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FREE BOOKS: The latest Stuff Your Kindle Day takes place on March 11-16. Fairy Land, hosted by Indie Author Central, offers free fairy-themed books featuring magical worlds.

There isn't much to complain about an event that gives away books for absolutely nothing, but we really love to complain.

Stuff Your Kindle Day is always a great occasion. We're not saying it isn't. But these events usually last 24 hours, which is simply not long enough. What if you're away from a screen enjoying the real world and miss the news? That would be absolutely heartbreaking for all the greedy bookworms out there, patiently waiting for another opportunity to stock up for free.

Fortunately, the latest Stuff Your Kindle Day takes place over a number of days, so you've got plenty of time to peruse your options. And the books that you download are yours to keep forever. The latest Stuff Your Kindle Day is focused on fairy-themed books featuring magical worlds. Fairy Land, hosted by Indie Author Central, is one you won't want to miss.

Want to make the most of Stuff Your Kindle Day? We've lined up everything you need to know about this event.

When is Stuff Your Kindle Day?

The Stuff Your Kindle Day schedule has been absolutely relentless in 2025. In February, Stuff Your Kindle Day took place on Feb. 10, Feb. 14, and Feb. 21, and Feb. 28. And March is following with the same energy. Events have already taken place on March 4 and March 7-10, and now it's the turn of the fairies.

SEE ALSO: The best Kindles in 2025

Until March 16, Fairy Land, hosted by Indie Author Central, is offering free fairy-themed books featuring magical worlds.

Who can take part in Stuff Your Kindle Day?

Anyone can participate in Stuff Your Kindle Day, even if you don't actually own a Kindle.

Kindle, Kobo, and Nook readers can download these books for free. You can even download these books on your preferred app and read them straight from your phone, as you can also find these free titles on the Google Play and Apple Books apps.

Which e-books are free?

Sourcing these free books is made easy thanks to Indie Author Central.

There's a helpful Fairy Land hub page that's live on Indie Author Central. All of the listed books have been discounted to free, $0.99, or made available on Kindle Unlimited or through the author's website. Indie Author Central have sorted the books by content and spice level, with descriptions of what this actually means at the bottom of the page.

Is Stuff Your Kindle Day the same as Amazon Kindle Unlimited?

Everything you download on Stuff Your Kindle Day is yours to keep, and there's no limit on the number of books you can download. Stuff Your Kindle Day downloads don't count towards the 20 books per month that Amazon Kindle Unlimited subscribers can borrow, so don't hold back.

Shop Stuff Your Kindle Day deal Opens in a new window Credit: Amazon Kindle (16GB) + 3 Months of Kindle Unlimited $109.99 at Amazon
$145.96 Save $35.97 Get Deal Why we like it

These super popular e-readers help you take your entire library on the go. With weeks of battery life and an anti-glare display, you can read anywhere and anytime with the Kindle. They start at $109.99, a great price for those on a budget, but if you want to save even more, you can get three months of Kindle Unlimited absolutely free during Stuff Your Kindle Day.

Kindle Unlimited costs $11.99 per month and allows you to borrow up to 20 months per month. For a limited time, you can get three months of Kindle Unlimited for free, saving you $35.97.

Connections is a game from the New York Times that challenges you to find the association between words. It sounds easy, but it isn't—Connections categories can be almost anything, and they're usually quite specific. If you need a hand getting the answers, we've got you covered.

It was a perfect moon landing.

Although no easy feat, Firefly Aerospace's Blue Ghost lander descended in a controlled fashion, and without mishap, to the lunar surface on March 2, becoming the first commercial spacecraft to have a fully successful landing on the moon. And NASA cameras affixed to the bottom of the robotic craft filmed footage of the descent and dusty touchdown.

The NASA instrument, called Stereo Cameras for Lunar-Plume Surface Studies, or (SCALPSS), captured 3,000 frames during the operation. This "first-of-its-kind" imagery will inform future landing missions — both crewed and robotic — about how plumes of moon dust behave as thrusters file into the lunar regolith, and how such plumes impact nearby craft or infrastructure.

SEE ALSO: Why landing a spaceship on the moon is still so challenging

The view shown in the NASA video below begins when the squat Blue Ghost craft — 6.6 feet tall and 11.5 feet wide — is 91 feet, or 28 meters, from the lunar ground.

"As the descent continues, the interaction becomes increasingly complex, with the plumes vigorously kicking up the lunar dust, soil, and rocks — collectively known as regolith," NASA explained. "After touchdown, the thrusters shut off and the dust settles. The lander levels a bit and the lunar terrain beneath and immediately around it becomes visible."

The shadow of the Blue Ghost spacecraft on the lunar surface, with Earth in the distance. Credit: Firefly Aerospace

While this landing went smoothly, landing on the moon still remains daunting, largely because it's a world with virtually no atmosphere to slow spacecraft down. A craft must plummet to the surface almost perfectly, as thrusters fire to slow its descent onto a surface teeming with pits and craters. Although Chinese and Indian craft have had recent landing successes, the U.S. commercial spacecraft Odysseus sustained damage while landing awkwardly in 2024, and another of the company's landers fell to its side in 2025. In 2024, a Japanese craft landed upside down, on its head.

Blue Ghost's mission was funded by NASA as part of its Commercial Lunar Payload Services program, which it hopes will set the stage for a U.S. lunar presence. In the coming years, NASA intends to land astronauts on the moon, too. The space agency currently expects to bring astronauts to the moon in mid-2027, wherein they'll spend a week exploring eerie craters of the moon's resource-rich south pole.

For nearly 76 percent of Americans in 2019, this was a typical workweek: Wake up, get dressed, pile into a car alone, work, drive home, sleep ... and repeat five times.

But starting in March 2020, when the COVID-19 pandemic forced many employees who weren't essential workers to switch to internet-enabled remote work, that routine shattered. For many, it would never be the same again. 

While remote work grew gradually in the four decades leading up to the pandemic, it "surged" in 2020, according to a working paper from the U.S. Labor Department. In 2022, after vaccines reduced previously staggering death rates, the U.S. Census reported that the share of American workers driving alone to work was 68.7 percent. On the surface, that is just a 7 percent reduction in solo commuters — but it also represents millions of people no longer driving alone by car twice a day.

While the number of people who take public transit to their workplace or walk or bike there has also shrunk significantly since COVID, the shift to remote work and its related reduction in vehicular miles driven is a rare silver lining of the pandemic.

The average passenger vehicle emits about 400 grams of CO2 per mile, according to the EPA.

Fully remote workers can have a 54 percent lower carbon footprint than onsite workers, according to a 2023 study from Microsoft and Cornell University.

Researchers found that even hybrid workers, those splitting their time between home and office work, contribute to a significant drop in carbon emissions. That makes sense considering the average passenger vehicle emits about 400 grams of CO2 per mile, according to the Environmental Protection Agency.

