particular, EA called out EA Sports FC for “outperforming expectations.”

    “I understand this will create uncertainty and be challenging for many who have worked with such dedication and passion and have made important contributions to our company,” Wilson said in the letter, adding that the company will do its best to help affected workers find “new roles or paths to transition to other projects.” “While not every team will be impacted, this is the hardest part of these changes, and we have deeply considered every option to try and limit impacts to our teams.”

    EA is, unfortunately, not alone in the worrying trend of increasing video game industry layoffs. On Tuesday, Sony Interactive Entertainment announced it was laying off 900 people, or 8% of staff. Insomniac Games, Naughty Dog, Guerrilla Games, and Sony’s Technology, Creative, and Support divisions were all impacted. This week alone, people have been laid off from studios like Deck Nine Games, Supermassive Games, and esports company ESL; there was also a production halt at Die Gute Fabrik as funding ran dry.

    Roughly 8,000 people have been laid off in the first two months of the year in a worrying trend that’s quickly outpacing 2023, where around 11,000 people were laid off, per industry trackers. Why are these layoffs happening? A comedown after the pandemic is part of it, but not the whole story that includes increasing interest rates on loans, how expensive it is to make games, and a shift in video game industry business models. One important failure to consider is that executive leadership expected the engagement built during the pandemic to continue and grow; executives expanded their companies recklessly without a realistic long-term plan.

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    Nicole Carpenter

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  • Cloudfare lava lamp room

    Cloudfare lava lamp room

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    For those who don’t know, Cloudfare encrypts their data using the randomness of a lava lamp. “To produce the unpredictable, chaotic data necessary for strong encryption, a computer must have a source of random data. The “real world” turns out to be a great source for randomness, because events in the physical world are unpredictable.”

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  • Music has always been a huge part of Dune adaptations

    Music has always been a huge part of Dune adaptations

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    The world of Dune is a wild one. On any given day you’ve got clairvoyant sisterhoods poking your neck, giant spicy worms, and Javier Bardem spitting on your floor — and I haven’t even started on the really weird stuff. Capturing the tone and flavor of this eccentric setting isn’t easy, and while I’m not opposed to getting a lengthy monologue from Virginia Madsen, the right audio direction can do a better job of laying the groundwork for a sci-fi epic. And music has always played an important role in the various adaptations of Frank Herbert’s Dune universe across movies, TV, and games.

    The soundtrack to David Lynch’s 1984 Dune adaptation features a sweeping orchestral soundtrack by Toto. A special appearance was also made by Brian Eno, who recorded the more moody and haunting stuff. Dune is the only soundtrack Toto has ever worked on, and how they came to be involved with the movie is a much longer story that you can read more about in A Masterpiece in Disarray (David Lynch’s Dune — An Oral History).

    The soundtrack for the ’84 film is just as epic as Hans Zimmer’s score for the 2021 movie, but takes a different approach. At the time, the work of James Horner and John Williams was dominating sci-fi at the box office, and the theme for the original Dune movie follows a similarly bombastic approach but avoids some of the more uplifting melodies (an explicit request from Lynch).

    Much like the movie’s vibe itself, the score for the original is far groovier than the later adaptations, with a heavy reliance on synths punctuated with guitar riffs. The main title suite sounds like a rock opera version of “Ride of the Valkyries,” while the theme for Baron Harkonnen immediately evokes Mike Oldfield’s haunting “Tubular Bells.” However, if you just need the CliffsNotes, the score is best summarized with the sci-fi rock ballad “Take My Hand,” which plays over the movie’s closing credits and runs through the key movements in the score in under three minutes.

    While Zimmer’s score for Denis Villeneuve’s Dune movies is certainly a drastic departure from Lynch’s film, you can still hear echoes of the ’84 soundtrack in it. In particular, the track “Stillsuits” pays direct homage to the opening measures of the main title of the original movie. The score isn’t a massive departure from Zimmer’s work on a myriad of other blockbusters, but makes a greater effort to feel unique.

