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The Enduring Appeal of BoundI'm not necessarily inclined towards what might typically be dubbed "feelgood." No, you won't find me seduced by a happy ending, nor am I partial to the oeuvre of Disney (in fact, I find all the talking animals and poreless princesses a bit grotesque). The raw edges and friction of feelbad have tended to be much better suited to my tastes: the porno chic slasher Knife+Heart, the sartorial murder of In Fabric and the snuff film-obsessed Thesis. Sex and gore, basically. For a long time, my favourite film was Crimes of the Future: a stomach-churning body horror about sexual-surgical experiments.A Queer MasterpieceHowever, there is one movie that reveals a slightly soft(er)core side to my viewing habits, which I frequently return to in order to feel the gushy feelings and butterflies of a school crush. That film is Bound. The 1996 directorial debut from the Wachowski sisters, the plot revolves around an opposites-attract scenario which is both familiar and high stakes: plumber Corky, and mafia moll Violet. When their eyes meet across an elevator, the tiny vestibule becomes thick with sexual tension: it is so on.Most of what makes this film work is the palpable chemistry between Corky, whose slick masculinity is embodied by Gina Gershon, and Violet, played with ultimate sex pot prowess by Jennifer Tilly. The whole thing is shot in the conventions of the sapphic gaze: we get plenty of closeups of Corky's hands wrestling with pipes, snaking holes and unscrewing things in languorous, laborious detail.Say what you will about how openly queer actors should play openly queer roles, but this film – starring two ostensibly cis, straight female leads – is a masterclass in lesbian eroticism. The two main actors so seamlessly embody a masc/femme dynamic, without the try-hard didacticism of many later cinematic attempts, to create a relationship that feels oddly real (except much, much hotter).Character Analysis and ChemistryHaving just starred as the vamp Cristal Connors in the trash-cult, 1995 Vegas romp Showgirls, it's uncanny to see Gershon undergo such a dramatic gender transformation to play a butch pin-up just one year later. It's not a stretch to say that Corky has the kind of sly smirk and shaggy hair that no doubt served as the blueprint to The L Word's Shane.And then, well, there's Jennifer Tilly. A porcelain doll: her sex appeal is painted on the surface of her pout and her whole-bosom sighs but, underneath, she has a strong and stony demeanour. A complex female protagonist who smolders and manipulates to get what she wants from men, and a femme imprisoned by her own beauty, Tilly delivers probably the most astute performance exploring the double life of a straight-passing lesbian which I have ever seen.The Plot and Its ThemesAnyway, back to the plot. What comes after our protagonists' initial meeting is oh-so relatable: Corky, having just got out of prison, is particularly vulnerable to Violet's high-femme charms. In a turn that can only be explained by unbridled lust, Corky agrees to help her in a mad caper to steal $2m from the mob and pin it on her boyfriend. I, too, fear that I would do whatever Violet asked me to.But, to be honest, the crime plot is pretty inconsequential to me. What do I care if they pull it off or not? If you're interested, however, there are some tired – almost femmephobic – overnotes, where Corky begins to doubt if Violet is really the lesbian she says she is, or if she will ditch her for a man the first chance she gets. But despite it all, they get their own happy ending.Interestingly, the plot draws an equivalence between the prison time served by Corky and Violet's very own sentence: the years she spends as a clandestine lesbian in straight relationships with men, for her own financial survival. At the end of the film, evading prison and with a stack of cash, they are both free: Corky of the criminal justice system, and Violet from the confines of cis-heterosexual society.Legacy and Cultural ImpactWhile this film came out about 30 years ago – in my birth year – it remains the most convincing depiction of dyke sexual dynamics I have ever seen on screen. While they weren't out at the time, the Wachowski sisters (both trans lesbians) were cinematically brave: depicting the cheek, mischief and pleasure of sapphic relationships with Bound. I'm of a different generation to the directors, and I supposedly have access to a whole plethora of queer representation, but if it wasn't for this film made by two trans women in the 90s, I wouldn't have cinematic proof of my own sexuality.Bound is available on Kanopy or to rent digitally in the US and to rent digitally in the UK and Australia

