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Tron: Ares has arrived to smother a confounding sci-fi franchise in star power, sex appeal, and nostalgia, hoping for fresh relevance. But right out the gate, it already feels behind the times. 

Sure, back in 1982 when Tron hit theaters, it was groundbreaking with its flashy visual effects and delving into the AI discourse well before it was part of our everyday news cycle. But now, 43 years later, Tron: Ares has nothing all that intriguing to say about technology. Instead, this third entry in a franchise that's always centered on corporate intrigue suggests that technology can be a tool or a weapon, depending on who wields it. 

Sure, plenty of media has said as much. But this movie boasts impossibly attractive stars like Jared Leto, Greta Lee, Jodie Turner-Smith, Gillian Anderson, and Jeff Bridges. Plus, it's got a soundtrack by Nine Inch Nails that absolutely rocks. So, while Tron: Ares might have all the depth of a kiddie pool, it still bests Tron and the awful 2010 sequel, Tron: Legacy. (I'm not over what CG de-aging did to Jeff Bridges, and I'm not alone.)

What do you need to remember about Tron and Tron: Legacy to watch Tron: Ares?  Welcome back to The Grid. Credit: Leah Gallo / Disney Enterprises

The new film begins with a montage of news reports to catch audiences up on how Tron: Ares connects to where Tron: Legacy left off. But in case you need a bit more or a refresher: The first two films established that game designer (and eventual ENCOM CEO) Kevin Flynn (Bridges) got sucked into "The Grid," a virtual world where computer programs appear as people and hacking computer systems resembles hand-to-hand combat. 

By the end of the second film, Flynn was trapped in The Grid, but his son, Sam (Garrett Hedlund), and their AI buddy Quorra (Olivia Wilde) escaped, planning to lead ENCOM into a new age of excellence. However, at the start of Tron: Ares, Sam is long gone with his "mystery woman," and tech genius Eve Kim (Lee) is running ENCOM. 

What is Tron: Ares about?  Jared Leto as Ares in "Tron: Ares." Credit: Leah Gallo / Disney Enterprises

The short answer is corporate espionage. Reverse engineering the laser from Tron — which for whatever reason transports oranges and humans into The Grid — Eve is looking to bring things designed in the computer to the real world. However, this is also the goal of her business rival Julian Dillinger (Evan Peters), CEO of Dillinger Systems and grandson of Ed Dillinger, the bad guy from Tron. 

They have different aims for these lasers that can 3D print anything from plants to vehicles to super soldiers in minutes. There's just one problem: Neither ENCOM nor Dillinger Systems can get these Grid-based things to last beyond 29 minutes. That's bad news for Ares, Dillinger's Master Control security system, because every time he's printed to complete a mission for Julian, he has 29 minutes in the real world and then dies, turning into pixelated ash. And for reasons I didn't understand in Tron or Tron: Legacy, programs feel pain. So, repeatedly, Tron: Ares shows Ares and his second-in-command, Athena (Turner-Smith), screaming in agony as they turn into dust in the wind. 

That repeated pain might be enough to prompt Ares to shift into self-preservation mode. But he's seeking Flynn's long-lost "Permanence Code" because Julian wants it for his warmongering. However, Ares hopes to pull a Quorra and speed off into the real world for good. Then, while cyberstalking Eve for the code's location, Ares goes all Eros and falls in love. He wants to live and for Eve not to be killed by Julian's merciless quest to be the best tech CEO, even if that means having her murdered by a rampaging Athena.

Tron: Ares is preachy and sometimes fun.  Greta Lee runs for her life in Disney's "Tron: Ares." Credit: Leah Gallo / Disney Enterprises

To the credit of screenwriter Jesse Witgutow, Tron: Ares has more real-world stakes than the previous two films, which were basically about a copyright dispute and who'd run ENCOM. In this film, the 3D printing capability could change the world for better or worse. To Julian, it's the perfect way to wage wars, printing off massive battle vehicles with an endless supply of Ares and Athena, who he tells his board are "100% expendable." Meanwhile, Eve is looking to solve world hunger by trying to create an orange tree in the Arctic. 

Don't think about how, even if she could, there's no logical reason that tree would then survive, Permanence Code or not. Tron movies are not for thinking. That's clear by how Witgutow spoon-feeds audiences the thesis, not only through a charming (albeit requisite) cameo from a sage classic Tron character, but also by having Ares say, "The thing about life…" before literally just explaining what he — and by extension us — should have learned from his journey.

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And yet, about an hour into this two-hour movie, I was enjoying myself. It wasn't so much the action, which director Joachim Rønning sprawls across The Grid and a real-world metropolis with an expected array of neon-red flare. It was a weird blend of cool nostalgia and dad-joke-level humor that warmed my cold, Tron-averse heart. For instance, Eve and Ares are fleeing an on-mission Athena, and Ares makes a goofy accidental pun by talking about his love for Depeche Mode. How did he get into Depeche Mode? Again, shut up. That's not what Tron: Ares is here for. The point is, he likes it. And in a very Jordan Catalano way, it's charming that Leto's once again got long hair (which for some reason is always in "wet look" mode) and a dim rocker-boy allure. 

Props to Greta Lee, because while the programs (Ares and Athena) are mostly stoic (when not turning to ash), she's got to carry the emotional weight of the movie as the human caught up in the center of all this mayhem. Peters brings plenty of tech bro energy, of course, but mostly of the megalomaniac man-baby kind. Arturo Castro, who stole scenes in the Road House reboot, makes for some of the biggest laughs as Eve's helper/comic relief. Turner-Smith is exciting as a full-metal badass (with great eye makeup), and Gillian Anderson takes on the thankless role of an underwritten female character, which has been part of the Tron franchise since its inception. Hey, you need someone to be shocked when the bad guy does something bad! 

Truly, the Nine Inch Nails soundtrack is reason enough to see Tron: Ares in IMAX.  Jodie Turner-Smith as Athena in Disney's "Tron: Ares." Credit: Leah Gallo / Disney Enterprises

If you're more into the Tron aesthetic than I am (which is very likely), then the IMAX presentation will surely thrill. The blend of CG and practical effects is seamless when it's meant to be. And when things take on an '80s look, it can be amusing in a nostalgic way. But that score will rattle your bones and raise goosebumps. 

On some level, Nine Inch Nails is an odd choice for a movie that has a character championing the songs of Depeche Mode (which does make a soundtrack appearance). But band members Trent Reznor and Atticus Ross have been making scorching scores for movies like Challengers, Gone Girl, and The Social Network, winning an Oscar for the last. So there's also a level of "no duh" to this choice. And man, if you get nostalgic about The Crow soundtrack (on which Nine Inch Nails appeared), you'll resonate with Tron: Ares' score. 

