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Connections is a New York Times word game that’s all about finding the “common threads between words.” How to solve the puzzle.

Connections is the latest New York Times word game that’s captured the public’s attention. 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 August 30’s Connections solution. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.

What is Connections?

The NYT‘s latest daily word game has become a social media hit. The Times credits associate puzzle editor Wyna Liu with helping to create the new word game and bringing it to the publications’ Games section. 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.

Here’s a hint for today’s Connections categories

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

Yellow: Opinion is one

Green: Branch is one

Blue: Caesar is one

Purple: Tails!

Here are today’s Connections categories

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

Yellow: NEWSPAPER SECTIONS

Green: TREE FEATURES

Blue: KINDS OF SALAD

Purple: SEEN ON BACKS OF U.S. COINS

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 #447 is…

What is the answer to Connections today

NEWSPAPER SECTIONS – ARTS, BUSINESS, COMICS, SPORTS

TREE FEATURES – BARK, CROWN, RINGS, ROOTS

KINDS OF SALAD – CHEF, GARDEN, GREEK, WEDGE

SEEN ON BACKS OF U.S. COINS – EAGLE, MONTICELLO, SHIELD, TORCH

Don’t feel down if you didn’t manage to guess it this time. There will be new 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 yesterday’s Connections.

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Here’s the answer for “Wordle” #1169 on August 31, as well as a few hints, tips, and clues to help you solve it yourself.

Oh hey there! If you’re here, it must be time for Wordle. As always, we’re serving up our daily hints and tips to help you figure out today’s answer.

If you just want to be told today’s word, you can jump to the bottom of this article for August 30’s Wordle solution revealed. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.

Where did Wordle come from?

Originally created by engineer Josh Wardle as a gift for his partner, Wordle rapidly spread to become an international phenomenon, with thousands of people around the globe playing every day. Alternate Wordle versions created by fans also sprang up, including battle royale Squabble, music identification game Heardle, and variations like Dordle and Quordle that make you guess multiple words at once. 

Wordle eventually became so popular that it was purchased by the New York Times, and TikTok creators even livestream themselves playing.

What’s the best Wordle starting word?

The best Wordle starting word is the one that speaks to you. But if you prefer to be strategic in your approach, we have a few ideas to help you pick a word that might help you find the solution faster. One tip is to select a word that includes at least two different vowels, plus some common consonants like S, T, R, or N.

What happened to the Wordle archive?

The entire archive of past Wordle puzzles used to be available for anyone to enjoy whenever they felt like it. Unfortunately, it has since been taken down, with the website’s creator stating it was done at the request of the New York Times.

Is Wordle getting harder?

It might feel like Wordle is getting harder, but it actually isn’t any more difficult than when it first began. You can turn on Wordle‘s Hard Mode if you’re after more of a challenge, though.

Here’s a subtle hint for today’s Wordle answer:

Where water comes out.

Does today’s Wordle answer have a double letter?

There are no reoccurring letters.

Today’s Wordle is a 5-letter word that starts with…

Today’s Wordle starts with the letter S.

The Wordle answer today is…

Get your last guesses in now, because it’s your final chance to solve today’s Wordle before we reveal the solution.

Drumroll please!

The solution to today’s Wordle is…

SPOUT.

Don’t feel down if you didn’t manage to guess it this time. There will be a new Wordle 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.

Reporting by Chance Townsend, Caitlin Welsh, Sam Haysom, Amanda Yeo, Shannon Connellan, Cecily Mauran, Mike Pearl, and Adam Rosenberg contributed to this article.

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 yesterday’s Wordle.

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Angelina Jolie stars as Maria Callas in Pablo Larraín’s opera biopic, “Maria.”

Following Spencer and Jackie — biopic melodramas about Princess Diana and First Lady Jacqueline Kennedy — Chilean director Pablo Larraín rounds out his informal trilogy with Maria, another film about a world-famous woman in close proximity to death. His subject this time is the iconic Greek-American opera soprano Maria Callas, and though the film doesn’t come together as neatly (or completely) as either of its predecessors, its most powerful moments stand head and shoulders above them, thanks to towering, transcendent work from Angelina Jolie in the leading role. 

Maria is set during the final week of Callas’ life, at a time when she lived in isolation, far from the spotlight. As Larraín and Spencer screenwriter Steven Knight imagine these pivotal days, the resulting film is, unfortunately, lesser than the sum of its parts. However, each of those elements is so individually exquisite as to yield material that not only proves incredibly moving, but also provides Jolie with a platform to craft what is perhaps the most complex performance of her illustrious career. 

What is Maria about?

Set in 1977, Maria opens on the day of Callas’ death from a sudden heart attack, after her body is discovered in her Paris penthouse. It presents this scene from a distinctly ghostly vantage. As Larraín’s hand-held camera peers in on the scene from an adjoining room, it takes on a spectral presence, framing the rest of the film — set during the preceding week — as though it were some kind of desperate letter from Callas sent from beyond the grave.

To put words in a dead figure’s mouth can be risky business, especially when so little is known about her final years. But as with with Spencer and Jackie, Larraín’s focus is the intersection of private and public lives. His biopics are, therefore, speculative by nature. His last film, the satire El Conde, re-imagined Augusto Pinochet as a vampire, and while Maria certainly doesn’t go that far — Larraín understandably has more respect for Callas than for the Chilean dictator — it exists in a similar vein: as a stylized examination of 20th-century history.

In the week preceding her demise, Callas wrestles with trying to regain her voice, which hasn’t been at its full power for some time. However, her withdrawal from the public eye has also led her to self-medicate with largely unregulated drug cocktails. The film tips its hands about their effects early on; Callas claims, to her diligent butler Feruccio (Pierfrancesco Favino) and her housemaid Bruna (Alba Rohrwacher) — her key confidants in the film — that she has a TV interview scheduled with a journalist named Mandrax (Kodi Smit-McPhee), the same name as one of her sedatives. When he arrives, he’s never in the same room (or same shot) as anyone but Callas.

That Mandrax is a hallucination is hardly a surprise. In fact, Callas is hyper-aware of her increasing break from reality, though it can’t help but read as if it may have been intended as a plot twist in some earlier draft. It takes a number of scenes before Callas’ interview with the phantom reporter begins yielding any worthwhile material — which is to say, personal revelations about Callas’ past, and ruminations on her fame, which begin to gradually alter the movie’s tone and appearance.

Maria tells its story through shifting textures and timelines.

Hollywood biopics — especially their oft-parodied musical variety — tend to follow a standard structure, beginning on the precipice of a pivotal, late-career performance before the film unfolds in flashback. Maria upends this trend with distinct narrative purpose, stretching that aforementioned late-in-life moment across the entire film, while condensing Callas’ life story to brief flashes of memory.

