It was late 2020 when Universal Studios Japan first let guests inside its Super Mario World area of the park, with rides and a slew of minigames based on the Super Mario franchise. Unlike most theme-park experiences, this one was about collecting coins and stamps, competing against fellow visitors, and aiming to top the leaderboard. A pared-down version opened at Universal Studios Hollywood in 2023, cementing the idea that Universal was continuing forward with the gamification of its theme parks. In May, the company's newest theme park, Universal Epic Universe, will unveil its own Super Nintendo World--complete with a Donkey Kong Country section.GameSpot was recently given the chance to tour Epic's new Super Nintendo World and, of course, to play in it. While those who have visited Hollywood's Super Nintendo World will find parts of this new Florida location familiar, the land has been completely redesigned and is much larger. Not only does the latest iteration bring in the Donkey Kong Country ride and mini-land that opened in Japan last December, but it also brings the beloved Yoshi's Adventure dark ride. More importantly, though, it brings new challenges and ways to play in the land--and more coins to earn.The ridesThe standout of the new land is the Donkey Kong Country rollercoaster, Minecart-Madness. Imagine blazing through one of the minecart levels from the video game franchise. That's what you're getting with Minecart-Madness, which is not a traditional rollercoaster. Instead, it's made to simulate the feeling of being in a minecart that jumps from track to track as it avoids peril at all costs.Continue Reading at GameSpot

Marvel Rivals fans can now earn free skins for Iron First and Magik by progressing the free version of the battle pass for Season 2: Hellfire Gala. NetEase Games recently launched Season 2 of Marvel Rivals, which has introduced the highly-requested Vanguard Emma Frost to the popular hero shooter. The developers have also confirmed that the villain Ultron will make his debut in a major mid-season update.

Up until recently, the only Black Mirror episode I’ve watched in full was “San Junipero,” where two queer women find unexpected love in a simulation and decide to remain there together. It’s famously known as one of the only Black Mirror episodes with a happy ending. I don’t think I’m the only person out there who is a fan of that episode of Black Mirror and that episode only.  I have good news for the dozens of us out there: This season of Black Mirror has an episode that’s basically a spiritual companion to “San Junipero” — albeit with more of a bittersweet tinge to it. “Hotel Reverie” had me on the edge of my seat from the beginning and tugged on my heartstrings by the end.  [Ed. note: This post contains spoilers for the third episode of Black Mirror season 7.]  Like “San Junipero,” “Hotel Reverie” follows two women who fall in love in a simulated reality. But the setup is intriguingly different. The episode follows Brandy (Issa Rae), an actress who gets the chance of a lifetime to star in a remake of Hotel Reverie, her favorite old romance movie — with a twist. The remake is being done in ReDream, a software that recreates the entirety of an old movie in a virtual reality, populated by AI characters. Brandy locks into the VR like she’s entering the Matrix, with her consciousness uploaded into the simulation while her body lies comatose.  She’s taking on the male lead role, Dr. Alex Palmer; in the original, he’s the white British doctor who romances an heiress named Clara (Emma Corrin). In reality, Clara was played by a troubled actress named Dorothy Chambers. Brandy researches her before showing up on set, and finds herself charmed by some old test footage of Dorothy. So, when she comes face to face with Clara in the simulation, she’s understandably a bit flustered.  Which makes sense, given how disorienting and fascinating the mechanics of this world are. The film begins in stasis, with all the characters suspended in time, before the title sequence rolls. Then, like a play, it proceeds sequentially. Brandy fills in the lines of the character she’s replacing and everyone more or less accepts that she’s Dr. Alex Palmer. Brandy starts off hitting all her lines and beats, but after a kerfuffle with a piano, the movie starts to veer off script. The characters react accordingly, which throws a wrench into the plot. On the outside, the filmmakers scramble to find a solution to get the movie back on track. They monitor data points like romantic interest and narrative tension and direct Brandy via an earpiece.  Like Yorkie and Kelly’s love story in “San Junipero,” Clara and Brandy are brought together by the impossible, their connection heightened by the fabricated reality they inhabit. And as Brandy forces the movie off-book, Clara follows, a juicy element of an AI slowly realizing her own personhood. Clara draws on not just the character as she appears in the movie, but also on Dorothy’s lived experiences as a closeted queer woman in the 1940s. Even though she’s just a simulation, she gives Dorothy a chance to live a life — just as Yorkie was able to fully fall in love with Kelly after dealing with a homophobic family in her real life. The parallels are clear (and maybe even purposeful by the production team, as we learn through some mail that Brandy lives on “Junipero Road”). Though Hotel Reverie is a fictional movie, it represents queer subtext woven into real films from the same time period, where plenty of queer people worked behind the scenes and on camera. In the 1990s, it became popular for the LGBTQ community to reedit classical Hollywood scenes in order to highlight and emphasize the queer themes present in the movies. The episode is a fictional sort of reedit; the movie itself might not be real, but the idea of digging into queerness already on screen and bringing it to light is. Without spoiling much, the ending gives Clara — the character, the AI, and even the actress behind her — some agency to choose how her story ends, letting her step outside what society (and her programming) dictated she could do. It’s not quite a happy ending, but it’s not a typically bleak Black Mirror ending either. Instead, it’s bittersweet, a quiet sort of reclamation for Clara, and by extension Dorothy. Black Mirror season 7 is streaming on Netflix now.