Increased home use of computers, phones, and internet services has a negligible effect on carbon emissions, according to the study. Still, the benefits of remote work are not perfectly linear.

The Cornell researchers found that Americans’ personal car usage — such as driving to errands or social events — actually increases the more days they work remotely. Those who work a hybrid schedule often live farther from the office than those fully onsite — so the days they drive, they expend more carbon than those going into the office full-time.

Still, even with those caveats, the reduction in driving from remote work yields environmental benefits for all, regardless of whether they drive to an office every day or not.

Are bosses getting sick of Zoom?

When CEOs like JPMorgan Chase's Jamie Dimon and Tesla's Elon Musk advocate for a return to the office, environmental trade-offs are likely low on their list of considerations.

Dimon, who mandated his employees report to the office five days a week starting this month, hasn’t weighed in on remote work’s carbon effects but did express that in-office workers are good for business.

"I completely respect people that don't want to go to the office all five days a week," Dimon told CNBC last month. "But they should respect that the company is going to decide what's good for the clients, the company, etc., not an individual."

Musk told CNBC that remote work is "messed up" and questioned its morality, saying it was unfair that blue collar workers didn't have the same telework options as their white collar peers. As part of his position at DOGE, and apparently with President Trump’s backing, Musk demanded in February that nearly all federal workers return to their offices full-time.

"Starting this week, those who still fail to return to office will be placed on administrative leave," Musk wrote on X (a website he runs, along with Tesla and SpaceX, mostly remotely).

This Tweet is currently unavailable. It might be loading or has been removed.

How many people does Musk's mandate effect? A 2024 report from the White House Office of Management and Budget reports that 1.1 million federal workers were eligible for hybrid work, with 228,000 working fully remote (the report appears to be scrubbed from the White House's website, but was previously reported on by Reuters).

The environmental aspect of many of these people getting back into gas-powered cars every day does not appear to be a concern for the Trump administration (the move was probably motivated by a desire for some of these workers to quit). Since federal workers are not limited to the Washington, D.C. area, the environmental ramifications would be felt nationwide.

"Returning federal employees to full-time office work would significantly increase greenhouse gas emissions," Fengqi You, an engineering professor at Cornell University, recently told Euronews. 

Going back to the office? You can reduce your footprint

Even if the federal government and the nation's largest companies aren't interested in reducing emissions, anyone can take individual action. For anyone returning to the office, either by choice or compulsion, there are ways to limit the effect on the environment.

1. Take public transit or walk or bike to work. E-bikes are also a good option for those not ready to commit to pedaling to work every day.

2. There's also carpooling. Nearly 9 percent of American workers were sharing rides to work in 2019; by 2022, that number had rebounded to 8.6 percent after taking a hit during the pandemic.

3. If you do drive solo to work, commit to leaving your car in the work garage or lot during the day. Walk to lunch or errands if possible, which will provide exercise and, in some cases, a Vitamin D boost.

4. Bring snacks, lunch, and reusable utensils and mugs to work. One study found that many office workers believe they use more plastic (forks, spoons, tops of coffee cups) and packaging for their meals than those working and eating from home.

5. When leaving home, shut off all lights and energy sources, including heating and air conditioning units. There's an economic argument for this, not just an environmental one: As the U.S. Department of Energy points out, shutting off lights yields longterm savings and even offers a calculation to figure out how much you could save.

Despite splitting the difference between stage and screen in dazzling ways, Duke Johnson’s The Actor is all shine and no substance. Starring André Holland as an amnesiac stage performer piecing together his past, the part-thriller, part-love story fails to alchemize its many flourishes, leaving only a dull, hollow core.

Adapted from Donald Westlake’s novel Memory — which was written in 1963, but only published in 2010 — Johnson’s second directorial effort features flashes of brilliance that never quite cohere. Like its lead character, the film meanders aimlessly when it should have at least hints of purpose; his issues of identity feature mild hints of metaphor for losing oneself in everyday malaise, but they’re never fully articulated. Its methods also call to mind better works about memory, and a few similar films about midlife crises turned to surrealism (some of which Johnson even worked on, like Anomalisa). 

SEE ALSO: 'The Actor' trailer: Charlie Kaufman produces this memory-centric mystery

These unavoidable comparisons only kneecap The Actor further by highlighting its failings. Add to this the fact that its race-blind casting leaves a gaping hole in its telling, and what you’re left with is a cinematic misfire on far too many fronts for something this ambitious and picturesque. 

What is The Actor about? Credit: EF NEON

In a prologue styled like The Twilight Zone — appropriate, given the story’s 1950s setting — touring actor Paul Cole (Holland) receives a blow to the head from the jealous husband of the woman he’s seeing. He wakes up with no long-term memory, and only knows his name (and his Manhattan address) from the ID card in his wallet. On the advice of local police, who want to persecute him for sleeping with another man’s wife, he leaves, only to end up in an anonymous small town with no money to his name.

As Paul tries to rebuild some semblance of a life, supporting actors are cast in multiple roles in his vicinity — a distinctly stage-like flourish employing heavy-hitters like Toby Jones, Simon McBurney, Olwen Fouéré, and Tracey Ullman — though this is largely for the audience’s benefit. The reappearance of these actors never results in any confusion or suspicion, if Paul even notices. Perhaps this trick of casting is intended to reflect his confusion, or his memory’s fluidity, but nothing in either Holland’s performance, or the film’s editing, ever indicates this. In reality, these encounters might be spread out over days or weeks, but since Paul seems to skip through time with little recollection of the interim — we’re only made privy to the details he retains— they seem to occur right after one another. According to the film’s own language, they ought to stick, but they don’t, turning the repetitions into a flourish with no purpose.   

While working at a tanning factory to earn enough for a bus ticket back to New York, Paul meets and gradually falls for a local woman named Edna (Gemma Chan), to whom he doesn’t reveal his lack of memory (and his lacking sense of self), even though he’s begun to recollect a handful of flashes about who he used to be. The more Paul discovers who he once was, usually through information he’s given by others, the less he likes the answers. Old friends and acquaintances paint him as a pretty nasty person, but learning this is not something he really reckons with in any meaningful way (he usually just moves on to the next turn of the plot). Paul never actually confronting his past, despite seeming curious to discover it, robs him of any sense of motive or objective — things that are, in theory, fundamental to this new, cookies-cleared version of him. 

The central drama, at first, appears to be about Paul being torn between his new life with Edna and putting together the puzzle of his past, but these things are only nominally (and temporarily) at odds. In going from one to the other (and back) as the plot progresses, Paul loses practically nothing — certainly not time, a resource that becomes infinite through his perception. The way he moves through the world is temporally oblique in ways that we, the audience, notice, but Paul is almost always a mere passenger to the movie, its techniques, and its structure, never bristling against them in an effort to regain autonomy.

It’s a recipe for boredom in any movie, but especially one in which the protagonist is a blank canvas. There is, however, no denying that Johnson and cinematographer Joe Passarelli paint his physical form quite beautifully.