While the singer’s music is central (and ever-present; her actual voice appears just as much as Jolie’s), the specifics of her career, and her rise to fame, are of little interest to Larraín. He reduces them to an introductory montage burnt onto grainy celluloid stock, as though these moments from her performances had all been captured in great detail, and therefore didn’t need to be the movie’s focus. Rather than re-creating public performances, much of the film shifts rhythmically between Callas’ past and present, often impulsively, as though it were depicting a haphazard stream of consciousness. This approach certainly has its strengths — the film is in constant motion, so at the very least, it’s never boring — but it doesn’t always move with purpose, and tends to repeat itself without finding new dimensions to its story.

On the plus side, Ed Lachman’s dazzling cinematography makes the movie’s present feel wistful. In its 1970s scenes, Maria either reminisces while wandering Paris — scenes which yield moments of musical splendor, where the real world collides with her imagined, operatic  one — or she visits an opera pianist to help her rehearse and re-capture her lost glory. These are painted with the warm tones of a perpetual sunset. The movie may be anchored by these scenes (its numerous flashbacks emanate from her conversations, both real and otherwise), but they’re imbued with a sense of finality, and of time running out, as though Callas were keenly aware that she’s nearing the end.

Her flashbacks tend to take two specific forms. Like the aforementioned, grainy film footage, moments of public performance — of Callas silhouetted by spotlight — appear as brief, nostalgic recollections as she attempts to sing once again and recapture her lost glory. However, the movie’s more complete flashback scenes play out in pristine black-and-white, as though these moments had been more perfectly preserved. This canvas is reserved for a handful of flashbacks to Callas’ tumultuous youth (where she’s played by Aggelina Papadopoulou), but their crux is the time she spent with the Greek shipping magnate Aristotle Onassis (Haluk Bilginer), with whom she had a lengthy affair before his marriage to Jackie Kennedy.

The film presents the aged Onassis as a risible, rankled character, and Bilginer plays him with venomous charisma. However, his frequent presence in Callas’ memories never quite feels justified. It’s speculated, in dialogue, that they may have been each other’s greatest loves, and the film even imagines a wonderful moment of private confession between them, but Onassis only ever feels like an obligatory inclusion, rather than a character whose impact on Callas is deeply felt instead of simply mentioned in passing. However, this and any other flaws the film may have are eventually hand-waved away by its central performances.

Angelina Jolie leads a phenomenal cast.

A film like Maria doesn’t work without its central performances. Apart from Callas, the two characters with the lion’s share of the screen time are Bruna and Feruccio, and though their prescribed roles are set in stone, they offer an intimate, loving perspective on the iconic vocalist.

As Bruna, a woman trained by Callas to be reverential, Rohrwacher allows the character’s true feelings (and true concerns) to slip past her fealty. Feruccio, meanwhile, is far more forthcoming about his objections to Callas’ drug use, and while he’s often rebuked — sternly, yet calmy — Favino maintains a heart-wrenching adoration for Callas. The real Feruccio never sold Callas’ private stories, even after her death, so while the movie draws on fantastical interpretations of her twilight years, it still does justice to Feruccio’s loyalty, especially in moments when real reporters try to cruelly invade her privacy.

However, all this would be for nought had the role of Callas not been perfectly cast and performed. Larraín has tackled real figures before — his historical-fiction Neruda was about poet and politician Pablo Neruda — but his triumvirate of Hollywood biopics have all confronted the impact and allure of fame. Kristen Stewart was a fitting vessel for Larraín’s Spencer, a story about a highly misunderstood woman upon whom aspersions were constantly cast. Jolie is a similarly flawless choice, given the degree to which Maria is about the dueling pain and allure of living in the spotlight.

Not just a famous actress, but arguably one of the world’s most famous people in the mid-2000s, Jolie has achieved a level of global stardom of which few can even dream. However, her celebrity has been marked by everything from homewrecking accusations to a harrowing public separation involving alleged domestic abuse (her battle with breast cancer has also been a tabloid topic, though she first publicized it herself). In a recent press junket for the movie’s Venice Film Festival premiere, Jolie was asked about the degree to which she drew on her personal life for her performance, though she refused to elaborate. However, seeing the degree to which she places her most vulnerable self on screen in Maria, it’s clear she doesn’t need to. Everything she has to say on the subject is contained within the four corners of the frame.

Jolie plays Callas at a physical and emotional low point, and she carries herself as though attempting to juggle the grace and poise of an opera legend with the burdened posture of someone who’s given up. She is completely sure of herself when she speaks to other people, but lost in a sea of self-doubt behind closed doors — a duality that Jolie displays not only in different scenes, but within single conversations, as she turns away from and toward her castmates.

Callas is a mess of paradoxes. She’s a woman both plagued by yet constantly in search of adulation. She’s haunted by her past, but her past is what fuels her music, and accessing the most agonizing parts of her story is of the utmost importance if she’s to find herself again. Jolie’s performance feels similarly in tune with the actress’ own history. The further Callas reaches into her soul, the more the curtain slips; you can practically see Jolie and her character becoming one, crying out in unison for some kind of respite from simply being themselves, and living at their level of constant visibility, no matter how much they love the spotlight. It’s heart-wrenching to witness.

However, Jolie goes even further in creating this semi-fictional version of Callas, not just as a real woman, but as a figure practically destined — perhaps even cursed — to be immortalized on screen. The real Callas spoke rather conversationally, and with a more distinctly Greek intonation than Jolie does here. But rather than impersonating her, Jolie instead takes on a classically Hollywood, Transatlantic tone. 

This accent is easy enough to access, but Jolie’s masterstroke is what she does with her voice. Not just her singing voice — though she sounds magnificent to this critic’s untrained ear — but her speaking voice, which sounds pitched-up, as though it were emanating at a higher frequency through a microphone from the 1940s or ’50s. The film may be set in 1977, but the ’40s and ’50s were Callas’ professional peak; what better way to translate her idealized version of herself in cinematic terms?

Callas struggles to stand upright in Maria. Not just literally, because of her drug-dulled sense, but spiritually. The film as a whole may feel scattered, and might lose its way in the middle, but all the while, Jolie is locked in a constant battle to hold her head high — to live (and die) with dignity, while experiencing all the fears and convictions that come with a woman slowly accepting that she may be at the end of her life.

Usually, Larraín loves to show off his production design (with sets this lavish, who wouldn’t?), and he loves to make his camera dance, but the smartest thing he does in Maria is get out of Jolie’s way at just the right time. During more intimate or subtle scenes, he pulls back on his flourishes so that her performance can dictate the story at its most potent, painful moments. However, on the rare occasions the film’s operatic formalism and Jolie’s performance align — moments when Callas inches closer to finding herself during her musical search — the result is completely shattering.

