Hollywood has finally cracked the code on making movies based on video games, at least from a box-office perspective. The Super Mario Bros. Movie, the Sonic the Hedgehog trilogy, and A Minecraft Movie have grossed billions combined since 2020. Whether they’re good movies is up for debate. Critically, TV seems to be where game adaptations are shining; Fallout and The Last of Us are legit prestige television, likely in part due to the close creative involvement of the people who make those games and producers who adore the source material.Two producers fighting to improve the quality of video game adaptations are Dmitri M. Johnson and Mike Goldberg, otherwise known as Story Kitchen. They’ve been working for years to make game adaptations better, or at a bare minimum, more authentic to creators’ visions and to the people who play those games. Story Kitchen’s work includes the Sonic the Hedgehog film franchise, the first film of which was famously delayed in response to fan criticism but wound up winning fans over.In recent years, Story Kitchen’s Goldberg and Johnson have gone into overdrive, locking down movie and TV deals for adaptations based on Tomb Raider, It Takes Two, Streets of Rage, and Just Cause. But the production company is just getting started, Goldberg and Johnson tell Polygon. In addition to getting indies into the mix, with upcoming adaptations of games like Sifu and Dredge, Story Kitchen is developing at least 10 projects for Sega in the wake of Sonic’s success.Polygon recently spoke to Goldberg and Johnson about their production company and what it’s working on — which includes a few surprises still to be announced. Read on for our full conversation, which has been edited for clarity.Mike Goldberg: We launched the production company [for] film and TV two and a half years ago. We specialize in sourcing, partnering, and working to adapt nontraditional IP into film and TV. When we say “nontraditional IP,” we are referring to video game IP. How this all came about was primarily off the heels of dj2 Entertainment, [which] Dmitri launched with the same thesis in mind. It was early days, and video game adaptations weren’t really a thing. They were attacked in the press. They were attacked in the media. Fans weren’t responding, and Dmitri didn’t believe, he thought a meaningful way was a field trip to Japan to finagle a meeting with the C-suite of Sega and to discuss with Sega their thoughts on finally unlocking [Sonic the Hedgehog] for film.At the time it was not at the top of their bucket list, but after years of campaigning [...] now we have the Sonic franchise.Fast-forward to launching Story Kitchen: I resigned from my agency to do it with Dmitri. Thanks to him, I was the No. 1 agent for video game IP into film and TV. I think I had 80 deals done from repping Atari, Square Enix, and Bandai Namco to the Tomb Raider deal — twice over as first we sold animated Tomb Raider in 2019 [...] and the live-action franchise built at Amazon [...] the Phoebe Waller-Bridge live-action tentpole series that’s in pre-production. [Ed. note: After our interview, reports have suggested that Waller-Bridge’s live-action Tomb Raider project is no longer moving forward at Amazon. We checked in with Story Kitchen, which said, “The show is not dead and still tracking forward.”]So to that end, we have an Amazon television first-look deal and a DreamWorks Animation film first-look deal. We’re external consultants, if you will. We have these shortcuts, but it’s great because we get additional intel and support if there’s a game that makes sense to bring into them. We love our indies, we love our AAAs, and it’s having the pleasure of working with everyone from Poncle with Vampire Survivors to Black Salt Games with Dredge. This conversation came out of Sifu, and that was such an extraordinary experience. We sold that game as a movie to Netflix during the double strikes of 2023. The writers and the actors were on the picket lines, and we’re like, OK, we can’t do much, but we’re talking to Netflix and [told them], Hey, there’s this game that’s extraordinary from a very young game developer and a very young game publisher, Sloclap and Kepler. And within less than five business days, they’re like, I love it. Let’s do it as a movie.Sifu Image: Sloclap via PolygonThis morning [we were] catching up with our writer, Chad Stahelski, and Netflix to really ensure that Sifu remains on the fast track for this year. Kepler was so impressed with us that they called us and they’re like, All right, here’s our slate until 2027. You guys did a great job. What are you excited about? And that’s what led us to [Clair Obscur: Expedition 33], which we just announced we are doing a couple weeks ago. That game is awesome; we have played it. It comes out April 24, and we’ve already done one massive attachment that hasn’t been announced, but we’re hoping to have another attachment in the next two weeks, and then we can announce our live-action film package around it. But it’s for the love of games and authentically connecting those dots. Dmitri Johnson: As much as we love and are grateful for the Tomb Raiders and the Sonics, we