The Actor is a visual treat, but brings to mind better films. Credit: EF NEON

As pithy as the movie is beneath the surface, it would’ve been so much worse had it not provided such an alluring and intuitive understanding of Paul’s predicament by way of its direction. Light moves across the frame in oblique and ethereal ways, as stage spotlights interact with both the actors and the lens, causing flares that dance in tandem with every bit of blocking and camera movement.

There’s a rhythm to The Actor that few works of Hollywood surrealism manage to match. As Paul moves between scenes, lights fade in and out to mark the passage of time, or to disguise the changing of sets, creating a sense of continuity about the character alongside a simultaneous discontinuity about his surroundings. Other times, these jagged disconnects come courtesy of sudden bursts of sensory input — light, sound, dialogue, always something memorable — as if to simultaneously re-orient and disorient the viewer in time, à la Christopher Nolan’s memory thriller Memento. (The comparison becomes unavoidable when Paul begins leaving himself scribbled notes.)

However, those who might notice this similarity are also likely to recall that Memento’s protagonist had both a lucid motivation and an active relationship to his surroundings at all times. Holland, unfortunately, has no such luxuries as an actor, and has to conjure the illusion of drama and desire from thin air. In that sense, his work is remarkable, but he isn’t given the opportunity to play in the movie’s sandbox. Another film that may come to mind is the Anthony Hopkins dementia drama The Father, a stage adaptation whose ingenious use of redressed sets and its re-use of actors induced a sense of paranoia. In The Actor, these things are merely worth a shrug. They leave the frame, and cease to matter, no sooner than they appear.

SEE ALSO: 'Anomalisa' review: More than just cinema's best puppet sex scene

Worse yet, it’s especially hard not to compare The Actor to Johnson’s own first film (co-directed by Charlie Kaufman), the stop-motion midlife crisis drama Anomalisa, in which self-centered protagonist Michael saw Tom Noonan in every person he came across. The two films have a similar ethereal glow, but their use of perspective differs wildly. In Anomalisa, what we see, what the character sees, and more importantly, how he sees, tells us more about him than anything he says. In The Actor, the similarities of everyone around him may as well be coincidence.

The biggest point of comparison is likely to be the most unfortunate for Johnson going forward: Kaufman’s directorial followup, I’m Thinking of Ending Things, a similarly surreal work of nostalgia and memory (a mostly live-action work, on which Johnson contributed to some of the animation). If one were to split Anomalisa through a prism, one refraction would resemble The Actor — a film that captures the glistening surfaces of the two men’s collaboration — while the other would resemble Kaufman’s solo efforts, like Synecdoche, New York, and the aforementioned I’m Thinking of Ending Things, whose respective tones are much more effective at externalizing complex elements of psychology, the way they’re personified in Anomalisa. It's hard to deconstruct any creative partnership mathematically, but The Actor can’t help but feel like a Kaufman facsimile.

It is also, unfortunately, a historical facsimile, given the lack of adjustments seemingly made in the wake of its casting.

The Actor suffers from race blindness. Credit: EF NEON

Ryan Gosling was once attached to star in The Actor. Plans and deals change all the time, so this is no shocking revelation, but what is surprising is how little attention appears to have been paid to the subtext of casting Holland in a part written for a white actor, a role that originated in the 1960s, and continues to be set in the 1950s.

On one hand, casting Chan as Edna, seemingly the only Asian face in her entire town, adds to the character’s sense of isolation (and perhaps, to what draws Paul to her in the first place). However, Paul being played by a Black man leads to more incongruity, beginning with his police persecution for sleeping with a white woman, a historical precedent with an incredibly charged racial subtext, but, in the film, an incident that’s only discussed in the context of infidelity.

That Paul is constantly surrounded by white characters in a rural town, some of whom look upon him with suspicion, does little to impact the character’s sense of self, though, as he's a Black person living through a fraught period of American history, one would think it certainly would. On one hand, crossing these racial lines has long been common when casting for the stage, so it’s at least in tune with the film’s M.O. On the other hand, this has traditionally been an outcome of the geographical and financial limitations of theatre, a problem cinema doesn’t usually have, and Paul’s is not the kind of role that remains in stasis when he’s played by a Black performer, given the specifics around him.

A key problem with The Actor is that it very much is the story of a Black man traversing through rural backroads and encountering police at a time when this would’ve been especially dangerous for him. Paul may not have a past, but he has an outward present, one that every character around him sees. Ironically, his lack of identity bleeds into the film at large. Like Paul, the movie lacks a distinct sense of self in the process, and comes off as nearly inhuman in its unveiling of this particular story, with this specific cast. All the lighting cues in the world can’t make up for a story about a person granted no personhood by the camera.

The Actor is now in theaters.

TL;DR: Have a scanner on hand at all times with SwiftScan VIP, now $41.99 (reg. $199) with code TAKE30 through March 30.

It's surprising how often we need to keep track of a receipt, make a copy, or digitize an important document. Though they are hard to track down these days, scanners can really come in handy.

Since most of us don't even have a printer that is easily accessible, SwiftScan is there to fill the massive multitasking-printer-sized void in our lives. And right now you can enjoy a lifetime license for just $41.99 with code TAKE30 through March 30. 

Arm your smartphone with a scanner

SwiftScan turns your smartphone or tablet into a scanner, letting you create high-quality scans in seconds via a user-friendly app. It detects the edges of the page for precise scanning and makes scanning multiple pages and turning them into a single document a breeze. 

The app actually improves upon our old-school scanners. It enhances the scan quality with color filters, auto-optimization, and blur reduction, making it a great option for professionals who need to scan items for work. 

Once you're done scanning, turn a page into a PDF or JPG. Then, choose between sending it as a fax or email attachment or uploading it to iCloud, Google Drive, Dropbox, or another trusted cloud service with seamless integration. Scanned items are also saved and organized by SwiftScan for easy retrieval.

Scanning something you need to work with? SwiftScan also lets you edit PDF files, so you can annotate, redact, or sign after scanning. Your clunky old scanner definitely couldn't do that. 

Take a digital copy of anything with this handy lifetime subscription to SwiftScanVIP, now only $41.99 with code TAKE30 through March 30. 

StackSocial prices subject to change.

Opens in a new window Credit: SwiftScan SwiftScan VIP: Lifetime Subscription $41.99
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TL;DR: Make presentations impactful with Microsoft Visio 2021 Professional, now just $14.97 (reg. $249) for a Windows license.

Still using the same app for work presentations you did in college? That's sort of like still drinking Four Loko or showing up to a meeting in pajama pants. 

It's time to spice up how you present data with Microsoft Visio. If you want to change things up, a lifetime license for Windows is available now for only $14.97. 

Help your presentation pop

For less than the price of a pizza, you can step up your presentations and stand out in front of colleagues and bosses. Microsoft Visio offers dozens of pre-made templates, diagrams, and stencils to help articulate your points.

