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TL;DR: Through September 29, you can get a lifetime subscription to Matt's Flights Premium Plan for just $79.97 and save a ton on domestic and international travel.
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StackSocial prices subject to change.
Opens in a new window Credit: Matt's Flights Matt's Flights Premium Plan (Lifetime Subscription) - Save up to 90% on Domestic & International flights $79.97TL;DR: Get a lifetime subscription to Autio on sale for just $129.97 through September 29 and explore the world with thousands of location-specific audio stories, even offline.
Opens in a new window Credit: Autio Autio Unlimited Plan: Lifetime Subscription $129.97Planning your next road trip or weekend getaway? Make every mile more meaningful with Autio, the app that turns your travels into immersive experiences.
Through September 29, for a one-time payment of $129.97 (reg. $299), a lifetime subscription to Autio unlocks over 23,000 location-based audio stories that bring the places you visit to life.
Imagine driving through a small town and suddenly hearing a fascinating story about its history, or cruising along a scenic route while learning about the landmarks you're passing by. Autio transforms your road trips into journeys of discovery, offering a unique way to explore new destinations. With expert narration by celebs like Kevin Costner and Phil Jackson, each story is crafted to enrich your travel experience, turning every trip into an adventure.
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If you're looking for a satisfying horror thriller to kick off spooky season a bit early, look no further than the latest Shyamalan blockbuster The Watchers. The movie was produced by M. Night Shyamalan and written and directed by Ishana Night Shyamalan (the famous director's 25-year-old daughter) in her directorial debut.
The Watchers is "a hell of a scary good time," according to Mashable's film editor Kristy Puchko. Dakota Fanning leads a strong ensemble alongside Georgina Campbell, Oliver Finnegan, and Olwen Fouéré. And as of Aug. 30, it's officially streaming.
Here's everything you need to know about how to watch The Watchers at home — including some of the best streaming deals that might let you catch the flick for free.
What is The Watchers about?Based on the novel of the same name written by A.M. Shine, The Watchers follows a young artist named Mina (Fanning), whose life is derailed when she ends up stranded in a vast forest in western Ireland. When she finds shelter in a bunker alongside three strangers (played by Barbarian's Campbell, Outlander's Finnegan, and The Northman's Fouéré), she unknowingly becomes a captive performer for unseen creatures — aka the watchers. No one knows who they are, what they look like, or what they want. All that is known is they do not want their performers breaking out.
Judging by the trailer alone, viewers are in for a spooky atmosphere and plenty of jump scares:
Is The Watchers worth watching?The Watchers didn't dominate at the box office, but it didn't completely bomb either, grossing just shy of $33 million globally. Against a $30 million budget, according to The Numbers, it at least broke even. Box office numbers don't always tell the whole story, though.
The film also received largely negative reviews from critics, earning a sad 32 percent rating on Rotten Tomatoes. Mashable's own film critic, however, had mostly positive things to say about Ishana Night Shyamalan's directorial debut.
"Admittedly, the final act loses momentum in its eagerness to explain all the finer points of the movie's lore...Still, The Watchers is a sharply satisfying horror thriller thanks to a crackling cast, unnerving sound design, stomach-churning creatures, and an emotional story that offers far more than cheap thrills."
Audiences are torn, with the Rotten Tomatoes score currently hovering slightly above the 50 percent mark. In other words, you may hate it or you may love it — but it's worth watching to find out.
Read our full review of The Watchers.
How to watch The Watchers at home Fanning stars in the M. Night Shyamalan-produced 'The Watchers.' Credit: Warner Bros. PicturesLess than a month after its theatrical debut, The Watchers became available to watch at home via video-on-demand sites like Prime Video and Fandango at Home (Vudu). You can purchase the film for your digital collection or rent it for 30 days. Within those 30 days, you'll have just 48 hours to finish the film once you start watching. After that, you'll lose access.
As of June 28, you can purchase and rent the film at the following retailers:
Prime Video — buy for $18.49, rent for $4.49
Apple TV — buy for $19.99, rent for $5.99
Fandango at Home (Vudu) — buy for $19.99, rent for $5.99
YouTube — buy for $19.99, rent for $5.99
As a Warner Bros. film, The Watchers made its streaming debut on Max starting Aug. 30 — joining the likes of other recent theatrical releases such as Furiosa: A Mad Max Saga, Civil War, and Dune: Part Two. Max subscriptions start at $9.99 per month, but we've rounded up a few ways you can save some money on your plan below.