Maria was reviewed out of its world premiere at the 2024 Venice International Film Festival. 

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Morfydd Clark, Charlie Vickers, Charles Edwards, Benjamin Walker, Ismael Cruz Cordova, Daniel Weyman, Markella Kavenagh, Megan Richards, Sam Hazeldine are joined by Showrunner Patrick McKay and Executive Producer Lindsey Webber

Morfydd Clark, Charlie Vickers, Charles Edwards, Benjamin Walker, Ismael Cruz Cordova, Daniel Weyman, Markella Kavenagh, Megan Richards, Sam Hazeldine are joined by Showrunner Patrick McKay and Executive Producer Lindsey Webber

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To get the most out of Netflix’s “Kaos,” here’s a basic (we mean it) guide, from the mighty gods to the Earthly human heroes.

If you’ve actually read The Iliad, Metamorphoses, The Aeneid, or The Odyssey; devour myth-inspired fiction like Circe; played every minute of Assassin’s Creed: Odyssey and Hades; and regularly quote Disney’s Hercules, you’ll watch Netflix’s Kaos with serious knowledge (and probably alone, like me). But if you’ve been elsewhere doing other things, don’t worry. As ill-fated narrator Prometheus (Stephen Dillane) says at the beginning of the show, “Some of you may have heard of me. Don’t worry if you haven’t.” 

In Charlie Covell’s Greek mythology-based series, Prometheus gives you a one-liner introduction to each figure and location, but the show’s not Greek Mythology 101 by any means — there’s narrative progression afoot and whatnot. So if you’d like a little more context to get the most out of Kaos, here’s a basic (and I mean it) guide, from the mighty gods to the Earthly human heroes. 

For the record, my sources here are Edith Hamilton’s Mythology, Barry B. Powell’s Classical Myth, Stephen Fry’s Mythos, Mary Beard’s Women and Power, Emily Wilson’s translation of Homer’s The Iliad, Charlotte Higgins’ Greek Myths, Robert Graves’ The Greek Myths, Liv Albert’s Greek Mythology, and David Raeburn’s translation of Ovid’s Metamorphoses. Yeah, I dug out my uni textbooks for this. 

Reader beware, there are SPOILERS in here for Kaos.

The gods and mythical beings

Zeus (Jeff Goldblum)

The king of the gods and big cheese of the weather. The series constantly incorporates Zeus’ signature weapon, the lightning bolt. It’s sewn into his clothing and linens, and you’ll spy a giant bolt under glass in one of the palace rooms on Olympus. Kaos also makes more than a few references to Zeus’ infidelity and constant impregnating of human women, notably leaving out the constant assault element for the show (same goes for Poseidon and Hades).

Hera (Janet McTeer)

The queen of the gods; goddess of women’s sexuality, fertility, and marriage; and Zeus’ wife (and sister, as Kaos reminds us). Hera holds a grudge and will often seek brutal vengeance against Zeus’ lovers, but she contains multitudes. As Fry writes in Mythos, “It is easy to dismiss Hera as a tyrant and a bore — jealous and suspicious, storming and ranting like the very picture of a scorned harridan wife (one imagines her hurling china ornaments at feckless minions)…” Luckily, McTeer gives Hera more to do than throw decorations at staff.

But what’s with the bees? Fry also writes of the Greek myth about how the bee got its sting: At Zeus and Hera’s wedding, a competition for “the best and most original wedding dish” saw a small, buzzing, winged attendee, Melissa, present them with honey. For her efforts, Zeus bestowed her with a cruel sting that would kill her if used. Lovely wedding.

Poseidon (Cliff Curtis)

God of the sea and earthquakes, Zeus’ brother, also Hera’s brother. Rules the oceans, often depicted in art with a trident. In Kaos, Hera and Poseidon are lovers, but I believe this is a creative addition to their stories separate from the myths; in myth, he’s married to sea nymph Amphitrite. Perhaps she’ll turn up in Season 2.

Hades and Persephone (David Thewlis and Rakie Ayola)

The king and queen of the Underworld. Zeus’ brother Hades was assigned to run Hell after the Olympians won a major battle over the Titans (Zeus got the sky, Poseidon the sea, Hades the Underworld). In Classical Myth, Powell writes of Hades: “He commanded legions of demons. A pitiless master, he never willingly allowed any who came to him to return to the land of the living.” Persephone, in myth, was kidnapped by Hades and tricked into being trapped there with a tempting offer of six pomegranate seeds — so she must spend six months of the year in the Underworld, six months on Earth. In Kaos, Covell rewrites this situation as a tale of actual love between Hades and Persephone, and the myth as one of bad PR spread by Hera. “Every kid on Earth, when they learn about the Underworld, they think I’m there against my will,” Ayola’s Persephone says in Kaos, explaining she’s also allergic to pomegranates.

Dionysus (Nabhaan Rizwan)

The party fiend of Olympus, Dionysus is the god of wine, hedonism, pleasure, and madness. The name “Dennis” apparently derives from what you call a follower of Dionysus, and it’s notably the name of the kitten the god adopts in Kaos.

As Prometheus mentions in the series, Dionysus’ mother was mortal, a Theban princess named Semele whose fate was pretty awful in Greek myth. Powell writes that she slept with Zeus appearing “in all his glory, burning Semele to a crisp, Hermes saved the fetus and carried it to Zeus, who sewed it into his thigh. Three months later he removed the stitches, and Dionysus was born again.” (Stay with me?) In Kaos, Semele was turned into a bee offscreen by Hera (the fate of all Zeus’ human mistresses in the show,) but Semele is indeed burned by an angry Zeus in the Season 1 finale.

In Greek mythology, Dionysus is also the husband of Ariadne — and in the final episode of Kaos, it becomes clear Dionysus has spotted his future mortal love. We leave him standing outside the palace at Knossos. So, maybe Season 2? 

Prometheus (Stephen Dillane)

Our humble narrator, a bearded Titan suspended in shackles from a cliff face, is Prometheus (played by Stephen Dillane). He and Zeus made humans out of clay, then he pissed off his stormy pal by giving them fire, so he’s doomed to have his liver pecked out by an eagle every day. Though it’s a legendary move by Covell, Prometheus’ love for Charon is only in the show.

Medusa (Debi Mazar)

Despite appearances, Medusa has a tragic tale in Greek myth. Known as a Gorgon with snake hair, her story is best told by Beard in Women and Power: “There are many ancient variations in Medusa’s story. One famous version has her as a beautiful woman raped by Poseidon in a temple of Athena, who promptly transformed her, as punishment for the sacrilege (punishment to her, note), into a monstrous creature with a deadly capacity to turn to stone anyone who looked at her face. It later became the task of the hero Perseus to kill this woman, and he cut her head off using his shiny shield so as to avoid having to look directly at her.”