There are over 250,000 shapes available in their online content ecosystem, ready to make your ideas memorable and dynamic.

If you're looking to save some time, you can automatically generate org charts, process maps, floor plans, and more via data from Excel, Exchange, or Microsoft Entra ID. Or, if you're stumped on something, you can utilize Visio's brainstorming templates to help you work out ideas in real time. 

Hoping to flex your creative muscles? Visio also lets you draw your own creations, using your finger or a pen to draw directly on touch-enabled devices. This also works great if you're looking to annotate existing diagrams. 

This deal for a Windows license Microsoft Visio Professional 2021 license is only available to new users and includes all of the features from Vision Standard, plus more templates, shapes, and collaborating features.  It requires a Microsoft 365 subscription or a Microsoft SharePoint subscription to get going. 

Boost your productivity and create stunning visuals with Microsoft Visio 2021 Professional for Windows, now only $14.97 (regularly $249).

StackSocial prices subject to change.

Opens in a new window Credit: Microsoft Microsoft Visio 2021 Professional: Lifetime License for Windows $14.97
$249 Save $234.03 Get Deal

TL;DR: Bring home a MacBook for just $229.97 (reg. $999) with this limited-time deal through March 30. 

Been laptop shopping lately? Sticker prices are enough to cause shell shock. That's why you might want to act fast on this 13.3" Apple MacBook Air deal. 

It's on sale for just $229.97, which is $770 off, but not for long. Not only do these have a high risk of selling out, the deal is only running through March 30.

This deeply discounted MacBook Air comes packed with perks

Weighing in at under three pounds, this model makes toting around a laptop much more enjoyable. But don't think that low weight means Apple skimped on their usual bells and whistles.

 This MacBook Air includes a 1.8GHz Intel Core i5 processor with speedy performance. And despite that slim casing, it includes 128GB of flash storage to save important data right there on your computer.

The 13.3" widescreen display offers Intel HD Graphics 6000, which makes this model great for work or play. Stream your favorite shows thanks to the super smooth video streaming, get in some gaming, or enjoy high-quality images on your morning Zoom meeting. 

Connectivity isn't an issue with this device, it offers both WiFi so you can sign on from anywhere and Bluetooth so you can easily transfer files as needed. 

Another great perk? You won't have to waste time searching out an electrical outlet because this MacBook boasts an impressive 12-hour battery life. 

If you're wondering how you're securing that discount, it's because this particular model is refurbished with a grade A rating. That means it will arrive on your doorstep in near-mint condition, with virtually no sign of prior use with all the benefits of a refurbished price tag. 

Secure one of these Apple MacBook Air 13.3" models for just $229.97 (reg. $999) now through March 30, while supplies last. 

StackSocial prices subject to change. 

Opens in a new window Credit: Apple Apple MacBook Air 13.3" (2017) 1.8GHz i5 8GB RAM 128GB SSD Silver (Refurbished) $229.97
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TL;DR: BitMar Streaming Content-Finder lets you enjoy millions of shows and movies at your fingertips for life for a one-time price of $14.99 (reg. $150) with code BITMAR5 through March 30. 

Are you sick of shelling out a small fortune on streaming services monthly and still having trouble finding something to watch? BitMar could be the answer to your prayers. 

This next-generation content finder aggregates millions (yes, millions) of free movies, TV shows, videos, songs, and more from all over the internet, making it impossible to be bored. And this service is now available for life for just $14.99 with code BITMAR5 through March 30. 

This smart platform is like an entertainment all-you-can-eat buffet

BitMar uses artificial intelligence for good, hunting down filter-free content streaming all over the internet, worldwide, for your enjoyment via a Bing-powered search. And despite using powerful technology, its interface is super straightforward and user-friendly. 

By seeking out free content, BitMar can deliver more movies and television shows than cable, satellite, Netflix, Disney Plus, HBO Max, Amazon Prime Video, Apple TV+, Peacock, and Hulu combined. There are also more music options than Pandora, Spotify, Amazon Prime Music, and Apple Music combined. 

Aside from the vast content options, BitMar also includes perks like watching videos without ads, which especially comes in handy with content from platforms like YouTube. 

Worried BitMar sounds too good to be legal? Rest assured, BitMar complies with the Digital Millennium Copyright Act, and its content-finding model allows content creators and owners to monetize via the free traffic BitMar brings them. 

Since it's legal, you may also be curious why it's so affordable. BitMar is available at a one-time low price because you're paying for the platform, not all that content. Think of it as an all-you-can-eat buffet for your entertainment. 

Make sure you always have something to watch with this lifetime subscription to BitMar, on sale for just $14.99 (reg. $150) with code BITMAR5 now through March 30. 

StackSocial prices subject to change.

Opens in a new window Credit: BitMar BitMar Streaming Content-Finder: Lifetime Subscription $15
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Over the last few years, Novocaine star Jack Quaid has carved himself a niche by playing the everyman archetype with a genre twist.

In The Boys, he's a nobody thrust into a world of superheroes. In Star Trek: Lower Decks, he's an ambitious worker bee on a starship. And in 2025's Companion, he's a sinister (yet all too familiar) "nice guy" with a robot girlfriend.

SEE ALSO: 'Novocaine' trailer: Jack Quaid goes on a gnarly quest for vengeance

Quaid's leading role in Novocaine feels like a natural continuation of these genre-bent everymen. He plays Nathan Caine, a mild-mannered assistant bank manager who has congenital insensitivity to pain with anhidrosis (CIPA), a genetic disorder that impacts his nervous system to the point that he can't feel pain or temperature.

Usually, Nathan's CIPA causes everyday annoyances that he takes careful steps to manage. He can't eat solid food for fear of biting his tongue off, so he blends it. He can't feel pressure in his bladder, so he sets timers for bathroom breaks. But when his crush Sherry (Amber Midthunder) is taken hostage, he unleashes his CIPA as a superpower, fighting his way through stabs, gunshot wounds, and more to get to her. The ensuing ride is the perfect showcase for Quaid's charms, as he elevates a serviceable action comedy to a damn great time.

What's Novocaine about? Amber Midthunder and Jack Quaid in "Novocaine." Credit: Paramount Pictures

The first act of Novocaine sees Quaid in prime "regular guy" mode. As Nathan, he wakes up, goes about his morning routine, heads to the bank, and crushes on bank teller Sherry from afar. After a coffee spill meet-cute, Sherry invites him out to lunch, then to an art gallery opening. They open up to each other about things they hide from the world: He tells her about how his CIPA led to him being a punching bag at school and causes him to withdraw from social gatherings. She tells him about her self-harm and her upbringing in a troubled foster home. The night culminates in a tender hookup that has Nathan hearing wedding bells.