Best Max streaming deals to watch The WatchersBest Max streaming deal for most people: Save 17% on Max with ads annual subscription Opens in a new window Credit: Max Max (with ads) yearly subscription $99.99 per year (save 17%) Watch NowWhile a monthly Max subscription would run you $9.99 per month with ads, you can save 17% (or $1.66 per month) by paying upfront for a year. An annual plan with ads goes for $99.99 per year, which breaks down to just $8.33 per month. If you're in it for the long haul, you might as well keep more money in your pocket.
Best Max deal with no ads: Save 22% on a Max Ad-Free annual subscription Opens in a new window Credit: Max Max (No Ads) annual subscription $149.99 per year (save 22%) Watch NowIf you'd rather not have ads interrupting your viewing experience, you have two options: Max Ad-Free and Max Ultimate. You can opt for an annual Max Ad-Free or Max Ultimate subscription and save 17% compared to a monthly subscription. The Ad-Free tier is $16.99 per month, while the Ultimate tier is $20.99 per month. With a yearly plan, however, those prices drop to just $14.17 per month ($169.99 per year) or $17.49 per month ($209.99 per year).
Note: While both tiers offer an ad-free viewing experience, the Ultimate tier takes things a step further with 4K Ultra HD video quality and Dolby Atmos immersive audio.
Best way to get Max for free: Sign up for a DashPass annual plan Opens in a new window Credit: DoorDash / Max DashPass annual plan with Max (with ads) $96/year (save $83.76) Get DealEarlier this month, DoorDash partnered with Max to offer those on the annual DashPass plan free Max with ads subscriptions. If you're already on an annual DashPass plan, head over to the "Manage Max Subscription" page in your DoorDash account to activate your free subscription. If not, you can sign up for the DashPass annual plan for just $96 per year ($8 per month) and unlock access to the streaming library for free. That's a $99.99 value for zero dollars. Plus, with your DashPass plan, you'll also have access to free food delivery.
Read more about terms and eligibility requirements on the DoorDash FAQ page.
Another way to get Max for free: Free Max with ads for customers on the $60/month Cricket unlimited plan Opens in a new window Credit: Cricket / Max Max (with ads) Free for Cricket customers on the $60/month plan Watch NowIf you're a Cricket Wireless customer on the $60 per month unlimited plan, you can also get Max with ads for free, so long as your account remains in good standing. Just head over to Max and select Cricket as your provider to log in. You'll be able to watch The Watchers and plenty of other Warner Bros. releases at no extra cost. Check out the terms and conditions on Cricket's website to learn more.
Best Max deal for students: Save 50% on Max with ads monthly for one year Opens in a new window Credit: Max Max Student $4.99 per month for 12 months Get DealCollege students can score half-priced Max subscriptions (with ads) for an entire year with Max's new student discount. That means you'll pay only $4.99 per month instead of the usual $9.99. Just verify your student status with UNiDAYS, then head back over to Max and redeem your unique discount code to stream for 50% off.
Best bundle deal: Get Max, Disney+, and Hulu for up to 38% off Opens in a new window Credit: Disney+ / Hulu / Max Disney+, Hulu, and Max $16.99 per month (with ads), $29.99 per month (no ads) Get DealLast month, a new bundle deal emerged, offering streamers access to three top apps for one low price. This new deal includes Max, Disney+, and Hulu with ads for just $16.99 per month (reg. $25.97) or ad-free for $29.99 per month (reg. $48.97) — that's up to 38% in savings. Obviously, this isn't the cheapest option overall for watching The Watchers, but it will definitely get you the most bang for your buck in the streaming world.
Director Lana Wilson (Miss Americana) had never visited a psychic before shooting Look Into My Eyes, her A24-produced documentary about a group of New York clairvoyants. Her perspective is one of gentle inquiry, but the film eventually reaches far beyond mere curiosity, yielding a deeply resonant work about the ways in which people cope with everything from grief to climate nihilism.