really do kind of live in the indie space. This goes back to even before Sonic came out: I was fortunate, and I don’t even honestly remember how it started, but I somehow got on the radar of the Swedish government. And every quarter, they would fly me over, and I would give talks on my thesis on taking games into film and TV. What that exposed me to, long before the rest of Hollywood, was the incredible hub of talent in the Nordics. So just getting to know those developers and those creators, the storytelling that was happening there was just mind-blowing. And Hollywood at the time was still very much driven by, How many copies did it sell? How much money did it make?We finally got to a point of: Don’t care; don’t ask anymore. Here’s why it’s a great story. Here’s why it’s a unique world. These are things we don’t currently have in film and TV. That’s why we’re excited. Over time we kind of trained [Hollywood], so at least on our side, we don’t get that question anymore. Now it’s totally about the creative, just like a producer who goes after New York Times bestsellers or comic books, graphic novels, [and] spec scripts — it’s about the creative. I tell everyone that it’s almost easier to get a deal done with the billion-dollar publishers than the indies because there’s so much more on the line [for indies]. It’s so much more personal. There’s a certain level of trust that has to be built over years, over decades. Fast-forward to today, we’re just in this incredible moment of really getting to live out our childhood dreams. I think we’re in various stages of development on 10 separate Sega properties together — just dream projects.Polygon: Obviously, Sonic the Hedgehog was a pretty big success story for you. What do you identify as the DNA that made that successful?Johnson: It’s all about the village you built. Sonic is such a special village because everyone involved had their own connection to the IP, grew up playing those games. It is driven by passion. Before Mike was our agent, in a weird cosmic coincidence, he repped the [Sonic the Hedgehog] writers separately. They were Sega kids, and they were passionate about the IP. So no one was going into it like, Let’s go make a billion-dollar franchise. Selfishly, we wanted to see this movie made for ourselves. We wanted to see a Sonic movie made the right way. We knew not only could it change the landscape for game adaptations, but again, if it’s the only one that got done, we got to make a Sonic movie. And that was kind of the driver on that.I think we approach all of these in the same way. Phoebe Waller-Bridge [making Tomb Raider], people are surprised, like, Wow, that’s kind of random. No, it’s not. She was a superfan. Her parents had to take her PlayStation away because she played for two weeks straight. So it’s finding those people. ToeJam and Earl, we’re out to a director right now who rapped about ToeJam in one of his songs. We try to do our research to find out who might be a kind of prebuilt fan, start there, and really build out just a village of passion. Now we like to say, You don’t have to be a gamer. You don’t have to have played these games. We do get great work from people who haven’t. But it definitely does create that special something when that can happen.In terms of approaching other Sega properties, what’s that work been like for you in terms of adapting? I’m a Shinobi fan, but even I’m kind of wondering, What is a Shinobi movie? What is a Streets of Rage movie? It’s a little harder to identify that than a Sonic the Hedgehog movie.Johnson: The Shinobi script is one of my favorite scripts we’ve developed. It is going to be so fun. We do a little bit of fan service for Shinobi fans; they’re going to be hyped for it. But my mom, who didn’t play Shinobi, she’s also going to be hyped. It’s going to be a great action film that has layers. Sam Hargrave wants to do some crazy shit that I personally want to see him pull it off. I’m like, I don’t know how you’re going to do that, but I want to see it. I want to be there.Goldberg: He’s our director. He came up in the John Wick camp, and then he directed Extraction and Extraction 2. And he’s doing Matchbox right now. It should be, if timing aligns, his next movie.Streets of Rage 4 Image: Lizardcube, Dotemu, Guard Crush Games/DotemuJohnson: It’s a really special script. We have a writer who grew up in Japan, but he also split his time between here and London. That’s reflected in the script. To have a writer who could actually pitch Sega Japan in Japanese was really, really cool. Streets of Rage has been number one on my list since I was 11 or 12. I remember being a kid, thinking, I’m going to make that a movie one day. The thing that both [Streets of Rage and Shinobi] have in common, the soundtrack — as a preteen, I just remember thinking, These are so cinematic. These are actual movie scores.The breakfast that I had this morning, when Mike was on with Chad and Netflix, was with the potential director for Streets of Rage, and half of the conversation was about music. It was, As important as the action scenes are going to be, the music has to hit. I go back to the original