SEE ALSO: Watch Sophie Thatcher and Jack Quaid react to the totally meta Goo Goo Dolls easter egg in 'Companion'

At face value, this opening sequence is just a run-of-the-mill first date, one that can't hold a candle to the rom-com greats. But Quaid's game combination of daffiness and vulnerability lends a pleasant sweetness to Nathan's conversations with Sherry. As Sherry, Midthunder is saddled more with a manic pixie dream girl-type role — look, she encourages him to eat his first bite of pie! — but don't worry. Novocaine features its fair share of twists that allow Midthunder to showcase more of the star power she displayed in 2022's Prey.

Speaking of star power, Quaid's kicks into high gear when Nathan begins his quest to take down the trio of bank robbers who kidnap Sherry. Once again, he's the everyman stuck in a high-stakes situation. He's never shot a gun, and he doesn't really know how to fight, resulting in some hysterical scenes in which a hapless Nathan bumbles through intimidating his adversaries. He can't bluff to save his life, but my goodness, does he commit.

Crucially, though, Nathan also doesn't know how to feel pain, and that proves to be the secret sauce Novocaine needs.

Jack Quaid brings humor to Novocaine's fun fights. Jack Quaid in "Novocaine." Credit: Paramount Pictures

Turns out all you need to do to freshen up some tried-and-true fight scene tropes is to take away one fighter's ability to feel pain. Take Novocaine's restaurant kitchen fight scene, Nathan's first real one-on-one test. Kitchen fights are an action movie mainstay. Recent blockbusters like 2023's John Wick 4 and 2024's Monkey Man delivered scorching kitchen-set battles, and of course, who can top the kitchen showdown in The Raid 2?

But Novocaine manages to find its own kitchen fight magic by removing Nathan's pain from the equation. Now, you've got someone who's unafraid to reach into a vat of boiling oil or use a red-hot skillet as a weapon. Nathan may not be a physical match for his opponent, but his ability to withstand agony levels the playing field.

SEE ALSO: 'The Electric State' review: Imagine 'Ready Player One' but worse

Directors Robert Olsen and Dan Berk stay trained on Nathan for much of the fight, highlighting Quaid's aptitude for physical comedy and every little surprised expression that crosses his face as he realizes just how much his CIPA can benefit him in this life-or-death situation.

Thanks to that realization, Nathan finds consistently more inventive ways to take down his foes, no matter the physical damage they do to him. The disconnect between his normal guy vibes and his gnarly appearance makes for some of Novocaine's best comedy. Case in point: Nathan casually slicing his arm open in order to remove a bullet. Quaid keeps talking through it like everything is normal, but the blood oozing from his arm suggests otherwise.

That's only the tip of Novocaine's gnarly iceberg, which puts Nathan's body through the ringer, even if he may stay chipper for quite a bit of it. And while I don't actively wish harm on movie protagonists, I will say that thanks to Quaid, it's never been more fun watching someone get hurt.

Novocaine hits theaters March 14.

Sometimes a movie hits you so hard, you can't shake it. The Electric State, the latest offering from directing duo Joe Russo and Anthony Russo, is such a movie. It's so dunderheaded and cacophonous that I'm still angry about its existence. 

There was a time not so long ago when the Russo brothers were entrusted with the keys to the MCU kingdom, helming blockbusters like Captain America: Civil War and Avengers: Endgame. But outside of the box that Kevin Feige built (or at least oversees), the pair have struggled to create enthralling movies. Instead, they've give us the forgettable Tom Holland-fronted drama Cherry and the atrociously underwhelming action flick The Gray Man, which wasn't even helped by pitting Chris Evans against Ryan Gosling. Now, here comes The Electric State, a convoluted collision of genres, ideas, and bottom-of-the-barrel nostalgia that cannot be elevated by its stars, Millie Bobby Brown and Chris Pratt. 

SEE ALSO: 'The Gray Man' review: The Russo Brothers' action mixtape can't find the beat The Electric State is less a movie and more a garage sale.  Chris Pratt leaps onto a robot's hand in "The Electric State." Credit: Netflix

Inspired by Simon Stålenhag's illustrated novel of the same name, The Electric State is set in a world drowning in kitsch and anti-robot sentiment. In a '90s setting, Stranger Things' Millie Bobby Brown stars as orphaned teen Michelle, who has a chip on her shoulder and a little brother whose consciousness has somehow ended up in a cartoony-looking robot that can only spit cutesy catchphrases. Considering Michelle had thought he'd died four years before — in the car collision that killed their parents — this seems a win. But it pitches girl and bot into quest to reunite his body and soul, which will take them deep into enemy territory. 

See, in The Electric State's revisionist history of our world, vaguely anthropomorphic robots were introduced to the U.S. in the 1950s to amuse and do menial jobs, like construction, delivering mail, or promoting the sale of peanuts. As the robots gained consciousness, they demanded not to be enslaved and instead given rights. A violent man-versus-machine war broke out in 1990. The only thing that could stop the death on both sides was a peace treaty struck between tech oligarch Ethan Skate (Stanley Tucci) and Mr. Peanut (voiced by Woody Harrelson), a mechanical mascot who'd become the leader of the robots.

Confused? Don't worry. For one thing, the movie will explain itself over and over, laying out the robots-only zone with the help of the buddy team of a human smuggler (Pratt) and his robo-sidekick (voiced by Anthony Mackie). For another thing, none of this really ever makes sense, no matter how much screen time the Russos dedicate to it. 

The thing is, it wouldn't matter if the plot held water if the world they built was cool enough. (See The Matrix or the explosive ending of Jaws!) But the Russos are not creators, they're collectors. And here, they basically turned a junkpile aesthetic into a trash movie.

The 1950s robots all have a kitschy old-school design of round heads and thin limbs, evoking Mickey Mouse. But the Russos aren't working for Disney anymore, so while Walt Disney gets a mention (as an innovator in the space of robot employment), the movie is not filled with recognizable characters, much less beloved ones. Where Ready Player One offered a similar concept of the underdog disrupting tech tyranny in a world where anything dreamed up could battle, The Electric State is stuck with Mr. Peanut. For added pandering, there's a smattering of '90s doodads like Big Mouth Billy Bass, the singing wall-mounted fish. Then, the Russos slather much of the film in a dingy blue-gray palette that assures the audience that while this might seem stupid, it's actually a very serious movie. (Netflix, did Squid Game teach you nothing!) 

Millie Bobby Brown and Chris Pratt do not save The Electric State.  Millie Bobby Brown, Chris Pratt, and Ke Huy Quan co-star in "The Electric State." Credit: Netflix

Netflix and Brown have committed pretty intensely to each other, following Stranger Things with the action-packed mysteries Enola Holmes 1 & 2 and the fantasy action movie Damsel. The Electric State seems a step back for Brown, miscasting her as the lead. Now 21, she no longer looks convincingly like a teenager. Her physicality in the first scene — opposite her human brother before the war with the robots — is so maternal and mature that it's jarring when a scene set four years later insists Michelle is in high school. From there, Brown seems on cruise control, glowering whether she's talking tough to the smuggler that becomes her uneasy ally, her ro-brother, or any array of misfits and machines she meets on her journey. 