Even if you see spirit-channeling mediums as scammers and bullshit artists, it's hard not to come away changed. Look Into My Eyes neither seeks to expose nor reaffirm the profession, but rather, through suggestion and implication, it explores these people and what they do. In the process, it comes to an empathetic understanding of why — even if the subjects themselves can't see the bigger picture.
It's also incredibly self-reflexive. The movie not only frames psychic readings as a kind of art form, but it also begins to subtly mimic and embody their emotional scope. As it progresses, Wilson's aesthetic approach begins to morph, molding her storytelling lens in potent ways, resulting in one of the most unexpectedly affecting documentaries this year.
What is Look Into My Eyes about? Credit: A24The film begins, as most traditional documentaries do, with a series of talking-head interviews. However, its approach to this filmmaking norm is distinctly non-traditional. Instead of cutting away to montages or stock footage for broader context, it stays locked in on each of these segments in long, unbroken close-ups, allowing these secondary subjects — those who seek out psychic readings — to unburden themselves across the table from various self-proclaimed mediums. Some of these clients search for solutions to everyday problems, like a lack of motivation in the face of a rapidly changing world. Others speak strangely and obliquely of traumatic events in their past; a middle-aged nurse recalls having seen a young girl die from a gunshot wound to the head 20 years prior, casually asking her psychic, "How is she?" It would be downright eerie if it weren't so conversational in tone.
SEE ALSO: 'Eternal You' reveals how AI chatbots aim to resurrect the deadThe production spent months scouting prospective subjects with street-side offers of lengthy readings before pairing them up with each psychic, none of whom were given information on their clients prior to meeting them. This behind-the-scenes decision making is never shown, but the invisible selection process is part of the movie's sleight of hand. The trick therein doesn't create fiction, but rather, unearths and accentuates the existing, deep-seated drama in people's lives. The frame lingers on loaded questions like "How is she?" just long enough for us to process them before it moves quickly on to the next client, the next clairvoyant, and the next warm, intimate, low-lit space (courtesy of cinematographer Stephen Maing). However, for nearly its first half hour, it barely shows us the faces of its many psychics. Wilson doesn't yet let us look into their eyes, but builds its context through their point of view. These numerous head-on close-ups of clientele eager for answers, willing to shell out cash for some semblance of closure, is the everyday reality of each psychic as seen through their own eyes. All we see of them initially, as they perform their readings, are brief profile shots that shroud them in shadow and mystery.
This makes it seem as though the movie's subjects are people who seek answers from psychics and their ilk. That may even be initially true; some of these interviews come full circle to a place of moving catharsis. However, the purpose of this is to quickly find the value in what these psychics do, presenting it in emotional terms as their clients thank them or break down in tears. This helps immensely when the movie suddenly flips its switch and depicts the rare readings gone wrong, where a few of the psychics' interpretations (of vibes, or spirits, or what have you) lead to perplexed expressions from their clients. Given the positive outcomes the movie does present, that they finally get something wrong feels deeply unfortunate, rather than a chance at mockery.
From there on out, the psychics themselves finally enter the spotlight as the documentary's true subjects. The camera follows these vivid characters home, and to work, and through their most mundane and familiar trials, humanizing them in ways that render the question of "Is what they do real?" both highly irrelevant, and entirely besides the movie's point.
The question it raises instead feels almost accidental, but entirely prescient: To what degree are psychic readings a kind of performance art?
Look Into My Eyes likens psychic readings to art and therapy.The way the film unfurls information is nearly comical on paper. As each psychic introduces themselves in their private spaces — particularly memorable is a gay white man from the South, whose apartment is cramped and messy — it isn't long before they begin talking about movies, followed by theater, music, and other art forms in which they're deeply invested. Some of them are former or current playwrights. Some like to sing. Others enjoy putting on costumes, while a few of them even continue to audition for roles on TV, having studied acting in grad school.
At no point does the film explicitly comment on this, but it comes up like clockwork during nearly every interview, and is usually telegraphed by the classic film posters on each psychics' wall. One woman, a Queens native who claims to channel the spirits of people's pets (both living and dead) regales the audiences with tales of how John Waters' cinema helped her find herself as an outsider. Another psychic reminisces about watching his favorite movie with his departed brother, and breaks down in tears. Before long, even the amusing predictability of each interview leads to something emotionally revelatory.