No one reimagines everyday objects with endless creativity quite like children, who can turn a simple stick into a magic wand or a blanket into a hidden cave. Designed to embrace that same boundless imagination, the Flipster by Wigiwama fosters both comfort and play. This versatile lounge chair transforms into a fold-out bed, but in a child’s eyes, it can be anything – from a cozy reading nook to a foundation for a grand imaginary adventure. Whether used for relaxation or exploration, Flipster adapts to a child’s ever-evolving world, making any space a place for comfort and creativity. Flipster is the evolved iteration of Wigiwama’s Flip chair, offering the same multifunctionality in a smaller footprint. Its expanded size allows it to transition seamlessly from a chair to an extended lounger to a play-friendly seating solution. Inspired by geometric shapes and Bauhaus design, its three modular components – the base, backrest, and a lumbar pillow-like cushion – create multiple configurations and can easily be adjusted for upright or reclining comfort. “For me, simple shapes are the key to achieving timeless elegance,” shares Mark Litvyakov, Wigiwama’s in-house product designer. “The biggest challenge was to ensure Flipster maintains comfort and adaptability across all its uses – from seating to playing and sleeping. I believe it excels, particularly as an extra bed for sleepovers.” Crafted with high-density polyurethane foam for lasting comfort and resilience, Flipster is wrapped in removable, washable covers available in seven inviting colors: Pink Mousse, Peppermint Green, Brown Sugar, Biscuit, Cream White, Guava, and Matcha. Its OEKO-TEX® and GRS®-certified corduroy is made from recycled PET bottles, offering a sustainable yet stylish touch, while the OEKO-TEX® certified teddy fabric provides a soft, plush texture ideal for cozy lounging. Whether serving as a comfy reading spot, an extra bed for sleepovers, or the centerpiece of an imaginative play session, Flipster blends functionality with creativity in a way that delights for kids and grown-ups alike. The Flipster is available in the United States via Wigiwama’s stock retailers. To learn more, visit wigiwama.com. Photography courtesy of Wigiwama.