    I’m a pretty big Hans Zimmer fan, and while much of his work is guilty of sounding a bit same-y, I’d argue his score for the 2021 movie Dune: Part One is some of his best work. Zimmer’s identity is still very present in Dune, with aggressive instruments and percussion, but the score places a greater emphasis on vocals and unconventional instruments that sound otherworldly when layered together.

    The score for Dune: Part One is best described as very dry and very old, thanks to its intentional use of woodwinds and hollow percussion to convey not only the arid environment of Dune, but its enigmatic atmosphere as well. Those words often sound like a bad thing, but here, it really works. The deep, heavy rhythms from tracks like “Armada” and “Leaving Caladan” are the most reminiscent of Zimmer’s previous work. However, it’s with tracks like “Sanctuary” and “Ripples in the Sand” where those feelings of mystery and wonder really manifest.

    The soundtracks for the Dune video games are a whole other can of sandworms, but it’s important to discuss them because they not only occupy a critical place in video game history, but have been handled by some of the most prolific composers in the gaming industry.

    1992’s Dune 2: The Building of a Dynasty, by the now-defunct Westwood Studios, is perhaps the most famous game based on the Dune franchise, and is frequently cited as the game that popularized the real-time strategy genre. The soundtracks for Dune 2 and its 1998 remake Dune 2000 were handled by Frank Klepacki, who was also responsible for scoring every entry in the legendary Command & Conquer franchise.

    Klepacki’s work on Dune 2 was intended to emulate the soundtrack for the original Dune adventure game by Cryo Interactive. And while solid, the soundtrack definitely bumps up against the technical limitations of producing music for a game with a file size of under 5 MB. However, when Klepacki revisited the classic score, he had the freedom to not only remake higher fidelity versions of his original Dune 2 soundtrack, but inject them with homages to Toto’s work on the ‘84 Dune movie. This is most apparent when listening to the Dune 2000 track “Rise of Harkonnen,” which is a remastered version of Dune 2’s “Rulers of Arrakis,” with an opening that’s an effective tribute to Toto’s Baron Harkonnen theme.

    The most recent Dune game title, Dune: Spice Wars, featured a soundtrack composed by Jesper Kyd, whose credits include work on franchises like Hitman, Assassin’s Creed, and Borderlands, to name a few. While Kyd hasn’t cited any specific inspirations for his Spice Wars soundtrack, the score mirrors the style of the game, borrowing concepts and themes from across the existing franchise without sounding derivative. The two hours of music features ambient, dreamlike tracks that echo the work of Brian Eno on the ‘84 Dune film, while also including rhythmic synth beats that will feel familiar to fans of the classic Westwood titles.

    Frank Herbert’s Dune was originally published in 1965, and it’s remarkable that almost 60 years later — and across its spectrum of adaptations — every composition manages to evoke similar feelings in its audience. Whether it’s the appropriately epic work from Toto, the more primal version produced by Hans Zimmer, or the stellar video game soundtracks, Dune has inspired a wealth of composers and musicians to provide a cohesive sense of identity to Frank Herbert’s strange and enigmatic universe.

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    Alice Jovanée

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  • Lulu Wang wanted the mystery at the end of Prime Video’s Expats

    Lulu Wang wanted the mystery at the end of Prime Video’s Expats

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    In the end, we know about as much as when we started. Expats, whose first episode started with some open-ended reunions — first a more charged one between Margaret (Nicole Kidman) and Mercy (Ji-young Yoo), and later a calmer, sadder meet-up between Hilary (Sarayu Blue) and Margaret — has left off with those same characters coming together, and the same indefinite feeling permeating their meetings.

    [Ed. note: This post will now start discussing spoilers for the end of Expats.]

