This weekend sees the release of not one, but two sci-fi epics in the form of Dune: Part Two and Rebel Moon Part Two: The Scargiver on VOD and streaming. If neither of those strikes your fancy, don’t worry; we’ve once again descended into the backlog of Netflix’s streaming library to bring you a trio of the best sci-fi movies to watch in April.
This month’s picks include John Carpenter’s 1984 sci-fi body-horror romance starring Jeff Bridges, an underrated post-apocalyptic blockbuster about mobile city fortresses duking it out for resources, and an anime adaptation of a cult-classic cyberpunk manga.
Let’s take a look at what this month has to offer!
Editor’s pick: Starman
Image: Sony Pictures Home Entertainment
Director: John Carpenter Cast: Jeff Bridges, Karen Allen, Charles Martin Smith
The pitch “John Carpenter’s version of Close Encounters” conjures a far different image for fans of the Halloween director than what his 1984 film Starman turned out to be. The film kicks off with a sleek spaceship descending upon Earth in a frame not too far off from the opening of The Thing. There’s even a bit of body horror: When the alien creeps into the home of the recently widowed Jenny (Karen Allen), the entity uses bits of DNA of her deceased husband to recast his corporeal self — growing from baby to toddler to teen to adult Jeff Bridges in mere seconds. It’s sick! Then Carpenter gets all mushy in his most romantic film to date.
Starman is a sci-fi film through and through — the alien visits our planet after intercepting Voyager 2’s golden disc, and its arrival sparks a classic Spielbergian cat-and-mouse game between bumbling feds and the on-the-lam ET — but in having the alien assume the form of Jenny’s dead husband, Carpenter burrows deeper into human mortality than these screen stories tend to go. Allen, spiraling in an impossible situation, and Bridges, mixing his alien’s hyperintelligence with childlike wonder, have the chemistry to make a silly story sing. Jenny knows the man in her passenger seat isn’t her husband, but he is a second chance. Carpenter mines the dreamlike premise for all the sap, leaning on Jack Nitzsche’s unforgettable score to swell at just the right moments. Starman is pure Hollywood romance, and proof that boxing a director into one genre is the quickest way to limit greatness. —Matt Patches
Mortal Engines
Image: Universal Pictures Home Entertainment
Director: Christian Rivers Cast: Hera Hilmar, Robert Sheehan, Hugo Weaving
An underrated post-apocalyptic blockbuster from many of the people who made the Lord of the Rings movies, Mortal Engines was a box-office bomb but deserved much better. Set in a future where cities are mobile and big cities hunt smaller ones, the story follows a young assassin (Hera Hilmar) who seeks to take out a power-hungry leader (Hugo Weaving). Along the way, she finds allies (Jihae) and maybe even a bit of love (Robert Sheehan).
But the characters or narrative aren’t Mortal Engines’main selling point (although Weaving does fully and delightfully commit to an over-the-top villainous performance). Instead, it’s the fantastic production design and creative world-building that make Mortal Engines feel like a breath of fresh air in the sequel/prequel/remake-heavy sci-fi blockbuster landscape. Now that it’s newly on Netflix, check out one of the 2010s’ most undeserved flops. —Pete Volk
Blame!
Image: Polygon Pictures/Netflix
Director: Hiroyuki Seshita Cast: Takahiro Sakurai, Kana Hanazawa, Sora Amamiya
Alongside the likes of H.R. Giger and Shinya Tsukamoto, Tsutomu Nihei is one of the most prolific artists associated with the subgenre of posthuman science fiction, emphasizing horrific man-machine hybrids and massive, desolate worlds set in the far future.
Nihei’s 1997 manga Blame! is inarguably his magnum opus — a post-apocalyptic cyberpunk saga about a mysterious warrior known as “Killy” wandering the metallic wastelands of an Earth overrun by a techno-organic virus. Adapted into a feature-length anime by director Hiroyuki Seshita (Knights of Sidonia), Blame! streamlines the manga’s story into a single adventure in Killy’s quest to find a means of undoing the virus that has reshaped the world and endangered humanity’s last remaining descendents.
While the film loses some of the evocative, wordless melancholy of the manga in its translation from page to screen, it lacks none of the scale and depth of its world-building and vistas. The action is punishing and electrifying, as Killy contends with monstrous killer androids and a ruthless antagonist hellbent on killing as many impure humans (i.e., everyone) as possible. Blame! is a worthy adaptation of the source material, as well as a worthwhile watch for anyone who considers themself a fan of dark sci-fi animation. —Toussaint Egan
In the 54-year history of Pequod’s Pizza, a white pie has allegedly never appeared on the menu. The deep-dish pizzeria, with locations in Lincoln Park and suburban Morton Grove, is known for its savory caramelized rings of crust that surround the pie. The sausage and pepperoni are the top sellers, but no matter personal preference — even pineapple — the popular pizzeria has never regularly offered a pie without tomato sauce, according to Pequod’s management.
Home cook Billy Zureikat is about to change that, offering a deep-dish version of his Tripping Billy pizza every Wednesday in May at Pequod’s in Lincoln Park. Zureikat, known in Chicago’s culinary circles as “Billy Z,” has raised $50,000 to support the Muscular Dystrophy Association through various Tripping Billy pop-ups at Chicago restaurants like Paulie Gee’s, Bang Bang Pie, and Pizza Matta. Those he’s deviated from pizza — he’s sold sandwiches at Tempesta Market, for example — he incorporates a creamy shishito pepper sauce, corn, mozzarella, cheddar, and pickled jalapeños into a special with proceeds going to MDA.
Billy Zureikat (right) and Pequod’s assistant general manager Brian Kaminski.