The LeadThis nostalgic piece from 1951 offers a glimpse into the rich artisan heritage of a Yorkshire village, where skilled craftsmen preserved traditional techniques while adapting to modern times. The article beautifully captures the intersection of human craftsmanship and natural environment in post-war rural England.Artisan Traditions in Post-War YorkshireThe village described in this 1951 diary entry is remarkable for its concentration of skilled artisans, each excelling in their traditional craft. The old village forge has been transformed into a workshop where beaten copper trays and other metal wares are crafted and sold, demonstrating how traditional spaces were repurposed while maintaining their essential function. The local mason, responsible for the village war memorial, has also created a miniature stone cottage in his own garden, complete with clay pantiles and a low garden wall—perhaps a testament to the enduring appeal of craftsmanship in an increasingly industrialized world.Natural Harmony and Village EcosystemThe diary entry also reveals the delicate balance between human settlement and natural environment. While pied flycatchers thrive in the forested areas along stream sides where nest boxes are provided, they struggle to establish themselves within the village itself. The detailed observations about these birds, including one male carrying a colored ring that traces its origins to a box farther up the dale, suggest a community attuned to the natural rhythms of their surroundings. This connection between the village and its natural environment represents a sustainable relationship that modern developments often disrupt.Memorializing Community Through CraftThe village's approach to memorialization reflects its values and priorities. The heavy oak seat placed beside the beck as a memorial to two former villagers, and the war memorial tablet crafted by the village mason, demonstrate how the community honors its past through functional, handcrafted objects rather than grand monuments. This approach to remembrance—integrated into the daily landscape of the village—speaks to a different aesthetic sensibility than what might be found in more urbanized settings.The Enduring Value of Traditional SkillsIn an era of increasing industrialization and mass production, this 1951 diary entry celebrates the continued relevance of traditional craftsmanship. The village artisans—whether working with metal, stone, or wood—provide not only functional goods but also a connection to cultural heritage and community identity. Their work represents a counter-narrative to the homogenization of production, preserving regional techniques and aesthetic sensibilities that might otherwise be lost. The miniature stone cottage in the mason's garden, suggested as a delightful addition to a miniature rock garden in a seaside town, hints at how these traditional forms could inspire new artistic expressions.

The Canadian GP Showdown Kimi Antonelli, a 19-year-old Italian sensation, drove to a commanding victory at the Canadian Grand Prix, marking his fourth consecutive win in Formula 1. The triumph came on the heels of a tense battle with his Mercedes teammate, George Russell, during a sprint race the day prior. Antonelli's Dominant Performance Russell, who had been in a heated fight with Antonelli through 30 laps, unfortunately dropped out due to an engine failure. This setback handed Antonelli a clear path to the finish line, allowing him to claim the victory by over 10 seconds ahead of Ferrari's Lewis Hamilton. The Data Analysis With this win, Antonelli extended his championship lead to 43 points over Russell, through five of 22 races. The current standings are: Mercedes (219) leads Ferrari (147) by 72 points in the constructors' standings. Antonelli has won five races so far: Australia (Russell won), China, Japan, Miami, and now Montreal. The Impact Analysis Antonelli's consistent performance has placed him in a strong position in the championship race. His ability to navigate the challenges of different circuits and maintain a high level of performance has been impressive. This win also marks a significant moment for Mercedes, highlighting their strong showing in the constructors' standings. The Prediction As the season progresses, it will be interesting to see how Antonelli and Mercedes continue to perform under pressure. With his current lead, Antonelli is in a favorable position to secure the championship, but Russell and other drivers are likely to mount a strong challenge. The dynamic between Antonelli and Russell, particularly after their on-track battle and engine failure, adds an intriguing element to the season's narrative.

