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  • 2023 Games of the Year Draft

    2023 Games of the Year Draft

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    Ben Lindbergh is joined by Jessica Clemons, Steve Ahlman, and Matt James to commemorate a great gaming year. First, they name “naughty” and “nice” industry trends, from massive hacks to surprise releases (0:00). Then they celebrate the highlights of the year in gaming by drafting the most unforgettable titles of 2023 across several categories, including epic RPGs, sprawling action adventures, and indie gems (33:00).

    Host: Ben Lindbergh
    Guests: Steve Ahlman, Jessica Clemons, and Matt James
    Producer: Devon Renaldo
    Additional Production Supervision: Arjuna Ramgopal

    Subscribe: Spotify / Apple Podcasts

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    Ben Lindbergh

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  • The 10 best Netflix originals of 2023

    The 10 best Netflix originals of 2023

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    It’s been a great year in movies. So great, in fact, that it was hard to limit our year-end list to just the 50 best new movies. Similarly, TV had a stellar year, and the 50 best new shows only scratches the surface of the year in episodic storytelling.

    But not all of those movies are available to watch at home, and many of those shows are spread across a litany of streaming services. Netflix remains the king of streaming services for now. Statistically, you, dear reader, probably have a subscription. But the platform released well over 100 new movies in 2023, and even more shows. Not all of them can be winners. How do you make the most of your subscription? By sticking to these great picks.

    A note: This list doesn’t include movies or TV shows produced by other companies but licensed for distribution by Netflix, like May December and Jawan.

    Here are the best new Netflix original movies and TV series that came out this year.


    Netflix’s best new movies of 2023

    The Killer

    Image: Netflix

    David Fincher’s technical precision is a perfect fit for a story about a methodical hitman. The Killer is an immense technical feat — watch the behind-the-scenes about the sound design and VFX after.

    They Cloned Tyrone

    (L-R) Teyonah Parris in an orange fur coat, orange body suit with leopard print paints, Jamie Foxx in an all-purple suit with matching coat, and John Boyega in a puffy teal coat standing in a metallic elevator in They Cloned Tyrone.

    Photo: Parrish Lewis/Netflix

    One of the year’s most impressive directorial debuts, Juel Taylor’s sci-fi farce They Cloned Tyrone also features one of the year’s funniest performances by way of Jamie Foxx.

    Kill Boksoon

    Esom as Cha Min-hee fires a gun in the air while wearing a bright red dress as a police officer crouches down next to her in a firing range in Kill Boksoon.

    Photo: No Ju-han/Netflix

    One of many stellar 2023 offerings from Netflix’s investment in Korean entertainment, Kill Boksoon follows an assassin who is also a single mom. It’s a great mix of action thrills and domestic drama, aided by a layered lead performance from Jeon Do-yeon.

    Extraction 2

    Mercenary Tyler Rake (Chris Hemsworth) and his sister-in-law Ketevan (Tinatin Dalakishvili) shelter against a corrugated metal wall as a door in that wall explosively blows open in Extraction 2

    Photo: Jasin Boland/Netflix

    Arguably Netflix’s best pure action movie of the year, Extraction 2 improved on the first thanks to a change in setting and one of the year’s most ambitious one-take sequences.

    The Wonderful Story of Henry Sugar

    Benedict Cumberbatch (in a tuxedo as Henry Sugar) and Sir Ben Kingsley (as a croupier) look into the camera as they stand at a table in a casino, surrounded by a curious crowd of well-dressed people, in Wes Anderson’s Netflix film The Wonderful Story of Henry Sugar

    Image: Netflix

    One of four experimental shorts by Wes Anderson adapting Roald Dahl stories, Henry Sugar is the first and best of the bunch. Benedict Cumberbatch is trying to learn how to cheat at cards, but the real joy is Anderson continuing to toy with the inherent artifice of storytelling, having actors read directly to the camera and using stage-like props and sets.

    Netflix’s best new TV shows of 2023

    Pluto

    The head of the robot Mont Blanc is placed on a hilltop between two tree branches in a forest ablaze, in a scene from the Netflix anime Pluto.

    Image: Netflix

    The long-awaited adaptation of Naoki Urasawa’s legendary manga lived up to expectations, and then some. It’s a gorgeously told story about the hunt for a serial killer targeting the world’s most powerful robots. Unflinching in its depictions of personhood for humans and robots alike, Pluto is a masterpiece.

    Blue Eye Samurai

    Mizu holds up a bloody sword, Ringo right behind her

    Image: Netflix

    Husband and wife duo Michael Green and Amber Noizumi delivered one of the year’s biggest surprises in this bloody, sexy, and satisfying revenge thriller about a mixed-race warrior who hides her gender and ethnicity while seeking to kill the four white men in Japan, seeking vengeance against her father.

    Scott Pilgrim Takes Off

    Sex Bob-omb performs in Scott Pilgrim Takes off.

    Image: Netflix

    Speaking of surprises, was there a bigger one this year than Scott Pilgrim Takes Off? Netflix got original graphic novel writer Bryan Lee O’Malley and the entire cast of Scott Pilgrim vs. the World back together for this anime adaptation, and instead of doing a boring retread of a cult classic, they took it in an entirely new and exciting direction.

    Beef

    Ali Wong lies on the floor while holding a gun between her legs in Beef

    Image: Netflix

    Steven Yeun and Ali Wong excel in this intense thriller about two regular people who get in a feud that spirals out of control after a road rage incident. It’s a smart show about how the pressures of capitalism pit people against each other, anchored by two terrific lead performances.

    The Diplomat

    Keri Russell walks down an extravagant staircase while wearing a fancy beige-ish dress in The Diplomat.

    Photo: Alex Bailey/Netflix

    A throwback to the kind of plot-heavy political thriller that used to run television, The Diplomat is a delightful star vehicle for Keri Russell. It’s an absolute treat to see her lead a TV show again, and the supporting cast, led by Rufus Sewell and Rory Kinnear, are more than up for the task of letting Russell shine.

    Others worth watching:

    Movies

    Jung_E, a post-apocalyptic sci-fi from the director of Train to Busan and Hellbound

    You Are So Not Invited to My Bat Mitzvah, an Adam Sandler family joint that is a fun and funny teen comedy

    Reptile, a dark crime thriller starring (and co-written by) Benicio del Toro

    Wingwomen, a French heist/found sisterhood movie directed by and starring Mélanie Laurent

    Ballerina, a dark Korean revenge thriller

    TV

    I Think You Should Leave with Tim Robinson, the third season of Tim Robinson’s zany sketch comedy show

    The Night Agent, one of Netflix’s biggest hits of the year and a fun popcorn thriller

    Ganglands, the second season of the excellent French crime thriller series

    Bloodhounds, a Korean drama about two boys in a bromance who just love to box

    Physical: 100, a Korean competition show about finding the fittest person in the country

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    Pete Volk

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  • The 2023 Bravo Year in Review With Gibson Johns

    The 2023 Bravo Year in Review With Gibson Johns

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    As we usher in a new year, Rachel Lindsay joins forces with reality expert Gibson Johns of the Gabbing with Gib podcast to recap all of the wildest Bravo moments of 2023. Rachel and Gibson give their opinions on the RHONY reboot, discuss the nuances behind the portrayal of Kyle and Mauricio’s breakup, debate how to fix RHOA, RHOP, and RHONJ, chat about their predictions for the upcoming Vanderpump Rules season, and more!

    Host: Rachel Lindsay
    Guest: Gibson Johns
    Producer: Devon Baroldi
    Theme Song: Devon Renaldo

    Subscribe: Spotify

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    Rachel Lindsay

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  • Bradley Cooper Is Trying So Hard

    Bradley Cooper Is Trying So Hard

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    In several respects, Leonard Bernstein was a man split in two. Dreaming of becoming the first great American conductor but finding more success as a composer for Broadway musicals, he also struggled with his sexuality, marrying a woman he loved but regularly cheating on her with men. His life was a balancing act, his ego pulling him in different directions—between self-fulfillment and self-preservation, self-interest and altruism. So perhaps it makes sense that Bradley Cooper—cowriter, director, and star of the Bernstein biopic Maestro—seems to be wrestling between reverence for his subject and a need to prove himself.

    Maestro has an unabashedly operatic style, from its visual language to its performances. From the start, director of photography Matthew Libatique (who already worked with Cooper on the actor’s wildly successful directing debut, A Star Is Born) juggles between über-intimate close-ups and dramatic camera angles and movements. As young Bernstein learns that he will get to conduct the New York Philharmonic at the last minute that same evening, he rushes out of bed, leaving his male lover there, to take in the view of the empty auditorium of Carnegie Hall, the camera sweeping before him, the huge space dwarfing him. Bernstein’s extravagance is mirrored in the camerawork. Yet even this inciting moment doesn’t entirely workthe too-smooth digital look of that camera movement juts against the analog authenticity of the movie’s black-and-white color scheme. And that’s just the first of many stylistic—perhaps even hubristic—leaps through which Cooper tries to bring together Bernstein’s private and public lives.