The throbbing electronic music gives a darkness to the throwback vision of futuristic sci-fi. The score's driving sex appeal bolsters the growing yearning between Ares and Eve, even though they don't really have time — in this life or deletion battle — to explore it. And seeing Tron: Ares in IMAX means that score will pump right through you, past your pores and into your bloodstream. In that sense, it pulls you into the movie by allowing you to feel swallowed by something, like The Grid, and excited by its possibilities. Where the movie is beholden to IP and a placid message about great tech power meaning great tech responsibility, this soundtrack feels as ruthlessly savage and rebellious as "Closer."

All in all, Tron: Ares is heavy-handed, dunderheaded, and over earnest, but also occasionally funny, charming, sexy, and thrilling.

Tron: Ares opens in theaters on Oct. 10. 

What if you had 19 minutes before nuclear war kicked off? What could you possibly do to stop it? Or failing that, what unfinished business would you want to tackle? This is the nauseating question at the center of A House of Dynamite. Academy Award–winning director Kathryn Bigelow (The Hurt Locker) teams with Zero Day writer Noah Oppenheim — and an all-star cast — to show what it might look like if one of the United States' enemies launched a missile at one of our nation's major cities. 

In the blink of an eye, soldiers, politicians, and government officials go from having a totally run-of-the-mill day to participating in a moment that will define the lives of millions, in the U.S. and abroad. And all their decisions must happen in a 19-minute window. 

Idris Elba stars as the president of the United States, while the rest of his team (and beyond) is brought to life by Rebecca Ferguson, Greta Lee, Anthony Ramos, Gabriel Basso, Jared Harris, Moses Ingram, Jason Clarke, Renée Elise Goldsberry, Kaitlyn Dever, and Tracy Letts. But make no mistake, this is not the kind of American movie that cheers, "Here comes POTUS to save the world."

Bigelow's work, which ranges from the trippy Strange Days and the propulsive Point Break to the intense Zero Dark Thirty and the earnest Detroit, isn't interested in feel-good fantasies. What she delivers with A House of Dynamite is a passionate and powerful call to disarm. But be warned, the movie around this message is nerve-shredding and pretty infuriating. 

A House of Dynamite plays out a nightmare scenario in a tense triptych.  Rebecca Ferguson as Captain Olivia Walker in "A House of Dynamite." Credit: Eros Hoagland / Netflix

Bigelow's latest film begins in Washington, D.C., on a sunny morning in which a flood of government workers casually go through security protocols to take up their positions at monitoring devices and computer screens. They carry baubles of their personal lives: an engagement ring ready to be proposed with, a small toy dinosaur from a flu-ish little boy, a cellphone ablaze with a photo of loved ones. These tokens of the world outside their cold situation rooms illustrate what each person here works for. Beyond the paycheck to cover the costs of apartments and doctors' appointments, their edict to make the world a better place means keeping the U.S. safe for the pregnant wife, sick son, or estranged daughter who has no idea what the sausage of peacemaking looks like. 

In a bustling first act, Oppenheim's script efficiently sketches out an array of characters who collaborate across situation rooms, secured phone lines, and crowded video calls to handle any crisis that hits. Yet the main focus of this section is Captain Olivia Walker (Rebecca Ferguson), a mom who relishes playing with her kid and giving motherly advice to a younger co-worker, but is all business in the White House Situation Room when news of the mysterious missile arrives. Not long after the bomb appears on their tracking screens, a voice over the conference call estimates 19 minutes until impact. 

This 19-minute window plays out in each section, focusing on a different group with a different character taking the lead. So just as A House of Dynamite nears the final countdown in the first act, it leaps back 20 minutes for a chapter called "Hitting a Bullet with a Bullet." The second act focuses on new-to-the-department Deputy National Security Advisor Jake Baerington (Gabriel Basso), who has the comically embarrassing distinction of being late to work on the biggest day of his life.

That means he's taking this world-defining Zoom call from his cellphone while racing to the office. While every other window is black in privacy mode or showing some grave general or another, Baerington's is at an unflattering low angle, shaking as he hustles to his station. In chapter one, that's actually pretty funny. But in chapter two, his frantic running is stressful because we already understand what is at stake. From there, he is our guide into the sweaty calls to foreign diplomats, trying to suss out who launched this missile so that the president might know how to best proceed. Then once again, as we near the end of the countdown, the clock resets.

The third chapter, titled "A House Full of Dynamite" (instead of A House of Dynamite) shifts to the president (Elba). For the first two-thirds of the film, he was only heard over the conference call. Now, what he's been up to is finally revealed. But this chapter is where the film begins to fall apart.

A House of Dynamite is suffocatingly tense, until it's just not.  Gabriel Basso as Deputy National Security Advisor Jake Baerington in "A House of Dynamite." Credit: Eros Hoagland / Netflix

For the first chapter, disembodied voices shout expository lines about the bomb's trajectory, timing, and likely kill count. As the movie progresses and the timeline resets, these voices become on-camera characters whose stories give greater context to their answers. It's an effective approach by Oppenheim, as we — like the characters — experience the first act bewildered by the news and the sheer flood of it. With the second and then the third act, we're not only teased with the catastrophic impact three times, but we're also given space to step back and better understand the possibilities of what comes next. It's a lecture, but exciting — even if all the answers boil down to "nothing good!" 

However, with a 112-minute runtime, A House of Dynamite tries our patience. The third act splits focus, revealing what's been going on with the president and the secretary of defense (Jared Harris). What was character-building in the first two acts feels like filler as we, the audience, grow more and more eager to see how this is going to turn out. The third act picks back up as these men make a move. Though not sharing the screen, Elba and Harris deliver performances that swiftly show the strain of these decisions, coupled with the tenderness that makes them impossible. 

To the credit of a sensational cast, the vexing pace of A House of Dynamite's final act is nearly made bearable because of their performances. The film zips from military installations around the world, grappling with this disaster. Yet Bigelow's clarity of vision keeps clear who is who and what is what. But at a certain point, A House of Dynamite becomes intentionally aggravating. 

You'll hate the ending of A House of Dynamite. Credit: Eros Hoagland / Netflix

I predict audiences will hate this ending, as I hated this ending. But I'll say this: It makes sense. 

With A House of Dynamite, Oppenheim and Bigelow set out to explain in a big, flashy Hollywood fashion exactly what a catastrophe a nuclear war would be. They basically give us plenty of sugar through star power and suspense to help the medicine go down.