In Kaos, she’s middle management in the Underworld. Justice for Medusa. 

Charon (Ramon Tikaram) 

Charon is the ferryman to the Underworld, bringing the spirits of the dead across the River Styx (named for “Hate”) and Acheron (or “Woe). Fry writes, “There the grim and silent Charon held out his hand to receive his payment for ferrying the souls across the Styx. If the dead had no payment to offer they would have to wait on the bank a hundred years before the disobliging Charon consented to take them.” Folks like Eurydice and Caeneus in Kaos haven’t money to pay Charon (their loved ones stole the coins they were buried with), so they’re sent to the Centre for the Unresolved.

Charon’s crew in Kaos has regular-sized sniffer dog versions of the great three-headed dog of the Underworld, Cerberus. Plus, Charon speaks of the Scylla in the series, a sea creature that chomps on Orpheus’ fellow Underworld adventurer. In myth, the Scylla is a beast who was once a sea deity — but pissed off the sorceress Circe in some renditions of the tale. Also, Charon’s parents are Erebus (personification of darkness) and Nyx (goddess of night), so his emo tendencies are hereditary. 

The Furies (Natalie Klamar, Cathy Tyson, and Donna Banya)

The trio known as The Furies (also called The Erinyes) exist to punish evildoers. Called Tisiphone, Megaera, and Alecto, they cruise around in Kaos exacting justice, though it might not appear that way. In Mythology, Hamilton writes, “The Greek poets thought of them chiefly as pursuing sinners on the Earth. They were inexorable, but just.” Kaos thankfully leaves out The Furies origin story: They’re said to have sprung from the blood on the floor after the primordial god of the sky Ouranos was castrated by his own son Cronos. Yikes.

The Fates (Sam Buttery, Suzy Eddie Izzard, and Ché)

Clotho, Lachesis, and Atropos, the three prophecy-makers of Kaos, are known collectively as The Fates. They’re a key trio in Greek mythology, writing prophecies and declaring that “knowing is our whole thing.” As Graves writes in The Greek Myths, Clotho is the “spinner,” Lachesis (or Lachy in Kaos) is the “measurer,” and Atropos is one “who cannot be turned or avoided” — yeah, they wield the badass scissors of fate. As we see in Kaos, Zeus’ relationship with The Fates is tempestuous. Graves writes, “Zeus, who weighs the lives of men and informs the Fates can, it is said, change his mind and intervene to save whom he pleases, when the thread of life, spun on Clotho’s spindle, and measured by the rod of Lachesis, is about to be snipped by Atropos’s shears.” But he also writes that “Zeus himself is subject to the Fates.”

Polyphemus (Joe McGann)

The cyclops Polyphemus comes in the form of an eye-patched bar owner called Poly in Kaos. Polyphemus is the son of Poseidon and the Oceanid Thoosa, and his big role comes in The Odyssey, when he captures Odysseus’ crew in his Sicilian cave when they find it full of sheep. In Metamorphoses, Ovid describes him as an “inhuman host, who made his bloody feasts / On mangl’d members of his butcher’d guests.” Yeah, he eats some of them, then falls asleep (but not before blocking the exit with a boulder). Odysseus outwits Polyphemus by getting him pissed and blinding him, and the crew tie themselves to the bellies of the sheep in the cave, who then walk on outta there. None of this happens in Kaos, which is a real shame.

The humans

Eurydice and Orpheus (Aurora Perrineau and Killian Scott)

Preferring “Riddy” in the series, Eurydice is the leading lady of the artist-beloved Greek myth in which she dies on her wedding day. As the story goes, minor god Aristaeus attempted to assault Eurydice; she ran, stepped on a poisonous snake who bit her, and died. It’s awful. Her grieving husband Orpheus (a guy with musical superpowers and/or a really good lyre from sun god Apollo) travels to the Underworld to get her back. Graves writes that Orpheus “not only charmed the ferryman Charon, the Dog Cerberus, and the three Judges of the Dead with his plaintive music, but temporarily soothed the tortures of the damned.” This guy must be good.

Having won over Hell with his tunes, Orpheus makes a deal with Hades (Higgins writes that it was Persephone’s idea) to play her out of there as long as he doesn’t look back. Spoiler: he does. Eurydice is a passive soul lost forever in the myth, unlike in the series, where she’s given her own agency in the Underworld and allowed to return to Earth (thanks to Persephone).

Caeneus (Misia Butler)

In Kaos, Caeneus is a trans man who had to leave his home with the female warrior group the Amazons, but was then murdered by them, declared a “traitor” to their tribe. It’s an awful, TERF-driven story of hate. In myth, Caeneus is indeed a trans man, but not of the Amazons. Graves writes that Caeneus, a nymph, requested to have his sex changed by his lover Poseidon. 

Ariadne and Theseus (Leila Farzad and Daniel Lawrence Taylor)

Two figures inherently interlinked in Greek mythology, Ariadne and Theseus are most famously associated with the tale of the Minotaur — the same goes for them in Kaos. The daughter of King (not President) Minos, Ariadne doesn’t have a twin in Greek mythology, but her half-brother is the Minotaur — more on that below. (Kaos names her brother Glaucus, for a sea god.) Theseus, sometimes referred to as the son of Poseidon, is recruited to slay the Minotaur in the labyrinth beneath Minos’ palace at Knossos. 

In Kaos, Ariadne has a crush on Theseus, but he’s in love with Nax (or Astyanax). In Greek mythology, Theseus abandons Ariadne on an island called Naxos after she helps him slay the Minotaur (rude). In the myth, Ariadne eventually marries Dionysus — which the show indicates in the final episode is where next season might head. 

Pasiphaë (Shila Ommi)

Known as Pas in Kaos, the First Lady of Krete is King Minos’ wife in myth. Pasiphaë is actually the mother of the Minotaur — something Covell cleverly adapts for Kaos. Hamilton describes the Minotaur as “half bull, half human, the offspring of Minos’ wife Pasiphaë and a wonderfully beautiful bull. Poseidon had given this bull to Minos in order that he should sacrifice it to him, but Minos could not bear to slay it and had kept it for himself. To punish him, Poseidon had made Pasiphaë fall madly in love with it.” Bing, bang, boom, you’ve got a Minotaur — and a king set to imprison the beast with the help of an inventor…

Daedalus (Mat Fraser)

The great inventor, designer, and architect, Daedalus is at the beck and call of King Minos. Hamilton writes about the labyrinth he was commissioned to build to contain the Minotaur as “a place of confinement for him from which escape was impossible.” Sadly, when Daedalus and his son Icarus were imprisoned in the labyrinth, Daedalus’ escape plan of constructed wings went awry when Icarus flew too close to the sun. This is mentioned in Kaos, but in the show, Daedelus says Icarus built the wings to escape the palace after realising his father’s role with helping Minos imprison the Minotaur. In the myth, a group of young Athenians were sacrificed to the Minotaur in the maze on the regular, so Theseus is called in to kill the Minotaur (Ariadne helps him, with Daedalus’ assistance). In Kaos, it’s Minos who kills the Minotaur, his own son, in an effort to thwart his own prophecy.