    Cooper had been working on bringing Maestro to the screen since 2018, but in his Variety “Actors on Actors” interview with Emma Stone, he explained how he’d been passionate about conducting since childhood, pretending to conduct to a recording of Tchaikovsky’s “Opus 35 in D Major” for hours. He’d had “years and years of rehearsal inside of [him],” he said, or at least a burning desire to play such a character for a long time. All of this is very evident in how particular Cooper’s choices and points of focus are. Combining Bernstein’s art and his more ambiguous real life in an impressionistic medley in which the walls between stage and home disappear, Cooper aims for something both raw and almost dreamlike, but the final result feels overdetermined, at once too polished and not precise enough. In his own acting as Lenny (as everyone called Bernstein), Cooper reaches for an extreme kind of realism and imitation, adopting the gestures, voice ticks, and wrinkles of his protagonist in such a committed way that the prosthetic nose, in this context, almost doesn’t stand out so much. What does, however, is the effort required, and not just of Cooper, but of everyone involved.

    As a filmmaker, Cooper seems to have been very concerned with recreating the buzzing, bohemian atmosphere and way of being that Bernstein and his fellow artists shared, with scenes of artists talking passionately about music and movies and singing around a piano until the small hours. But he’s only captured an idea of what that energy must have been like—the overlapping exchanges and full-throated laughter often feel forced and mechanical, bereft of any sense of true, underlying connection. Lenny’s meet-cute with his eventual wife, Felicia (Carey Mulligan), plays like two people quipping with themselves rather than speaking to each other. And by being so committed to nailing such specific beats, Cooper misses the things that actually matter: the composer’s warmth; his benevolence; the pleasure that radiated through him when he would relish in his passion.

    What Maestro does capture is the sense of two people sharing a life together. Smartly avoiding the usual traps of the biopic, Cooper focuses on Lenny and Felicia’s relationship, in small stolen moments and a few major turning points. These intimate scenes help paint a picture of what happiness looked like for the Bernsteins. But Cooper’s fluctuation between frankness and artistic suggestion ends up making their struggle amorphous and mysterious. We find again the fast progression through changes that was also present in A Star Is Born, but which in that film wasn’t as frustrating, perhaps because we understood that the degradation of the couple’s relationship was largely due to Jackson Maine’s alcoholism. Maestro also faces a greater challenge than A Star Is Born, in that its real-life couple did not meet a classically tragic end—they actually reconciled despite the strain that Bernstein’s disavowal of his sexuality put on their marriage. The answers and conclusions of this story are much more complicated—a level of nuance to which Cooper’s deconstructed and flamboyant approach can’t rise. The subtleties of Bernstein’s life are only glimpsed, as though Cooper couldn’t choose between showing the real person and paying homage to the artist. But this man’s troubles weren’t an acting exercise for him, nor were they for Felicia, whose cancer diagnosis is exploited for maximum pathos.

    Cooper does seem to truly love Bernstein’s work, and his focus on the artist’s conducting makes for some beautiful and impressive moments. Even those, however, appear more like personal challenges for Cooper to conquer than instances of musical excellence intended for the viewer. In A Star Is Born, Cooper seemingly understood that the film needed Lady Gaga’s presence and musical talent in order to function. The duets between Jackson and Ally were rousing because they showed the intimacy and connection the two shared. In that same conversation with Emma Stone, Cooper explained his decision to rerecord all the music that Bernstein conducted or created: “I knew that if I put his music in the movie, then that would do everything that a biopic would ever do anyway—if you want to learn about Martin Scorsese, you just watch all his films, rather than watch an interview.” Thus, for Cooper, the challenge of conducting six minutes of Mahler’s “2nd Symphony” at Ely Cathedral as Bernstein represented an opportunity to try to recapture the artistic essence of Bernstein and share it with the viewer, as though to become a vehicle for it. But is such a thing even possible, especially when we’re talking about the sheer artistic expression of a person? Unlike the couple at the center of A Star Is Born, Cooper’s Bernstein feels detached from his surroundings—and while some of that makes sense for a man so unsure about his own identity, it doesn’t justify the distance one feels between him and his audience. Cooper wanted to literally become Bernstein, but he worked so hard at it that he seemingly forgot why he—himself, but also Bernstein—wanted to make music in the first place.

    Manuela Lazic is a French writer based in London who primarily covers film.

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    Manuela Lazic

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  • The Townies, Part 2: Who Won the Year in Hollywood?

    The Townies, Part 2: Who Won the Year in Hollywood?

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    In Part 2 of the exclusive Townie Awards, Matt and Bloomberg’s Lucas Shaw select their Winner of the Year in Hollywood, and give out a number of additional awards, including Executive Fail of the Year, Low-Key Flex, Movie Marketing Miss of the Year, The “Did I Say That Out Loud” Award for Worst Quote, the Mea Culpa I Was Wrong Award, as well as the Suck It Haters I Was Right Award, and more.

    For a 20 percent discount on Matt’s Hollywood insider newsletter, What I’m Hearing …, click here.

    Email us your thoughts! thetown@spotify.com

    Host: Matt Belloni
    Guest: Lucas Shaw
    Producers: Craig Horlbeck and Jessie Lopez
    Theme Song: Devon Renaldo

    Subscribe: Spotify

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    Matthew Belloni

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  • The Worst Thing We Watched in 2023

    The Worst Thing We Watched in 2023

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    This week, Dave, Neil, and Joanna discuss the worst things they watched in 2023! They start by going over the results of the big movie bet and receive their collective punishment for being wrong—“Tubthumping” (3:31)! Then they go through honorable mentions and toughest cuts (20:44) before revealing their list of the 10 worst things they watched in 2023 (39:27).

    Don’t forget to vote on the final poll of the Holiday Trial Royale! What is the best holiday movie? You can vote for the winner at TheRinger.com, on The Ringer’s X feed, and in the Spotify app, where you’ll find Trial by Content. The winner will be announced on the next episode!

    You can send your picks for the next topic and a few sentences to support your pick to TrialByContent@gmail.com. You can also submit suggestions for future Trial By Content topics. Is there a great pop culture debate that you’d like us to settle? Send it on over!

    Hosts: Dave Gonzales, Joanna Robinson, and Neil Miller
    Associate Producer: Carlos Chiriboga
    Additional Production Supervision: Arjuna Ramgopal
    Theme Song and Other Music Credits: Devon Renaldo

    Subscribe: Spotify

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    Dave Gonzales

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  • The Townies: Hollywood’s Best and Worst of 2023

    The Townies: Hollywood’s Best and Worst of 2023

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    It’s podcasting’s most exclusive event of the year: The second annual Townie Awards! This is a show made up of awards created by us, based on our own interpretations of the craziest year in Hollywood, maybe ever? In Part 1, Matt is joined by Lucas Shaw, the Amy Poehler to his Tina Fey, to give out the first round of awards, including Most Destructive Behind-the-Scenes Drama, Publicist Fail of the Year, Most Annoying Media Narrative, Deal of the Year, Larry David Spite Store of the Year, Sneaky Success of the Year, and much more.

    For a 20 percent discount on Matt’s Hollywood insider newsletter, What I’m Hearing …, click here.

    Email us your thoughts! thetown@spotify.com

    Host: Matt Belloni
    Guest: Lucas Shaw
    Producers: Craig Horlbeck and Jessie Lopez
    Theme Song: Devon Renaldo

    Subscribe: Spotify

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    Matthew Belloni

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  • 2023 Was the Year of the Girl

    2023 Was the Year of the Girl

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    In 2023, girls were everywhere.

    They were at the movies seeing Greta Gerwig’s $1.44 billion blockbuster, Barbie, the ode to one of the defining avatars of American girlhood and the highest-grossing film of the year. They were at The Eras Tour, listening to Taylor Swift preach the stories of their inner lives as part of a tour that, while not yet even halfway complete, is the first in history to surpass the $1 billion threshold. They walked down runways and into fast fashion retailers in bows and ballet slippers, in pink and in pleats. Girls with every interest imaginable were trending online—clean girls and snail girls and rat girls. They had tomato girl summers and feral girl falls, they went on hot girl walks and ate their girl dinners. They listened to the new Olivia Rodrigo album, full of songs “for teenage girls in their twenties” or 30s or—gasp!—beyond. Maybe they even rewatched Girls.

    Girls weren’t just young women, but anyone who could relate. All around culture, this was the Year of the Girl. Why “girl,” and why now? One explanation is that online, where more and more of life takes place, there is nothing better one can be.