Perhaps every generation since the atom bomb's creation has needed such a reminder in compelling art. Watching this movie, I thought a lot about the novel Alas, Babylon by Pat Frank, which I read in high school and still think of, probably too often. A House of Dynamite shows us a noble, handsome collection of soldiers and public servants coming together to protect the nation, its people, and their own families. And all the safeguards that are set up to make sure the worst won't happen are not enough to guarantee it won't happen. 

A House of Dynamite gets finger-waggy in its anti-nuclear arms messaging. But that's not the frustrating bit. Bigelow and Oppenheim set up a feast of big questions. It's not that they've bitten off more than they can chew, but that they've decided it's not for them to chew. With this frustrating finale, they leave us without answers, forced to find our own.

While A House of Dynamite will have a brief theatrical run, as a Netflix original it will chiefly be watched at home. How much time for meditation on the movie's message will at-home audiences have before the streaming service switches over to an algorithm-approved bit of entertainment to distract us?

A House of Dynamite was reviewed out of the New York Film Festival. The movie will open in limited release on Oct. 10, before debuting on Netflix on Oct. 24.

Babygirl and Triangle of Sadness star Harris Dickinson makes his directorial debut with Urchin, a raw, humanising portrait of homelessness and the cycle of addiction, which he also wrote and cameos in.

In the film, we meet a valiantly optimistic young Londoner called Mike (Frank Dillane, Fear the Walking Dead, The Essex Serpent), whose attempts to find and maintain secure housing are undercut by a cycle of self-destructive actions and a relapse into substance abuse. As Dillane embodies Mike's personal journey through an impeccable performance, Dickinson brings the statistics to life — according to Financial Times via The Big Issue, one in every 200 households in the UK is experiencing homelessness — while raising awareness of the issue.

SEE ALSO: The 10 best British TV shows of 2025 (so far), and where to stream them

Drawing on his own experiences growing up around people experiencing addiction, Dickinson rejects a catch-all representation of a person experiencing housing and financial instability, instead focusing on the elements that make his protagonist's situation unique. The result is a powerful, specific, and vulnerable film about difficult circumstances and vicious cycles.

What is Urchin about? Credit: Picturehouse Entertainment

Hinging on a complex performance by excellent lead Frank Dillane, Urchin sees Dickinson reject clichés often used to portray people experiencing housing instability. Mike is a lost but charming young man who takes pains to connect with the community, even in the cold bustle of inner-city London. He has semi-secure spots to stash his belongings during the day, and enjoys a chat with everyone from his old friend (played by Dickinson) to charity shop attendants to The Big Issue vendors.

However, when our protagonist commits a sudden, desperate act of violence against helping hand Simon (Okezie Morro), he's arrested, released on probation, assigned temporary housing, and must try to hold down a stressful job in a hotel kitchen to keep a roof over his head. Though Mike tries to get back on his feet, listening to mindfulness CDs and meeting new supportive friends, he's also pulled back into a self-destructive path of old habits and substance abuse as his financial and accommodation options dwindle. 

Here, Dickinson dips into the strained UK council system itself through Mike's experiences with government-funded temporary housing. Record numbers of households are living in temporary accommodation in England in 2025, with over 300,000 waiting for requested council support to prevent or relieve homelessness. Mike knows this system of eligibility and priority in and out, and is constantly watching time run out on secure housing, uncertain where he'll be headed next.

But again, it's Dickinson's focus on Mike as a person that humanises such statistics and gives us unique insight into the situation.

Harris Dickinson tells a raw, funny, and humanising story. Harris Dickinson wrote, directed, and acts in "Urchin." Credit: Picturehouse Entertainment

While Dickinson undeniably draws inspiration from iconic British filmmakers like Ken Loach, Mike Leigh, and Shane Meadows, his approach and writing is less heavy than his famously bleak social realist predecessors, especially with Dillane's often comedic performance. Dickinson draws on his own experience not only of growing up around people experiencing addiction but also of working with homelessness charities in London. Having grown up in London, Dickinson has worked with shelter Project Parker and with homelessness charity Under One Sky, establishing its Hackney chapter. (Dillane has also worked with Under One Sky and London's Single Homeless Project.) With this knowledge, Dickinson and Dillane manage to find moments of comedy and vulnerability amid the seriousness, boosting Urchin's sense of authenticity.

There's a strong emphasis on Mike's daily London life. Dickinson often has director of photography Josée Deshaies follow Mike from across the street, an effect that sees our protagonist swallowed in the capital's characteristic commotion, or we locate him in the mayhem through a hypnotic slow zoom. Production designer Anna Rhodes and sound designer Ian Wilson craft an instantly familiar London, with street scenes bolstered by the roar of traffic and the sound of an earnest preacher. Dickinson leans sparingly on Alan Myson's mesmerising electronic score, but when it hits, it hits.

Notably, Dickinson doesn't really let us into Mike's past and the complex reasons why a person may become homeless — all we get from the character is "it's complicated." Instead, the director focuses on Mike's fragile present, his water-treading actions — whether they're the best ideas or not. As he attempts to find his footing, Mike is pulled toward old vices that become overwhelming. And it's this inner tension that draws out an exceptional performance from Dillane.

Frank Dillane gives an impeccable performance in Urchin. Frank Dillane brings levity and rawness to Mike. Credit: Picturehouse Entertainment

Despite being constantly moved along, overlooked, and having to craft his own sense of stability and control, Mike's ability to charm and connect with people even in his darkest days gives Dillane plenty to work with. Mike's emotional and mental state fluctuates throughout the film, but Dillane identifies the moments of levity and humour in Dickinson's script to keep Urchin on its feet.

Where we see Mike at his best is making new friends like Andrea (Megan Northam), whom he meets in a casual litter pickup gig on the South Bank, and his fellow hotel kitchen staff, who deliver the sweetest sequence in the film, involving karaoke, sparklers, and late night hot chips. Dickinson also places emphasis on the disrespect Mike experiences from privileged fellow Londoners, from diners making pompous demands of him to people on the street who are reluctant to acknowledge him at all. In these moments, Dickinson stays with Mike's reaction, fully focused on Dillane conveying Mike's inner turmoil and understandable frustration at forced subservience or invisibility.

Through this complex and distinctive performance from Dillane, captured through Deshaies' exquisite cinematography, Dickinson builds a specific and human portrait of homelessness. The ongoing cost of living crisis and the housing crisis means homelessness is reaching critical levels in the UK, with real people's lives sitting behind each statistic — despite former home secretary Suella Braverman's offensive comments describing rough sleeping as a "lifestyle choice." What Dickinson brilliantly manages to do is simply show one person going through it, attempting to break his cycle of self-destructive behaviour while attempting to find a secure living situation. It's a strong reminder that Mike could be any of us. 