Hecuba and Andromache (Gilian Cally and Amanda Douge)

The two women summoned to President Minos’ palace in episode 3 are Hecuba and Andromache. They’re the most powerful women of the Trojans, both enslaved after the Trojan War — in Kaos, they’re living in the same abysmal conditions without rights as the rest of the Trojan refugees. Andromache is a Theban princess married to the Trojan prince Hector, who dies by Achilles. Their son, Astyanax, features in Kaos as a Trojan rebel and Theseus’ lover. In myth, he’s thrown from the walls of Troy as a baby (in Kaos, though he makes it to adulthood, he’s executed and hung from the Knossos palace wall). Hecuba is the Queen of Troy, married to King Priam, and Hector’s mother.

Nax (Daniel Monks)

As well as Hecuba and Andromache, there’s a lot of Trojans in Kaos, reeling from the events of the Trojan War. They’re branded by the line on their nose in the series and viciously persecuted by the Kretians. Astyanax, a Trojan prince and son of Andromache and Hector, is called Nax in the series, forced to live with the Trojans in the crumbling refugee suburb of Krete called “Troytown,” with no citizens rights. He’s Theseus’ lover in Kaos and responsible for the literal shit pile on the gods’ statue. He’s the leader of the Trojan Seven, as they’re called in the series, a vigilante group demonstrating against oppression by the Kretians — and they’re publicly executed by the president. It’s a callback to the children thrown from the walls of Troy by the Greek army during the sacking of the city.

Cassandra (Billie Piper)

A prophet and princess of Troy, Cassandra was given the gift of prophecy by a thirsty Apollo — including visions of the whole Trojan War and horse deal (Billie Piper’s character mentions this in episode 1). Cassandra wouldn’t go on a date with the god or something (ugh, entitled men), so Apollo made sure no one would believe her premonitions. “She shrieked and shouted out through all the city,” Homer writes in The Iliad of Cassandra warning the Trojans about the coming violence. Turns out the Ancient Greeks already knew the agony of women not being believed.

Hippolyta and Crixus (Selina Jones and Slavko Sobin)

In Kaos, Ariadne and Theseus attend the Munis, a Mad Max-style cage fight to the death. The fighters are named Carl Crixus of Sparta (named for the gladiator from Gaul) and Hippolyta (named for the Queen of the female warriors known as the Amazons, and daughter of Ares’ god of war, who is associated with the story of the 12 Labors of Heracles). In Kaos, Hippolyta’s also the one who murdered Caeneus.

The locations

Mount Olympus

Home of the gods. That’s all you need.

The Underworld

There’s a lot of geography covered in Kaos when it comes to the Underworld. When Eurydice first arrives, she’s put on the large ferry across the River Styx (see above on Charon for more about that). Then, the Asphodel port in Kaos is named for the Asphodel Fields, meadows of ghostly flowers in the first area of the Underworld, as Graves describes, “where souls of heroes stay without purpose among the throngs of less distinguished dead that twitter like bats.” 

Then there’s the River Lethe, which also appears in Kaos as the body of water people swim across to get to The Frame. In myth, the Lethe (named for “forgetfulness”) is a river in the Underworld in which people can quite literally wipe their memories. Hades and Persephone’s palace is another region of the Underworld, and in Kaos, it’s a mid-century modern testament to middle management. 

One thing Kaos doesn’t mention is that the Underworld has a Good Place and a Bad Place: Elysium and Tartarus. Maybe Season 2?

Krete and the Palace of Minos at Knossos

In myth, King Minos’ great palace at Knossos on Krete was home to a subterranean labyrinth where a Minotaur roamed — and it’s where most of the action in Kaos is set. See above for the story of Ariadne and Theseus.

Villa Thrace

Eurydice and Orpheus’ home in Krete in Kaos is named for Thrace, a region north of ancient Greece associated with Orpheus.

Panopeus

The nightclub we meet Dionysus in, seen in episode 1, is named Panopeus. According to Fry, Panopeus could have been the place where Zeus and Prometheus decided to source the clay to build humans: “History does not agree on exactly where Prometheus and Zeus went to find the best clay for realising the plan. Early sources, like the traveller Pausanias in the second century AD, claimed that Panopeus in Phonics was the place.”

The Cave

Though it’s said that the entrance to the Underworld was, in fact, a cave, in Kaos, the biggest correlation between Greek mythology and this dive bar venue is its owner. Check the Polyphemus section above for the story of Odysseus and Poly.

Tyndareus Gasoline

In Kaos, you’ll see a petrol station called Tyndareus Gasoline. It’s named for the king of Lacedaemon who married Aetolian princess Leda, who was impregnated by Zeus in the form of a swan, resulting in Helen of Troy (artists love Leda). Tyndareus and Leda also had Clytemnestra, who married King Agamemnon, the big Greek commander in the Trojan War. A lot of Trojan connections here. 

Notable mention: The cereal aisle

Shout-out to the set designers of Kaos, who’ve stocked an entire cereal aisle full of Greek mythology references:

Gaea’s Granola: a wholegrain cereal named after the goddess of Earth.

Achilles’ Heels: foot-shaped cereal for the Greek hero whose mother missed a spot when she dipped him in immortality.

Spartan Crunch: Made with 10-percent Olympus honey, a cereal named for the ancient enemy of Athens.

How to watch: Kaos is now streaming on Netflix.

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Live stream the 2024 MotoGP Aragon Grand Prix for free from anywhere in the world.

TL;DR: Watch the 2024 MotoGP Aragon Grand Prix for free on ServusTV. Access this free streaming platform from anywhere in the world with ExpressVPN.

The nine races left in the 2024 MotoGP season, the battle for top spot is seriously intense. Only five points separate Francesco Bagnaia and Jorge Martin, meaning every remaining race is going to be electric. And you can watch how things unfold without spending anything.

If you’re interested in watching the 2024 MotoGP Aragon Grand Prix for free from anywhere in the world, we’ve got all the information you need.

When is the 2024 MotoGP Aragon Grand Prix?

The MotoGP Aragon Grand Prix takes place at the Ciudad del Motor de Aragón. The 2024 MotoGP Aragon Grand Prix race starts at 8 a.m. ET / 1 p.m. BST on Sept. 1.