    In her book Girl Online: A User Manual, author Joanna Walsh argues that “a girl online is an avatar for everyone.” The on-screen attention economy encourages what is youthful and fun, playful and carefree. If “girl” is a character observed across culture, that character is always indulging her interests and enjoying life—her attitude and her activities are calibrated for attractiveness. It seems awfully fun to be her.

    Take girl dinner, the trend started in May by Olivia Maher, who at the time was an assistant to a showrunner in Los Angeles who went viral for posting her thrown-together meal of bread, cheese, grapes and pickles out of the fridge. “This is my dinner,” Maher says in the original video. “I call this ‘girl dinner.’”

    It’s satisfying—one joy of girl dinner is having a little bit of everything one might want—but requires very little effort. Maher told me there’s no hard-and-fast rule for what counts as a girl dinner, but an important part of her definition is that it’s “a low-maintenance meal.” The stove usually remains off, though a close cousin of girl dinner might be shortcut food like Annie’s White Cheddar Mac & Cheese—something termed in a viral post as “wet food for girls.”

    Whatever is on the plate, girl dinner is typically enjoyed solo. Part of its pleasure is that it’s a meal constructed completely for oneself. Perhaps that’s why girl dinner went unacknowledged for so long, though based on the response to Maher’s original post, it was a common habit. The video now has more than a million views and inspired a trend with more than 30 million followers. On Maher’s TikTok page, comments rolled in from users who’d long enjoyed their “rat girl” dinners or “French peasant” meals but hadn’t considered that others might do, and even delight in doing, the same thing.

    “It wasn’t a shameful act, but it was a very solo act where it was like, ‘Oh, I’m not being a functioning member of society tonight,’” Maher told me.

    This kind of revelation of a shared experience is possible only when it has previously gone unspoken; another explanation for the Year of the Girl is that traditionally, feminine interests have been underserved in culture, and 2023 represented an overdue course correction. The Los Angeles Times reported that 60 percent of the audience for Barbie was female and that theaters had a significant number of repeat customers, some who went over and over again just to be in a place where they felt understood.

    In an interview with TIME magazine, which named her Person of the Year, Swift supported this market-driven thesis.

    “What fuels a patriarchal society? Money, flow of revenue, the economy,” she said. “So actually, if we’re going to look at this in the most cynical way possible, feminine ideas becoming lucrative means that more female art will get made. It’s extremely heartening.”

    The most purely optimistic read of these depictions of girlhood is complicated, though, by the fact that the opposite of “girl” in these contexts isn’t “boy”—it’s “woman.”

    The inherent pleasure of girl dinner comes less from what makes up the meal than from what isn’t part of it—cooking or cleaning up, providing in the traditional way women are asked to. Girl dinner isn’t something one makes for kids or a partner. It’s a celebration of a lack of responsibility typically associated with being a grown woman.

    M.G. Lord, the author of Forever Barbie: The Unauthorized Biography of a Real Doll, a social history of the toy, saw Gerwig’s movie as one about the loss of girlish innocence. “It’s about leaving the idealized world of girlhood when you play with Barbie, where there are no limitations on what you can do,” Lord told me. “And then suddenly you enter adulthood or you hit puberty, and your choices are very circumscribed.”

    The wisest characters in Barbie are the girls: both Sasha, a literal girl, and Kate McKinnon’s “Weird Barbie,” the film’s purest expression of how little girls play with dolls—roughly, creatively, and blissfully ignorant, at least at first, about society’s pressures to be perfect and cellulite-free. It’s Weird Barbie who knows what to do when the fabric between Barbieland and the Real World gets ripped, and it’s Sasha who prompts the Barbies not to give up and to devise the plan that takes back Barbie Land from the Kens. Though they succeed in winning it back, Barbie has no solution to the problems it identifies; when the Barbies take back Barbie Land, all they can offer the Kens is as much influence there “as women have in the real world.” The movie is a Pepto-Bismol-pink celebration of girlhood, but when it comes to its treatment of womanhood, the more apt word might be commiseration.

    “In the movie, the doll was just a way in to explore what it means to be an adult woman,” Lord said. “All I can say is, if I had been Stereotypical Barbie, I sure as hell would have stayed in Barbie Land.”

    Lord told me that Barbie’s relative popularity has often reflected the state of the world around her. In the 1970s, for instance, a strong anti-materialistic strain in culture coincided with a dip in sales. In the 1980s, when Reaganomics promoted competition and commercialism, Barbie was popular again. A day-to-night Barbie in particular took off as more and more women entered the workforce out of necessity during that decade’s recession.

    So why does Barbie resonate now?

    A recent New York Magazine essay posited that this cultural obsession with girls reflects the fact that mainstream feminism is a bit adrift. “The corporate girlbossery of the 2010s has proven to be vacuous at best,” the author, Isabel Cristo, wrote. Plus, that disappointment was followed up by a series of demoralizing cultural flash points for women: #MeToo, the election and presidency of Donald Trump, and the Dobbs ruling, which overturned Roe v. Wade and dismantled abortion protections. No clear unifying coalition or agenda has yet emerged from these events. So we venerate a more carefree stage of life or comfort one another in the shared loss of innocence.

    It seems both too cynical and too easy, though, to say that “girl” is popular only because we have nothing—or nothing good, at least—to say about “woman.” There are sheer delights in having women so centered in culture. And though many “girl” trends are, at their core, forms of marketing, it’s still meaningful that those trends, not superheroes or the trappings of Entourage-style bro comedies, are the most valued cultural currency. The last word of the biggest movie of the year was “gynecologist.” That has to count for something.

    And femininity did exercise some raw power. Especially when channeled through Swift.

    In August, she began dating NFL tight end Travis Kelce, a real-life Ken and a leading man in one of the world’s most masculine enterprises. But stacked next to each other, Swift’s power towered over that of a professional sports league that’s often described as owning a day of the week. Broadcast cameras were trained on her at games; the league’s official social media accounts put “Taylor was here” in their bios. The NFL swooned at the opportunity to be in Swift’s spotlight, not the other way around. When she attended a Sunday Night Football game between the Chiefs and the Jets in October, the broadcast drew one of the largest TV audiences of the season. As she entered the stadium that night, famous friends including Blake Lively, Ryan Reynolds, and Sabrina Carpenter in tow, it looked like she was saying, “It’s so quiet.” As in, this wasn’t an Eras crowd. Near the end of the game, NBC’s cameras filmed Swift playfully celebrating with Lively in their suite, imitating Kelce’s macho body language with his teammates. It was affectionate and endearing. But, maybe just a little bit, she was also making fun of the absurd machismo of the whole enterprise, of men in spandex outfits playing a violent game she was happy to take in but didn’t need to validate.

    The most triumphant telling of girlhood in culture was The Eras Tour. When Lord saw the show in Los Angeles in August, she was struck by how much the concert, and the rapt audience, reminded her of a religious experience.

    “I was fascinated because it reminded me—Mary Grace Lord, here—of the Catholic Mass, where there were certain cues that prompted certain behaviors,” she said.

    And so The Eras Tour has turned football stadiums into cathedrals of girlhood, where the glittery woman on the pulpit celebrates her life’s work, a catalog wholly dedicated to the story of a girl growing into a woman. But if Swift’s view of girlhood is the most hopeful, it’s because it is rooted in the past and the present. The Eras Tour is inherently retrospective, but it doesn’t wear girlhood as a costume—the set list features songs about young love and high school, but also about business, identity, betrayal, and loss. Instead of burying its head in pink, sparkly sand, it gets its power from its perspective—a 34-year-old revisiting the stages of her life, which are the stages of her fans’ lives.

    As with Barbie, there is a bittersweet element to revisiting the land mines of growing up and wishing you’d known better—wishing you’d known you were good enough, that you could speak up or eat what you wanted, or that you’d get over that person who broke your heart. As with Barbie, there is pure joy in doing it together, getting back a little bit of the girlish freedom to feel, deeply and visibly, by identifying the means by which that freedom is often taken away. It’s like Swift herself once wrote: “Give me back my girlhood, it was mine first.”

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    Nora Princiotti

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  • The 2023 Midnight Mulligans

    The 2023 Midnight Mulligans

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    It’s our breakthroughs of the year episode, covering 2023’s biggest achievements in science and tech, including space technology, life extension, fusion, gene editing, vaccines, and, of course, GLP-1s

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    Charles Holmes

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  • 2023 Pop Culture Awards With Spencer Pratt and Heidi Montag

    2023 Pop Culture Awards With Spencer Pratt and Heidi Montag

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    On today’s episode of Speidi, Spencer Pratt and Heidi Montag start off the episode by discussing their family Christmas (01:11) and their main goal for 2024 (06:54). Then, Spencer and Heidi give out pop culture awards for 2023, including the biggest comeback (23:46), the biggest bully (31:17), the best movie of the year (41:29), and more.