The Russos aim for an Amblin aesthetic in their sentimental approach to a kid and their outsider bestie — AI instead of ET — fighting for the latter's very existence. The score by Alan Silvestri (Back to the Future, Amazing Stories) seems to harken back to the '80s optimism seen in kids movies like E.T. and An American Tail, in which a pesky pack of kids could topple a villainous authority. But this whimsy doesn't permeate the movie. Its best effort seems to be in Keats, Pratt's smuggler, who feels modeled after Han Solo meets Andy from Parks and Recreation. It's Pratt in his default mode of swaggering doofus. And for good measure, he's got a wise-cracking robot buddy who isn't cute, or funny, or particularly interesting. But hey, at least they manage to wedge in some gay panic jokes in a could-have-been-moving moment. 

The effect of all this is that of a sloppy collage. Smacked together with visible glue are some cool visuals, some popular performers, some story elements that echo Stranger Things, Star Wars, E.T., The Matrix, and Ready Player One. But there's nothing much to say and nothing new to contribute. Viewers might perk up when a curious robot pops on screen with a familiar voice, as the likes of Jenny Slate, Brian Cox, and Alan Tudyk lend their voices. They might marvel that Giancarlo Esposito, who plays a human solider dedicated to keeping the robots in line, brings gravitas even to dreck like this and Captain America: Brave New World. But when you consider the cast that came together, the money spent on building a varied and textured population of weird robots, and the time invested in bringing the Russos' vision to life, it's hard not to feel like The Electric State is nothing if not a monument to missed opportunities. 

The Electric State comes to Netflix on March 14.

For many a movie lover, the promise of the ever-elegant Cate Blanchett and the ruthlessly debonair Michael Fassbender co-starring as spies should be enough to cough up ticket money. That's a powerful pairing of performers who are very well-suited to the sleek and sexy subgenre of espionage thriller. But props to director Steven Soderbergh and screenwriter David Koepp for subverting expectations with the distinctly exciting Black Bag. 

As they have with the psychological thriller Kimi and the mysterious haunted house movie Presence, this terrific pairing of writer and director has cherry-picked elements of a genre, without submitting to its expectations.

In this case, Black Bag will satisfy spy fans who demand a cast of suave rogues, sexual allure, intense interrogations, exotic globe-trekking, dubious allies, and a powerful MacGuffin that must be kept out of dangerous hands. However, what makes Black Bag a sensational standout is the husband and wife at the heart of it. 

Black Bag is a sexy, smart, and cool movie about marriage. Seriously.  Credit: Claudette Barius / Focus Features

In movies and TV, marriage is often painted as the death of excitement. Romance-centered comedies frequently end in marriage, suggesting the story of the young lovers is essentially over as soon as they settle down. In dramas or thrillers, marriage is usually only of interest if it is under threat by infidelity, divorce, or murder. But Koepp finds a unique way to explore the thrills of marriage through the spy angle. 

Fassbender and Blanchett star as George and Kathryn Woodhouse, a married couple who are not only spies but also a subject of envy and awe in their circle of colleagues because of their "flagrant monogamy."

From their first shared scene together, Fassbender and Blanchett capture this almost egregiously functional marriage by displaying an easy intimacy — but not a dull one. Their hunger for each other is apparent in the steady but intense way George watches her undress; she smiles at his continued attention as she drops her silky clothing to the floor. Where he is stiff and buttoned-up, she is fluid and unbound. They are an odd couple that really clicks, not by chance but by mutual appreciation for each other's quirks. So when a secret mission threatens to come between them, the tension comes less from the potentially catastrophic loss of life and more from the possible ruination of this successful marriage, riddled with steaminess, shared history, and secrets. 

Black Bag is a spy movie for grown-ups.   Credit: Claudette Barius / Focus Features

Unlike the movie Mr. & Mrs. Smith, this married couple knows each other are spies, and as such, that each carries secrets that must be kept from the other. Their code word for "I can't talk about that" is simply "black bag." But how do you build a romantic relationship of trust when lies are part of your business? 

This is the crux of Black Bag, as George is assigned to investigate Kathryn, and whether or not she has turned traitor by stealing the aforementioned deadly doodad. In an unconventional move that plays perfectly to Koepp and Soderbergh's strengths as storytellers, George's first move in his mission is to invite Kathryn and the other four suspects over for a dinner party. Their guests just happen to be a pair of young, hot-blooded couples who all met at the agency. While the main plot is George tracking down the traitor, the subplot focuses on these three romantic relationships, and how each copes with the pressures of each other's secrets. 

Explosions, chases, and subterfuge will all play a part in Black Bag, satisfying some genre expectations. But the biggest thrills come from George, in his even-handed, almost monotone delivery, slyly pushing his guests' buttons to see who will blow up. This becomes not just one deliciously manipulative dinner scene but a trio of sequences set across tables, each amping up the stakes and suspense as George toys with his prey.

A crackling supporting cast adds to Black Bag's shine. 

As one might expect. Blanchett is a vision as a sophisticated spy who can wear a silk gown with the same grace she can curse out a workplace antagonist. Fassbender is her perfect scene partner, playing a foil to her slinking certainty with a firm but not wooden resolve. Though outwardly austere, he projects an intensity of thought so rigorous, you can practically hear the gears churning in his mind. 

To this dynamic, the supporting ensemble of Marisa Abela, Tom Burke, Naomie Harris, and Regé-Jean Page are sublime additions. Playing peers and rivals, Burke carries a world-weary swagger as an agent battling his demons, while Page has a dashing carriage and a sharp tongue. Harris, who portrays the agency's in-house therapist, oozes with intellect but appears weighed down by the burden of dealing with clients trained to lie expertly. Then there's Abela. 

The youngest and greenest of this spy group, her character is a technician who still finds the spy game a romantic thrill, even when the realities hit her like a knife to the heart. She's the sharpest contrast to the others, as they all have varying degrees of a cool facade. She's a gorgeous nerd who craves a life of excitement and love, and she looks desperately to George for guidance on how to achieve both. But how that plays out is not by the book. 

A terrifically in-tune cast brings together Koepp's rigorous dialogue with a vicious veracity and vulnerability. Soderbergh smartly embraces an almost chilly visual aesthetic, similar to Kimi's, which reflects the atmosphere at an agency where lovers are pitted against each other. The cool color palette and static camera angles make the sizzling performances practically explode off the screen, whether characters are fighting, flirting, or going in for the kill — metaphorical or literal.

In the end, Black Bag comes together cleanly and compellingly, offering an engaging spy thriller that's about much more than global dynamics or stealthy stunt scenes. At its core, it's a story of two people who are still madly in love and fighting for each other. That gives Black Bag an edge. Koepp and Soderbergh have built a rare movie marriage that's exciting because its spouses still excite each other, and yeah, they're also spies.