Tripping Billy is a kind of alter ego for Zureikat. It took doctors eight years to provide a proper reason for why he would trip and fall while playing basketball. Healthcare professionals would later diagnose him with limb-girdle muscular dystrophy. A rabid sports fan unable to play basketball due to the rare disease, Zureikat poured his passion into baking. The idea for the pizza came after a few summer visits to farmers markets where he came away with a horde of shishitos. He turned them into a cream sauce which serves as a base for his pizza. He held a pop-up at Paulie Gee’s Pizza in Logan Square in 2021 and has been rolling since, tapping into his contacts from his former gig working radio for ESPN Chicago, WMVP 1000.
Customers wanting to taste the Tripping Billy at Pequod’s can stop by or call the pizzeria on Wednesdays starting on May 1 to make a carryout order. The two parties are hopeful of expanding their partnership on other days, but that depends on the demand. Check Zureikat’s Instagram page for more updates.
Pequod’s x Billy Z pop-up for carryout, every Wednesday through May.
A shishito cream sauce, corn, and cheddar power the pizza.
A pizza takes about 25 minutes to bake.
This is the second deep-dish pie on the Tripping Billy tour; Millie’s Pizza in the Pan was the first.
The pizza is garnished with green onions and a pepper.
There aren’t a lot of white deep-dish pizzas.
Billy Zureikat wants to use his platform to help those with accesibility issues.
The pizza is available for carryout every Wednesday through May.
Rachel Lindsay and Callie Curry begin today’s Morally Corrupt with a discussion about the Bravo news of the week (1:37) before giving their thoughts on Season 2, Episode 3 of Summer House: Martha’s Vineyard (11:18), as well as Season 8, Episode 8 of Summer House (26:52). Then Rachel is joined by Jodi Walker to recap Season 1, Episode 4 of The Valley (43:49) and Season 11, Episode 11 of Vanderpump Rules (1:07:27).
Fans of stalwart mini-chain Goddess and Grocer can order a $95 seder meal for two (or a two-seder meal for one) that plays all the hits: gefilte fish, chopped liver, charoset, matzo ball soup, brisket, tsimmes, garlic mashed potatoes, Brussels sprouts, and flourless chocolate cake. The team is also offering a la carte options including a traditional seder plate, braised beef brisket, matzo-crusted chicken schnitzel, matzo s’mores cookies, and chocolate-and-toffee matzo bark with toasted almonds. Pre-orders must be placed online by noon on Monday, April 15 for pickup at any of their four locations.
I started at 370lb on March 22nd 2023. I was 24 and had never been below 300lb since middle school. Just a little past the 1 year mark and I’m 25 and almost into the 240s now. My ultimate goal is 185 and it feels more achievable than ever before. It still doesn’t feel real, I can fit into regular Large clothing sizes now, granted they’re still snug but they won’t be in another 20lb or so. A year ago I was almost fitting just right into 4XL.
Meg is joined by former team principal and Netflix star Guenther Steiner to discuss his new role as ambassador of the Miami Grand Prix and how Formula One is incorporating the American audience in the sport. Then, they hit on Steiner’s Drive to Survive stardom, talk about his friendships on the grid, get into his approach as team principal, and then wrap things up with quick season predictions.
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
Phil Stefani has mellowed since the emotional ride of closing Tavern on Rush in October 2022, ending a 24-year run in Gold Coast. Stefani, along with his daughter Gina and son Anthony, are preparing to relaunch the celebrated restaurant around the corner from the original inside the Thompson Hotel. Crews have been busy gutting the former Nico Osteria.
The fabled Chicago restaurateur says he didn’t truly understand the meaning of “iconic” until he saw five TV stations doing live shots from inside his restaurant on the night it closed.
“What made Tavern — it wasn’t bricks and mortar,” Phil Stefani says. “Tavern was made by the people who frequented it and by the staff who worked there. And this is what we want to duplicate.”
The new Tavern on Rush, at the corner of Rush Street and Bellevue, will serve breakfast, lunch, and dinner. They’re targeting a June opening and will also provide room service for hotel guests. There will be more emphasis on brunch, so folks won’t have to wait in line at the Original Pancake House down the street for a morning option. Fortunately, Gina Stefani has plenty of brunch experience from Mad Social, a since-shuttered weekend brunch destination in West Loop. She is excited about offering breakfast and lunch options for those with early business meetings seven days a week.
“How many times do you just drive by a breakfast place and they have lines out the door — they’re longer than bars at night now,” she says.
A rendering of the staircase at Tavern on Rush.555 International
But that doesn’t mean the new Tavern is solely pandering to fans of Early Bird Specials. Anthony Stefani says they want to get back to the restaurant’s roots “where you can either come and enjoy the vibe” with a few libations or “have a full Chicago steakhouse experience.” Anthony Stefani doesn’t want the space to feel overly modern or flashy but sees this as an opportunity to establish Tavern on Rush as one of the city’s best steakhouses. He’s working with 555 International on the two-level, 16,000-square-foot space’s design. It will include a cocktail lounge, bar, outdoor patio, and multiple private event rooms.
While it’s important to tap into the new, Gina Stefani doesn’t want to run away from her family’s strengths: “Times change, but sticking to the classics, I feel you just can’t go wrong,” she says. “And I think that’s what we do best.”
Her father adds: “It’s unfortunate that places come and go and are hot and cold, but we want to be here for the next 25 years.”
Tavern on Rush wants to retain the lively bar element of the original.555 International
Phil Stefani and his team made Tavern a lively spot where celebrities, from Bon Jovi to Michael Jordan, felt comfortable. He calls the area the “heart of the city,” as it’s near Oak Street Beach and the Mag Mile. Pre-COVID, guests at downtown hotels were the ones who helped fill up Gold Coast restaurants. Tourism appears to be on the upswing and that prompted Phil Stefani to mention how he enjoys seeing the area bustle feeding off the energy of other restaurants like Gibsons and Maple & Ash. A new Carmine’s is also planned.