Urchin opens in limited release on Oct. 10, before opening in more cities across the U.S. on Oct. 17.

UPDATE: Oct. 8, 2025, 2:03 p.m. EDT This article was originally published on Sept. 23, 2025. It has been updated to include current viewing information.

Americans love the story of a charming con man. From Dirty Rotten Scoundrels to The Talented Mr. Ripley, Paper Moon to Catch Me If You Can, there's an undeniable appeal to witnessing a man make a fortune by outsmarting others. Underneath the surface of these seductive stories is the sly suggestion that the American Dream is rigged, far easier to achieve if you have money to begin with. And so inherently, the con-man story is one of an underdog who survives by his charm and wits alone. 

What is Derek Cianfrance doing making a con-man comedy? The American writer/director has built his career with daring dramas, like the brutal breakup movie Blue Valentine, the crime drama The Place Beyond the Pines, and the romantic offering The Light Between Oceans, starring serious leading men like Ryan Gosling and Michael Fassbender. Yet his latest is a romantic comedy starring Channing Tatum and Kirsten Dunst that is inspired by a real-life con man and convicted criminal whose crime spree coverage labeled him "Roofman." 

SEE ALSO: 11 best true crime docs about scammers, con artists, and deadly deceptions

The issue is not that such a switch-up in genre is unexpected from Cianfrance, though it is. It's that Roofman is utterly confounding in its execution. After days of mulling it over following the film's Toronto International Film Festival premiere, I can't decide if Cianfrance has failed in making a con-man comedy that stands up to the greats, or if he's succeeded in creating a shrewd entry in the genre that condemns its core concept. 

Roofman reveals the true story of serial cat burglar Jeffrey Manchester. Credit: Paramount Pictures

Between 1997 and 2005, the former U.S. Army Reservist turned his attention to a spree of robberies of fast food places and big retail stores, breaking in through their roofs. Through voiceover, Jeffrey (Tatum) confesses he'd hit 45 McDonald's before he was arrested. But in the film's opening robbery, he's not just an armed robber; he's a nice armed robber.

Before forcing three McDonald's employees into the walk-in, where they will be held captive until police arrive, he suggests they put on their coats. Hell, he even lends one to the shift manager (Tony Revolori in a nothing role), because the poor guy didn't plan on being held hostage in a fridge that day! 

Through voiceover, Jeffrey pleads his case to the audience — he was doing all this to support his ex-wife and three young kids — coolly glossing over the trauma that even a nice intruder with a gun might cause his victims. From there, Roofman practically races the first act of Jeff's arrest, conviction, and first few years in prison. The inciting incident of the film is when he breaks out of jail in an admittedly amusing escape sequence that involves gumption, cleverness, and some criminal crafting (needle, thread, and spray paint). From there, he's a fugitive, considered armed and dangerous. So naturally he breaks into the roof of a Toys "R" Us to hole up for months.  

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It's a preposterous premise that's mostly true. Also true: While on the lam, Manchester made new friends, including a church-going girlfriend who knew him under the alias John Zorn. Cianfrance, who writes and directs Roofman, therefore channels the second act into firm romantic-comedy territory. An attractive and nonthreatening leading man woos a beautiful and kind woman — in this case, single mother of two Leigh Wainscott (Dunst). They share clumsy but cute flirtations, good sex, and heart-to-hearts about what it means to be a good parent and a good person. But in this story, something sinister slithers. 

Is Roofman absolving or evaluating Jeffrey Manchester? Credit: Paramount Pictures

With his goofy smile and ease with physical comedy, Tatum is a smart choice to play Manchester. Beloved for roles in everything from Magic Mike to Logan Lucky and 21 Jump Street, he's generally cast as the good guy, who, even when he's doing wrong, has his heart in the right place. For much of Roofman's runtime, an affable Tatum plays that part. As John, Jeffrey easily charms Leigh, her daughters, and her group of church friends, which includes a very out-of-his-niche Ben Mendelsohn as a cheery pastor and Uzo Aduba as his chipper wife. But much of what Jeffrey says to win them over includes outright lies about who he is, what he does for a living, and, naturally, where he lives. 

Of course, plenty of rom-coms dating back to Shakespeare's Twelfth Night have a lie exposed as the low point sure to threaten a happily-ever-after. But few of those rom-com lies involve glossing over a 40+ string of violent criminal offenses.

As Roofman chugged along, I grew increasingly uneasy about Jeffrey's superficial charm and how he'd rationalize away his lies and crimes by insisting he's a good guy at heart. The way his actions impacted others was not something his dialogue or voiceover touched on. Instead, within the film, he tries to create a balance by donating toys (that he stole) to a charity or stealthily changing things around the toy store to help out his oblivious girlfriend. As I watched, I wondered what Cianfrance was trying to tell us about the real Manchester, and by extension, our own American fascination with the con man. Could this Jeffrey be redeemed? Or would he be exposed as a liar so good he fooled even himself? 

Roofman takes a dark turn that fans of the bouncy ad campaign won't see coming.  Credit: Paramount Pictures

For much of the second act, the romance with Leigh suggests that all Jeffrey needs is a second chance to make the right choice. But reconnecting with an old criminal pal (LaKeith Stanfield) and tracking the movements of the cranky Toys "R" Us manager (Peter Dinklage) suggests that Jeffrey might just go on the run again.

The cops are closing in. Time is running out. So Jeffrey makes a decision that can't be so easily written off as nice and is instead vicious and selfish. A prolonged climax fitting Cianfrance's reputation for breath-snatching drama tears down the con-man facade of the "polite" robber. And yet, Roofman's resolution seems to backpedal with something softer as Leigh resurfaces.  

As I left the theater, I wondered if Cianfrance got into an artistic battle with producers about how dark this star-fronted crime comedy could get. Was the end a feel-good compromise that muddled the writer/director's intentions? Or was this weirdly warm resolution meant to excuse the character's crimes in the name of a good time, as so many con-man movies have done before?

After much reflection, I think it might be a third, more complicated option, inspired by the churchgoers represented in Roofman. 

Over the film's end credits, Cianfrance includes footage of the real Leigh and the real pastor, among others, talking about the John Zorn they knew. Within these brief clips, the lines between sin and crime get blurred, and a message not so much about redemption but about forgiveness arises. Perhaps, while Jeffrey is the center of this movie, he's not its hero as much as the focus of its fable.

Credit: Paramount Pictures

If so, Cianfrance uses the con-man conceit much as Jeffrey uses John Zorn, as a ruse to lure people in so he might pursue another agenda. Roofman is not another tale of a crafty and enviable slippery con man who gets off scot-free, generally to the excitement of the audience. Instead, this intriguing filmmaker muddies the narrative by exploring the hopeful perspective of redemption alongside a frank depiction of how such an ideal might be abused.  