    Hosts: Spencer Pratt and Heidi Montag
    Producers: Chelsea Stark-Jones, Amelia Wedemeyer, Aleya Zenieris, and Devon Renaldo
    Theme Song: Heidi Montag

    Subscribe: Spotify

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    Heidi Montag

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  • How Mayim Bialik Lost Her Role as the Main Host of ‘Jeopardy!’

    How Mayim Bialik Lost Her Role as the Main Host of ‘Jeopardy!’

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    It was the middle of August 2021, and a swift union seemed to make sense. A week and a half earlier, Mike Richards, the executive producer of Jeopardy!, had been named the successor to longtime host Alex Trebek. Then, amid a storm of bad press and having filmed just five episodes as host, Richards abruptly stepped down. Production screeched to a halt with the season premiere mere weeks away. Already, a full day of taping had been canceled at the last minute, with more tapings the following week likely to meet the same fate. Sony needed episodes in the can and, just as important, something to quiet the worst press cycle in Jeopardy!’s history.

    The answer appeared obvious: Mayim Bialik. The actor, after all, had just been announced as Richards’s backup—the host of occasional prime-time specials on ABC and yet-to-be-announced spinoffs, while Richards would take the more prominent role as the host of the daily syndicated edition. So when Bialik, waiting in the hospital while her boyfriend was having hip replacement surgery, told her agent to reach out to Sony, the studio was only too eager to put a deal together to get Bialik to host the daily show as soon as possible.

    “From the hospital waiting room, I said to my agent, ‘Please ask how we can help,’” Bialik recalled to Glamour later. “That’s literally what I said. I don’t want to seem opportunistic, but I’m part of this family now.”

    Almost two and a half years later, her role in that family has changed. On December 15, Bialik wrote in a statement that she had been informed by Sony that she would “no longer be hosting the syndicated version of Jeopardy!Jeopardy! confirmed to The Ringer that Bialik is under contract until the end of the season with a one-year option remaining. With several months of taping remaining this season, Bialik was informed that her option would not be picked up.

    The development has ushered in a series of reports looking into Sony’s concerns about Bialik and her performance as a host. According to a source close to production, Bialik was ultimately outshined in the role by Ken Jennings, the storied Jeopardy! contestant who was initially brought in to cohost only as a stopgap measure, filling in while Bialik was busy filming the Fox sitcom Call Me Kat, and who will now host the entirety of the syndicated show. But the reason for the change likely goes beyond that. So where did it all go wrong? And what does it mean for Jeopardy! moving forward?


    When Bialik was named a host of Jeopardy!, the selection fit a certain obvious logic. The actor was widely known for her roles on the sitcoms Blossom and The Big Bang Theory, and she had drawn praise for a two-week stint guest hosting the quiz show after Trebek’s 2020 death. She also holds a PhD in neuroscience, brainy laurels that fit well with Jeopardy!’s brand. After Richards stepped down, first as host and then as executive producer, on the heels of reporting by The Ringer and other outlets that sparked concerns about his past and the integrity of the host search, she seemed like a natural choice to fill the void and bring stability.

    Yet in some ways, Bialik made for an uneasy cultural fit. In his nearly 40 years on the job, Trebek crafted an image as more than just staid and reliable; publicly, he was also stringently apolitical. He spoke of voting for both Democrats and Republicans and generally avoided sharing his opinion on anything spicier than his preferred tipple (chardonnay). In recent years, Jeopardy! leadership has doubled down on that reputation, presenting the show as a safe harbor of impartiality in turbulent modern times where facts alone are what matter.

    Bialik’s ascent at the show, then, represented a departure from those norms. Long an avid user of social media, Bialik has written and spoken extensively about her life and beliefs. After her hiring, a slew of controversies resurfaced, among them her promotion of a dubious brain health supplement called Neuriva, her 2017 New York Times op-ed about the #MeToo movement that many interpreted as victim blaming and for which Bialik later apologized, and her advocacy for a range of controversial parenting techniques, including delaying or withholding some vaccinations for children. Bialik has said that she is not anti-vaccine while also stating in 2020 that “we give way too many vaccines.”

    Bialik has not shied away from weighing in on contentious subjects, telling Bill Maher recently about her distaste for cancel culture. At times, she has invoked Jeopardy! along the way. In October, she filmed an Instagram Reel with the Israeli actor Noa Tishby in which Bialik, who has written at length about her Jewish faith and Israel, riffed on her game-show duties while discussing the crisis in Gaza. “The free world is in jeopardy, but this time it’s not a game,” she said, before reading Tishby a series of Jeopardy!-style prompts. In a video published the day before Bialik announced her departure from the syndicated show, Bialik and Tishby again deployed a game-show format to make statements about the Israel-Hamas war. “You might be an antisemite if you think that the solution to what is going on in the Middle East is that the Jews should just go back to where they came from,” Bialik said. “The Jews are the indigenous people of the land of Israel,” Tishby added as Bialik nodded beside her, “so there’s nowhere to go back to.” A Sony official said that while the studio was aware of the videos, they had no impact on the decision not to retain Bialik on the syndicated show.

    Then there’s the matter of her absence from the entirety of the current season of Jeopardy!, which began airing in September. In May, Bialik announced that she would cease hosting Jeopardy! in solidarity with the Writers Guild of America, which was on strike. “There’s a lot of complexity to this, but my general statement is always that I come from a union family,” she said later. “While it’s not for me to personally judge anyone else’s decision, for me, I am a union supporter—pretty much all unions and what they fight for.”

    Sources close to the show say this stand was not exactly what it seemed. Jeopardy! and other game shows are guided by a distinct set of union provisions known as the Network Television Code, meaning that while Jeopardy!’s writers are members of the WGA and thus were part of the strike—many were prominent figures on picket lines in Los Angeles and New York—the rest of the staff and crew were not. SAG-AFTRA—which began its own strike in July and of which Bialik and Jennings are both members—explicitly advises non-striking members to continue to work per the terms of their contracts; to do otherwise can weaken the union’s negotiating power because it indicates that members might not follow the letter of the contract.

    There was also a semi-recent precedent at Jeopardy!: During the 2007-08 writers strike, Trebek hosted throughout the work stoppage. Both then and during this year’s strike, the quiz show used only clues written before the writers decamped. (The Network Television Code is governed by its own contract, which runs through June 2024.)

    Bialik’s move, however, left many decrying Jennings as a scab and criticizing Jeopardy! for taping at all. The actor Wil Wheaton, a friend of Bialik’s who she said was the first to predict she would get the Jeopardy! job, slammed Jennings in a widely discussed Facebook post in which he wrote, “Your privilege may protect you right now, but we will *never* forget.”

    On December 18, Puck’s Matthew Belloni reported that Bialik’s decision to step back from hosting during the writers strike left Jeopardy! executive producer Michael Davies and Sony executive vice president of game shows Suzanne Prete “furious.” The WGA strike concluded in September, with SAG-AFTRA following in November, and Bialik still did not return to the show.


    Issues persisted around Bialik’s performance in the studio, too. Part of that may have stemmed from her personal disconnect from Jeopardy!, about which she was up-front. She has written in the past about not watching any television and said that she learned of the opportunity to guest host only when her son saw buzz about the host search online. She seemed mystified by the level of scrutiny that the show, and, by extension, the host, received: “Like, who knew that people were so passionate about who hosts Jeopardy!?” she said shortly after taking on the series.

    Her apparent unfamiliarity with the show’s rhythms and lore rankled some longtime fans. Complaints at times verged on petty: Viewers griped that she referred to the show’s first round as “single Jeopardy!,” a phrase Trebek himself used occasionally, and piled on about her propensity to laugh during exchanges with contestants—a charge that smacked of misogyny to some. Other viewers, however, pointed to more fundamental issues. Throughout her time as host, Bialik was criticized for noticeable pauses after contestants delivered responses, with Bialik sometimes going silent for a conspicuous beat before issuing a verdict. Less charitable observers took this as an indication of a lack of familiarity with the show’s material such that she needed to wait for offstage judges to decide if an unexpected answer was correct. Tellingly, it was Jennings and not Bialik who was tapped to host last year’s Tournament of Champions and this spring’s Masters contest—high-stakes competitions with more difficult material where mistakes by the host could have much more serious, and costly, consequences for players.

    Bialik said that she suspected she would be reduced to tears if she were a contestant. “People ask if I know all that stuff, and I’m like, ‘No. No,’” she said. “Answering things like that under pressure with a timer is not gonna happen for me. It’s hard!”

    The self-effacement presented a stark divergence from both Trebek, who perfected the art of always seeming to know more than the contestants, and Jennings, who won a record 74 games as a contestant in 2004.