As soon as Black Bag was over, I felt that dizzying high one gets from a proper spy thriller, the rush of vicarious adrenaline from the case cracked and the day saved. But I also had the deep urge to see this movie again immediately. Because as generous as the filmmaker and stars are with slathering this story in George and Kathryn's mutual attraction, I couldn't get enough. I wanted to go back to feel the thrill of their love for each other all over again. 

Black Bag opens in theaters nationwide on March 14.

A cult-centric popstar thriller that quickly falls apart, Mark Anthony Green’s debut feature, Opus, features hints of ideas about journalism and celebrity that never fully come to the fore. A tale of a music writer attending the listening party of a long-awaited return album from an ‘80s mega star who’s been in hiding for the past two decades, the film’s supposed eeriness is marred by dramatic disconnect. Even its basics are hard to follow, when tracking them should be the easiest thing in the world.

As a former GQ columnist, Green brings occasional insight to magazine newsroom politics. However, the rest of his story is visually and narratively malformed. The performances are mostly enjoyable, especially John Malkovich as the aforementioned returning glam rock idol, but they end up in service of a deeply confused movie that has little, if anything, to say.

What is Opus about? Credit: Anna Kooris / A24

An early scene in the film, a casual lunch date between novice music writer Ariel Ecton (Ayo Edebiri) and her long-time friend Kent (Young Mazino), establishes core tenets about the former’s character. She’s talented but withheld, never letting anyone close to her as she guards a persona she fears is unremarkable and middle-of-the-road. Unfortunately, neither Kent nor this entire emotional setup ends up factoring into the movie in the slightest, which quickly moves on to its tale of an icon’s surprise return after decades away.

The character dynamic that really matters is Ariel, a Black woman, being overshadowed and dismissed by her smiling, white male boss Stan (Murray Bartlett), especially when the two of them are among a select handful invited to visit the isolated ranch of the returning Moretti (Malkovich), a pop icon whose stature the film portrays in amusing ways. After his comeback album is announced in a YouTube video by his long-time publicist (Tony Hale), the singer’s history is neatly condensed for us in the form of a globe-spanning montage celebrating his return, made up of news stories and social media posts which heavily center his posters, famous bobbleheads and other valuable memorabilia. This makes his presence — and really, his absence — feel tactile. All of this set to his iconic ‘80s dance ballad, “Dina Simone,” a fictitious earworm sung by Malkovich himself. It’s not hard to see why he was once so beloved.

Alongside paparazzo Bianca (Melissa Chambers), influencer Emily (Stephanie Suganami), talk show host Clara (Juliette Lewis) and former music rival Bill (Mark Sivertsen), Ariel and Stan receive invites by courier, after which they’re flown out to a nondescript desert, then bussed 50 miles to Moretti’s sprawling, gated compound, home to a creativity-worshipping faith known as the Levelists. Part spa, part Jonestown, and part Michael Jackson’s Neverland Ranch, the dustbowl getaway is populated by acolytes of various ages all dressed in navy blue robes. This cult-like group serves at Moretti’s beck and call, with actors like Amber Midthunder and Tatanka Means handing the guests strict instructions on the weekend’s activities — a dinner, a massage, nothing too out of the ordinary — while younger, pre-teen members of the pseudo-religious fanhood engage in painting and other arts and crafts.

The arriving journos are also stripped of their electronics to “preserve the integrity of the experience,” one of several red flags that only Ariel seems attuned to. However, as members of their group go missing one by one, the film’s framing of these supposedly strange events doesn’t quite serve this Get Out-esque narrative, in which only Ariel sees through the Matrix-code of Moretti’s constructed reality.

The cult saga in Opus is visually malformed. Credit: Anna Kooris / A24

The biggest flaw in the film’s construction is the blurry boundary between what the camera sees and what Ariel notices. Instructed by Stan to take notes when she should be writing her own article, Ariel isn’t blinded by Moretti’s celebrity and jots down her observations on the surrounding sycophancy. However, what she finds off-putting is, more often than not, the result of mere quirks that the other guests aren’t necessarily wrong to dismiss, while any doubts about the group’s safety arise through information only the audience is given. And yet, despite this disconnect, we’re expected to invest in Ariel’s attempts to convince Stan and the others that something strange is afoot; we know that she’s right, but she has little reason to believe the things she’s saying, so it can’t help but feel like crying wolf.

There are certainly strange happenings in the movie’s margins, á la Ari Aster’s Midsommar, but rather than the film’s protagonist being slowly drawn into a mystery, or discerning oddities no one else sees, the cult’s more disconcerting behavior is visible only to the camera, and thus to the audience, but not Ariel. Sometimes it’s not even clear what, if anything, she actually sees even when faced with disturbing revelations (like the fate of a fellow guest), owing to off-kilter visual framing and editing that yanks us away from the action far too quickly. While rightly she notes the Levelists’ beliefs as out of the ordinary — they worship creativity above all else, and consider it divine — the premise as seen through her eyes is never quite unnerving.

The movie’s aesthetic shortcomings pile up the further it goes on. Each guest is chaperoned around the compound by a specific cult member, and when skirmishes arise between Ariel and her assigned Levelist, an entire fight scene unfolds off screen. Not long after, a chase scene on ATVs hops and skips around in time and space, as though the production had either failed to shoot enough footage for these moments, or they had to be somehow rescued in the edit, and this was the best possible outcome. It’s bizarre to watch, given how incomplete the movie feels, and how it obscures the one tenet that ought to be central to a story such as this: the controlled reveal of information. 

Opus has no bigger picture. Credit: Anna Kooris / A24

The flaws in the film’s moment-to-moment construction go hand-in-hand with its lack of a macro point of view. The film is, on its surface, akin to Mark Mylod’s The Menu, wherein people semi-related to the world of a renowned artist (Ralph Fiennes’ gourmet chef Julian Slowik) are drawn into an elaborate series of games or traps stemming from his warped worldview. While Opus pulls back its curtains in much the same way, what it reveals is shockingly empty.

Malkovich adds enigmatic layers to Moretti as best he can — the actor appears to have had fun in the role — but at no point does the character seem like he has any kind of coherent plan or outlook. When harm inevitably comes to the guests, it often seems random and coincidental, and when it’s time for Moretti to express his twisted reasoning, the result is a series of long, drawn-out monologues that barely connect to the events as they unfold on screen. All of this makes you ask: What is Opus even about?

There are, on occasion, hints of racial subtext — the professional dynamic between Ariel and Stan is realistic and familiar — but none of this extends to the larger premise, given the cult’s multiracial makeup. Moretti may be an esoteric figure, but even his late-era-Kanye musings on genius and celebrity feel distinctly ordinary. No real-world element in the film is ever magnified enough to function as satire, leaving Opus in a lukewarm middle ground, where ideas never evolve, and character drama seldom extends beyond what someone (usually Ariel) observes or experiences in-the-moment.