The World's First Robot Theme Park Opens in SeoulGalaxy Robot Park has opened in Seoul, claiming to be the world's first robot theme park, featuring humanoid robots that perform K-pop concerts. The ambitious project by Galaxy Corporation aims to revolutionize entertainment by having robots perform thousands of shows annually and potentially tour globally.Humanoid Performers Take the StageFour child-sized humanoid robots take the stage at an arena in eastern Seoul, performing synchronized dance moves to K-pop songs by stars like G-Dragon and Taemin. These robots, dressed in wigs and baggy clothes, execute their moves with surprising fluidity across a repertoire of different songs, including G-Dragon's "Home Sweet Home" and Taemin's "Advice and Idea."Behind the project is Galaxy Corporation, an entertainment company that positions itself as an "enter-tech" firm, blending entertainment with technology. The company manages megastar G-Dragon, as well as Taemin from the group Shinee and actor Song Kang-ho, known to western audiences for his role in the film "Parasite."Ambitious Performance Schedule and Global PlansAccording to Choi Yong-ho, Galaxy's chief executive and self-styled "chief happiness officer," the park plans to host three to six K-pop concerts daily, over 1,000 shows annually. By the end of 2026, the company aims to take the robots on a world tour, potentially transforming how concerts are experienced globally.K-pop has long served as a testing ground for experimental tech, from SM Entertainment's Aespa, which pairs real members with virtual avatars, to fully virtual boybands like Plave. The robot performances represent the next frontier in this technological evolution of entertainment.Cultural and Economic ImplicationsCha Woo-jin, a music critic and industry analyst, views the ambitious plan as both a cultural and economic experiment. "If you put a robot in an Elvis museum, fans would be repulsed," he says. "But K-pop is a visual packaging model, so robots feel less alien."A robot tour, he explains, would be like a cover dance crew – the groups that replicate routines of famous K-pop performers – but without hotel bills or per diems. This could significantly reduce production costs while potentially expanding the reach of K-pop performances globally.The Future of Automated EntertainmentThe Galaxy Robot Park represents a bold vision for the future of entertainment, where robots don't just assist humans but perform for them, potentially across continents simultaneously. As technology advances, we may see humanoid robots taking on more complex creative roles in various entertainment sectors, from music to fashion, with the K-pop industry leading this technological frontier.While questions remain about audience acceptance and the artistic authenticity of robotic performances, the project demonstrates South Korea's continued commitment to pushing technological boundaries in entertainment and its position as a global cultural innovator.

Quick Take: Amazon’s Bee wearable can record, transcribe, and summarize conversations, offering a handy tool for busy professionals. However, its reliance on cloud storage, broad permission requests, and the potential for constant surveillance make it a contentious choice for privacy‑conscious users.Bee Wearable’s Core Features and How It WorksBee is an AI‑powered wrist device that captures audio when the user presses a button, indicated by a flashing green light. Recorded snippets are synced to the Bee mobile app, which generates a readable summary and a full transcription. Users can link the device to their calendar, contacts, location, photos, and health data to enable contextual reminders and deeper insights.Pricing and Market Data: What’s KnownAmazon has not disclosed a retail price for Bee, nor have any sales figures or revenue estimates been released. The device was acquired by Amazon in 2025 and received a feature update in early 2026, but financial metrics remain unavailable.Implications for Professional Productivity and PrivacyProductivity boost: In a real‑world business call, Bee captured the conversation, produced a segmented summary, and allowed the reviewer to skip re‑listening to the full audio.Comparison to rivals: Similar functionality exists in services like Otter and Granola, though Bee’s hardware form factor differentiates it.Privacy trade‑offs: The device requires continuous access to location, contacts, calendar, notifications, and even health metrics. All data is stored in the cloud, protected by encryption at rest and in transit, and subject to third‑party security audits.Potential misuse: Continuous recording could inadvertently capture personal conversations or ambient media, as illustrated by a movie‑night test where Bee labeled a scene as “Tarantino Film Scene Analysis.”Future Outlook for Bee and AI WearablesBee’s roadmap hints at a fully local‑processing version, which could alleviate many privacy concerns if realized. Adoption will likely hinge on Amazon’s ability to balance robust AI features with transparent, minimal data collection. As enterprises seek AI‑driven note‑taking tools, Bee could carve a niche, but consumer acceptance will depend on clearer privacy safeguards and possibly a more affordable price point.