“If one place is completely full, they can go to the next place and have a cocktail, and vice versa,” Phil Stefani says.
Phil Stefani could read the tea leaves and had been preparing since 2020 for an exit. The landlord at Rush Street wanted to move in another direction and it was time for Stefani and company to pack up. It wasn’t a happy split, but Stefani says time has healed wounds. He’s been eating breakfast every Saturday at the new restaurant, Bellevue, for the past two months.
Many familiar faces from the original restaurant will work at the new one. That includes Benny Nadzaku, Tavern on Rush’s manager. Anthony Stefani says Nadzaku wields more power than his father. If a patron wants a prime patio table, they need to buddy up with Nadzaku.
Tavern on Rush, 1015 N. Rush Street, planned for a June opening
There’s plenty of great thriller films to watch on Netflix. But if you prefer your stories to be more procedural, there’s just as many fantastic TV series to choose from on the service.
We’ve put together our conspiracy corkboards, crunched the numbers, and followed the money to bring you our list of the top suspects for the best thriller TV series to watch on Netflix. From modern classics like David Fincher’s Mindhunter and You to pulse-pounding murder mysteries like Erased and more, Netflix has a selection of thriller TV just waiting to become your next obsession.
Here are the best thriller series you can watch right now on Netflix. Our latest update added The Diplomat as our editor’s pick.
A throwback to the kind of plot-heavy political thriller that used to run television (and the screwball comedies of days gone by), The Diplomat is a delightful star vehicle for Keri Russell. She is Kate Wyler, a whip-smart career diplomat whose plans are thrown into disarray when her upcoming assignment in Afghanistan is changed to what seems to be a cushy post as the new U.S. ambassador to the United Kingdom. For Kate, who loves her work and is very good at it, this is a clear downgrade, but the more power-focused people in her life (including her conniving husband Hal, played by Rufus Sewell) are delighted by the new role. What follows is a whirlwind of intrigue and mystery, with snappy dialogue, strong chemistry between the leads, and plenty of twists and turns.
After courting many viewers for its first season, The Diplomat will return for a second. We can’t wait, especially after the first season’s cliffhanger ending. —Pete Volk
Babylon Berlin
Image: X Filme Creative Pool
Bad things are coming to 1929 Berlin. We know this, of course — with the vantage point of history, the Weimar Republic era was marked by economic insecurity and the beginning of the Nazi Party. But the ’20s in the world of Babylon Berlin exist just before that horror, when the degeneracy from all that economic downturn could give way to roaring ’20s clubs just as easily as unending darkness.
That tension is captured in Babylon Berlin by two protagonists: Gereon Rath (a soft and strong Volker Bruch), a vice inspector on a secret mission to take down an extortion ring, and Charlotte Ritter (Liv Lisa Fries, all vinegar and chutzpah), the new police clerk who moonlights as a sex worker. Together they provide two very distinct vantage points on the Weimar Republic’s waning days, exposing the rot of what’s to come at the same time they find hope in what could’ve been.
Babylon Berlin’s trick is by not getting ahead of itself. The show is perhaps one of the slower boils on this list; the thrills of the mystery, such as they are, come from meticulous pacing. Answers don’t come easy, and a whole country’s politics don’t change overnight. Babylon Berlin is a web of history and conspiracy, and by taking those elements equally seriously and methodically, you get a twisty, hardboiled detective story for the ages. —Zosha Millman
Bodies
Image: Netflix
Solving a murder is hard enough, but how do you go about apprehending a culprit whose crime literally transcends space and time?
Bodies is a terrific cerebral whodunit with an excellent ensemble cast whose stories weave into one another effortlessly as the series builds and the mystery deepens. Created by Paul Tomalin (Torchwood) and based on Si Spencer’s 2014 comic, this sci-fi crime thriller follows four detectives living in different time periods of London who find themselves investigating a strange murder. What’s so strange about it? Well, the victim’s body appears — and reappears — in each time period in the exact same location. What’s even stranger is that the victim was last seen alive in 2053, despite being seen dead both in that year and as early as 1890.
A engrossing drama that feels like a mashup between Class of ’09, Dark, and Alex Garland’s Devs, Bodies is one of Netflix’s most compelling releases this year and wholly deserves to be added to your watchlist. —Toussaint Egan
Erased
Image: A-1 Pictures/Aniplex of America
This sci-fi mystery thriller miniseries from 2016 centers on Satoru Fujinuma, a 29-year-old delivery man who is inexplicably sent back in time and reawakens in his 11-year-old body. Determined to save the lives of his mother and his elementary school classmate, who died and disappeared, respectively, under mysterious circumstances, Satoru must combine his knowledge of the future with his ability to change the past in order to apprehend the culprit and bring them to justice.
Erased is a compulsively watchable thriller anime, filled with enough twists and turns to keep audiences guessing right up to the series’ exhilarating conclusion. —TE
Ganglands
Image: Netflix
French action cinema is having a bit of a renaissance, and one of the leading figures is director Julien Leclercq. He made the very good Olga Kurylenko thriller Sentinelle, the Jean-Claude Van Damme-led The Bouncer, and my favorite movie of his, the tense crime thriller Braqueurs (also known as The Crew).
Six years later, Leclercq took his talents to television with the Netflix series Ganglands (also known as Braqueurs). It shares the same name, lead (the excellent Sami Bouajila), and general vibe, but is not technically a sequel or a remake. In Ganglands, a crew of expert armed robbers are drawn into a gang war: They’re so dang good at crimes, everyone wants to hire them, even the people they rob.