    Criticism of Bialik, often via comparison to Jennings, reached such a fever pitch that the moderators of the fan-run Jeopardy! subreddit stepped in to ban most anti-Bialik rhetoric. “Nitpicking even the smallest little mannerisms, as has frequently and ongoingly been the case with Mayim—it drags the community down and is not welcome,” a moderator wrote. Plenty of complaints still got through, however: After Call Me Kat, which was reportedly the primary obstacle to the actor’s ability to host more episodes of Jeopardy!, was canceled this May, one user wrote, “I’ve never been so upset about a show that I’ve never watched being canceled.” The comment attracted nearly 700 upvotes, making it one of the subreddit’s top three comments of 2023, according to the forum’s official year in review.

    Other incidents widened the chasm between Bialik and Jeopardy!’s vocal online community of superfans. Last year, she said on multiple occasions that fans had criticized her for reusing an outfit on the show. Not only was there no clear evidence that she had taken a social media walloping over the jacket in question—recent posts featuring the jacket on both her and Jeopardy!’s Instagram accounts did not appear to have any comments criticizing the repetition—but some fans wondered if she was lashing out at Lilly Nelson, a viewer who has attracted a loyal following and seemingly the blessing of Jeopardy!, which ran a feature on her online, for her rigorous cataloging of contestant and host garb alike.

    Still, Bialik had plenty of fans, and ratings—sky-high, with Jeopardy! generally leading all shows in syndication—fluctuated little between the two hosts’ time at the lectern. This month, filmmaker Jim Jarmusch declared Bialik his favorite Jeopardy! host ever. (“w apologies to Alex T,” he wrote.) The staff was also fond of her, with reports of her surprise delivery of cupcakes for the crew early in her hosting tenure leaked immediately to the Daily Mail.


    Jennings’s surpassing of Bialik to become the full-time host of the syndicated edition represents a stunning reversal of fates for the pair. At the outset of Jennings’s time hosting Jeopardy!, detractors criticized him for a lack of showbiz polish. Bialik’s decades of experience on camera, meanwhile, gave her an advantage in even small matters: her comfort with a teleprompter, for example, which Jennings spurned as an homage to the prompter-resistant Trebek, a decision that left him vulnerable to needing to re-tape segments.

    Bialik spent her first months on the syndicated show on a media tour in which she made clear that she wanted the full-time job for good: “I’d give up my first child to host Jeopardy! forever,” she professed in Newsweek. Jennings struck a different note in his interviews at the time. “You’re not going to see me in the papers talking about how important it is that I ended up hosting,” he told USA Today. To CNN, he said he was “not particularly ambitious” enough to want the permanent gig.

    That dynamic seemed to be reflected internally early on, when it was clear that Bialik’s reworked deal with Sony afforded her a superior position within the show. Throughout the 2021-22 season, Bialik was introduced in her episodes as “the host of Jeopardy!,” while Jennings was welcomed with the phrase “now hosting Jeopardy!”—seeming to emphasize that he was lower in the host pecking order. Davies, who came aboard as executive producer in the wake of Richards’s exit, eventually confirmed that the difference was because of Bialik’s contract, which stipulated that she was, in Davies’s phrasing, “the host of Jeopardy!,” while Jennings was merely a guest host. By the next season, however, both Bialik and Jennings had signed new deals with Sony that left them both billed simply as “host.”

    With Bialik sidelined for the bulk of this year, Jennings had a third season of hosting reps to himself. Jennings has been widely praised for improving his onstage performance, and he has developed a persona that has traces of Trebek’s signature sarcasm as well as a bubbly eagerness to share additional factoids that you might expect from a trivia champion. That growth was noted within Sony, too: Many Jeopardy! staff members came to believe that Jennings had become the technically superior host, according to a source close to production, who says that Jennings’s improvement was the key factor that spelled the end for Bialik.

    TMZ reported on December 20 that the extended period with a single host further helped convince Sony executives that the dual-host model was inferior. Critically, Jennings also filled in on Celebrity Jeopardy! in prime time—an assignment that would otherwise have gone to Bialik—and thrived, producing ratings on par with or exceeding those obtained by Bialik last year.

    Jennings has had his own rocky moments, most notably when a series of his tweets including ableist comments reemerged in late 2020; he apologized for the “unartful and insensitive” messages. But he has by and large avoided controversy during his time as host. He is helped by the perception that he is Trebek’s natural heir, by dint of both his own history as a contestant and his ties to Trebek, who prepped Jennings over the phone to fill in for him shortly before his death; Trebek’s wife left a pair of his cuff links for the newbie host when Jennings arrived to tape his first episodes.


    Bialik may yet return: A statement by Jeopardy! released on December 15 left open the possibility for Bialik to still host prime-time episodes in the future. Davies has spoken at length about his plans to expand the Jeopardy! franchise and said last year that the growth would necessitate “multiple hosts to represent the entire audience, to represent the entire country, in order to take this franchise forward.” (Davies has suggested that it was his decision “to bring Ken in and have Ken be a second host along with Mayim”; it is perhaps not coincidental that the TMZ report also contained the tidbit that Bialik “didn’t always agree with production decisions … including the hiring of executive producer Michael Davies.”)

    TMZ further reported that while Sony executives would like to maintain a relationship with Bialik, “Mayim made it clear it was all or nothing. As a result, we’re told Sony brass declined.” Even the public announcements of Bialik’s exit point to a rift: Jeopardy! did not publish its own statement until an hour after Bialik posted hers, and it wrote that “Mayim Bialik has announced that she will no longer be hosting the syndicated version of Jeopardy!,” suggesting that the actor may have acted unilaterally in making a final decision.

    No matter how the rest of this unfolds, there is a certain irony to the way that the hire brought in to steady the ship made her own dramatic splash at Jeopardy! In the three years since Trebek’s death, the quiz show has at times felt doomed to cycle through recurring controversies. But this time, Jeopardy! finally looks to be in a position to get what it’s been palpably chasing all this time: just the right level of nerdy steadiness. As Jennings put it this week in reference to Trebek’s tenure, “I look forward to 37 more years of doing it, when I’ll be a very, very old man.”

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    Claire McNear

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  • dirtier divergent pushy

    dirtier divergent pushy

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    It just honestly seems like search engines are getting worse in general. Whether it’s the fact their primary focus is on ads, or maybe it’s the websites they link to just trying to show up, but it just seems like you can never actually find what you want when you search, just someone selling something.

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  • Hemp, Inc. Drops the Skinny on the CBD Holiday Buzz – World News Report – Medical Marijuana Program Connection

    Hemp, Inc. Drops the Skinny on the CBD Holiday Buzz – World News Report – Medical Marijuana Program Connection

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    /EIN News/ — LAS VEGAS, NV, Dec. 26, 2023 (GLOBE NEWSWIRE) — via NewMediaWire – This holiday season has been abuzz with everything from hemp-derived personal care products to CBD-infused food and beverages, Hemp, Inc. (OTC: HEMP) reports. Consumers can’t seem to get enough of the power-packed skinny foliage in personal care products, cosmetics, food, beverages, nutraceuticals, and other products, so much so that the global CBD market’s valuation is anticipated to reach $19.67 billion by 2032 and the Hemp Source CBD Market is full speed ahead.

    Considered one of the top producers of hemp-derived products, Hemp, Inc. knows a thing or two about CBDs.  The Company distinguishes itself by using pharmaceutical-grade beta-cyclodextrin in combination with cannabinoids for rapid absorption and efficacy through its highly potent, therapeutic doses of CBD, CBDA, CBG, CBGA, and CBN products. Notably, Hemp, Inc.’s CBD/CBG coffee enhancer is highly potent, rapidly absorbed, and competitively priced, offering consumers a premium coffee experience. Its lineup of CBD/CBG/CBN products includes a CBD-CBG Topical Pain Relief Roll-on (THC-free with 1,460mg of CBD and 630mg of CBG totaling 2,090mg of cannabinoids in 5ml), CBD/CBG Natural Coffee Enhancers, CBD/CBG Tinctures, and CBDa/CBGa/CBD/CBG/CBN Capsules.

    A step above the rest, Hemp, Inc. continues to be featured as one of the major key players in industry-wide hemp market…

    Original Author Link click here to read complete story..

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    MMP News Author

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  • 10 great indie games you might have missed in 2023

    10 great indie games you might have missed in 2023

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    It’s been one of those strange, busy years where any of Polygon’s top 10 games of the year could have made the No. 1 slot. Heck, you could expand that outward to include the top 20. There was a wealth of great games throughout the year, making it impossible to keep up with everything — even here at Polygon, where many of our jobs are to keep up with video games. That’s why we’ve created this list of 10 games you might have missed, all from indie studios. They cover a bunch of different genres, from a goofy multiplayer game to an inventory management roguelike.