The real tragedy here is that the premise of Opus has potential. The world of celebrity worship is fertile ground for a tale of religious fervor, and Edebiri has the kind of frank, matter-of-fact timing that feels tailor-made for emphasizing the bizarre. However, the film’s scattered pieces never allow even its minor strengths to enter the spotlight for too long. The little that works ends up shackled by lousy, scattershot filmmaking that saps the movie of all tension, insight, and fun.

Opus hits theaters March 14.

UPDATE: Mar. 13, 2025, 2:08 p.m. EDT "Opus" was first reviewed out of the 2025 Sundance Film Festival. This review was first published on Feb. 2, 2025, and has been updated for its theatrical release.

Late Night host Seth Meyers has continued to take aim at President Donald Trump and Elon Musk's "desperate and embarrassing infomercial" for Teslas at the White House, presenting several clips of the former explicitly disparaging electric cars over the past couple of years.

SEE ALSO: Seth Meyers gleefully roasts Trump and Musk's Tesla ad

Tesla staged a personal showroom for Trump on the White House lawn on Tuesday, with the president making a show of buying a new Model S Plaid in response to the company's falling stock prices. Trump's purchase and promotion of the cars was a deliberate show of support for his close ally and Tesla CEO Musk. As Meyers noted, it also flew in the face of the anti-electric vehicle stance Trump has maintained for years.

"Not only was this flagrantly corrupt," said Meyers. "But this entire gambit, it all depends on Trump convincing his MAGA supporters to buy Teslas after spending months telling them on the campaign trail, 'Electric vehicles suck.'"

He then proceeded to play a collection of clips of Trump doing just that, with the now-president claiming that "they don't go far, they cost a fortune," and "they don't work in the cold."

"Oh yeah, these people definitely sound like they're gonna buy a Tesla," Meyers quipped in response to a crowd at a past Trump rally booing electric vehicles.

iRobot could soon be out of business, the Roomba's creator admitting that there's "substantial doubt about [its] ability to continue as a going concern." It's a drastic fall for the company whose Roombas were once synonymous with robot vacuums in general. 

Revealed on Wednesday, iRobot's dire assessment came as part of its financial results for Q4 2024, which showed that revenue had fallen by 44 percent compared to the same time the previous year. Comparative results for the full financial year weren't quite as bad, with revenue dropping a little over 23 percent from $890.6 million in 2023 to $681.8 million in 2024. Still, those aren't numbers iRobot wants to see shrink at all.

SEE ALSO: iRobot just completely overhauled its lineup with 8 new Roombas for 2025

Of course, iRobot has been attempting to address the problem for a while. Acknowledging the company's struggles, iRobot noted that since a January 2024 restructuring it had cut over half its staff, decreased spending on marketing, reduced inventory, and lowered the price of its products by overhauling its research and development model. 

The company also pointed to the recent unveiling of its 2025 lineup, with CEO Gary Cohen calling it the "largest product launch in iRobot's history." Even so, iRobot admitted that its future could very well depend upon how this lineup performs over the next year.

"[T]here can be no assurance that the new product launches will be successful due to potential factors, including, but not limited to consumer demand, competition, macroeconomic conditions, and tariff policies," wrote iRobot. "Given these uncertainties and the implication they may have on the Company's financials, there is substantial doubt about the Company's ability to continue as a going concern for a period of at least 12 months from the date of the issuance of its consolidated 2024 financial statements."

The news sent iRobot's stock plummeting, ending 35 percent down when markets closed on Wednesday. The fall continued on Thursday, with iRobot's shares closing nearly a further 25 percent down. As of writing, iRobot's shares are priced at $3.06, less than half of their value on Tuesday before the financial results were released.

iRobot's poor financial results follow the collapse of a $1.4 billion acquisition deal with Amazon last January. Initially signed in 2022, both parties terminated the deal due to antitrust concerns from the European Union. In a statement at the time, iRobot said that the acquisition had "no path to regulatory approval in the European Union, preventing Amazon and iRobot from moving forward together." Now it seems iRobot may not be able to move forward at all. 

The company is hopeful that its overhauled lineup of robot vacuums will facilitate revenue growth and help get it back on track. However, iRobot's financial struggles will likely cause potential customers to think twice before picking up a new Roomba. If it can't turn itself around, some people may end up without access to support or spare parts for their brand new gadget.

A lot happens in Severance Season 2's penultimate episode, but as things heat up with Mark's (Adam Scott) attempted rescue of his wife Gemma (Dichen Lachman), there's also a weird moment between Helly (Britt Lower) and her dear old dad.

No, not the mildly disturbing egg scene at the beginning — their brief interaction in the Lumon offices right at the end.

So what does Jame Eagan (Michael Siberry) say, and why does he say it? Let's recap.

SEE ALSO: 'Severance' is borrowing a brilliant idea from 'Terminator 2' What happens at the end of Severance Season 2, episode 9?

Towards the end of the episode, Helly (Britt Lower) is in the Lumon offices on her own, memorising the directions to the exports hall, which Irving (John Turturro) hid for Dylan (Zach Cherry) to find on the back of a poster. Suddenly, Eagan pops up behind her in the doorway like some creepy old ghost.

"You tricked me," he whispers. "My Helly."

Helly shoves the note under her keyboard and turns to him, looking more baffled by his presence than anything else. The scene ends with her muttering, "What the fuck?"

She has a point. Why is Jame Eagan on the Severed Floor, and what does he mean when he says that she "tricked" him?

Why does Jame Eagan say Helly "tricked" him?

At first it seems that there are a few possible explanations for Jame's comment. The first is that he knows what Helly is doing; he's seen her memorising the note, and he knows she has something planned. But if that's the case, why would someone as high up as he is go all the way to the Severed Floor to confront her himself? It also briefly crossed my mind that Helly might actually still be her Outie in this scene going undercover again, and that Jame knows she's pretending to be her Innie. But this feels too convoluted to be true — that twist has already happened once, after all — and the fact that he calls her "Helly" (coupled with her reaction to seeing him there) implies that she is still the Innie Helly we know and love.

Is it possible that Jame's main motivation is just to see his daughter in her severed state? To try and make some sense of why she did what she did in the Season 1 finale? This seems the most likely explanation, but we won't know for sure until next week.

Severance Season 2 is now streaming on Apple TV+, with a new episode every Friday.

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Rosamund Pike and Josha Stradowski are joined by The Wheel of Time cast and showrunner Rafe Judkins to do a deep dive of the show's most exciting relationships of Season 3.

The Wheel of Time Season 3 is now streaming on Prime Video.

I play most of my games on an Xbox plugged into a 65-inch OLED TV in the living room. Despite this comfy setup, I caved and finally bought a Steam Deck in late 2024, and I’m so happy that I’ve started padding my neglected Steam library once again.

Have you ever wished you could just swap out your phone full of apps and features and go back to the simpler times where you just texted or called people? Light has a product line that fulfills the exact purpose, and its latest phone, the Light 3, is as minimalist as it gets, but I'm honestly failing to see the long-term market vision here.