We may earn a commission from links on this page. Deal pricing and availability subject to change after time of publication.The Ring Battery Doorbell Plus is currently marked down to $119.99 on StackSocial (was $149.99), and if you’ve been eyeing a smart doorbell that won’t need rewiring or a professional install, it could fit the bill. It runs on a rechargeable battery, so setup is simple—just charge it, pop it in, and connect via the Ring app. That said, you’ll still need to recharge the battery every few months, depending on how often it’s triggered. The camera’s big sell is its expanded 1536p HD+ head-to-toe view, which means you can see visitors and packages in full, not just from the chest up. That might not seem huge until you miss a delivery or can’t make out what’s left on your doorstep. The color night vision works surprisingly well, too, giving you a clear view even in low light, notes PCMag.You can also talk to visitors through the two-way audio or let them know you're busy with one of the preset quick replies. You can also fine-tune the motion detection zones so your phone doesn’t blow up every time someone walks past your gate. It also integrates well with Alexa-enabled devices, so if you’ve got an Echo Show, you can see who’s at the door or get alerts read out loud. Just keep in mind, there’s no support for Google Assistant or Apple HomeKit, which could be a dealbreaker if that’s what your home setup relies on. Real-time notifications come straight to your phone or tablet, and the Ring app lets you adjust settings, view footage, or trigger responses remotely.That said, some of the more advanced features—like 180-day video history, person/package detection, and video previews—are locked behind a Ring Home subscription, which starts at $4.99/month for a single camera. You’ll still get live view and motion alerts without it, but you won’t be able to save or rewatch footage later. And if you want smarter AI features like video previews and one-tap emergency response, that price jumps to $19.99/month. So while this is a solid midrange option for those already in the Ring or Alexa ecosystem, it may not be the best pick if you want everything to work subscription-free.

When Nintendo launched the Switch 2, it also revealed that it was going release upgraded versions of several existing Switch games, including both Legend of Zelda: Breath of the Wild and Tears of the Kingdom. It also revealed that games for the upcoming console will cost you more than what you're usually paying for games now. If you were hoping that the $70 price tag for the upgraded Breath of the Wild will at least include its DLC Expansion Pack, though, you're unfortunately out of luck. The company has told IGN that you will have to pay an extra $20 for the game's DLC season pass.  "The Legend of Zelda: Breath of the Wild – Nintendo Switch 2 Edition does not include The Legend of Zelda: Breath of the Wild Expansion Pass DLC. That DLC is available as a separate purchase," a spokesperson told the publication.  To be clear, you don't have to buy the new version if you don't want to. The Switch 2 has backwards compatibility, and you can play your old copy of the game if you still have it — it was released way back in 2017 — and its DLC at no additional cost. If you own a copy for the first Switch and want to enjoy the new version's enhanced framerates and resolution, as well as HDR support, you can purchase an upgrade pack for $10. But if you're buying the Switch 2 version new, then you'll have to be prepared to pay $90 to get the base game and its DLC. This article originally appeared on Engadget at https://www.engadget.com/gaming/nintendo/the-70-switch-2-version-of-breath-of-the-wild-wont-even-come-with-dlc-140032303.html?src=rss

It's a big week for the return of highly-rated TV shows and the odd new movie release.

The venture capital industry was already under a lot of pressure prior to the multitrillion-dollar stock market rout last week.