In the end, Roofman is not a charming romantic comedy or the winsome crime caper promised by its trailer and sunny yellow posters. It's something darker, more mercurial and dense. What it has to say about con men in general or Jeffrey Manchester specifically is left in the hands of the viewer, as Cianfrance himself rejects giving this twisty tale of crime, love, and big choices a simple conclusion. Which is to say, Roofman is a frustrating watch, refusing to fit into the genre expectations. But that might be precisely the point. 

Roofman was reviewed out of its World Premiere at the Toronto International Film Festival. The movie will open in theaters Oct. 10.

How do you encapsulate the life of work of John Candy in a single film? The Canadian comedian, who first thrilled TV audiences on SCTV, made a slew of deeply hilarious and heartfelt movies like Splash, Uncle Buck, Planes, Trains, and Automobiles, The Great Outdoors, and Cool Runnings. He was a comedy titan beloved on and offscreen.

John Candy: I Like Me attempts to explore all this through a cavalcade of clips from Candy's movies and TV appearances, as well as interviews with his family and famous friends like Bill Murray, Dan Aykroyd, Martin Short, Eugene Levy, Catherine O'Hara, Mel Brooks, Macaulay Culkin, and Tom Hanks. Notably, this documentary is directed by Hanks' son, Colin Hanks (and produced by the very famous Canadian movie star Ryan Reynolds). Yet for all the star power and the presumably personal connection Hanks has to the subject, John Candy: I Like Me lacks depth.

SEE ALSO: TIFF 2025 preview: 20 films you'll want to see for yourself (and how)

Sure, you get Candy's story. But Colin Hanks, who previously helmed the doc Eagles of Death Metal: Nos Amis (Our Friends), has little vision here. So, the movie feels like a pale reflection of the man who inspired it. 

Still, John Candy: I Like Me might be a must-see for comedy fans.

Candy's death in 1994, at the age of 43, sent shockwaves through Canada and beyond. He was a comedy legend, adored not only for all the laughs he brought us, but also because of the incredible heart he brought to the screen. Speaking for myself, watching Candy made me feel safe.

Whether he was squaring off against an intensely inquisitive Culkin in Uncle Buck, eating an obscenely large steak in The Great Outdoors, or hollering at the Jamaican bobsled team in Cool Runnings, his comedy created a space of comfort and joy. I was a kid when he died, and I remember weeping because I felt like I knew him. I felt like he was mine. That was a gift Candy gave to his audiences. He seemed an open book, and we were ready to read it all.

John Candy: I Like Me shows the pain hidden behind this jovial persona, much of it to do with the comedian's unprocessed grief over the death of his father, who died on Candy's fifth birthday. His widow, Rosemary Hobor, his children, Christopher and Jennifer, and his closest friends speak to how this early loss reverberated throughout Candy's life. But Hanks isn't able to create a flowing thread of this struggle with grief and joy. Instead, the director presents the film in segments that jump back and forth in Candy's life. While informative, this haphazard structure and stiff approach lacks the energy of Candy himself.

Still, comedy fans who want to know more about this giant in the genre will want to see what is offered. But they should manage their expectations.

Colin Hanks lacks focus in John Candy: I Like Me. 

There's plenty of interesting information in this documentary. SCTV alum like Levy, Short, O'Hara, and Dave Thomas happily recount Candy's early days in comedy, a time when he was nicknamed "Johnny Toronto" because of his bravado. Thomas in particular recounts a story about how Candy rented a stretch limo to posture as a big shot, even when he couldn't pay his bills. Murray shares another tale about the comically expensive home decor Candy accidentally committed to in his salad days. These anecdotes are wonderful, enlightening, and reveal a side to Candy his audiences didn't get to see. Sadly, they are too few and far between. 

Too often, the film becomes a barrage of people saying the same general niceties, without giving specific stories. Beyond feeling redundant, this approach also creates the sense of a mournful eulogy. This maudlin attitude is kicked off in the film's start, with footage from Candy's funeral and Aykroyd's actual eulogy playing as solemn voiceover. It's a staunch reminder that all that follows will lead to an early, tragic demise. A pall is cast over the pile-on of compliments. And it left me wishing Hanks had dug deeper. 

For instance, many folks say that Candy sought to make every on-set experience good for everyone involved, cast and crew. Why not share some specifics? Find a crew member who decades later can recount a time Candy connected with them? It's not that I don't believe the claims of these co-stars and colleagues. But too often, Hanks rests on these vague reflections instead of probing further for better storytelling.

John Candy: I Like Me works best when Candy is front and center.

The most revealing moments of the documentary end up being archival interviews where Candy speaks for himself. Insensitive reporters ask him fatphobic questions about his weight, and you can see the sting in his eyes. Candy's wife then shares insight that his doctors urged him to lose weight, but Hollywood agents suggested if he did, it'd hurt his career. 

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That's an intriguing area: how show business held up and hurt this star. But Hanks only brushes on it, pivoting back to Candy's paternal grief and coping mechanisms of overeating, drinking, and smoking. Rather than create a complex tapestry of the comedian, these segments feel strangely patchwork, stitched together clumsily. Then, Hanks — as suggested by the title — refers to Candy's movies for a summation of his legacy.

Quoting Del Griffith, the character Candy memorably played in Planes, Trains and Automobiles, "I like me" suggests Candy was comfortable in his own skin, when much of the movie suggests he carried great pain and fear his whole life. That is not a tragedy. That is not something to be glossed over. Because Candy didn't let that pain make him a cynic. Instead, he used it as fuel to make the world laugh, to ease our pain, to feel a fatherly warmth he himself lost at such an early age. That's incredibly brave, inspiring, and human in the best way. But this doc loses that amid its flurry of half-baked segments.

Hanks has great elements in John Candy: I Like Me. But how he pulls them together lacks showmanship, elegance, and a personal connection. If I didn't know going in who the director was, I'd assume it was someone who never knew Candy, because the film has that tiresome veneer of fawning that often happens when a director idlizes their subject. The impact of such a lens is that it flattens not only the lows of a subject's life, but also its highs. The contrast is lost amid the eagerness to keep things admirable. (Props again to Robbie Williams with Better Man, who literally allowed himself to be made a dancing ape to better communicate his wild rise and falls.) 

In the end, I value learning more about Candy's life, welcoming a greater context to his onscreen persona and even his signature chuckle. But walking away from John Candy: I Like Me, I couldn't help but wish for more.

John Candy: I Like Me debuts on Prime Video on Oct. 10.

