Entertainment
Babygirl finally shows us what subspace feels like
One day, you’re an all-powerful CEO, star wife, and mother, and the next day you’re eating out of your young intern’s hand, quite literally. How is this contradiction possible, if it is a contradiction at all? The answer for both Nicole Kidman’s character in Halina Reijn’s film Babygirl and for many others who identify as BDSM submissives lies in the elusive concept of subspace: a metaphorical space and altered state one submits to during a kink scene, thanks to arousal and exchange of consent.
The notion is very new to Romy Mathis (Kidman, whose performance won her the Volpi Cup for Best Actress at this year’s Venice Film Festival). She’s the sharply dressed big boss with her hair always pinned up, until she meets Samuel (Harris Dickinson): a much younger, cocky, and borderline rude intern wearing a suit twice his size, filling it with ego. Romy finds herself trembling when Samuel controls a stray dog about to jump on her in the street with a mere whistle and a nod. From this seemingly passing interaction, the flows of her desire steer the narrative into the unknown waters of ambivalent wants and surrender, as Romy and Samuel begin an affair based on the exploration of dominance and submission.
“Scene” and its double meaning
Nicole Kidman and Harris Dickinson in “Babygirl.”
Credit: A24
According to Lina Dune, kink educator and host of the Ask a Sub podcast, a Dominant/submissive (D/s) relationship affords “a ritual space,” where equal, consenting adults negotiate, establish boundaries and safe words, and create “a container where things can transform and alchemize.” The set-up is called a “scene” and within the kink scene, the submissive can experience subspace. In theatre, cinema, or kink, we associate the word “scene” with a curated experience and performance.
Speaking to Mashable, director Halina Reijn champions this dual meaning, adding that for her, Babygirl is about performing. “Of course, in a BDSM setting, there’s a lot of performing,” she says, “but sex in general can also be very performative.” As a result, this theme informed the script and conversations with Kidman, becoming an instrument to explore the character’s authentic self. “Romy thinks she has to perform the perfect mother, lover, wife, leader,” says Reijn, “and we are all a little bit like that — what we forget to do is be ourselves and accept whoever we are.”
But what makes Babygirl stand out is that it shows dominance and submission as a process of negotiation, trial and error, rather than a textbook example or a polished act. Babygirl’s kink scenes feel real and inviting because they lay bare the mechanisms in the inner workings of control exchange. In each scene, Samuel umms and ahhs, trails off, laughs in the middle of his commands, while Romy is shown to resist, back out, and change her mind. For the actors, this means an extra layer of performance that incorporates flippancy and respect for consent; for the viewer it means relatability.
Not every scene is a “scene” but subspace is a space
Credit: A24
Subspace is a term used within the D/s and BDSM communities, according to Dune, to talk about “the altered state that comes about through the experience of submission.” She insists that it is a wide category that encompasses individual experiences that may differ from one another, like that of intoxication or alcohol intake, for example. Scientifically, the state is a reaction to adrenaline, oxytocin, and endorphins rushing into the brain, but what does subspace feel like?
Dune explains that for some people it may be “a floaty, dreamy, quiet disconnected feeling,” while others might giggle or cry. “I like to refer to it as ‘getting high on your own supply,'” she says, “because you’re not on anything, but the experience of crossing over a taboo.”
Thinking of cinematic representations of liminal states — hallucinations (Enter the Void), drug-induced trips (Queer), or drunkenness (Another Round) — perhaps film is the most suitable medium to portray a subjective, heightened state of mind. The key is in the spatial metaphor: one “goes into” or “inhabits” a space. Unlike other films, Babygirl doesn’t rely on classical point-of-view shots showing a dizzy, spell-binding world seen through the protagonist’s eyes. Instead, the handheld work of Reijn’s long-time collaborator, cinematographer Jasper Wolf is more subtle.
Lights, camera, submission!