    Like with Polygon’s list of the top 50 games of the year, there are plenty of fantastic games that slipped through the cracks. Think we’ve missed any extra-special indies from the past year? Drop your favorites in the comments.


    Bread & Fred

    Image: SandCastles Studio/Apogee Entertainment

    Developer: SandCastles Studio
    Where to play: Windows PC

    Bread & Fred is a game you’re going to want to play with a friend. (Only one of you needs a copy of the game, thanks to Steam’s Remote Play Together.) You’ll play as two penguins tied together on a short rope, tasked with climbing a snowy mountain. It’s hard! The rope is very short, meaning there’s little wiggle room. Communication is key to timing each jump precisely — or you might fall down the mountain once again with a splat. So yes, Bread & Fred is hard, but it’s not impossible. Better yet, its challenge is pretty hilarious when playing with a friend you’re comfortable shouting at — or with. The animations have a slapstick element, making the already silly premise even funnier. —Nicole Carpenter

    American Arcadia

    Inside an office, there are several computer screens lit up. In the bottom right-hand corner of the screen, there’s a hand holding a cellphone.

    Image: Out of the Blue Games/Raw Fury

    Developer: Out of the Blue Games
    Where to play: Windows PC

    Trevor, an office drone, wakes up one morning and learns his bosses are conspiring to kill him — and also that his entire life is built on a lie. American Arcadia is set in a ’70s-inspired metropolis called Arcadia, but something’s up with Arcadia: It’s a Truman Show-type widespread deception designed to trick thousands of people into living guilelessly for the entertainment of others. But that’s not American Arcadia’s only trick. One minute you’re bouncing across platforms like any other side-scrolling platformer. The next, you’re solving puzzles from a first-person perspective. Video games don’t often deploy multiple perspectives. Here, the shift is jarring but effective; it puts you on edge — kind of, one imagines, like learning the truth about Arcadia. —Ari Notis

    El Paso, Elsewhere

    El Paso, Elsewhere - A protagonist shoots his way through a brightly lit hotel room

    Image: Strange Scaffold

    Developer: Strange Scaffold
    Where to play: Windows PC, Xbox One, Xbox Series X

    If you can’t get enough of Max Payne, you won’t want to miss El Paso, Elsewhere. When vampires and werewolves arrive in a mysterious, supernatural motel, vampire hunter James Savage takes them head-on. What you get is a third-person shooter that revels in PlayStation-era graphics and explosive gameplay, with a narrative that sets the stakes especially high. You see, Savage’s ex is a vampire that’s about to perform a ritual — in that El Paso motel — to end the world. Within the mayhem of El Paso, Elsewhere, there’s a beautiful story about addiction and heartbreak that grounds the game’s physical demons within its metaphorical ones.

    Yes, I made a Max Payne comparison — and you’ll see that a lot when reading about El Paso, Elsewhere — but the game is something wholly itself. It’s not to be missed. —NC

    A Highland Song

    A girl runs up a mountain in the Scottish Highlands in A Highland Song. A deer rushes up in front of her.

    Image: inkle

    Developer: inkle
    Where to play: Nintendo Switch, Windows PC

    A Highland Song is one of those 2023 latecomers, sneaking into this year’s release calendar on Dec. 5. From the creators of 80 Days and Heaven’s Vault, it’s not a game to be missed. The stylized art style perfectly renders the Scottish Highlands, where Moira is exploring in order to get to the sea. It’s one of those games, like A Short Hike, where the journey is much more important than the destination. Set to music from Scottish folk artists TALISK and Fourth Moon, A Highland Song has so many lovely, warming moments, even when you’re sheltered up in a cave to escape the cold. —NC

    MyHouse

    A game made on top of Doom, called MyHouse. A person points a gun at a house.

    Image: Veddge

    Developer: Veddge
    Where to play: Windows PC

    MyHouse.wad is a pretty boring Doom mod. I’m no game designer, and I’m hesitant to repeat a tired line about modern art, but come on: I could have made this! The map is just a typical suburban split-level home. There’s nothing to do but scurry around polygonal furniture, look at tacky domestic art, and shoot some generic Doom enemies. I suspect — if I’m being honest — its elevated reputation stems from its tragic backstory.

    A Doomworld user named Veddge released MyHouse.wad on the site’s forum back in March. Veddge was clear from the beginning that MyHouse wasn’t his mod; he’d just polished it up. The original version belonged to Veddge’s childhood friend Tom, who had recently passed away. To honor his pal, he decided to touch up the map into operable shape and share the file with some hardcore Doom nerds — the sort of folks who might appreciate this amateur but lovingly made map.

    I appreciate the good intentions. I just can’t understand why anybody would find this normal house all that interesting. I mean sure, the rooms keep moving. And sometimes there’s no way out. And other times I wake up in an empty hospital. But this is just a normal, boring Doom mod. There’s nothing to see here.

    Unless none of this is true. —Chris Plante

    Videoverse

    Videoverse screenshot showing a fictional video game console that looks like a bulky Nintendo 3DS, as well as some magazines, soda, and a calendar on a desk.

    Image: Kinmoku

    Developer: Kinmoku
    Where to play: Mac, Linux, Windows PC

    Videoverse is a game for those of us nostalgic for the early internet and its intimate communities. When I was a kid, I spent my free time digging into niches on Neopets and talking to strangers about shared interests in AOL chat rooms. I made friends in forums, creating an online world sometimes more enticing than my own real life. Videoverse is all of those things on a fictional forum dedicated to a dying MMO, and it perfectly captures the drama and sadness of letting go. All at once, Videoverse has recreated the frivolous, beautiful, dramatic, and profound ways technology has influenced my life, and maybe yours, too. —NC

    A Space for the Unbound

    A row of houses in which the centered one is yellow, rendered in pixel art. Several people stand in front of the homes. (Screenshot from A Space for the Unbound)

    Image: Mojiken/Toge Productions

    Developer: Mojiken
    Where to play: Nintendo Switch, PlayStation 4, PlayStation 5, Windows PC, Xbox One, Xbox Series X

    Set in rural Indonesia, A Space for the Unbound is a slice-of-life story of high school sweethearts Atma and Raya, who have a bucket list to fulfill. While A Space for the Unbound is an intimate look into a teenage relationship in ’90s Indonesia, it’s also the backdrop for a larger supernatural power that’s threatening reality — the end of the world. That framing makes for an interesting dichotomy between the scope of the stories: everyday moments paired with otherworldly drama. It’s one of those games that’s so earnest that’s it’s easy to overlook any flaws or bugs while captured by the stakes of the world and its characters. A bonus for pixel art fans: The game is gorgeous! —NC

    Tape to Tape

    Screenshot from Tape to Tape showing a bunch of hockey players on the ice. One team is wearing orange, the other black.

    Image: Excellent Rectangle/Null Games

    Developer: Excellent Rectangle
    Where to play: Windows PC

    A hockey game, but make it roguelite! Tape to Tape is in early access, so it hasn’t had its full release just yet. But what it is now is very fun: a game about building a hockey team by hiring players and managing the team. Play in games, of course, with different — not actual hockey-legal — abilities, upgrades, and bribes. Tape to Tape screams ’90s Wayne Gretzky’s 3D Hockey, but a lot more wacky. As in other roguelites, losing is fine: It’s an opportunity to upgrade your tools of the trade and get further next time.

    Grab some hockey fans in your life for online multiplayer (with Remote Play Together) or on split screen. —NC

    Moonring

    Screenshot from Moonring, showing retro pixel boat. On the side, there’s a text input screen.

    Image: Fluttermind

    Developer: Fluttermind
    Where to play: Windows PC

    Don’t let the old-school visuals fool you: Moonring is one of 2023’s richest video game experiences. Created by Dene Carter, a co-creator of the iconic RPG Fable, the colorful adventure gives players the expansive freedom popularized by games of the 1980s — when graphics played second fiddle to creativity and scope. Trade with unsavory types. Partner with questionable cults. Converse with practically everyone.

    Perhaps most importantly for our readers, this Ultima-inspired roguelike is free. Like, free free. At that price, Carter may get his wish of introducing the old ways of game design to new audiences. “I hope Moonring recaptures some of the spirit of those days for you,” Carter writes on the Moonring Steam page. “For those who did not, I hope that the more modern conveniences you find in this game allow you to catch a glimpse of what we did 40 years ago.” —CP

    Backpack Hero

    A screenshot from Backpack Hero, with a mouse on the bottom of the screen. The backpack is open up top, showing three items, including a sword.

    Image: Jaspel/Different Tales, IndieArk

    Developer: Jaspel
    Where to play: Nintendo Switch, Mac, Windows PC

    When I can’t sleep, I consider the mysteries of the universe. Like, who came up with the whiskey sour? “Whiskey is amazing, but what if we added raw egg whites?” Backpack Hero’s creators took a similarly audacious approach with the classic dungeon crawler, splicing the genre with the Tetris-like inventory management popularized by Resident Evil 4. Much like the foamy cocktail, the results are delicious.