Leclercq and writer Hamid Hlioua have created a muscular little thriller anchored by strong leading performances and the director’s tension-filled style of building action and conflict. The second season was recently released on Netflix, and both seasons are very much worth your time. —Pete Volk
Lupin
Image: Netflix
The thrill of the heist — there’s just nothing like it. Ask Assane Diop (Omar Sy). He’s been working as a con artist and thief for years, drawing his inspiration (and moniker) from an obsession with the literary gentleman thief Arsène Lupin. His thrills are hard-won, but they’re also smoothly meticulous. For Assane, the art of the heist — even with a priceless diamond necklace worn by Marie Antoinette — is a given.
What comes less naturally is revenge. Lupin’s first season follows his quest to seek vengeance on the rich family that wronged his father, and the show is full of twists and turns as his mission starts to bleed from his gentleman thief persona back into his real life.
The French series was a breakout hit when it premiered on Netflix, thanks in large part to Sy’s performance. He is magnetic as he makes con artistry look easy, with the sort of natural charm that makes you believe he can fake his way into any vault or safe in France (and that’s all before we get into his thieving skills and connections). With a heist, the end is, typically, self-assured. Sy’s performance ensures Lupin has the same confidence, and makes every step of the ride along the way its own thrill. —ZM
Mindhunter
Image: Netflix
David Fincher’s exacting vision is applied to the television format in one of the best shows Netflix has ever produced. Over two seasons, odd-couple FBI agents Holden Ford (Jonathan Groff) and Bill Tench (the terrific Holt McCallany) interview serial killers in the burgeoning field of criminal psychology.
In a nice twist on conventional character tropes, it is the young agent who is often cold and emotionally removed, and the older one who worries about the consequences of their actions. Their chemistry, as well as Mindhunter’s deep study of our culture around serial killers and the approach to stopping them, makes the show excellent, and it never veers into the exploitation of its peers in the genre.
How exacting is Fincher’s vision? Take a look at this mind-blowing VFX reel from the show, which literally changed how I watch modern cinema. —PV
Monster
Image: Madhouse/Viz Media
If you’re a fan of the 1960s crime drama series The Fugitive, you’ll likely love the 2004 anime adaptation of Naoki Urasawa’s psychological thriller manga. After all, the series was inspired by it! Set in Germany before and after the fall of the Berlin Wall, Monster centers on the story of Kenzo Tenma, a Japanese brain surgeon living in Düsseldorf. After being implicated in the murders of his superiors, Kenzo must go on the run to clear his name by tracking down the real culprit: a young man he once treated.
Spanning 74 episodes, Monster is a labyrinthine drama filled with a rich cast of characters and enough harrowing twists and revelations to fill a Matryoshka doll. —TE
The Night Agent
Photo: Dan Power/Netflix
Sometimes, you want a “light brain” thriller — something not too deep that might be perfect for a bucket of popcorn or for background viewing while you fold some laundry. The Night Agent is Netflix’s quintessential plot-heavy popcorn thriller, elevated to solid fare thanks to the surprising chemistry between its two leads.
Adapted by The Shield creator Shawn Ryan from the novel, The Night Agent stars Gabriel Basso as an FBI agent who has been relegated to watching a phone that never rings in the basement in the White House. When that phone does ring one night, he and the person on the other end (Luciane Buchanan) are brought into a vast conspiracy that threatens to unravel everything he knows. —PV
You
Image: Netflix
No one is doing it like Joe Goldberg (Penn Badgley). The man is in a league of his own when it comes to stalking women and obsessing over them. This is the double-edged sword of watching You and following Joe in his unethical exploits: He is outright the villain of his own story.
Luckily, You is very aware of this, taking the initial premise of the first season — boy meets girl, boy stalks girl, boy manipulates her whole life to a dangerous degree — and continues flipping it over, putting Joe through his paces, letting him scramble to cover his ass as he gets in deeper and deeper. Each You season is a flavor unto itself, switching locales and ladies and letting Joe make the worst kind of case for himself.
You is not a show for the faint of heart, but it’s also not a thriller that rests easily on its underlying darkness. Joe may be an absolute piece of shit (even Badgley thinks so, and would really like it if you did too), but the show knows how to keep him engaging as it turns the screws on him. Each of the four seasons challenges him in new ways, and it makes for a snaky and startlingly good time. With You there’s only one thing you can always expect: for Joe to go to extreme and violent lengths to prove he’s not the bad guy. Also a plexiglass vault. —ZM
As many people have said on dating profiles (or mothers on their wall art), I love a video game that makes me laugh, and I am delighted Final Fantasy 7 Rebirth has been so goddamn good at it.
In my time with the game, it has asked me to do absurd things like play a card game against a regular-ass dog. It has featured Cloud Strife, the badass protagonist with a giant sword, carrying a little cushion around for him to use on benches. It’s got dudes who play acoustic guitar at you like the Kens in Barbie, the franchise’s second homoerotic biker duel, and a lot of other things I want to talk about but would probably be spoilers. I mean, Chadley???
But if you’ll allow me the indulgence, I need to talk about one in particular.
Consider this a spoiler warning. I’m serious. I’m going to embed a photo of Cloud Strife playing the piano (also funny) to try and spare casual scrollers, but right underneath it, there will be a YouTube video of one of the funniest things I’ve ever seen in video games, one that I recommend seeing for yourself if you’re interested in playing through Final Fantasy 7 Rebirth. (You can’t miss it, it’s part of the story.)
Okay, ready?
Image: Square Enix
Here it is:
There are a lot of incredible things about this scene, which takes place in Chapter 5 aboard the Shinra-8 cruise to Costa del Sol. First, like a lot of things in Rebirth, it’s a gag lifted directly from the original Final Fantasy 7, but it’s been given such a lavish reinterpretation that it becomes an entirely different kind of funny, a throwaway gag made into a comedic centerpiece for no reason at all.