UPDATE: Oct. 8, 2025, 4:49 p.m. EDT "John Candy: I Like Me" was reviewed out of its world premiere at the Toronto International Film Festival. This article was originally published on Sept. 8, 2025, and has been updated to include the latest viewing options.

SAVE $20: As of Oct. 10, the Sonos Era 100 speaker is on sale at Amazon for $179. This is 10% off its list price of $199.

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$199 Save $20 Get Deal

Prime Big Deal Days may be over - and so begins the wait until Black Friday — but the time between isn't completely without discounts. Even after Amazon's October Prime Day sale, we're still finding some nice deals at the retailer. The Sonos Era 100 speaker is one item that's still at its Prime Day price, so there's no better time than now to make your move on it.

Usually the Sonos Era 100 is listed for $199, but it's received a $20 discount that's dropped it down to $179. This is the same price that it was over the October Prime Day shopping event, but it may not stay there for long. If you've been looking to add it to your sound system at home, you'll want to act fast to grab it at this price. Both the black and white speakers are discounted to this price as well.

SEE ALSO: Mashable readers know best — here's what our readers bought during October Prime Day

Whether you want it for playing music or to turn your living room into a surround sound setup for when you're watching on TV, the Sonos Era 100 boasts excellent sound quality thanks to its next-gen dual-tweeter acoustic architecture and 25% larger midwoofer. Its compact size can fit in a variety of places around your home as well, from a bookshelf to the side of a table. Its size is especially helpful if you want to pick up two speakers and pair them up to create a compact surround sound system in a room.

It may be at its Prime Day price right now, but it might not stay there for much longer. Don't miss out on this deal on the Sonos Era 100 at Amazon.

There are plenty more deals still available at Amazon after October Prime Day alongside this one. Check out our breakdown of 200+ October Prime Day deals still live to see if anything else that's caught your eye is still available.

SAVE $200: As of Oct. 10, the Apple 2025 MacBook Air 15-inch is on sale for $999 at Amazon. That's a 17% savings and the lowest-ever price.

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$1,119 Save $120 Get Deal

Prime Day was truly a treat this year, with two days of incredible discounts across anything you can think of. Apple products saw some great discounts, especially across iPads, AirPods, and AirTags. But it's the MacBooks that stole the show. And as of Oct. 10, there is still an impressive discount on the 2025 MacBook Air 15-inch, priced at just $999. That's only $30 more than the lowest price it reached during Prime Day.

This price applies to all available colors: starlight, sky blue, midnight, and silver. This is also for the 256GB SSD storage option, without AppleCare+. Need more storage? All size options are $200 below their normal prices.

If you’re after a lightweight, reliable laptop for everyday use, this one’s hard to beat. It’s thin, powerful, and has a battery life that can last up to 18 hours. The screen is great quality too, thanks to the 15.3-inch Liquid Retina display that makes everything look bright and colorful. It even has an impressive 12MP front camera with built-in Spatial Audio, meaning video calls sound as good as they look. And let's not forget Center Stage, the Apple feature that keeps you perfectly centered during video calls.

You’ll also find all the ports you need: Thunderbolt 4, MagSafe, and a headphone jack. It even has support for two external displays, so if you prefer a bigger work setup, you're all set with this MacBook.

Get this MacBook deal from the Amazon website now.

SAVE $90: As of Oct. 10, the Samsung Galaxy Watch 7 is on sale for $189.99 on Amazon. That's a 32% savings on the list price.

Opens in a new window Credit: Samsung Samsung Galaxy Watch 7 $189.99 at Amazon
$279.99 Save $90 Get Deal

The Samsung Galaxy Watch 7 was recently replaced as the latest model in the lineup with the release of the Galaxy Watch 8, so you know what this means? Big savings on the 7. The 7 has been a beloved smartwatch for a long time, and if you don't need the newest model in the lineup, you really can't go wrong with this one. Not to mention, it's still sitting at its Prime Day price.

As of Oct. 10, the Galaxy Watch 7 is just $189.99, its lowest-ever price. This is a savings of $90. For this price, you can choose between the white and green colored bands, and you'll get the 44mm screen.

This smartwatch does a bit of everything, and as a fitness tracker, it's top-notch. For exercise tracking, it compares your latest run or bike ride to your previous one, so you can see how you’re progressing. And each morning, you get an Energy Score that shows how ready you are for the day based on your recent activity and rest.

It also features improved heart rate tracking that filters out movement for more accurate readings, plus sleep tracking that helps you build better habits and can detect signs of moderate to severe sleep apnea. And it helps you to improve your health too. Wellness Tips uses your watch data to give simple, useful suggestions to help you stay on track with your goals.

Get the Galaxy Watch 7 from Amazon.

Today's Connections: Sports Edition features athletes with talented feet.

As we've shared in previous hints stories, this is a version of the popular New York Times word game that seeks to test the knowledge of sports fans.

Like the original Connections, the game is all about finding the "common threads between words." And just like Wordle, Connections resets after midnight and each new set of words gets trickier and trickier — so we've served up some hints and tips to get you over the hurdle.

If you just want to be told today's puzzle, you can jump to the end of this article for the latest Connections solution. But if you'd rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.

SEE ALSO: Mahjong, Sudoku, free crossword, and more: Play games on Mashable What is Connections: Sports Edition?

The NYT's latest daily word game has launched in association with The Athletic, the New York Times property that provides the publication's sports coverage. Connections can be played on both web browsers and mobile devices and require players to group four words that share something in common.

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Each puzzle features 16 words and each grouping of words is split into four categories. These sets could comprise of anything from book titles, software, country names, etc. Even though multiple words will seem like they fit together, there's only one correct answer.

If a player gets all four words in a set correct, those words are removed from the board. Guess wrong and it counts as a mistake — players get up to four mistakes until the game ends.

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Players can also rearrange and shuffle the board to make spotting connections easier. Additionally, each group is color-coded with yellow being the easiest, followed by green, blue, and purple. Like Wordle, you can share the results with your friends on social media.

SEE ALSO: Wordle-obsessed? These are the best word games to play IRL. Here's a hint for today's Connections: Sports Edition categories

Want a hint about the categories without being told the categories? Then give these a try:

• Yellow: Pitch type

• Green: Important for receptions

• Blue: Winter sports techniques

• Purple: Sports stars and TV personalities

Featured Video For You Connections: How to play and how to win Here are today's Connections: Sports Edition categories

Need a little extra help? Today's connections fall into the following categories:

• Yellow: Fastball

• Green: Football passing routes

• Blue: Alpine skiing disciplines

• Purple: Athletes to win "Dancing with the Stars"

Looking for Wordle today? Here's the answer to today's Wordle.