How to watch the 2024 MotoGP Aragon Grand Prix for free

Every MotoGP 2024 race is available to live stream for free on ServusTV.

ServusTV is geo-restricted to Austria, but anyone can access this free streaming platform with a VPN. These tools can hide your real IP address (digital location) and connect you to a secure server in Austria, meaning you can bypass geo-restrictions to access ServusTV from anywhere in the world.

Unblock ServusTV by following this simple process:

Sign up for a VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in Austria

Connect to ServusTV

Watch MotoGP for free from anywhere in the world

The best VPNs for streaming are not free, but they do tend to offer free-trial periods or money-back guarantees. By leveraging these offers, you can access MotoGP live streams without fully committing with your cash. This clearly isn’t a long-term solution, but it does mean you can watch the 2024 MotoGP Aragon Grand Prix before recovering your investment.

What is the best VPN for MotoGP?

ExpressVPN is the top choice for unblocking ServusTV, for a number of reasons:

Servers in 105 countries including Austria

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is protected

Fast streaming speeds free from throttling

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a 30-day money-back guarantee.

Watch the 2024 MotoGP Aragon Grand Prix for free with ExpressVPN.

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Watch the 2024 Italian Grand Prix in F1 for free from anywhere in the world.

TL;DR: Watch the 2024 Italian Grand Prix for free on ORF, ServusTV, or RTBF. Access these free streaming platforms from anywhere in the world with ExpressVPN.

After what felt like years of underwhelming racing, F1 has exploded. Max Verstappen is no longer dominating and a number of teams are in contention for the race win every weekend. The fans are the real winners here, because entertaining racing is back on screens around the world.

If you’re interested in watching the 2024 Italian Grand Prix for free from anywhere in the world, we’ve got all the information you need.

When is the 2024 Italian Grand Prix?

The 2024 Italian Grand Prix takes place over 53 laps of the 5,793-kilometre Autodromo Nazionale Monza. The full schedule can be found here:

Practice 1 — 7:30 to 8:30 a.m. ET on Aug. 30

Practice 1 — 11 a.m. to 12 a.m. ET on Aug. 30

Practice 1 — 6:30 to 7:30 a.m. ET on Aug. 31

Qualifying — 10 to 11 a.m. ET on Aug. 31

Race — 9 a.m. ET on Sep. 1

It’s possible to stream the 2024 Italian Grand Prix without spending anything.

How to watch the 2024 Italian Grand Prix for free

You can find free live streams of F1 on these platforms:

Austria — ORF or ServusTV (12 races each)

Belgium — RTBF (every race)

ORF, ServusTV, and RTBF are geo-restricted, but anyone from around the world can access these free streaming platforms with a VPN. These tools can hide your real IP address (digital location) and connect you to secure servers in other countries, meaning you can access these streaming services to watch F1 for free from anywhere in the world.

Unblock free streaming services by following these simple steps:

Sign up for a VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in Austria or Belgium

Connect to ORF, ServusTV, or RTBF

Watch the 2024 Italian Grand Prix from anywhere in the world

The best VPNs for streaming are not free, but leading services do tend to offer free trials or money-back guarantees. By leveraging these offers, you can watch F1 live streams for free. This is clearly not a long-term solution, but it does mean you can stream the 2024 Italian Grand Prix without actually spending anything.

What is the best VPN for F1?

ExpressVPN is the top choice for live streaming F1 for free, for a number of reasons:

Servers in 105 countries including Austria and Belgium

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is protected

Fast streaming speeds

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a 30-day money-back guarantee.

Watch the 2024 Italian Grand Prix for free with ExpressVPN.

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Review of “Slingshot,” Casey Affleck’s sci-fi comeback, which also stars Tomer Capone, Emily Beecham, and Laurence Fishburne,

Casey Affleck leads a small but impressive cast who end up terribly short-changed.

A psychological thriller with few thrills and a weak grasp of psychology, Mikael Håfström’s Slingshot sees three capable actors monologuing in space about nothing in particular. The sci-fi drama has logical start and end points, but meanders aimlessly along the way, desperately searching for anything resembling plot or thematic meaning.

As a trio of astronauts embarks on an interplanetary mission, they find themselves gripped by paranoia — at least in theory — and are unable to trust each other, or their own faculties. The problem, however, is that little-to-none of this conflict is rooted in discernible human drama.

The appearance of drama certainly exists, both aboard the space vessel and in numerous flashbacks. However, Slingshot‘s images feel entirely disconnected from one another, since the film is less concerned with emotional impact, and more focused on indiscriminately tossing out twists and turns. By the end, the film is unable to sustain the weight of its attempted surprises, yielding a head-scratching experience. 

What is Slingshot about?

Aboard the confines of a pristine spaceship, the Apple Store-like Odyssey One, astronaut John (Casey Affleck) wakes up from his fourth 90-day nap, a drug-induced hibernation that saves on energy and keeps the mission participants young. He’s been gone from Earth for more than a year, and for the few days he’s spent awake tinkering and taking measurements, his only company has been his comrade Nash (Tomer Capone) and their leader, Captain Franks (Laurence Fishburne). The trio only spends a day or two walking around at any given time, but these precious moments of consciousness are spent in a groggy haze, at least at first. 

Their mission, in the short run, is to fly past Jupiter and use the planet’s gravity to slingshot their way to Titan, one of Saturn’s moons. They hope to scout the surface and eventually establish a human colony there, but despite the movie laying out these broad strokes, it never really features a sense of a wider objective or wider danger, be it images of a ravaged world left behind or any other existential threats. It’s Interstellar without the blight or the sense of cosmic mystery, but it does feature a red-headed woman back home, who our protagonist constantly thinks of.  

Emily Beecham plays John’s lover, Zoe, a design technician whose work on the space project remains unspecified, but who we meet through the familiar, mawkish framing of a fleeting memory of her under a bedsheet, staring lovingly at John. There’s nothing inherently wrong with doing what dozens of movies have done before — “If it ain’t broke,” and all that — but Zoe seldom exists as a real, complete person outside of her adoration for the protagonist, despite appearing in numerous flashbacks.

What is it that actually threatens the Titan mission? Well, that’s not exactly clear. The camera whirls around the ship’s halls a few times, as if to embody some invisible creature threatening our characters, but those are the only indications of any noticeable aesthetic flourish — one that isn’t just aping 2001: A Space Odyssey, that is. (For instance, the scene in Kubrick’s film in which two astronauts speak in secret to avoid a super-computer’s prying ears is re-created here, but without the certainty that anyone else is listening.) This thread of some kind of lurking presence aboard the ship unfortunately doesn’t last, so it doesn’t really come to represent anything for the characters as they lumber through the movie’s plot (or lack thereof), making observations and relaying those observations back to one another.