Credit: A24
Halfway through the film, Romy and Samuel decide to meet at a cheap hotel. No wonder, their affair belongs to clandestine spaces, the four walls of every office, bathroom stall, and hired bedroom swelling with desire. When it’s just the two of them, they can be free from the outside world’s demands. In that sequence, Romy storms out and comes back, Samuel wrestles her to the ground, and their power dynamics become a source of play: a scene begins. The camera sinks down with her, framing her face in a close-up, while Samuel becomes a blur in the background: where he touches her and how is not as important as Romy’s reactions.
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Discussing that part of the film, Wolf tells Mashable that the camera is like a third character in the room with them. Instead of story-boarding the shots, he would film long, single takes to capture the erotic flow of power exchange. The camera often remains still and fixed on Romy, letting the viewer accompany her throughout the cascade of emotions coloring her face with arousal: from surprise through shame to blissful release, we partake in her surrender.
“It’s like an honest and sometimes relentless gaze on what is going to happen between the two,” he says.
Coordinating subspace
Credit: A24
Why can’t words accurately describe subspace? “If we lived in a matriarchal utopia, perhaps we would have more words for it,” jokes Dune. But in today’s individualistic Western world, she points out that people “are expected to actualize themselves in a way that’s masculine-coded. Submission, in contrast, is understood to be very vulnerable which is more female-coded.”
In cinema, pop culture, or daily life, the derogatory stereotype for men in power who want to be dominated and/or humiliated is often presented as a point of humor. Admitting a submissive desire costs a lot: “I’ll receive at least one phone call per week from someone who says they want to be a sub, but stress on the fact that they are not submissive in their day-to-day life,” says Dune.
What’s novel about Babygirl is that not only does it show the characters’ vulnerability, but also how much they are willing to reveal to one another. In cinematographic terms, this exchange of consent is translated by panning movements linking Romy and Samuel’s faces as they look at each other. “Put simply,” says Wolf, “the camera is often a representation of her inner world: it becomes more free and fearless alongside Romy.”
On set, the cast and production team worked with intimacy coordinator Lizzy Talbot (No Hard Feelings, Dead Ringers) to ensure there were no surprises. Dickinson, who had previously worked with Talbot on the TV series A Murder at the End of the World, underscored the importance of clear communication. “If you approach [sex] scenes with too much trepidation and sensitivity, it can be anxiety inducing; you need an intimacy coordinator to be very direct and pragmatic about it,” he tells Mashable’s Anna Iovine. Reijn also brainstormed with Talbot when writing the intimacy scenes, saying that the work with a coordinator “goes much further than just being on set with her.”
Facing subspace
Credit: A24
Later in the film, there is a second hotel room scene, where Samuel “directs” Romy from across the lavish suite. He commands her to strip, tells her where to put her hands and how to pose. Even when both are naked, the camera doesn’t linger on the nudity of their bodies, but their faces. When sharing subspace, they see each other anew, and their newfound intimacy translates into the visuals. To channel the ebb and flow, Wolf used a mix of camera lenses, shifting between spherical and anamorphic. As for the visible effect, “it’s not in your face and it shouldn’t be,” he says, “but a slight change of perspective [makes you] suddenly see them with different eyes.” The game of letting your guard down plays out on their faces.
Unlike films like Steven Shainberg’s Secretary, which relates submissive kink to trauma, Babygirl succeeds in telegraphing to a wider audience the message that these are real people, and their desires — even when dangerous to their status quo — don’t have to be as destructive or severely punished. “The BDSM community,” says Dune in relation to Secretary, “wants to see more empowered people portrayed as submissive and break that stereotype.”
But she is optimistic: “I think we’re getting closer to better representation of BDSM on screen. Obviously, I would be a lot more excited about films that hire sex workers as consultants, but for example, a film like Sanctuary had less research done into the BDSM community, but what I saw on screen rang true to me.” Dune admits that she doesn’t expect education from cinema, or at least not the kind that sex and kink educators like herself offer, adding that “film should be about fantasy.”
By setting Babygirl’s subspace explorations against a corporate, hetero-mono-normative backdrop, Reijn also makes a political point. However ephemeral, subspace is a consent-bound altered state that resists categorization. Perhaps a way for some of us to survive the capitalist hell is to surrender — to desires or to films like Babygirl — and take Dune’s advice: “Let the film dominate you.”