Ready for the answers? This is your last chance to turn back and solve today's puzzle before we reveal the solutions.

Drumroll, please!

The solution to today's Connections: Sports Edition #382 is...

What is the answer to Connections: Sports Edition today?

• Fastball - CHEESE, FOUR-SEAMER, GAS, HEAT

• Football passing routes - DRAG, POST, SLANT, WHEEL

• Alpine skiing disciplines - COMBINED, DOWNHILL, SLALOM, SUPER-G

• Athletes to win "Dancing with the Stars" - DRIVER, OHNO, SHUMPERT, YAMAGUCHI

Don't feel down if you didn't manage to guess it this time. There will be new sports Connections for you to stretch your brain with tomorrow, and we'll be back again to guide you with more helpful hints.

Are you also playing NYT Strands? See hints and answers for today's Strands.

If you're looking for more puzzles, Mashable's got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Not the day you're after? Here's the solution to today's Connections.

What I love most about HBO Max is that even though I've been watching its shows and movies for more than 25 years, when I start digging back into its library, I'm amazed to uncover things I've never heard of or had nearly forgotten about. Of course, it also continues to crank out excellent new shows, but the breadth of options it provides is still impressive.

The Mini is a bite-sized version of The New York Times' revered daily crossword. While the crossword is a lengthier experience that requires both knowledge and patience to complete, The Mini is an entirely different vibe.

With only a handful of clues to answer, the daily puzzle doubles as a speed-running test for many who play it.

So, when a tricky clue disrupts a player's flow, it can be frustrating! If you find yourself stumped playing The Mini — much like with Wordle and Connections — we have you covered.

SEE ALSO: Mahjong, Sudoku, free crossword, and more: Play games on Mashable SEE ALSO: How to play Pips, the newest NYT game

Here are the clues and answers to NYT's The Mini for Friday, Oct. 10, 2025:

AcrossGo off the ___ ... like the last letter of 8-Across?

• The answer is Grid.

The "R" of P.R., on a map

• The answer is Rico.

Patient's share of the cost

• The answer is Copay.

São ___, Brazil

• The answer is Paulo.

Totally disconnect and enjoy nature

• The answer is Unplu.

DownRhyming partner of moan

• The answer is Groan.

Tear to pieces

• The answer is Rip Up.

Daring response to "All in"

• The answer is I Call.

"___ get my drift?"

• The answer is Do You.

Computer's "brain," for short

• The answer is CPU.

If you're looking for more puzzles, Mashable's got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

Featured Video For You The Wordle Strategy used by the New York Times' Head of Games

Are you also playing NYT Strands? See hints and answers for today's Strands.

Not the day you're after? Here's the solution to the latest Mini Crossword.

SAVE $20.01: As of Oct. 10, the Google TV streamer is on sale for $79.98 at Amazon. That's a 20% savings on the list price.

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$99.99 Save $20.01 Get Deal

Prime Day has come to an end, and the deals are starting to wither away. The next big sales event will be Black Friday at the end of November, so there's some time to wait. But if you're in need of a tech upgrade now, don't fret, there are still some post-Prime Day sales lingering, and not to mention, Amazon's Daily Deals are often impressive. Like this deal on the Google TV streamer, still sitting at its Prime Day price.

As of Oct. 10, it is currently priced at $79.98. Now, it's not its lowest-ever price, but it's close. According to camelcamelcamel, in May, it hit $79, just 98 cents better than it is now. This model also made it to our list of the best streaming devices for 2025.

The device setup is similar to most streaming device setups, except rather than a stick that plugs directly into your TV, for the Google TV streamer, you connect it via an HDMI cable.

This streaming device is a great way to make watching easier on a non-smart TV, or even just upgrade your setup to a Google platform. It brings together content from all your streaming services on a single home screen. You can also access live TV and more than 800 free channels from apps like Pluto TV and Tubi.

The 4K edition has support for up to 4K HDR and Dolby Vision. It delivers a clear, detailed picture quality, and you can connect speakers with Dolby Atmos for an even more immersive sound experience. The latest model includes a faster processor, double the memory, and 32GB of storage, so switching between apps is nice and easy, and above all, fast.

Get this streaming device deal from Amazon.

If you’re looking for some good shows to binge this weekend that will indeed set the tone for your spooktacular month, Amazon Prime Video has you covered. This weekend, we’re diving into a supernatural neo-Western starring Josh Brolin, a super creepy sci-fi horror series that’ll have you scratching your head, and a dark, provocative Tom Hardy series that’s making a comeback.

There's plenty to not like about the winter. It's cold, it's icy, it's windy, and — yes — it's very, very dark. And as far as we're concerned that's the worst part: Having to endure those short days, and dark mornings and evenings. The darkness takes its toll.

It's draining trying to live your life without enough sunlight. That's especially true for office workers who spend every hour of daylight stuck inside a building. It can be a struggle to get out of bed in the morning, and even harder to be productive and then kick back when the working day is done. But it's not all doom and gloom.

SAD therapy lamps are a great way to help relieve the winter blues. And there's a wide range of these devices available, helping alleviate the symptoms of SAD (seasonal affective disorder) if you're not getting enough natural light. All of which means you don't have to suffer through six months of darkness. But which is the right SAD therapy lamp for you? Let us help put some light on the subject with some useful information and a selection of the best SAD therapy lamps available right now.

What is seasonal affective disorder?

Just as it sounds — and appropriately shortened to SAD — seasonal affective disorder is a type of depression that follows a seasonal pattern. It usually affects people during the winter months, causing sufferers to feel low, lethargic, anxious, or irritable.

What causes seasonal affective disorder?

According to the NHS guidelines, the cause of seasonal affective disorder is not fully understood though it’s usually linked to the lack of sunlight, which may prevent the brain from producing certain hormones or upset your body clock.

How does light therapy work?

Spending around 30 minutes in front of a light is thought to reduce the effects of SAD by simulating sunlight, which can encourage your brain produce melatonin and serotonin to help with your sleep and moods. The NHS recommends light therapy as one of standard treatments for seasonal affective disorder.

What does lux mean?

You’ll see this term a lot when shopping for therapy lamps. Lux is the unit of measurement for light intensity. According to some research, a light intensity of 2,500 can improve your wellbeing. Most of the lights listed below have a lux of up to 10,000.

How big are light therapy lamps?

While the desired effects are essentially all the same — a means of getting some light on you — they do come in a variety of shapes and sizes. Some are portable, which allows you to take them wherever you go — particularly into the office, where a healthy amount of light can be hard to come by — while others are made to stay in a fixed spot.

What is the best SAD therapy lamp?