    What we still don’t know is what happened to Gus, or what Mercy is going to do next with her own baby, or even, technically, how these women all feel about each other at the end of the day. But that’s exactly how showrunner Lulu Wang wanted the adaptation of Janice Y.K. Lee’s 2016 novel The Expatriates to feel. As she tells Polygon, she sees the ending as its own sort of beginning, and the mystery that drives so much of the pain in Expats was never the point she wanted to leave us with.

    This conversation has been edited and condensed for clarity.

    Polygon: So, starting off, how did you think about and approach the tone of the ending for each of the characters?

    Lulu Wang: I think I wanted it to feel both, like, macro and micro. Both large in scope of the world, and global, but also so deeply personal. It’s a mother looking for her child. But it’s also all of us looking for a way to move on, to grieve, to find closure, to be happy, to find forgiveness, to be gentler on ourselves.

    So I think visually, it was always really important to me that I have that really long take of Margaret walking through the city with her backpack on. And in many ways, she becomes part of the city; she’s now no longer able to separate herself from the streets and from the people and from the elements, because her son is out there somewhere. And for Mercy it was about getting to realize that she just wants to be loved. We hate her so much, she does all of these things, and she makes all of these choices. But that moment of her where we really realize she’s just a kid, and her mother brings her soup — I think that’s one of the most heartbreaking [bits] of, like, Oh, wow, she’s really young. She’s just a kid and she’s dealing with these really adult situations. And for Hilary, just breaking free, you know, we always envision her ending having a lot of color, and I wanted her to almost, like, yeah, she’s lost everything, but in a way she’s coming back to life. And she’s this butterfly and she, you know, goes from very monochromatic to embracing a lot of color.

    Photo: Jupiter Wong/Prime Video

    I’m curious how you thought about establishing the tone of the series directorally. What was it you felt like early on you gravitated toward in terms of getting the mood just right for what you were looking for with this adaptation?

    I didn’t want it to be a plot-driven series where we were watching to solve the crime. I wanted it to really be an exploration of grief — I wanted it to feel like the book, because that’s what the book felt like. It was this tapestry of characters, of all of these different backgrounds, and against this very complex setting. And there are all of these different ways that people are trying to cope in different ways.

    And so I think that really looking to the book, and I would pull out sentences, and then I would talk to my DP, and we would watch films together — we watched this great French series called Les Revenants, “the return,” which is a zombie series about the return of the dead. But it’s not what you would think. It’s really about grief and about time passing. We would watch foreign films, like this Icelandic film called A White, White Day. We watched Nashville, which is one of my favorites. We also looked at a lot of photographs.

    So just putting together those images, I think we wanted to have there be a sense of a haunting, and have an emptiness.

    That haunting really comes through, and I’d love to know what formed in your mind’s eye as you were thinking about how to show an absence or illustrate, if not a total emptiness, that lack?

    I think we talked a lot in the writers room about ambiguous loss, and about not having closure, and all of the different ways in which we carry trauma that is not visible. It’s not always as simple as, OK, this person died. And now I’m grieving. Sometimes you never get closure, you never get to say goodbye. Sometimes you’re grieving the loss of time. Sometimes you’re grieving the loss of memory […] where the person is still there, but they’re not there in the way that you know them. So how do you relate to them? And how do you grieve?

    I think that’s why — and I did this with The Farewell also — [I focused on] really looking at space, and having the ability to do wide shots, where people are really isolated in the frame.