As previously established in Final Fantasy 7 Remake, the characters are more than happy to break out into dance, but that still doesn’t prepare you for seeing Red XIII do a Michael Jackson impression, or the (smaller but funnier) sight gag of the canine warrior trying to cross his legs across the table from Cloud. (Also the kid crying at the sight of him kills me every time.)
I don’t think you get any of this in Final Fantasy 7 Rebirth without Square Enix’s crucial development decision to never shy away from or soften the oddity of the original game’s polygonal abstraction. Under the older game’s art constraints, the unrealities of, say, riding a dolphin or meeting a talking cat are much easier to roll with, and not particularly unusual.
Recreating these moments with such a high degree of realism is in itself funny, an endearing commitment to a bit I can’t believe a massive studio signed up for. It’s also both a necessary counterbalance to an otherwise dire and melodramatic story — yes, the heroes of Rebirth must also fight for a world that has room for fun and levity — and a bit of a eulogy for this kind of goofballery in modern big-budget games.
Sure, every once in a while we get something like Like a Dragon: Infinite Wealth, the latest in a long line of games that always show players a tremendously goofy time — but Final Fantasy 7’s comedy is something different. It’s a relic from a time when games were a little more mysterious, a little more challenging to interpret, with a little more room to surprise. Maybe publishers will see people eagerly sharing photos of Red XIII riding a chocobo and think, hey, this stuff would be good to have in video games again.
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
On Friday morning, Bird Studio, a small production workshop in Nagoya, Japan, announced the death of its founder, Akira Toriyama, the legendary manga artist, character designer, and creator of the long-running manga and anime franchise Dragon Ball. Toriyama died on March 1, at age 68, due to an acute subdural hematoma—a blood clot in his brain. The news of his passing has sparked a global outpouring of kind words and heartfelt illustrations, a testament to the late mangaka’s massive multigenerational impact.
Toriyama was, without a doubt, one of the most influential figures in the history of comics and cartoons. He was also a pivotal figure in the popularization of manga and anime outside Japan. Where Hayao Miyazaki is rightly lauded as a hero of theatrical anime, Toriyama was a god of manga and television anime, looming large for nearly half a century before his passing. The studio Toei Animation’s earliest adaptation of Dragon Ball consisted of 153 episodes roughly split into nine story arcs that aired in Japan throughout the late 1980s and appeared only briefly—at least initially—in North America via The WB network. Dragon Ball was the story of Goku, a young boy with spiky hair and magical powers and rigorous martial arts training, on a quest to collect the seven magical orbs—the titular Dragon Balls—required to summon Shenron, a dragon with the power to grant the summoner a single wish before once again scattering the Dragon Balls across earth. Toriyama was heavily inspired by the classic premodern Chinese novel Journey to the West, and yet Dragon Ball was unmistakably original in its art style and its mischievous humor. Toriyama was a mythmaker for a new medium and a new century.
With time, Toriyama wrote Dragon Ball into a more mature direction, and Toei spun the newer volumes into a sequel series, Dragon Ball Z, a much edgier show full of angsty heroes, ruthless villains, awesome superpowers, intergalactic intrigue, cataclysmic battles, and excruciating cliff-hangers: “Next time on Dragon Ball Z!” The Goku of Dragon Ball Z was a grown man, a husband and a father, and while his kindhearted son, Gohan, would in some sense preserve the gentler spirit of the earlier Dragon Ball, Super Saiyan Goku would come to iconically embody the fierce heroism of battle shonen. Cue Linkin Park.
Dragon Ball had an inauspicious launch in the West. Time Warner initially brought both Dragon Ball and then later DBZ to North America, airing the latter alongside Batman: The Animated Series and The Animaniacs, with extensive edits to tame the vulgarity and violence for younger audiences. But violence and vulgarity were rather essential to the appeal of DBZ, and the anime series wouldn’t really take off in North America until Time Warner moved it to Cartoon Network and its action-adventure programming block, Toonami, in August 1998. This version of DBZ featured a new English voice dub, less censorship, and a clearer sense of the target audience. DBZ aired alongside the magical girl series Sailor Moon and the space-mech saga Gundam Wing, among other popular anime of the late 1990s. Toonami raised a generation of kids and thus nudged anime into the mainstream. None of these shows were bigger than Dragon Ball Z. None of their creators were bigger than Toriyama.
Toriyama unleashed something in the modern imagination with the Dragon Ball franchise. Anime had long been seen as something strange and even illicit in North America, an array of sketchy titles filling out the back shelves of video rental shops, next to the porn. Fist of the North Star wasn’t exactly an after-school show. Manga was in an even weaker position, with few serialized titles finding any substantial distribution and readership in North America outside of Katsuhiro Otomo’s cyberpunk classic Akira and Rumiko Takahashi’s fantastical rom-com Ranma ½. Toriyama didn’t just find an audience for Dragon Ball—for so many fans, he redrew the whole notion of comics and cartoons and superheroes. In the West, Dragon Ball was a sensation unlike anything before it, and while in subsequent years anime has produced a few dozen battle shonen hits in roughly the same vein, Dragon Ball is still unrivaled in its influence; the creators of later shows such as Bleach, Naruto, and One Piece will be the first to tell you that they owe everything to Toriyama.
Dragon Ball, as a cultural phenomenon, has never really ended. Toriyama oversaw its expansion into a multibillion-dollar multimedia universe: Dragon Ball, then DBZ, GT, Kai, and Super; the 21 theatrical releases over the years, most recently Broly and Super Hero; and video games such as Dragon Ball FighterZ. Dragon Ball is a gateway, and Toriyama was the best sort of gatekeeper, one eager to invite every kid into his creative vision.