The Lead: Guardiola's Future Remains OpenPep Guardiola has left the door ajar for a potential England national team management role, following his departure from Manchester City after a decade of unprecedented success. The 55-year-old coach confirmed he has "no definite plans" and intends to take a break from management to spend time with his family and reflect on his career.Guardiola's Post-Manchester City PlansGuardiola's final match as Manchester City manager will be Sunday's visit of Aston Villa to conclude the season. The Spanish coach has made it clear he needs a rest after 17 years of continuous management at Barcelona, Bayern Munich, and Manchester City. He will first take up an ambassadorial role for the City Football Group, which owns Manchester City.When asked specifically about the England job, Guardiola was non-committal: "I don't have any absolute plan about my future. I go to rest and recover the time I missed with my kids, even though they are grown, and do many things I've not done that I want to do."Pressed on whether this meant he might consider the England role, Guardiola responded: "Yeah – [but] nobody cares," indicating he's not making any immediate decisions about his next coaching position.Impact on England's National TeamGuardiola's potential availability could significantly impact England's national team setup. With Gareth Southgate's contract expiring after Euro 2024, the Football Association may consider high-profile candidates to lead the team into future tournaments. Guardiola's tactical expertise and proven success at the highest level would make him an attractive candidate if he decides to pursue international management.However, Guardiola has traditionally favored club management and has never managed a national team before. His preference for working with players daily and implementing specific tactical systems might not align with the part-time nature of international football.Manchester City's TransitionGuardiola's departure marks the end of an era for Manchester City, having led the club to numerous Premier League titles and domestic trophies. The club now faces the challenge of finding a successor who can maintain their competitive edge while navigating the ongoing 115 charges of financial wrongdoing brought by the Premier League.Guardiola defended the club throughout these proceedings, stating: "I trust them [the club] and I spoke with them and I trust how they behave and what they did." He indicated he might comment further once the charges are resolved, though he acknowledged it would be difficult.Guardiola's Legacy at Manchester CityDuring his decade-long tenure, Guardiola transformed Manchester City into one of Europe's dominant forces, implementing his distinctive possession-based style and building multiple title-winning teams. His departure leaves a significant void that the club will need to fill carefully to maintain their success.Future Outlook for GuardiolaWhile Guardiola has ruled out immediate management, his eventual return to football could take several forms. International management with England or another national team appears to be a possibility he's willing to consider. Alternatively, he might take a longer break before returning to club football, possibly in a different league or with a new challenge.Whatever path he chooses, Guardiola's next move will be closely watched by football fans and administrators worldwide, given his proven track record of success and innovative approach to the game.

The Lead: Romanian Director's Second Palme d'Or TriumphFjord, a thought-provoking drama about a Christian family in Norway from Romanian director Cristian Mungiu, has won the best film prize at the Cannes Film Festival. Mungiu won his second Palme d'Or at a star-packed closing ceremony at the festival on Saturday, becoming just the 10th filmmaker to achieve this prestigious double victory.The Film: Cultural Clash and Progressive Values QuestionedThe drama starring Sebastian Stan and Renate Reinsve is centered around the clash of values that ensues when a religious family relocates from Romania to a Norwegian village. It tells the story of evangelicals who move to Norway, but soon after have their children taken from them by child services for spanking them. Mungiu has called it a tale of "left-wing fundamentalism."The movie is based on true events and is notable for how it questions the supposedly progressive values of the Norwegians depicted in the film, as well as the child welfare system. "This is a message about tolerance, inclusion, and empathy. These are wonderful values that we all cherish, but we need to put them into practice more often," Mungiu told the audience.The Impact: A Statement on Cultural ToleranceMungiu's victory with Fjord comes nearly two decades after his first Palme d'Or win in 2007 for "4 Months, 3 Weeks and 2 Days," a Romanian abortion drama. This back-to-back recognition of his work at Cannes establishes him as one of Europe's most significant contemporary filmmakers. The film's exploration of cultural differences and the complexities of implementing progressive values across different societies adds important discourse to contemporary international cinema.The film's recognition also highlights Cannes' continued commitment to showcasing films that tackle complex social issues and challenge audiences' perspectives. By awarding a film that questions both conservative religious practices and progressive social systems, the festival demonstrates its role as a platform for nuanced cultural examination.The Recognition: Other Award Winners at Cannes 2026Russian war drama Minotaur, by Andrey Zvyagintsev, which depicts a callous businessman caught up in Russia's invasion of Ukraine, won the Grand Prix second prize. "Put an end to the carnage, the whole world is waiting for it," Zvyagintsev, who now lives in exile in France, told the audience in a message addressed to Russian leader Vladimir Putin.Belgium's Virginie Efira and Japanese actor Tao Okamoto shared the best female performance award for their roles in nursing home drama, All of a Sudden, by Japan's Ryusuke Hamaguchi. Belgian duo Emmanuel Macchia and Valentin Campagne from gay World War I drama, Coward, also shared the male best actor award for their roles in the Lukas Dhont-directed movie.Rwandan filmmaker Marie-Clementine Dusabejambo won the Camera d'Or for best first film for her genocide drama, Ben'Imana, which she dedicated to "the women of my country".The Future: International Distribution and Critical AcclaimWith the prestigious Palme d'Or now attached to Fjord, the film is positioned for international distribution and likely significant awards season consideration. Mungiu's unique perspective on cultural clashes and his ability to create compelling narratives that challenge both conservative and progressive viewpoints will likely make this film a subject of academic study and critical analysis for years to come.The film's exploration of the complexities of implementing values across different cultural contexts resonates with contemporary global discussions about migration, cultural integration, and the implementation of social policies. As international audiences engage with Fjord, it may spark important conversations about how societies balance cultural preservation with social progress.