John finds parts of the ship damaged, possibly due to external impact, which theoretically endangers their upcoming gravitational slingshot, but the captain disagrees. John sees (or imagines) things going wrong all around him, but the crew can find no evidence of something overtly wrong. This disconnect is a central wedge aimed at creating tension and mystery, but it thrusts the film into a strange narrative limbo where it’s hard to know if there are any stakes at all.

Slingshot‘s stellar performances can’t save the movie.

Upon emerging from his drug-induced sleep, John gradually loses his grip on reality, seeing people on the ship who clearly aren’t there. Zoe is among these hallucinations, though curiously, her phantom appearance is rarely used as fuel for the movie’s flashbacks. When the trio loses communication with Earth, their sense of uncertainty turns toward one another. John suggests there may be a problem with the vessel; Nash is more certain of this, albeit without any evidence; and Captain Franks dismisses their concerns. This leads to the closest thing the movie has to an interesting theme: a dynamic between the three characters that forces John to mediate between two extremes. 

As John, Affleck harbors a weary exhaustion in every scene, selling the fact that he can’t be trusted to make rational decisions, since he has trouble remembering basic details about his life on Earth. His first time trying to recall these details is the only time the movie’s many flashbacks feel motivated. The rest appear at random, presenting a patchwork story of a man driven to pilot a space mission (for unspecified reasons) at the cost of his relationship. 

Amid his delirium, John is shouldered with the burden of being the most calm, logical, and centered character, while his coworkers gradually drift toward opposing extremes. Affleck does his level best to connect the dots between these past and present narratives, putting on a stern front in either case and gradually letting cracks appear in his stoic armor. But the film is fatally flawed: Its structure seldom allows for any causality between these timelines — any ripple effects or regrets, even though John’s decision to join the three-man crew is a sticking point for his relationship with Zoe. Their fate as a couple seems to become clearer as the film goes on, though it’s eventually muddied in service of unearned surprises that, at the end of the day, do little more than obscure its actors’ stellar dramatic work. What they draw on emotionally seems to shift at a moment’s notice, making it hard to latch on to the leading trio. 

Capone, like Affleck, captures his character’s unraveling with aplomb, as Nash steps further toward madness and away from reality. He threatens to turn the film truly intense, though his ravings about what might go wrong are short-lived. The film keeps brushing past any sense of immediate danger the moment it arises, and in the process, doesn’t allow Capone to access the full extent of Nash’s unhinged trajectory, despite the actor hinting toward a mental snap of some kind.

Captain Franks, on the other hand, has a much icier demeanor, and Fishburne is granted the movie’s most complete (and really, only) marriage between story and performance. As John and Nash lose their grip on reality and question their own eyes, Franks is much more certain of what he sees, which makes him all the more terrifying. With dialogue that borders on Shakespearean, Fishburne taps into a sense of misguided human ambition, and gestures toward a thematic layer to the movie that, while ever-present, goes mostly unexplored.

No, really, what is Slingshot actually about?

The three men aboard the ship take wildly different approaches to the scenario at hand, and in the process, they come to represent the three prongs of human personality through a Freudian lens. Nash, with his erratic moments and instinct-driven concerns, embodies the id. Captain Franks, who places constraints on his comrades and claims a rational high ground, is the superego. And John, who’s forced to mediate between them and make moral compromises, is the ego in this scenario.

The problem, however, is that despite the movie employing this particular framework (one it harps on quite overtly by the end), it doesn’t use it to explore the fraught dynamics between the characters in any meaningful way. What they each represent feels set in stone, with little sense of dilemma or evolution. How they behave in any moment is dictated by their respective “types” rather than by the unfolding plot, or even by one another’s words or actions. One could, in theory, map out exactly what each of them might do in practically any scenario, which robs the movie of tension at every turn.

To make matters worse, there aren’t even enough interesting scenarios that arise during the film, which might in theory pose dramatic challenges. As Slingshot goes on, any sense of psychological or dramatic framing is superseded by an insistence on surprise at any cost, though these attempted zigzags are mostly delivered in the form of dialogue, rather than anything visual (and thus, emotionally lasting). The film takes full advantage of the characters’ unreliable perspectives, perhaps to a baffling degree. Each moment of realization, each discovery that things may not be exactly as they seem, is followed by another, and another, and yet another, with no room for any revelations to breathe or sink in, let alone alter the characters’ sense of self.

Beyond a point, shifting reality becomes Slingshot‘s status quo, even though it largely presents these shifts in the form of dialogue. Characters simply explain to each other what may or may not be their version of the truth, until every other line hints at some new twist or surprise with no impact whatsoever, eliciting no more than a shrug.

With little by way of character psychology to latch onto, and even less by way of actual stakes, the movie’s thrills and science-fiction elements are practically null, rendering Slingshot an entirely meaningless sci-fi thriller. Its basic premise would be hard to explain to a friend, because it doesn’t even feel like it has one.

Slingshot opens exclusively in theaters Aug. 30.

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Live stream Popyrin vs. Djokovic in the 2024 US Open online for free from anywhere in the world.

TL;DR: Live stream Popyrin vs. Djokovic in the 2024 US Open for free on 9Now or TVNZ+. Access these free streaming platforms from anywhere in the world with ExpressVPN.

After an impressive win at the Olympics, Novak Djokovic will be laser-focused on winning the US Open. He hasn’t won a Grand Slam this year, which is an unfamiliar feeling for the Serbian superstar. But he has made a strong start to this tournament, and Popyrin will have his work cut out for him if he wants to stop the Olympic gold medalist.

If you want to watch Popyrin vs. Djokovic in the 2024 US Open for free from anywhere in the world, we have all the information you need.

How to watch Popyrin vs. Djokovic in the 2024 US Open for free

Fans can live stream the 2024 US Open for free on these platforms:

Australia — 9Now

New Zealand — TVNZ+

These streaming services are geo-blocked, but anyone from around the world can access these sites with a VPN. These handy tools can hide your real IP address (digital location) and connect you to secure servers in other countries, meaning you can unblock 9Now and TVNZ+ from anywhere in the world.

Access free live streams of the 2024 US Open by following these simple steps:

Subscribe to a streaming-friendly VPN (like ExpressVPN)

Download the app to your device of choice (the best VPNs have apps for Windows, Mac, iOS, Android, Linux, and more)

Open up the app and connect to a server in Australia or New Zealand

Visit 9Now or TVNZ+

Watch Popyrin vs. Djokovic in the 2024 US Open for free from anywhere in the world

The best VPNs for streaming are not free, but leading VPNs do tend to offer deals such as free-trial periods or money-back guarantees. You can leverage these offers to access free live streams of Popyrin vs. Djokovic without actually spending anything. This isn’t a long-term solution, but it gives you enough time to watch every US Open match before recovering your investment.