Toriyama’s death comes as a shock; he was old, but not that old, and there were no public signs of declining health. In an industry full of rapidly grayed creators run ragged by the unsparing demands of the profession, Toriyama was forever youthful and always smiling. In its announcement of his death, Bird Studio said Toriyama “still had several works in the middle of creation with great enthusiasm.” It’s strange to think that he was so prolific, his influence so multigenerational, and yet, somehow, his work is now unceremoniously unfinished. His influence has spread so far and wide in the decades since he ended Dragon Ball in May 1995, after 42 volumes, with a parting message to his readers: Tackle life with as much energy as Goku! I’ll try to do the same!
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.
Van Lathan and Rachel Lindsay discuss the Alabama Supreme Court ruling that’s resulted in the halting of IVF treatments (5:18), before reacting to Tiffany Haddish’s trip to Israel (20:41). Then they break down a viral TikTok account called Biracial Lounge(38:16) before welcoming the founder of the X for Boys Life Preparatory School, King Randall I, to discuss a recent post on safety during police interactions (47:33).
Hosts: Van Lathan and Rachel Lindsay Guest: King Randall I Producers: Donnie Beacham Jr. and Ashleigh Smith
If you think Alan Cumming, host of the U.S. version of The Traitors, gives off “guy who killed someone” vibes, he’ll laugh — you’re picking up what he’s putting down. It’s why, in episode 8 of season 2, when he sent the contestants off on their mission, he gleefully turned to the camera and said, “And they were never seen again.”
“I said that many times, on every task,” Cumming admits. “I wanted that to be my new catchphrase, but they only used it a couple times.”
This is exactly why the team behind Peacock’s hit reality game show wanted Cummings in the first place, even if he didn’t understand it at first. He met with producers, initially, out of confusion and curiosity.
“I couldn’t understand why they would want me to do it. Then I realized they wanted a sort of character. And I said, ‘Do you mean you want it to be sort of like a James Bond villain?’”
The answer was an enthusiastic yes. And suddenly Cumming could see the whole persona: “He’s the sort of Scottish Laird, and he’s kind of Machiavellian, [and] brings all these people here,” Cumming says. The look would be a sort of “dandy” Scottish tartan. Cumming’s dog could even come with, so the actor could menacingly pet her while staring down contestants.
“I really love this character. And it’s funny, life just flings these things at you that you never would have seen coming. I never thought I would be hosting a big, successful competition reality show in Scotland and a castle with a bunch of reality stars. I mean — you couldn’t make it up. But I obviously go out going through life open to certain things. I’ve always been quite eclectic. And these things come to me and actually, this one I really, really enjoy.”
And it’s a role he takes really seriously. As he gets ready in the morning he listens in on the players’ breakfast discussion, watching on a big screen so he can “really feel a part of it” as he gets ready to make his big entrance. “It’s good for me to understand, when I walk into the room, the mood of the room and the atmosphere,” Cumming says.
Cumming is often around the castle, but not with the contestants — after his breakfast entrance he usually has a little break when he can look over scripts for the next day, then he and the players go to film the mission. After that, the contestants hang out and Cumming has another break (he says he’s usually eating or walking Lala the dog), but stays briefed on what’s happening. “When the roundtable comes it really does feel like this big theatrical moment because they all go in and they play this scary music in real life,” Cumming says. “It’s like these little performative spurts. And in between I’m trying to keep an eye on what’s happening and trying to get an understanding of how the wind is blowing.”
Even still, he’s just as on the edge of his seat as the rest of us. He likes to maintain a distance between himself and the cast (he feels his character should always have “quite a stern, daddy demeanor” that leaves the contestants scared), and Cumming has been surprised by how things went once he got into the room. “That’s what’s great about the games — there was a person I thought was doing really well, a faithful, and was going to help tear the whole thing apart. And people turned on them. It was like hyenas going for a baby elephant, it really was. I was gobsmacked.”
While he wouldn’t say who that was about, he would say some of the contestants he’s most surprised by: Bergie (when he became the MVP of the graveyard challenge), Phaedra (he appreciates her showmanship and the way it provides her cover), and Parvati (he hadn’t watched Survivor, and she seemed like a “sweet little thing with a hairband”).
But even with a closer view, he’s just as eager to let it all play out as the rest of us. Well, sort of — at least the rest of us don’t live in fear about bumping the wrong shoulder when selecting traitors at the roundtable.
The Traitors season 2 (the U.S. version) airs new episodes on Peacock every Thursday at 6 p.m. PST/9 p.m. EST.
Nintendo will broadcast a new Nintendo Direct presentation on Wednesday, Feb. 21, a showcase focused Switch games coming in the first half of 2024, the company announced Monday. The new Nintendo Direct starts at 9 a.m. EST/6 a.m. PST, and will run about 25 minutes, Nintendo says.
Wednesday’s Direct will be viewable on Nintendo’s YouTube and Twitch channels. The presentation be on-demand, meaning the entire showcase will go live at once.
Nintendo notes that its newest Nintendo Direct presentation is a Partner Showcase, meaning that third-party publishers and developers will be the focus during the video showcase. In other words, don’t expect a big blowout on Nintendo’s first-party slate.
Nintendo’s currently announced first-party lineup includes Switch games Princess Peach Showtime!, Luigi’s Mansion 2 HD, and Paper Mario: The Thousand-Year Door. Of course, Nintendo may have a few surprises in store as well. The company still has Metroid Prime 4 on its release schedule, and is rumored to be sitting on a handful of remakes and remasters.
Less likely to appear during February’s Nintendo Direct is the company’s next console. “Switch 2” is reportedly coming sometime in 2025.
Madame Web was actually a cool character and the whole Secret Wars storyline was great. I did not see the new movie (and I wont), but based on the memes, its trash. Im sad that the new generation wont know the OG character, and that she will probably end up as Nimrod (who was a famous hunter, but loonytunes changed the meaning).
Season 3 of The Bear, the critically acclaimed TV series that has showcased many of Chicago’s most popular restaurants, should release in June, according to FX. The network’s chairman, John Landgraf, confirmed the time frame during the Television Critics Association winter press tour last week.