Babygirl is now showing in cinemas.
Entertainment
NYT Strands hints, answers for March 1, 2026
Today’s NYT Strands hints are easy if you’re not on. your best behavior.
Strands, the New York Times‘ elevated word-search game, requires the player to perform a twist on the classic word search. Words can be made from linked letters — up, down, left, right, or diagonal, but words can also change direction, resulting in quirky shapes and patterns. Every single letter in the grid will be part of an answer. There’s always a theme linking every solution, along with the “spangram,” a special, word or phrase that sums up that day’s theme, and spans the entire grid horizontally or vertically.
By providing an opaque hint and not providing the word list, Strands creates a brain-teasing game that takes a little longer to play than its other games, like Wordle and Connections.
If you’re feeling stuck or just don’t have 10 or more minutes to figure out today’s puzzle, we’ve got all the NYT Strands hints for today’s puzzle you need to progress at your preferred pace.
NYT Strands hint for today’s theme: Dressing down
The words are related to discipline.
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Today’s NYT Strands theme plainly explained
These words describe ways to chastise.
NYT Strands spangram hint: Is it vertical or horizontal?
Today’s NYT Strands spangram is vertical.
NYT Strands spangram answer today
Today’s spangram is The Riot Act.
NYT Strands word list for March 1
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Braidup
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The Riot Act
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Scold
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Castigate
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Reprimand
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Admonish
Looking for other daily online games? Mashable’s Games page has more hints, and 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 Strands.
Entertainment
New Scream Movie Is Only For Diehard Fans
By Chris Snellgrove
| Published
In 1996, iconic director Wes Craven rejuvenated the slasher genre with Scream, a film that served as the perfect deconstruction of horror movies. Scream was ahead of its time in many ways, predicting modern phenomena like true crime obsession and paradoxical relationships. At the same time, it worked as a perfect scary movie, one that transformed the entire genre for the better.
However, Scream was delivering diminishing returns even before Wes Craven died, and the franchise later re-oriented itself around a new pair of leads with Scream (2022). Unfortunately, the studio lost both Melissa Barrera and Jenna Ortega, which necessitated the return of original franchise icon Neve Campbell for Scream 7. The new movie is directed by original Scream scribe Kevin Williamson, and while it provides competent kills and fun moments for returning cast members, the sloppy plotting results in a film that only diehard fans will really enjoy.
Sydney’s Coming, And Hell Is Coming With Her
The basic premise of Scream 7 is that a new killer (or is it killers?) is gunning for Sydney Prescott, and they are claiming to be the original Scream villain, Stu Macher. Syd is skeptical and thinks Stu’s taunting video calls are just an AI fabrication, but the danger is all too real when her daughter and her daughter’s friends become targets for the attacker. Now, Sydney must team up with Gale Weathers and other returning allies, but even their combined strength may not be enough to defeat the one type of foe they have never fought before: one who refuses to follow any kind of rules.
The Stu Macher stuff is mostly an excuse to bring fan-favorite actor Matthew Lillard back into the fold, and his taunting video calls to Syd are easily one of the best parts of the film. Unfortunately, his presence is also evidence of the worst part of the film: namely, that Scream 7 is much more interested in wallowing in nostalgia than really building anything new. This is a franchise that once deconstructed the entire horror genre, and every movie was fair game. Now, the latest Scream is only interested in its own lore, and with nothing left to really deconstruct, all director Kevin Williamson can really do is play the hits of yesteryear.
Like Mother, Like Daughter
On paper, that happens through a loose reconstruction of the first film: Sydney now has a daughter of her own, one who is the exact age that Syd was when the Woodsboro murders went down. She’s got a slightly creepy boyfriend who likes to climb in her window for surprise snuggles and a group of hapless friends that soon become cannon fodder for a marauding masked killer. The police (including her dad, the chief) are helpless to stop the carnage, forcing these plucky teens to take matters into their own hands lest they get picked off one by one.