All sense of survivors’ guilt was fleeting for those residents whose homes remained standing after wildfires ripped through the Los Angeles area three months ago.Many worried that smoke from the Eaton wildfire that destroyed more than 9,000 structures and killed 18 people may have carried toxins, including lead, asbestos and heavy metals, into their homes. But they struggled to convince their insurers to test their properties to ensure it was safe to return.Nicole Maccalla, a data scientist, said embers burned more than half of her roof, several windows and eaves were damaged, and her house in Altadena was left filled with ash, debris, soot and damaged appliances. She said her insurance adjuster said USAA would pay for contamination testing, but after choosing a company and coming back with the results, her claim was rejected. The adjuster said the company only covered testing in homes with major damage.“Every single item is a battle,” said Maccalla. “It’s denials and appeals and denials and appeals, and you wait weeks and weeks and weeks for responses.” Crowdsourcing contamination data Maccalla and others banded together as Eaton Fire Residents Unite, sharing environmental testing data and compiling the results in an online map. Of 81 homes tested so far for lead, all show elevated levels, according to the group.“I’ve already had multiple people reach out and say: ‘Thank you for publishing this map . . . because my insurance company has changed their mind and approved testing,'” said Maccalla, who helped design the data collection to verify results and maintain privacy.Many homeowners paid privately for the testing after their insurance companies refused, revealing gaps in coverage. The group hopes the data will help residents who can’t afford it to convince their insurers to cover testing and remediation.“If I can prove my community is not fit for human habitation then maybe I can show my home won’t be,” said Jane Lawton Potelle, founder of Eaton Fire Residents Unite.It’s not easy to understand how and when it is safe to return home, Lawton Potelle said. The fine print of insurance policies can be frustrating and confusing, and the government has not stepped in to help.The Federal Emergency Management Agency said it has no plans to conduct widespread environmental testing. The Los Angeles County Department of Public Health is tracking environmental testing largely by academic researchers and a handful from government agencies, but most studies assess outdoor contamination. Toxic air and limited coverage Reports from other urban wildfires, in which building materials, appliances, cars and more burn at incredibly high temperatures, show increased levels of heavy metals including lead and polycyclic aromatic hydrocarbons (PAHs) such as benzene that are tied to negative health risks. But insurance companies haven’t standardized testing for those contaminants.Home insurance broadly covers fire damage, but there is a growing dispute over what damage must be covered when flames don’t torch the property.California Insurance Commissioner Ricardo Lara released a bulletin in March that put the onus on companies to properly investigate reported smoke damage, saying they cannot deny such claims without investigating thoroughly, including paying for professional testing as warranted. But many residents have been left to fight for coverage anyway.Janet Ruiz, spokesperson for the Insurance Information Institute that represents many major insurance companies, said it’s hard to compare neighbors because every claim is unique due to each home’s physical structure, actual damage and defined insurance coverage limits.“It can vary and insurance companies are sensitive to what the claim is,” Ruiz said. “You have to work with your insurance companies and be reasonable about what may have happened.”Dave Jones, director of the Climate Risk Initiative at University of California, Berkeley, and former state insurance commissioner, said testing should be covered even though some insurance companies disagree.“It’s perfectly reasonable for people to have some kind of environmental test done so that their home is safe and their property is safe,” Jones said. “We’re talking about very catastrophically high temperature fires where all sorts of materials are melted and some of them become toxic.” State plan struggles The state’s insurer of last resort, known as the California Fair Access to Insurance Requirements Plan, has been scrutinized for years over how it handles smoke damage claims. A 2017 change to the FAIR Plan limited coverage to “permanent physical changes,” meaning smoke damage must be visible or detectable without lab testing for claims to be approved. State officials said that threshold was too high and illegal, and ordered a change.Dylan Schaffer, an attorney leading a class action lawsuit challenging FAIR Plan’s threshold, said he was surprised private carriers are disputing similar fire damage claims.“The damage is not due to smoke, the damage is contamination from fire,” Schaffer said. “They make it complicated because it saves them money.”Meanwhile, Altadena residents on the FAIR Plan say their claims are still being denied. Jones believes the debate will only end when lawmakers take action.FAIR Plan spokeswoman Hilary McLean declined to comment on the ongoing litigation and individual cases, but said the FAIR Plan pays all covered claims based on the adjusters’ recommendations.“Our policy, like many others, requires direct physical loss for there to be coverage,” McLean said. Worries over kids’ safety Lawton Potelle said the first inkling that her house might be toxic came after meeting with her AAA insurance adjuster in the days after the fire. Even though she had worn a mask, her chest still ached and her voice rasped, and she wondered whether her home was safe for her 11-year-old.Stephanie Wilcox said her toddler’s pediatrician recommended testing their home. Her Farmers Insurance policy includes coverage for lead and asbestos in addition to her wildfire coverage, but after multiple denials, she paid out of pocket.“After the initial inspection, (Farmers) had told us remediation would cost about $12,000 and that it would be habitable, like we could move back in tomorrow,” she said. “But now there’s no way.”She plans to ask for a new estimate including lead abatement and other costs, citing the results.Similarly, Zach Bailey asked in late January for contamination testing. The house he shares with his wife and toddler sits in an island of largely spared homes among blocks wiped out by the fire. After months of denials, State Farm agreed to pay for lead and asbestos testing because the remediation company cited federal worker safety regulations.It shouldn’t have been that hard, he said.“It feels like the insurance companies should have a playbook at this point,” he said. “They should have a process to keep people safe because this isn’t the first disaster like this.” —Claudia Lauer and Sally Ho, Associated Press