Season 2 and its 10 episodes were released all at once on June 22, 2023 on Hulu. Season 3’s news follows that template. Since then, the series has garnered 10 Emmys and three Golden Globes. After enduring the ire of some Chicagoans for its depiction of the city in Season 1, where some natives railed about inaccuracies, creator and suburban native Christopher Storer and his team began Season 2 as a love letter to the city with plenty of pretty shots of the city and cameos from chefs and restaurant owners.
The show moved away from Italian beef in Season 2 and focused on the opening of an upscale neighborhood restaurant. A handful of local chefs told Eater Chicago that TV reps approached them to see if they were interested in cameos in Season 2; there’s no shortage of possibilities in terms of filming locations. Eater Chicago has some opinions on where the show should go in Season 3. Perhaps they’ll also include a certain rodent-shaped crevice.
Two Chicagoans featured on Top Chef Wisconsin
In more TV news, a pair of local chefs will appear on Season 21 of Top Chef, set in Chicago’s mostly pleasant neighbors to the north, Wisconsin. Get ready for national writers to parachute in and Columbus supper clubs as the TV show heads to Madison and Milwaukee. The season premieres on March 20 and Bravo with Alisha Elenz (last seen at Bambola in Fulton Market) and Kaleena Bliss. Elenz won a local Jean Banchet Award for her work at Mfk in Lakeview. Bliss recently moved to Chicago from Seattle where she worked as executive chef at the Thompson Seattle hotel and its flagship food and beverage offering, Conversation. Bliss also won Chopped Casino Royale. She’s now the executive chef at Chicago Athletic Association. Like the Thompson, it’s a Hyatt property.
Dark Matter Gives Skeletor Some Love
Yes, the world of He-Man is set in Eternia (which perhaps is as fictional a realm as River North was to viewers as Season 1 of The Bear). But the ‘80s cartoon, a series created as a way to sell toys to kids, has made a comeback via Netflix. The latest installment, titled Masters of the Universe: Revolution, dropped in late January, and Chicago’s very own Dark Matter Coffee has released a coffee with toy maker Mattel. “Skeletor Blood” features gorgeous art from Dark Matter’s Jourdon Gullett. Beer fans may recognize his work on bottles for Solemn Oath Brewery. Dark Matter is also selling coffee mugs with the art: “This caffeinated concoction permeates dark chocolate and luscious fruit, fueling the evil lord of destruction to accomplish universal domination.” The mug, canned cold coffee, and 12-ounce bags of beans are available online and at stores.
With the possible exceptions of trauma surgeons, firefighters, and garbage collectors, nearly everyone has at one point or another been plagued by the ambient sense that their job is pointless. This is true even within professions that we’d consider essential: If you know any nurses or teachers, you’ve heard about the hopelessness and boredom that snake their way through hospitals and schools. When you abstract work further and further, away from producing shoes and chairs and toward producing “shareholder value,” you are forced to confront one fundamental question, again and again: What the fuck are we doing here?
Last week, it became clear that Warner Bros. Discovery (a conglomerate formed when AT&T spun off Warner Media, itself the by-product of a 1990 merger between Time Inc. and Warner Communications that was designed to stave off a hostile takeover by Gulf+Western, which is now Paramount) planned to permanently shelve Coyote Vs. Acme, a live action–animation hybrid film that was completed sometime in 2022. Based on a New Yorker piece by Ian Frazier (published a month after the Time-Warner merger) that imagined Wile E. Coyote suing the Acme Co. over “defects in manufacture or improper cautionary labelling” of the various items he purchased to help capture the Road Runner, the film stars Will Forte and John Cena, is directed by Dave Green, and is written by Samy Burch, whose May December script is up for Best Original Screenplay at next month’s Oscars.
It is now overwhelmingly likely that no member of the public will ever be able to see Coyote Vs. Acme. In fact, The Wrap reports that after outcry from filmmakers and onlookers over initial reports about plans to shelf the film, which was budgeted around $70 million, Warner allowed it to be screened for interested parties. But Warner did not inform Netflix, Amazon, or Paramount—all of which are said to have made “handsome” offers—ahead of time that there would be no budging from its initial asking price, which was somewhere between $75 million and $80 million.
There is precedent for Warner, under CEO and president David Zaslav, canceling a filmed and nearly finished feature film. In 2022, the conglomerate shelved Batgirl and something called Scoob! Holiday Haunt, each of which was slated to go directly to the company’s paid streaming service, then known as HBO Max. (You imagine a team of men in suits: “Sir, the exclamation point actually goes in the middle.”) But while Coyote Vs. Acme is not the first property to be left flattened, as if by a falling anvil on the side of a highway, it’s the first one whose very premise is a tidy metaphor for the way the industry has become an impassable web of complementary and competing corporate interests that wraps itself around cultural objects until they are completely mummified. Put another way, Coyote Vs. Acme—if we’re to take the Frazier piece as its basis—is a movie that is about the very dynamic that killed it: capital’s use of the law not as an arena for fair adjudication but as a blunt instrument.
Created for Warner Bros. at the tail end of the 1940s by Chuck Jones and Michael Maltese, Wile E. Coyote has spent the past 75 years in perpetual chase of the Road Runner, a similarly silent desert dweller. Across what, in Frazier’s piece, Coyote’s attorney calls “Arizona and contiguous states,” the predator deploys an endless array of Acme-supplied gadgets and contraptions to catch his prey—always to no avail. While Bugs Bunny is the unquestioned star of Looney Tunes, Coyote is a constant victim of the cartoon physics the franchise made famous: He scurries off cliffs but falls into the chasm below when he looks down and sees that the ground is gone; he’s frozen, statue-like, by the quick-drying cement Road Runner speeds through like a hydroplaning car; he collides “with a roadside billboard so violently as to leave a hole in the shape of his full silhouette.”