The Lead: Hull's Unlikely Triumph Amidst ControversyA freezing night in Berlin. Silence. Mist. Breath steams above a gaggle of grey-faced men, collars upturned. An unbearable tension in the air. Binoculars trained across the River Havel from Wannsee to Potsdam. An officer reaches into the pocket of his greatcoat to take a bite of schnapps. Another smokes nervously. And then, at last, a light on the east side of the Glienicke Bridge. The exchange is on. There is almost a sense of relief as the action begins. This is the moment in the spy film after the espionage is over, the mole exposed, and the agonising denouement can begin.On a roasting May afternoon, Wembley did not, admittedly, look much like Berlin in November, but there was a similar sense of tension, of the working out of murky games, of a victory that could not help but be compromised. The demands of integrity meant that Southampton had to be punished but their espionage has tainted the Championship playoffs as a whole. In the world of shadows there are few moral absolutes – although a consensus seems rapidly to have emerged on Tonda Eckert.The Event Details: Championship Final Amidst Espionage ScandalThe Hull owner, Acun Ilicali, had said before the game that he would take legal action if Middlesbrough were to be victorious – arguing that as Boro had not won their semi-final, but had been awarded Southampton's place after their expulsion, they had no business being in the final. "Our legal team says we have to go for action, that's for sure," he told Radio Humberside. "We have no doubt about it." Perhaps Hull did have a case – certainly they had a point that they had been disadvantaged by having to prepare for two possible opponents, whereas both of those opponents knew who they would be facing if they were in the final – but, equally, it felt slightly unseemly. The Football League must have been relieved they didn't have to find out how strong that case was.At the final whistle Ilicali dissolved into tears. His too is an unlikely, and not uncontroversial, story. He was a sports reporter who became a major television celebrity in Turkey with a travel show he presented. He invested in other shows and became such a major media player that he has been one of Turkey's 100 most taxed people since 2008.The Data Analysis: Tactical Masterclass in AdversityIf the uncertainty did hamper Sergej Jakirovic's preparations, though, there was no sign of it. No side in the Championship has had more possession that Boro this season, and Hull essentially let them have the ball, denying them passing options in the final third. Although Boro had 13 shots in the game, none of them were on target. Given Hull conceded 66 goals this season, more than relegated Oxford, that was a striking statistic. Jakirovic cites Jürgen Klopp and his dynamic hard-pressing football as his model; it's fair to say he played against type here.It was an oppressive afternoon, so hot that long passages of play went by in a soporific daze and every slight knock was taken as an opportunity to take on fluids. Nobody could run, nobody could think. As a football match it was drab, featuring only one shot on target – a gentle floater from Mohamed Belloumi – before Oli McBurnie's winner, but as an occasion the stakes maintained a dreadful tension until the fateful error.The Impact Analysis: Manager's Journey to Premier League HistoryJakirovic is the definition of a journeyman: as a centre-back he played for 19 different clubs, three of them twice. As a manager, he is already on his eighth position and he doesn't turn 50 till December. He will now become the first Bosnian manager in Premier League history. The job he has done is remarkable. Last season Hull avoided relegation to the third tier only on goal difference after burning through Tim Walter, Rúben Selles and Liam Rosenior in a year. They've been operating under a transfer embargo imposed for late payments on a loan fee to Aston Villa for Louie Barry and yet somehow they've dragged their way into the Premier League.The Prediction: Hull's Uphill Battle in the Premier LeagueThere will have to be major investment if this squad is to have a chance of matching the achievements of Sunderland and Leeds in staying up, but that is a consideration for another day. This was a joyful afternoon that, after all the intrigue and debate, will live in Hull memories for ever. If Eckert, even in his absence, was the main character, the second-biggest was the temperature. It was an oppressive afternoon, so hot that long passages of play went by in a soporific daze and every slight knock was taken as an opportunity to take on fluids. Nobody could run, nobody could think. As a football match it was drab, featuring only one shot on target – a gentle floater from Mohamed Belloumi – before Oli McBurnie's winner, but as an occasion the stakes maintained a dreadful tension until the fateful error.It was that sort of film. There were few moments of high drama, more an incessant intensity, a constant anxiety building to the dramatic finale. McBurnie was released by Sheffield United when they were relegated from the Premier League in 2023-24, and picked up on a free by Hull from Las Palmas. But he's back from the wilderness, he's crossed the bridge as an improbable hero and, for now, everybody can relax. For Hull, peering through the fraught night, this was mission accomplished.