    Margaret (Nicole Kidman) standing alone at the top of a plane jetway

    Photo: Atsushi Nishijima/Prime Video

    Mercy (Ji-young Yoo) sitting in a waiting room alone

    Photo: Jupiter Wong/Prime Video

    Lulu Wang standing at a table with Ji-young Yoo and Nicole Kidman behind the scenes of Expats

    Photo: Glen Wilson/Prime Video

    Margaret, for example, she seeks out in her grief a place where she can be alone. And the emptiness of that room gives her comfort somehow, because she’s able to be someone else. She’s not constantly reminded of the tragedy. And so that was a really pivotal image for us was having Nicole in a practical location in Hong Kong. She had to go up the seven flights of stairs. It was her first day of shooting. I was like, Oh my god, she’s gonna hate me. This is Nicole Kidman. I’m having her trek up the stairs, there’s no elevator. We’re in this tiny room, and there’s windows everywhere so that we can really see Hong Kong and all the windows and all the lives inside of all of those windows, you know? And she’s here in this tiny box of a room, and there’s this weird purple bathtub. Like something kind of almost Murakami-esque, right, about the strange places we find ourselves in and the strange feelings we get from them.

    Definitely. And to your point about almost dodging the mystery of it, I’m curious how you build the final sort of confrontation between all these women. There’s this sense in the finale of it as a staccato conversation, these bits and pieces chopped up.

    In a way, it’s like a visual voice-over, I suppose. I wanted it to feel like they were addressing the audience; I wanted to play with this [idea that] everything they were saying, the other woman could also be saying almost those same things. It’s a specific conversation, but it’s also a universal conversation; it’s endings and beginnings. It’s apologies, and not being able to find the words to apologize. They all have been the other woman in different situations. And the series deals a lot with perpetrators and victims. And we always empathize with victims, it’s easy to identify with them. But it’s much more difficult to actually have compassion for the people who commit the acts and make the mistakes. And it was really important to us that all of these women were perpetrators and victims at the same time — but in different stories. In someone else’s story they are the perpetrator; in their own story, they are the victim. And to be able to hold all of those truths at once — it just felt like having that symmetry of their faces linked them.

    Expats is now streaming on Prime Video.

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    Zosha Millman

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  • Guinness Gives Chicago a Sign of Spring With St. Patrick’s Day Reservations

    Guinness Gives Chicago a Sign of Spring With St. Patrick’s Day Reservations

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    “Is your patio open?”

    Customers have repeatedly uttered those four words this week to restaurants and bar workers all across Chicago, a city that is rejoicing after hitting the 50-degree threshold for the first time in 2024.

    There’s hope, no matter what those groundhogs have revealed, of flipping the page to spring. But nothing is easy, as Thursday morning much of the country was greeted by a cell phone outage that mostly impacted AT&T customers. Overall, more than 100,000 phones have reportedly been hit.

    How that outage will affect online ordering and reservations remains to be seen. AT&T has recommended that customers use WiFi calling if users want to be old fashioned, you know, the antiquated process that eliminates service fees for restaurants — unlike online ordering using a third party (DoorDash, Uber Eats, Grubhub).

    Despite the latest hurdle, there are reasons to be optimistic for the restaurant industry in Chicago. On Wednesday, the city’s tourism arm, Choose Chicago, claimed Restaurant Week as a success, sending out a release that trumped the event gaining popularity with 463 restaurants. The website drew 1.34 million page views, a 7.2 percent increase compared to 2023, and 430,000 website clicks — 32 percent more than in 2023. The 17-day “week” went from January 19 to February. It’s a promotion where participating restaurants offer set meals to bring diners in during the typically slower winter weeks.

    The spring feeling is in full force as Guinness is prepping for its first St. Patrick’s Day in Chicago, with reservations for its Fulton Market brewpub live. The Chicago taproom, which opened in September, is touting five days of St. Patrick’s Day events, from Wednesday, March 13 to St. Patrick’s Day, Sunday, March 17. Customers can book a table for four, eight, or 12 or opt for general admission. The reservations come in three-hour blocks.

    The city has come a long way since St. Patrick’s Day 2020 when bar owners packed revelers into their establishments right before Gov. J.B. Pritzker shut down on-premises dining to help slow the spread of COVID.

    Regardless of optimism, true Chicagoans know it’s way too early to put away their shovels or heavy winter coats.

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    Ashok Selvam

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