It's up to you to decide the lamp that works best for you, your home, and your daily routine. But we’ve done the research and put a spotlight on the very best models.

These are the best SAD therapy lamps for 2025.

Netflix has a wealth of TV shows at your fingertips—the tough part is deciding what to watch. If you've carved out some viewing time this weekend, I've got three recommendations for shows that are bound to entertain.

If you like playing daily word games like Wordle, then Hurdle is a great game to add to your routine.

There are five rounds to the game. The first round sees you trying to guess the word, with correct, misplaced, and incorrect letters shown in each guess. If you guess the correct answer, it'll take you to the next hurdle, providing the answer to the last hurdle as your first guess. This can give you several clues or none, depending on the words. For the final hurdle, every correct answer from previous hurdles is shown, with correct and misplaced letters clearly shown.

An important note is that the number of times a letter is highlighted from previous guesses does necessarily indicate the number of times that letter appears in the final hurdle.

If you find yourself stuck at any step of today's Hurdle, don't worry! We have you covered.

SEE ALSO: Hurdle: Everything you need to know to find the answers Hurdle Word 1 hint

A bottomless space.

SEE ALSO: Apple’s new M3 MacBook Air is $300 off at Amazon. And yes, I’m tempted. Hurdle Word 1 answer

ABYSS

Hurdle Word 2 hint

A Nascar driver.

SEE ALSO: Wordle today: Answer, hints for August 4, 2025 Hurdle Word 2 Answer

RACER

Hurdle Word 3 hint

To hit hard.

SEE ALSO: NYT Connections Sports Edition today: Hints and answers for August 4 SEE ALSO: NYT Connections hints today: Clues, answers for August 4, 2025 Hurdle Word 3 answer

SMITE

Hurdle Word 4 hint

Similar.

SEE ALSO: NYT Strands hints, answers for August 4 Hurdle Word 4 answer

ALIKE

Final Hurdle hint

A curved pathway.

SEE ALSO: Mahjong, Sudoku, free crossword, and more: Games available on Mashable Hurdle Word 5 answer

ORBIT

If you're looking for more puzzles, Mashable's got games now! Check out our games hub for Mahjong, Sudoku, free crossword, and more.

The Moon is up and easy to spot tonight. Its surface is covered in craters and plains that are nice and easy to see, thanks to where we are in the lunar cycle. The lunar cycle is the Moon’s regular orbit around Earth, which causes it to go through different phases from new to full and back again.

What is today’s moon phase?

As of Thursday, Oct. 10, the moon phase is Waning Gibbous. Tonight, only 84% will be lit up, according to NASA's Daily Moon Observation.

The moon is covered in interesting craters, mountains, and Apollo landing spots. And we can see lots of them tonight. With just your naked eye, spot the Oceanus Procellarum, the Mare Serenitatis, and the Mare Tranquillitatis. If you have binoculars, pull them out to see the Grimaldi Basin, the Mare Humorum, and the Gassendi Crater. And if you have a telescope, you'll also see the Rupes Altai, Fra Mauro Highlands, and the Rima Hyginus.

When is the next full moon?

The next full moon will be on Nov. 5.

What are moon phases?

NASA explains that as the Moon completes its 29.5-day orbit around Earth, it passes through a series of phases. These changes happen because the positions of the Sun, Earth, and Moon relative to each other shift over time. From Earth, we see the Moon as fully bright, partially lit, or completely dark, but the same side always faces us. The differences in appearance come from how much sunlight hits its surface at each point in its orbit.

The eight main moon phases are:

New Moon - The moon is between Earth and the sun, so the side we see is dark (in other words, it's invisible to the eye).

Waxing Crescent - A small sliver of light appears on the right side (Northern Hemisphere).

First Quarter - Half of the moon is lit on the right side. It looks like a half-moon.

Waxing Gibbous - More than half is lit up, but it’s not quite full yet.

Full Moon - The whole face of the moon is illuminated and fully visible.

Waning Gibbous - The moon starts losing light on the right side. (Northern Hemisphere)

Last Quarter (or Third Quarter) - Another half-moon, but now the left side is lit.

Waning Crescent - A thin sliver of light remains on the left side before going dark again.

Why are today’s games so cinematic? Why do so many video games feel like full-blown movies now?

Well, because they kind of are, or at least they can be. And while that mix doesn’t always land, when it does, it can make for some incredible storytelling. And no one embodies that more than the Big Boss himself, Hideo Kojima. In this episode of How it Hits, we look at the directors, techniques, and stories blurring the line between film and play.

Microsoft suffered a relatively brief but certainly inconvenient outage on Thursday. A number of its popular productivity services went down — most notably its Microsoft 365 software, which includes Word and Excel — causing issues for U.S. employees in the middle of a workday. In addition, users reported problems accessing popular productivity apps like Teams and Outlook.

User-reported issues for Microsoft 365 surfaced on Down Detector around 2 p.m. ET, peaking at 2:30 p.m. ET. (Disclosure: Down Detector is owned by Ziff Davis, which also owns Mashable.) As of about 5 p.m. ET, user-reported issues with 365 had fallen off precipitously.

Is the Microsoft outage over?

In short: Yes, it seems so. Microsoft itself confirmed the problem appeared to be resolved, though it did so in corporate speak.

"We identified that a portion of network infrastructure in North America was misconfigured, resulting in impact," read a statement from its 365 status account on X. "We’ve confirmed after a period of monitoring that rebalancing the affected traffic successfully resolved the issue and service health has recovered."

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An inability to access 365 means big problems for workers, considering it means losing Excel, Word, PowerPoint, Outlook, and OneDrive. It's hard to work without such key services. Reuters also noted that there were earlier reported issues with Microsoft Teams and Exchange Online, two other key work services.

Here's what you need to know about the outage.

What happened to Microsoft 365? The answer lies with Microsoft Azure.

Microsoft's issues on Thursday stemmed from a problem with Azure, the company's cloud platform. The company said there was a problem with its Azure Front Door (AFD) service, which is its content delivery network. That meant customers couldn't access some of their services.

Microsoft said that "a platform issue resulted in impact to the Azure Front Door (AFD) service. Impacted customers experienced intermittent delays or timeouts when accessing their services." Microsoft noted the issue began in Europe, Africa, and the Middle East.

All told, the outage was relatively short-lived. Thankfully, it's nothing like the massive 2024 Microsoft outage that was caused by CrowdStrike. It was a chaotic afternoon for some 365 users, but it all seems to be resolved hours later.

Microsoft is testing a revamped Start Menu for Windows 11, starting in the Canary Channel for Insiders. It’s much larger than the previous design, and it will hopefully require less scrolling or searching to find the apps you need.