    Generally, I’m hesitant to list back-of-the-box bullet points, but I’m tickled by how big the creators have made a game about backpack organization: There are over 800 items and 100 enemies, you can play as five different heroes, and the dungeons are procedurally generated within a overworld map the player constructs. Like its hero mouse, Backpack Hero punches way above its weight class. And it will keep you up at night, because there’s always time for one more run. —CP

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    Nicole Carpenter

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  • ‘Ferrari’ and Top Five Michael Mann Movies

    ‘Ferrari’ and Top Five Michael Mann Movies

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    Sean and Amanda are joined by The Ringer’s Michael Mann aficionado Chris Ryan to discuss one of the year’s best and most anticipated movies: Ferrari (1:00). They discuss the successes and failures of the casting, how transfixing Adam Driver is at the center of the frame, where this slots into the Mann oeuvre, and whether it will (or should) be Mann’s last film. Then, they each share their five favorite Michael Mann movies (41:00).

    Hosts: Sean Fennessey and Amanda Dobbins
    Guest: Chris Ryan
    Senior Producer: Bobby Wagner

    Subscribe: Spotify / Apple Podcasts / Stitcher / RSS

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    Sean Fennessey

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  • Heartbreak in West Hollywood | An American Scandoval

    Heartbreak in West Hollywood | An American Scandoval

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    Where were you when Scandoval dropped? To find out why one cheating scandal dominated the zeitgeist in 2023, we have to go back in time. Ten years ago, Scheana Shay walked out of The Real Housewives of Beverly Hills and into the first-ever episode of Vanderpump Rules, creating an unholy lineage of mistresses that spans all the way to the now infamous March 3, 2023, TMZ headline: “TOM SANDOVAL & ARIANA MADIX CALL IT QUITS … Allegations He Cheated With Costar Raquel Leviss.” Meet the Cool Girl Ariana Madix and the endearing but toxic Tom Sandoval—Vanderpump’s most reliable couple. Until they weren’t.

    Host: Jodi Walker
    Producers: Kaya McMullen, Andrew Gruttadaro, and Vikram Patel
    Sound Design: Kaya McMullen
    Mixing and Mastering: Scott Somerville

    Subscribe: Spotify

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    Jodi Walker

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  • ‘Doctor Who’ Christmas Special: “The Church on Ruby Road”

    ‘Doctor Who’ Christmas Special: “The Church on Ruby Road”

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    Mal and Jo are back to discuss “The Church on Ruby Road,” this year’s Doctor Who Christmas special, and how it stacks up against the show’s holiday specials of years past (6:41). Then they dive deep into the episode that introduces the series’ newest companion, Ruby Sunday (18:03).

    Hosts: Mallory Rubin and Joanna Robinson
    Producer: Kai Grady
    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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  • ‘Under Siege’ With Bill Simmons and Kyle Brandt

    ‘Under Siege’ With Bill Simmons and Kyle Brandt

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    Bill Simmons hires Kyle Brandt, an ex–Navy SEAL turned podcaster, to rewatch the 1992 action thriller ‘Under Siege,’ starring Steven Seagal, Tommy Lee Jones, and Gary Busey

    Share this story

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    Bill Simmons

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  • I spent 3 nights at Nintendo’s original HQ

    I spent 3 nights at Nintendo’s original HQ

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    On a drizzly February afternoon, I arrive at a modest, three-story building a stone’s throw from Kyoto’s Kamo River. A plaque reads “PLAYING CARDS” in gold letters against a staid shade of dark green, next to a stylish double door flanked by a pair of bright-red flags. Around the entrance, the pale brick facade has a distinctive mix of 1930s-style art deco curves and linear graphic stonework; it’s clear that in this quiet, largely residential area, this establishment isn’t like its neighbors. A pair of tourists and their Japanese guide coast along on bicycles. “This is the original headquarters of the video game company Nintendo,” the guide says in English as they slow down next to me. His clients express delight — they’d never have known if he hadn’t pointed it out.

    I’ve come to visit the Marufukuro, an 18-room luxury hotel housed in the former Nintendo offices that once included the apartment home of the company’s founding Yamauchi family. It opened in April 2022 after a careful renovation by Plan Do See, a well-established Japanese hospitality firm that specializes in wedding venues and historically significant projects; after winning the bid for the project, Plan Do See got iconic architect Tadao Ando to design the hotel, and the top-tier Marufukuro suite — where guests can observe Ando’s hand-signed autograph in pencil on part of a wall — can go for over $1,300 a night.

    Photo: Marufukuro

    The Marufukuro, despite being the birthplace of Nintendo, has no current relationship with the company — I’m repeatedly reminded about the importance of this distinction, which is funny, because Nintendo history is the main reason I was drawn here in the first place. The Yamauchi family sold its Nintendo shares back in 2014. The hotel is now owned by the No. 10 Family Office — a company created by Banjo Yamauchi in 2020 to reportedly “preserve the ‘unique creativity and pioneering mindset’ of [Nintendo’s third president] Hiroshi Yamauchi, who died in 2013, [and] to help Japan innovate.” Banjo is the biological grandson (and adopted son) of Hiroshi Yamauchi; the latter was responsible for Nintendo’s shift to video games, including its early work with experimental toys. After Hiroshi’s death, then-21-year-old Banjo received an “enormous inheritance.” By all appearances, No. 10 doesn’t have anything to do with game development — it’s an investment firm that oversaw a fortune of over 100 billion yen in 2021; family offices are typically set up to handle investments and wealth management for ultra-rich “high net worth” families, often with a focus on dynastic responsibilities. The hotel name comes from another Yamauchi card company, Marufuku, with the -ro added to denote a luxury building, and Plan Do See runs the hotel operations.

    An art piece depicting a Mew Pokémon playing card, displayed at the Marufukuro in Kyoto

    Photo: Alexis Ong

    “Since 1889, [Nintendo] have been keeping the same attitude of pushing boundaries, even though they had faced management crisis and the threat of bankruptcy several times in their history,” says Banjo Yamauchi via email. “This building represents [the] tough history of Nintendo.” According to Yamauchi, the idea to convert the building was mainly for historical preservation, and many of its original architectural features, like its Showa-era-style roof, have been kept. To the north is the oldest building, where I’ll be staying for the next three nights. It began 100 years ago as a warehouse before three more additions were made, including the new Ando annex. My section of the hotel is a three-floor walkup with an old-school non-functional cage-style elevator; my red-carpeted room is large and airy with a high, partly vaulted ceiling and a checkerboard-tile balcony overlooking the river. I am delighted for the first time in years to receive a large old brass key, rather than an electronic room card. On my second morning there, I wake to a light dusting of snow.

    In 1959, the company moved to a bigger location, and the whole compound sat unused and empty. Iku Hasegawa, who works at the hotel and represents Plan Do See, explains that most of the buildings were already well preserved. “There was one worker from Nintendo who would come every month to open the windows and the doors to air everything out, and make sure everything was OK,” she explains. Patrick Okada, managing director of No. 10’s business incubation office, happens to be visiting the hotel with his family during my stay, and tells me later, via email, that Nintendo “fans” visited the building during its long vacant period, taking photos and leaving signatures.

    Today, its guests are a mix of Japanese regional visitors and, more recently, since Japan lifted travel restrictions around November 2022, international arrivals like myself (and according to staff, a few from the American military base in Okinawa). Some are architecture buffs who come to see Ando’s work; others are foodies keen to visit the hotel restaurant, Carta, helmed by Japanese chef Ai Hosokawa. It is around Hosokawa’s very photogenic meals (all three are provided in the room rate per day) that I get to observe fellow guests in the communal dining room: several mother-and-daughter combos, young families, quiet couples, and a small, excited friend group. During my stay, I seem to be the only foreign guest.

    In learning more about the neighborhood, I begin to suspect that the Marufukuro’s presence might be the beginning of a long-term plan. “They were able to beautify the area by cleaning the river around here,” Hasegawa says. “[Gojo] is a historical area, so they wanted to make it more beautiful and for more people, especially artists, to come here.” I am told that the (very good) coffee shop around the corner, murmur coffee, occupies a building owned by one of the Yamauchi daughters (it also provides the hotel with its own Marufuku roast, stocked in each guest room). According to Hasegawa, the Marufukuro’s revitalization went hand in hand with encouraging creative interest in the neighborhood; wandering around the area yields no real sign of this intended outcome, at least not yet, given that half of the hotel’s existence has taken place under pandemic restrictions. If the Marufukuro is meant to function as a sort of historical and cultural beacon, it’s doing so in a sphere where it already has real estate influence; besides the storied past of the physical buildings, it is a business that leans toward the history and influence of the Yamauchi family more so than the modern video game company we know today.