Phaidon is releasing "Eventually Everything Connects: Mid-Century Modern Design in the US," a fresh look at the movement thanks to hundreds of images from the Cranbrook Art Museum. There's plenty of eye candy here: Charles and Ray Eames seated in their living room, Los Angeles, CA, 1958. Photo: Julius Shulman. © Eames Office, LLC. All rights reserved. © J. Paul Getty Trust. Getty Research Institute, Los Angeles (page 168) "Embark on a surprising and joyful visual tour of American mid-century modernism through hundreds of photographs, drawings, and pieces of ephemera organized by the art museum at Cranbrook, where the movement began."Kazumi Adachi, Mudge House, Los Angeles, CA, 1954. Photograph by Julius Shulman. © J. Paul Getty Trust. Getty Research Institute, Los Angeles (page 186) Edward J Wormley, Listen-to-Me Chaise Lounge photographed for a Dunbar catalog, c.1948. Courtesy Edward J Wormley Papers, The New School Archives and Special Collection, The New School, New York, N.Y. (page 144) John Lautner, exterior view of the Arthur Elrod House with Tropi-cal Lotus Chairs by the pool, Palm Springs, CA, 1968. Photo: Leland Y. Lee. Courtesy CODA Gallery (page 361) Teacup desk in the lobby of General Motors Technical Center's Styling Building, 1956. (page 275) 1958 Feminine Auto Show in the GM Styling Dome. The vehicles counterclockwise from the bottom: Corvette "Fancy Free," Chevrolet "Martinique," Cadillac "Saxony," Cadillac "Baroness," Buick "Tampico," and Buick "Shalimar." Courtesy General Motors LLC (page 284) Herman Miller Chicago showroom featuring central configuration of Basic Storage Components (BSC) with Basic Cabinet Series (BCS) case goods along the wall, 1948. © Eames Office, LLC. All rights reserved (page 96) Eames chair pyramid featured in Herman Miller's 1964 Binder Catalog, art directed by Tomoko Miho. Courtesy Herman Miller Archives (page 222) "Essential figures such as Charles and Ray Eames, Harry Bertoia, Florence Knoll, and Eero Saarinen are represented alongside other women and designers of color that have been historically eclipsed, including Joel Robinson, Ray Komai, Ruth Adler Schnee, Olga Lee, Miller Yee Fong, Lucia DeRespinis, Dorothy Liebes, and many others. The book offers a fresh perspective on this beloved and influential movement."First Row: Harry Bertoia, Eszter Haraszty, Noémi Raymond; Middle: George Nakashima, Florence Knoll Bassett, Abel Sorensen; Third: Richard Stein, Dorothy Cole, and Isamu Noguchi, 1951. Photo: © Tony Vaccaro. Courtesy Tony Vaccaro Archives (page 14) Florence Knoll seated at desk, c. 1940s. Florence Schust Knoll Bassett Papers (1998-10). Courtesy Cranbrook Archives, Cranbrook Center for Collections and Research (page 236) Gere Kavanaugh in a prototype for her Easy Chair, c. mid-1970s. Courtesy Cranbrook Archives, Cranbrook Center for Collections and Research (page 287) Portrait of Greta Magnusson Grossman in her home office, 1948-1949. Photo: Julius Shulman. Courtesy the R & Company Library and Archives (page 232) The $90 book, compiled by Cranbrook Art Museum Director Andrew Satake Blauvelt, is up for pre-order now and will ship in July.