What is the best VPN for the US Open?

ExpressVPN is the best service for bypassing geo-restrictions to stream the US Open for free, for a number of reasons:

Servers in 105 countries including Australia and New Zealand

Easy-to-use app available on all major devices including iPhone, Android, Windows, Mac, and more

Strict no-logging policy so your data is always secure

Fast connection speeds

Up to eight simultaneous connections

30-day money-back guarantee

A one-year subscription to ExpressVPN is on sale for $99.95 and includes an extra three months for free — 49% off for a limited time. This plan also includes a year of free unlimited cloud backup and a generous 30-day money-back guarantee.

Live stream Popyrin vs. Djokovic in the 2024 US Open for free from anywhere in the world with ExpressVPN.

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“Pachinko”s latest episode bids a perfect, wrenching farewell to Isak (Steve Sanghyun Noh). Showrunner Soo Hugh breaks it down.

The second episode of Pachinko Season 2, titled “Chapter Ten,” is undoubtedly one of the most moving hours of TV you’ll see all year.

Co-written by Pachinko showrunner Soo Hugh, Christina Yoon, and Melissa Park, “Chapter Ten” marks the return of Sunja’s (Minha Kim) husband Isak (Steve Sanghyun Noh), who’s been in jail since the end of Season 1. Now deathly ill, Isak only has a few hours left to say goodbye to Sunja and his sons Noa (Kang Hoon Kim) and Mozasu (Eunseong Kwon). During that time, he shares some parting wisdom with his family about moving on and forgiving those who have wronged them. In Pachinko‘s 1989 timeline, Sunja and Isak’s grandson Solomon (Jin Ha) is willing to do neither of those things. As he works to destroy the businessmen who ended his career, he visits the Korean land owner (Hye Jin Park) he sought to do business with in Season 1, where he finds some unexpected leverage for his fight moving forward.

To dive deeper into this extraordinary episode, Mashable spoke with Soo Hugh about crafting the perfect goodbye for Isak, how reactions to his death speak to Solomon’s current storyline, and the key parallel to Season 1 that proves how far Sunja and Isak have come.

The following interview has been edited and condensed for clarity.

Mashable: This episode is full of individual moments between Isak and his family as they’re all saying goodbye in different ways. It feels like he’s teaching them how to go on without him. Which of these conversations resonated most with you?

Soo Hugh, showrunner, writer, and executive producer of Pachinko: My favorite was the scene where Isak is sitting with Noa and Mozasu and he says, “I am your father, and you are my sons.” I would just cry every time I heard that, because it’s obvious he’s speaking on a double level. He know he’s not Noa’s father, and he has no idea if his son will ever discover the truth, but he’s telling Noa in that moment, “I am your father. No matter what you hear or what you learn, I will always be your father.”

We get another interesting scene involving Noa and Isak, when Isak reveals it was Pastor Hu who turned him in. What does that revelation mean to Noa in that moment?

Can you imagine, if you’re that boy and you find out that the person you looked to as a father figure while your father was gone was the person who put your father away, how devastating that must be?

You’ll start to see the beginnings of a new Noa.
– Soo Hugh

After that, you’ll start to see the beginnings of a new Noa, the Noa that’s going to start realizing that he will succeed at all costs. Before episode 2, he said he wanted to stay and be a pastor. But after Isak’s death, he makes the decision that, “No, I’m going to go to Waseda. I’m going to succeed.” That starts to set up Solomon’s arc, too. There’s a lot of mirroring between Solomon and Noa that we intentionally did. You see the same cycles working themselves in these generations.

Tell me about Solomon’s storyline this episode, where he returns to the Korean landowner’s house and learns about the bones under her land, and how it speaks to Isak’s death.

One of the things that we talk about on Pachinko, and Sunja says it later on, is that you can’t ever forget the past. The past is always living with them. In the present day, when Solomon hears about the bones under the landowner’s property, those bones are from the period that we’re watching in the past storylines. So you feel like history itself is the bones of our show.

The stories of what happened amongst our mothers and grandmothers and grandfathers are the bones that we’re excavating in this show.
– Soo Hugh

We have a saying in our show: The stories of what happened amongst our mothers and grandmothers and grandfathers are the bones that we’re excavating in this show.

Speaking of the buried bones, this episode feels like it takes inspiration from some horror elements. I’m thinking about the flashes of the bicycle courier at the very start of the episode.

I love that you picked up on that. We always said that from the opening shot of this episode with the boys playing war, that this should play like a horror film, and we’re watching the boogeyman come back. In some ways, Isak’s the boogeyman when he first bursts in, but then we subvert that.

The stories in both timelines in this episode take place over a day and a night, so they feel really contained. What does a time constraint like that offer this episode in particular?

To me, it really makes it feel so intimate, right? In Pachinko, we span so much time and so many different time periods, and we make time jumps. But to be able to say, for this one episode, we’re going to use a microscope and really get down into it, it just felt like such a pleasure to be able to change rhythms. But also in an episode that has such a profound, emotional scene like Isak’s death, I can’t imagine shortchanging that and not giving it its time.

That final scene between Sunja and Isak is clearly a defining moment for the show. As you and your co-writers Christina Yoon and Melissa Park approached this episode, what were some of the big challenges you anticipated facing?

That scene is deceptively hard. We know it’s going to be a sad scene, right? The question is, “How sad do you want it to be? And when do you want it to be sad?” Because if you start off so heavy in that final goodbye scene, where does the scene go? It was a challenge to write, and then it was a challenge for us to edit in the edit room, because our initial instinct was, “Come on, let’s milk it. Let’s make this as sad as possible.” And it just didn’t feel quite right when you did it that way. It didn’t feel like our show, so we actually pulled back. If you look, there’s actually very few tears that are shed.

Composition-wise, those last moments between Sunja and Isak mirror a key scene from Season 1, episode 5, when they’re first intimate with each other. Why did you choose to echo that scene in particular?

We knew this scene had to mirror the first time Sunja and Isak made love. It establishes a cycle, right? Our beginning is our ending, which is bringing everything back into closing the loop here.

You realize just how much that love has really, really grown between them over the years.
– Soo Hugh

I love that moment in Season 1, when it’s the first time they really connect. They’re married, and they’re strangers. They don’t know one another. You just see the terror as they’re looking into each other’s eyes, and then you see the love, the first glimpse of love start to bloom between them. Then when you cut to this scene in Season 2 with the cameras in the same place and at the same angles, you realize just how much that love has really, really grown between them over the years.

Pachinko Season 2 is now streaming, with a new episode every Friday.

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