A remake (or requel, or whatever we’re calling all this crap now) of the first film works well on paper, but the essential problem of Scream 7 is that it can’t decide which characters to focus on. We start out with an uneasy balance of newer and older actors, but the film soon focuses almost exclusively on legacy characters like Sydney Prescott, Gale Weathers, and even Scream 5 and 6 veterans Chad and Mindy. While that leads to some great fan service for returning audiences, it creates one of the film’s biggest problems: we don’t really get to know almost any of these younger characters before Ghostface is picking them off.
Ghostface Is Back For More Blood Than Ever Before
Fortunately, the kills in this movie are some of the nastiest and most memorable in the entire franchise, and Ghostface is as viscerally scary as ever as he dispatches victims in increasingly grotesque ways. Accordingly, your enjoyment of Scream 7 will largely hinge on your primary motivation for watching slasher movies. If you’re here for killers looking cool (the kids call it aura farming) and pretty faces dying ugly deaths, this latest franchise entry delivers all that and a bloody bag of chips. If you prefer to get to know the virtual victims before they are transformed into raw meat, you’ll likely find Scream 7 to be the weakest movie in the entire series.
Speaking of weak, the reveal of the killer (or is it killers? Don’t worry, I’m keeping this spoiler-free) is particularly disappointing because the motivation for stalking Sydney comes out of nowhere. In the first movie, Stu Macher and particularly Billy Loomis had tangible reasons for stalking Syd, and discovering who the killers were felt a bit like solving the puzzle of a whodunnit. Like Scream 6 before it, Scream 7 tries too hard to surprise fans with the reveal, and this came at a cost: namely, the killer’s motivation makes no real sense, and it comes in the form of an exposition chunk so thick it threatens to choke the climax of the movie.
Killer Performances From Actors Old And New
Aside from the cool kills, Scream 7 does a few other things very well. The new additions to the cast are awesome: Community’s Joel McHale is weirdly perfect as Sydney’s top cop husband, and the character steals his handful of scenes with McHale’s trademark rogueish charisma. But I was even more pleasantly surprised by Isabel May, who convincingly gives Sydney Prescott’s daughter an aching vulnerability whose pain masks ice-cold reserves of hidden strength.
As you might imagine, the returning actors all do a great job, starting with Courtney Cox: her Gale Weathers is as fierce and funny as ever, and she has taken the characters played by returning actors Mason Gooding and Jasmin Savoy Brown under her wing as journalistic interns. Those younger characters continue to provide humorous, Randy-like commentary on the violent proceedings around them. But the actor truly giving it her all is Neve Campbell, whose Sydney reluctantly saddles up for one last fight with the ghostly demons of her past.
When You Stare At The Past, It Stares Right Back
Ultimately, how much you like Scream 7 will depend on how much you enjoy the franchise as a whole. As for myself, I’m a superfan: I saw the original in theaters, I’ve listened to the cast speak at multiple conventions, and I’ve got a house filled with way too much Ghostface merchandise. From the perspective of a superfan, the film is decent (good, not great) in bringing back our favorite characters and wrapping up its derivative story in the bloody packaging of some truly innovative kills.
If you’re not a Scream fanboy, though, it’s worth waiting to catch this on streaming, assuming that you catch it at all. Kevin Williamson wrote the legendary first film in this franchise, but now that he’s in the director’s chair, he created a movie that only complete franchise diehards will really enjoy. As for everyone else, let’s just say that if Ghostface calls, Scream 7 will never be the answer to this franchise’s age-old question: “what’s your favorite scary movie?”
Entertainment
Wordle today: Answer, hints for March 1, 2026
Today’s Wordle answer should be easy to solve if you believe in coincidences.
If you just want to be told today’s word, you can jump to the bottom of this article for today’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 was originally available for anyone to enjoy whenever they felt like it, but it was later taken down, with the website’s creator stating it was done at the request of the New York Times. However, the New York Times then rolled out its own Wordle Archive, available only to NYT Games subscribers.
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:
A coincidence.
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Does today’s Wordle answer have a double letter?
There are no recurring letters.
Today’s Wordle is a 5-letter word that starts with…
Today’s Wordle starts with the letter F.
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…
FLUKE
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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