Do these psychics see a connection between their love of cinema and performance art and their proclivity for spiritual readings? Some do — one likens it to her improv background, and compares the emotional impulses of both forms — but for the most part, Look Into My Eyes gestures towards the possibility of them being drawn to psychic readings as a means of expression, but doesn't force a didactic conclusion about why. The logistical reality of what they do isn't nearly as vital, in the film's purview, as its emotional reality, which is therapeutic — for their clients, and in many cases, for themselves.
As is the case with actual therapy, there's a racial component to some of the readings too, making the case that the personal experiences and outlooks of each psychic (much like that of therapists) can assist in better understanding clients or patients. One white psychic conceives of a Black woman's trauma only through the lens of pop culture, while a middle-aged Black psychic connects with her young Black client through a more nuanced understanding of his place in white America. Similarly, a Chinese American woman adopted by white parents seeks spiritual answers about belonging, and she finds them at the table of an Asian American psychic who was similarly adopted. Several of these psychic-clients pairings feel fated, and while it's hard to know how much of this was coincidence and how much was research and planning by the production, the outcomes feel both unexpected and satisfying for both parties across the table.
Are the readings themselves accurate? Some might be, though they're usually general enough to depend on interpretation, like a Nostradamus prophecy. If you go into Look Into My Eyes as a believer in clairvoyance, you'll likely have that belief reflected back to you, just as skeptics might latch on to the more performative aspect of these readings, or the few which happen to be wrong. However, seeing the way each psychic's story plays out, between the search for meaning in their own lives and the ways in which they try to make sense of the world, renders any sense of journalistic investigation moot. Look Into My Eyes is pure sensation.
The film is also a mischievous bait-and-switch by Wilson, who uses its visual and narrative transformations to turn the psychics' lenses back on themselves — and the movie's lens on itself as well.
Look Into My Eyes is a cinematic psychic reading.The film eventually evolves into an intimate sit-down with several mediums in private spaces as they unburden themselves; this neatly mirrors its lengthy prologue, the initial half hour or so in which various clients do the same. During that extended introduction, the psychics are rarely seen or heard, and since the camera meets their clients' gaze, it essentially embodies the psychics' own POV, granting them a sense of narrative control.
But the moment Wilson begins focusing on the psychics as subjects in front of the camera — the instant the lens probes further and deeper than a profile shot — that sense of control at the table, during their readings, is all but stripped away. They become not only the movie's central subjects, but in its visual parlance, they become akin to their clients, lost in search of answers to painful questions in their personal lives.
Some came to the profession as a means to channel and deal with the deaths of people they loved. Others don't even fully believe in the veracity of what they do, but they continue to do it anyway, as though it were a spiritual mission. Like their initial presentation, the filmmaker herself is never seen and is only heard on occasion, but through the mere suggestion of her presence, it becomes hard not to wonder how she feels about each subject, and to what degree she might be judging them, or even manipulating them. At one point, a young psychic turns out to know the deceased person for whom a client requests a reading, and both parties are fascinated by the sense of cosmic coincidence, but the question of whether this was planned by Wilson on some level continues to linger.
In this manner, Look Into My Eyes becomes akin to a psychic reading itself in the most emotionally intimate way, practically forcing believers and skeptics alike to understand something fundamental about the act of clairvoyance, without necessarily lending credence to either belief or skepticism. The psychics speak constantly about the emotional impulses they feel during these readings, which they in turn intuit. Whether strictly "real" or not, this is a kind of wordless understanding that emanates from within them, and is rooted in their own lived experiences. And so, by turning the film's dynamic on its head — by "reading" the psychic subjects, as it were — Wilson practically forces viewers of all stripes to similarly intuit emotional information about their inner lives, based on visual cues and suggestions. The film practically urges us to follow the same emotional logic they employ, which leads them to grand conclusions about people's fate, and their place in the world.