The Evolution of the Office LunchIt's 12.30pm as I write this. My mind is preoccupied with moving my fingers from key to key on my ageing laptop, a task I paused briefly to remove a hair from the screen. Then, I scratched my leg again, which kicked up another hair. I should get back to work, but I can't concentrate. Why? Because I'm incredibly hungry. It is, after all, lunchtime – the most worthless part of any work day.It is not that there's shame in lunch. It's just that we're not programmed to eat at a certain time. We're all different and the whole concept of the office lunch is obsolete nonsense in 2026. Let it go.The Industrial Roots of the Midday MealBig Lunch (or alternatively, the Lunch Industrial Complex) will tell you otherwise. Lunch is considered a fundamental element of the work day. It is legally mandated here in California, after all. But it is also something people who work in offices look forward to. It's a moment to step away from the invisible chains that attach us to our computers for an hour or so of normal human behavior. Back when I worked in an office, I would look at my phone and think, if I can just make it to noon, I'll be OK. Lunch was like a little treat to break up the monotony of corporate life. In some jobs, there was even a free lunch to make the whole thing even more appealing. You can't leave the office. You don't even have to leave the office!I wasn't around for most of the 20th century, but according to TV shows like Mad Men, the old days of lunch meant meandering to a classy steakhouse and getting drunk off martinis, then plopping on to a chaise longue until the buzz wore off. I would happily endorse that version of lunch, but that's not what we are being presented with today. The modern office lunch is about convenience and expediency. It's being hustled through a Sweetgreen to collect your biodegradable bucket of vegetables so you can get back to your desk before your next meeting.The Economic Impact of Changing Lunch HabitsThe work day lunch is merely a distraction from your unenviable reality, offering the illusion of choice while reinforcing the plain and simple fact of your need to earn a living performing a series of tasks you hate. Shall I have pizza or Mexican food? No, I mustn't. I shall have a salad, lest I become a walking man-beast made primarily of partially digested carbohydrates.Lunch, as a concept, evolved from light refreshments as a leisure activity to a meal equal to the other two, thanks to the rapid rise of industrialization in the 19th century. Lunch became a crucial break from mining coal or assembling car parts. I don't need nearly as much of a break from designing PowerPoint slides or responding to an email that's "just following up on my previous request". Patience, yes. But that's a different story.So, we have rendered this middle child of a meal (not as nourishing as breakfast and not as fun as dinner) a culinary pariah tied directly into emotional desire. Lunch is the vestigial tail of the Industrial Revolution. I no longer look forward to noon like an over-caffeinated child anticipating Christmas morning. Maybe I'll have a small snack – nuts, a protein bar, crudites. I might even read or go for a walk. I recognize my privilege here, that I'm not mandated to be anywhere or do anything I don't want to do. I can occupy myself with other pursuits that are more nourishing than a buffalo chicken wrap. But the fact remains that my job is still as active as any office worker's. As in, not at all. I prefer a big, nutritious breakfast or a nice, early dinner.The Changing Landscape of Office DiningIf I have to meet someone socially or professionally during the day, or if my stomach is screaming at me, I'll eat. (In my fantasies, my stomach sounds exactly like my mother, a topic to unpack another time.) But without the peer pressure of needing to make use of my hour of mandated leisure time by filling my mouth with overpriced junk (or gossiping with co-workers), I can truly be free. The office lunch is a scam perpetrated by venture capitalists with big dreams of franchising their various "elevated" takeout dining experiences. But automation, economic malaise and the collapse of the urban business district are going to make these places even more useless. Sweetgreen's business is cratering for these very reasons. As the economy suffers, fast food is growing in popularity again, but fast food is not the answer.Places like Sweetgreen, Pret a Manger or Cava sustain themselves on the concept of lunch being connected to leisure: with your hour of free time, you should have a meal, even if it's food you don't even particularly enjoy consuming. I'm not saying don't eat lunch; rather that the break you receive from the drudgery of employment should be spent on pleasurable activities. If that means eating, great. But don't do it just because you think you have to. I say we should normalize taking a nap in the afternoon. Not a Mad Men-style snooze caused by excessive alcohol consumption, but a rest from the all-consuming stimulus of modern life. Get rid of the cubicles and unused couches in the various open-plan tech spaces and put in beds. Give me a teddy bear and one of those caps cartoon characters wore at night.The Future of Workplace DiningAnd now … I'm done typing. I can go eat something. Why am I eating in the afternoon? Am I some kind of hypocrite?No.It's because I didn't eat breakfast.