What Frazier’s piece captures so shrewdly is the way legalese can make the ordinary sound absurd and the absurd sound downright justifiable:
Unsuspecting, the prey stopped near Mr. Coyote, well within range of the springs at full extension. Mr. Coyote gauged the distance with care and proceeded to pull the lanyard release. … At this point, Defendant’s product should have thrust Mr. Coyote forward and away from the boulder. Instead, for reasons yet unknown, the Acme Spring-Powered Shoes thrust the boulder away from Mr. Coyote. As the intended prey looked on unharmed, Mr. Coyote hung suspended in air. Then the twin springs recoiled, bringing Mr. Coyote to a violent feet-first collision with the boulder, the full weight of his head and forequarters falling upon his lower extremities.
The lawsuit, like the cartoon itself, endears Wile E. Coyote to us: We want him to catch the Road Runner; we don’t want him to suffer a “fracture of the left ear at the stem, causing the ear to dangle in the aftershock with a creaking noise.” But underlying the catalog of injuries to body and reputation that Coyote’s lawyer offers is the claim that it is a predator’s inalienable right to pursue its prey. So where Acme is a clot of half-obscured “directors, officers, shareholders, successors, and assigns,” the plaintiff is himself hoping to normalize his crimes; the case is a Russian nesting doll of predation. It calls to mind the arch-American myths of the careless coffee drinkers suing restaurants for handing them hot drinks.
The entertainment industry, like all others, replicates this logic on a larger scale. Most analysts figure Warner will score at least a $30 million tax break for shelving Coyote Vs. Acme rather than releasing it. This is, on its face, immoral and anticompetitive whether you find morality and business competition to be one and the same or directly opposed: How can it be better to flush $70 million down the drain than to try to recoup at least some of it?
And still, in the immediate sense, it’s almost certainly good business; the balance sheets will be cleaner this year. But it closes off any possibility that the film would be a hit—or adapted into a hit spinoff, or heavily merchandised, or simply good enough that it makes Warner more attractive to filmmakers who could bring it hits in the future. It’s shortsighted by the most craven measures and simply gross by any others. Yet tax law—and precisely nothing else—incentivizes the conglomerate to do something that, in a sane world or in a more competitive industry landscape, would alienate it to writers, directors, and stars.
Speaking of American myths, it doesn’t take too many contortions to see Wile E. Coyote as our Sisyphus: alone in the unpopulated West, starving but eager to abstract his animal instincts with consumer goods and cheap schemes. Coyote Vs. Acme is not some bizarre, divisive, or difficult passion project. It’s an all-ages comedy about the most recognizable characters a studio has ever created that has a hook (Who Framed Roger Rabbit meets Erin Brockovich or whatever) that could compel adults. But we have somehow arrived at a place where the production history of a Looney Tunes movie starring a former wrestler is now emblematic of art’s struggle against corporate greed.
In about 10 days, people—junior analysts, “institutional investors,” the wealthy and semiretired, senior analysts—will huddle around those arachnid conference call speakers or pace through airport gates on Airpods and listen to Warner Bros. Discovery’s fourth-quarter earnings call. It’s possible that the Coyote Vs. Acme debacle will be addressed simply due to the uproar it caused, but just as likely that the company will barrel ahead with what was likely the plan all along: to let it slip silently into the ether, a massive tax benefit “earned” by lighting years and tens of millions of dollars on fire. Zaslav will be rightly praised while those so inclined will sleep well knowing they can cash out whenever they please.
This is an extreme example, to be sure, yet still clarifies the precarity and seeming impermanence of art in the streaming era. To the extent that those streaming platforms have become the de facto media libraries for so many, individuals have ceded to rights holders and corporations control over their collections of movies and music, which can be shrunk or radically altered on the first of any given month. For decades, things have fallen out of print and become obscure, and axing something before its release, as Warner seems ready to do with Coyote Vs. Acme, is reminiscent of the way studios could control what was available in decades past. But today, Warner and its competitors are free to play this out over and over—able to yank things out of circulation at will. In the past, they never could have reached into your home and scooped up your DVD copy of The Spy Who Shagged Me.
I should correct something from earlier, when I said that Coyote never catches the Road Runner. This isn’t true—not exactly. In “Soup or Sonic,” a nine-minute segment in a 1980 special called, unfortunately, Bugs Bunny’s Bustin’ Out All Over, Coyote tries and fails to capture the bird using a pole vault that starts spinning like a propeller; a faulty rocket; a Frisbee fitted with a firecracker; a piece of “Acme Giant Flypaper” that captures, well, a giant fly; and a case of exploding tennis balls.
But in the short’s final two minutes, Coyote chases Road Runner through a series of pipes that turn each animal smaller as they pass from one end to the other. Discovering this, they pivot; running back the direction they came brings the Road Runner back to normal size, but leaves Coyote tiny. Nevertheless, he finally catches up. Wrapping his arms—just barely—around the Road Runner’s now giant ankle, Coyote licks his lips and pulls from his nonexistent pockets a bib, knife, and fork. But there’s nothing he can do: The thing he’s pursued forever is too immense, too threatening for him to bite, to cut, to finally eat. “OKAY, WISE GUYS, YOU ALWAYS WANTED ME TO CATCH HIM,” reads one sign Coyote holds up for the audience. The other: “NOW WHAT DO I DO?”
Paul Thompson is the senior editor of the Los Angeles Review of Books. His work has appeared in Rolling Stone, New York magazine, and GQ.
Maybe the ancient ritual will help. Checked on her two hrs ago. Got worried and went back to check on her again since she went to the hospital friday. Now im waiting in the ER as the condition i found her in was much worse. Anybody got some cat memes i can disassociate with? Ill update later today.
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