Do the movie posters in the background, on the psychics' walls, mean everything — or nothing at all? No bit of dialogue in Look Into My Eyes pushes viewers towards an answer one way or another. The film features no insert shots of objects or environmental details that suggest either sincerity or irony in its filmmaking. The only context it offers is the people themselves, and how deeply they feel. In the process, whether or not Wilson believes her subjects remains obscured. The movie never tips its hand. It has no tell. Rather, it remains tethered to its subjects for most of its runtime, continuously looking into their eyes so that we might make instinctive connections with them, and better understand their grief and isolation, through a filmic interpretation beyond words.
Out the gate, the cast alone for His Three Daughters demands notice: Carrie Coon, who deserved — but did not receive — an Oscar nomination for her performance as the combative twin sister of Gone Girl; Elizabeth Olsen, who has been awing critics since long before WandaVision with her turns in indie dramas like the cult-focused Martha Marcy May Marlene; and Natasha Lyonne, '90s cool girl icon turned Emmy-nominated Orange Is the New Black star turned rumply but riveting detective in Poker Face.
Each not only boasts a heady screen presence, making their heroines instantly feel like the kind of women who know how to handle themselves, but also possesses a dynamic range that intrigues immediately. Where might their latest role fall on the scale of damage and determination? (Their best characters offer plenty of both.)
Such powerhouse talent packed into one movie is enough to satisfy on performance alone, especially when these compelling actors are pitted against one another in His Three Daughters, a ruthless, humane, and darkly funny story of grief and letting go. And yet this family drama, sharply written and directed by Azazel Jacobs (French Exit), cuts even deeper with clever crafting.
What's His Three Daughters about?In a lived-in but tidy two-bedroom apartment in Lower Manhattan, three estranged sisters are reluctantly reunited as their terminally ill father ebbs into his final days, which involve in-home hospice care. These sisters couldn't be more different, both in attitude and in how they're handling the impending death of the dad they shared in the apartment each has called home. (Sam Levy's cinematography often keeps the walls and narrow doorways in frame, constantly reminding us just how close — and almost suffocating — these quarters are.)
Coon kicks things off as Katie, a ruthlessly rational Brooklyn mom who begins the film with a breathless yet steady monologue explaining how the sisters must wall back their emotions and grievances to focus on the task at hand: giving their dad the most peaceful end possible. "Things from the past don't matter," she says firmly. "Not right now."
There's a rich New York sense of neurotic humor in Katie's opening speech, which is full of passion in its subtext but purposefully bled of throbbing emotion. This speech is not just a setup that she is a dam aching to break, but also a setup to the film's first sophisticated joke. The punchline is the reaction shot from Lyonne, whose weary expression screams "fuck you" though her lips never move.
Rachel (Lyonne), a Lower East Side stoner who makes her money through sports betting, lives in this apartment with their father. Yet when her sisters invade, she sidesteps, letting them make demands, lay down rules, and dominate the conversation with the hospice workers who come daily to give care and advise. While Katie and youngest sister Christina (Olsen) take turns watching over their father in his room at the end of the hall, Rachel ducks into her own room to get high or hang out with her maybe-boyfriend Benji (Jovan Adepo).
Where Katie is brisk and business casual and Rachel is laden in New York sports gear and pot smoke with the husky yet relaxed voice to match, Christina has a bright smile, near-teary eyes, and the kind of flimsy casual wear that could cost $1 or hundreds. The baby of this group lives across the country, somewhere that reflects her sunny attitude and allows her to indulge in seeing her favorite jam bands, like The Grateful Dead.
Where Katie enters their dad's room with a purpose (getting the DNR order sorted) and Rachel avoids it, Christina goes in shiny and with a song on her lips. Naturally, when tossed together, these forces collide in passive aggressive barbs, whispered resentments, caustic assumptions, and plenty of hurt feelings.
Coon, Lyonne, and Olsen are superb and nerve-racking in His Three Daughters.Thanks in part to Coon's rapid-fire monologue at the top, His Three Daughters feels like a stage play adapted to the screen. The claustrophobic setting of the apartment adds to this feel, trapping the characters in a fraught floor plan that means there's no way to escape to the outside world without emotional encounters at their dad's door, in the tiny kitchenette, or in the living/dining area that often becomes the stage for sister showdowns.