    One of the lobbies leading into the Marufukuro in Kyoto, a hotel built on the premises of Nintendo’s original HQ. This lobby has a combination of tile and marble stylings

    Photo: Marufukuro

    The most visibly game-related space in the hotel is its small library, curated by Banjo Yamauchi with help from Japanese book company Bach; there’s also an interactive “toy library” by artist Daito Manabe and an installation by Rhizomatiks, a creative collective that has worked on game-like projects with ex-Sega legend Tetsuya Mizuguchi. This is the only part of the hotel directly operated by the No. 10 office, and only hotel guests are allowed to use it. I was half hoping for a special archive, but this isn’t that sort of library. It’s more of an elegant reading lounge with a reflective “infinity” ceiling, inspired by Yamauchi’s love of the film Interstellar; there’s a bar where guests are welcome to make their own drinks, reinforcing the sense that we’re all in a very nice house rather than a hotel.

    Unlike most libraries, the Marufukuro allows you to bring that expensive glass of whiskey into the library proper, to sit, read, and drink. It houses high-end design books that run the gamut from modernist art philosophy to Damien Hirst, interspersed with Nintendo-themed art objects commissioned by Yamauchi (think: a frosted glass Game Boy, or a Switch designed to look like an underwater relic covered in algae). There are a few historical Nintendo treats on display, like an original red-trimmed Famicom console and, to my excitement, a Light Telephone from 1971. The latter was a novelty gadget designed by Gunpei Yokoi to let people communicate through light sensors, and resembles an enormously clunky mega flashlight. I ask if we’re allowed to use the consoles on display, or if the hotel has an arsenal of Nintendo products that can be loaned to guests. Hasegawa explains that the hotel’s gaming consoles aren’t allowed in rooms, so as not to encourage gambling.

    A handful of books are Nintendo-specific, including Osamu Inoue’s The Philosophy of Nintendo, and Erik Voskuil’s Before Mario, which documents obscure Nintendo toys. My favorite, though, was the companion book to the 2003 “Family Computer’’ exhibition at the Tokyo Metropolitan Museum of Photography, filled with short essays, Famicom games, and interviews with Shigeru Miyamoto and copywriter Shigesato Itoi, who coined the phrase “no crying until the end” in Mother. (There’s also an interview with a young Hideo Kojima.)

    A collection of vintage playing cards from Nintendo’s days as a card company, displayed under glass at the Marufukuro in Kyoto

    Photo: Alexis Ong

    My time at the Marufukuro — a pleasant luxuriation in excellent Japanese hospitality — was not the experience I’d envisioned when I’d first learned of its existence. As a vacation, it’s a niche historical landmark exuding warmth and luxury, and makes for a memorable splurge. It is easiest to describe it offhandedly as “the Nintendo hotel,” though there’s nothing outwardly Nintendo about it — more of a low-key look at the legacy of the Yamauchi family and its endeavors to use its resources to “return the inherited material and spiritual wealth to the public.” I think about the murmur coffee shop and wonder how much of the land and buildings around this neighborhood are owned by the Yamauchis. If the Marufukuro’s long-term goal is to breathe new life into the area without disrupting the residents, then openly invoking the Nintendo name would probably cultivate a louder, brasher sort of tourism that doesn’t really jibe with Plan Do See’s understated brand of hoteliering or No. 10’s purported goals of philanthropy and giving back to Japanese society.

    The separation between No. 10 (and the Marufukuro) and Nintendo is understandable, since the Yamauchis sold off most of their shares in the latter nearly 10 years ago. But if there is a social responsibility angle to the former’s mission, it feels sadly in conflict with the latter’s longtime crackdowns on piracy and ROM emulation that have become bastions of game preservation in a precarious digital-only world. If No. 10 wants to adopt the Nintendo approach to innovation and excitement in its own projects, it will hopefully do so with the awareness that bringing new forms of socially minded creativity into the world should also include long-term plans to maintain these projects; in a modern context, it is impossible to discuss the impact and legacy of Nintendo — one of the most beloved entertainment brands in the world — without recognizing its failure to preserve its own work for current and future generations. Even while I’m constantly reminded that the Marufukuro and Nintendo are operationally disconnected entities, it’s hard to think of one without the other in a broader historical context — I leave wondering who will preserve Nintendo’s work in the same careful way.

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    Alexis Ong

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  • In roguelite city builder Against the Storm, failure is part of the process

    In roguelite city builder Against the Storm, failure is part of the process

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    I love city-building sims during every step of play — from laying down the foundations to planning a city grid, upgrading the complexity of buildings, and handling the bureaucratic elements of the late game. I’ve spent late nights playing Frostpunk and Timberborn, sucked into the fine balance of evading total town collapse. That said, if you had told me a week ago, “You’re going to spend about an hour making a settlement — and then you’re going to start over, again and again,” I’d have balked. But Against the Storm, the roguelite city builder that just came out of early access on Dec. 8, proves this formula is not only sensible, it’s fantastic.

    To be clear, there are other games with this unconventional genre pairing. In Cult of the Lamb, there’s a home base that functions like a sim game where cultists work, worship, and obviously make live sacrifices. You can leave this base in order to partake in roguelike dungeon crawls. But Against the Storm doesn’t have that separation of mechanics. They’re perfectly married in a way that keeps things fresh while also empowering you to add complexity in each subsequent run. Fifteen hours in, I can hardly peel myself away.

    In Against the Storm, you’re the queen’s viceroy in a land with cataclysmic weather events — you’ve been tasked with building settlements out from the capital, Smoldering City, toward a series of mysterious seals. You begin each “run” by selecting a tile on the game’s broody overworld map. You then pick your starting population out of a delightful fantasy lineup of lizards, beavers, humans, harpies, and more. Finally, you gather some basic supplies — stone, some edible mushrooms perhaps — before heading into the settlement site. Then it’s off to the races: At the site, you build shelters and basic structures, like a woodcutter to cut down trees, or sometimes even giant orchids. There’s a dark fantasy flavor to it all. Each site is full of hidden glades; reveal them and you might just find a poisonous flower that makes your food rot, or a cemetery that strikes fear in the hearts of your villagers.

    Image: Eremite Games/Hooded Horse

    From there the game turns into a resource puzzle. Each scenario gives you different choices for a series of “orders” to fulfill. You might need to deliver bags of crops, or enter a certain number of “dangerous glades” in a set amount of time. Completing these awards you with Reputation points. You typically need 14 points to win a scenario. All the while, you’re battling a capricious queen. The “Queen’s Impatience” meter only fills over time, and if it maxes out before reputation does, then you’ve lost the settlement.

    This is the challenge and joy of the game: Creating a successful strategy as you go, before knowing what tools you’ll even have. Think of it like Hades, where Zagreus is presented with various boons from the gods — while all the options are fun, some can create awesome and unexpected synergies when fighting enemies. But in Against the Storm, you get options for building types, global perks, glades to discover, and orders to fulfill. You constantly have to finesse resource allocation: Your wood will be used for keeping the hearth warm, building new key buildings, and fulfilling a barrel order. And oh, by the way, don’t forget to make some food for your villagers. It’s so easy to screw yourself over at any step in Against the Storm.

    Suffice it to say this is just the tip of the iceberg. There’s worker “resolve” and “hostility” — each citizen excels at different work and simply must have certain luxuries. These are delightfully silly: Lizards love to eat jerky and work in cookhouses (they’re coldblooded and love warmth); beavers enjoy biscuits and are very good at cutting wood. There’s also a weather cycle that dictates the timing of the harvest and how angry all the workers get. It’s called Against the Storm, so I’ll let you guess how much these dudes like rain. (Spoiler: They hate it.)

    A giant cauldron with legs stands in a clearing in a forested area, in Against the Storm.

    Image: Eremite Games/Hooded Horse

    It sounds complicated, but it’s actually very digestible. The game effectively drip feeds its complexities, which helps curb the overwhelming feeling that can come with these sorts of management sims that have a dozen menus and mechanics at play. There’s a perk tree you can unlock over the course of the game, which introduces new gameplay mechanics — win or lose, you’ll be able to buy some of these upgrades. You don’t really need to worry about trading early on, for example, but as you unlock more perks, it becomes a major force.

    Against the Storm always has a new trick up its sleeve, and like any great roguelite, it’s encouraged me to make unusual, gutsy plays that I would never try in a more typical city builder. Knowing each run has a finite end means I can always start over if things don’t work out. And when they do — it’s even sweeter.

    Against the Storm was released on Dec. 8 on Windows PC. Vox Media has affiliate partnerships. These do not influence editorial content, though Vox Media may earn commissions for products purchased via affiliate links. You can find additional information about Polygon’s ethics policy here.

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    Nicole Clark

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