While Coon crisply sets the pace and the heady sense of theatricality through her punctuated stoicism, Lyonne brings misfit energy that infuses the film with New York authenticity. Whether shrugging off her sister's bad attitude or joking around with the building's security guard, she exudes that defiant individualism that defines the city. His Three Daughters offers pockets of private moments, in which each sister escapes the identity of herself among her sisters to give us a glimpse of who they are beyond these four walls. For Kate and Christina, this comes in the form of calls to their husbands and children. For Rachel, it's a walk through her neighborhood, where her smile comes out of hibernation and her shit talk is understood as affection. It's a role Lyonne was born to play.
Olsen's role might have been the one over shadowed, as Christina is the gentlest of the three, given the least cutting dialogue. However, Olsen weaves a nuance into the youngest sibling, whose breeziness is a radiant but thin façade. "Just because I don't complain doesn't mean I don't have issues," Christina asserts in a hard moment. And just like that, the bright baby sister is given depth that reaches into her love of jam bands, her choice to live across the country, and her unflappable warmth in the face of their father's death.
There's no one way to grieve, and His Three Daughters puts several — all heart-wrenching and all-too-familiar — on display.
His Three Daughters rejects treacle and tragedy porn in favor of giving death some dignity.Perhaps one of the most compelling choices Jacobs makes (outside of casting), is keeping audiences out of the room of the daughters' father, Vincent (Jay O. Sanders). The camera will never peek through the door or cross the threshold. The film is not so much about their father, but about how they see him, and what legacy he leaves behind in the "three crazy bitches" he raised — as Rachel puts it with a crooked grin.
By keeping us out of that room, Jacobs rejects making a spectacle of dying and gives the father and his daughters a private life outside the film. Still, we see plenty of who they are through how they're coping. Katie needs a project to channel her nervous energy, even if that means targeting Rachel unjustly. Rachel is deep in avoidance, doing all she can to look away from the inevitable. Christina is endlessly seeking positivity, to the point of proving toxic to her siblings. Even Benji gets a showcase of grieving, delivering a speech about who Vincent was to him. It's an oration so full of righteous rage and the pain of loss that it rattles even Kate and Christina from their poses of composure — and could make Adepo a dark horse Best Supporting Actor contender. (He's sensational in this small but blistering role.)
I've written before about how grief is an ugly business. It's cruel and unfair and can cause us to lash out cruelly and unfairly. Three Daughters neatly puts such chain reactions on display while avoiding making a ghoulish meal of its characters' pain. The center of the film is grief, but its purpose it to show how three sisters were able to rediscover each other through this grim moment. It's a motherfucker, but grief can teach us who we are, not just as individuals, but also to one another.
In a tightly written drama binding us to a humble home and an imminent death, Jacobs and his cast unfurl a powerful story of love and loss that is ultimately hopeful. While a third-act flight of fantasy may prove polarizing — arguably breaking from the rest of the film's logic — for me, it deepened the sense of absence, giving audiences a grander understanding of who the eponymous heroines lose when they lose Vincent.
His Three Daughters is a simple but elegant drama that grapples with the ugliness of grief and comes out with as happy an ending as a shattering death might bring. It's chaotic, charismatic, and ultimately cathartic. Don't miss it.
His Three Daughters is in theaters starting Sept. 6.
UPDATE: Sep. 5, 2024, 2:24 p.m. EDT "His Three Daughters" was reviewed out of its world premiere at the 2023 Toronto International Film Festival in this article, originally published on Sept. 9, 2023. This review has been updated to include information about the film's theatrical release.
If you're reading this, you're looking for a little help playing Strands, the New York Times' elevated word-search game.
Strands 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.
SEE ALSO: Mahjong, Sudoku, free crossword, and more: Play games on MashableBy 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.
SEE ALSO: NYT Connections today: See hints and answers for September 6 SEE ALSO: Wordle today: Here's the answer hints for September 6 NYT Strands hint for today’s theme: Just rightThese words will likely take you back to childhood.
Today’s NYT Strands theme plainly explainedThe answers all relate to a classic children's story.
NYT Strands spangram hint: Is it vertical or horizontal?Today's NYT Strands spangram is horizontal.
NYT Strands spangram answer todayToday's spangram is ThreeBears.
NYT Strands word list for September 6Porridge
Mama
Papa
Baby
ThreeBears
Chairs
Beds
Soft
Hard
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.
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