Mortal Kombat film: From the first second, the New Line logo comes out [and] you hear that “Mortal Kombat!” — you’re just on a ride for the rest of the 90 minutes. I feel like we’ve got to do that with Streets of Rage. Shinobi, different type of soundtrack, but equally important. But I would say the thing about Sega is, they keep us honest. Each time we spark with an idea of what we want to do next, we have to talk through it. We have to go through our approach and really make a case for why it should exist.Goldberg: In our opinion, it’s authenticity. Because every game should not be adapted. We are asking ourselves three questions:Should the game be adapted, period? And if so, should the game be adapted now?If so, what medium should it be? Is it a live-action film? Is it live-action TV? Is it an animated film? Is it animated TV? [We’re] always challenging ourselves to answer those questions and then match up authentic fans, honest ways to do it, no trickery. Clearly, there was a massive rejection when [previous video game] adaptations felt like a big commercial. That did not go well, and gamers are the first ones to call it out. So it shouldn’t be that way. It should be, if I were to make a dream come true and we were to see an expansion of a story, [...] what would be the dopest way to expand that story? That is part of the process that we’re always pushing to solve.Johnson: To the point of authenticity: A lot of times, contractually we’re not allowed to argue or debate with the internet, but I remember when Disco Elysium was announced, it was like, Oh my god, how are they making it a movie? The game’s not even out yet. What you want to say is, “We’ve been working side by side with them for two years. We’ve read the almost-500-page game script from front to back. We’ve heard the entire soundtrack. We’ve played the game multiple times.” Those are things you can’t say [publicly], but we always start from that authentic place. We play everything we get behind. Ideally, we can consume and read everything that we can. We really want to know these things inside and out. And like Mike said, sometimes the takeaway is, I’m so excited for this game. It doesn’t need to be a movie. It doesn’t need to be a TV show. But when it kind of triggers that special thing like [Clair Obscur: Expedition 33] did, yes, you get excited, and you start thinking about the filmmakers who can make this thing a reality.Disco Elysium Image: ZA/UMWhat is Disco Elysium going to be? Is that going to be a movie? A TV show? Live action? Animated? What’s the thought on that?Goldberg: So there was a significant pause on that exploration while the co-founders worked through their legal quagmire [...] to give them the space to do that for the last few years. [ZA/UM is] back, they’re ready to rock. We sat with them and we are now getting reengaged with being able to reopen those conversations and explorations. We actually had incoming offers to do it as a film and TV show, and we were working with them to dial down into [their] preferences. We had to pull back when the unfortunate things that everyone has read about started to occur — as we should! And honestly, even if we wanted to put our fingers in our ears and ignore it, it would’ve been the wrong thing to do to them. And also a chain-of-title perspective. It just would’ve made things more complicated. We had to ramp down, and now we’re so excited to be ramping back up.Johnson: But to answer you, the conversations before all that were definitely around live action.You both talked a little bit about finding fans and finding authentic participants who were excited about the intellectual property. But for something like Dredge, Kingmakers, or Sifu — which don’t have a long legacy, which don’t have multiple stories to draw from — what’s that process like of finding talent and interested parties to make that kind of material?Johnson: Those are the ones we’re proudest of. We prefer to get in front of a game’s release, which, again, isn’t really the way Hollywood used to do it. It’s much easier to say, “This made a billion dollars.” We like to say we don’t chase heat, but we enjoy it when it follows. One of the best examples of that was It Takes Two. That was a game that we fell in love with. We flagged for Hollywood, like, Hey, you want to be involved with this? Come in now. They waited for it to release and win all the awards, and then every studio in town wanted it. After that exercise, we have gained a lot of trust and goodwill in the industry, where now, when we flag something, we’re treated a bit more like tastemakers, and we kind of get the attention of agents, managers, writers, [and] directors, and it at least opens up a conversation.If the conversation leads to more interest, that’s when we slowly start bringing them into the village. So if there’s a game that’s not coming out for another year and a half, two years, [we say], Come over to the house. Let’s play through it together. Let’s talk through it. We’ll put together shareable materials. We really help throw them in there with us and really start understanding what it is. Because again, we don’t want talent [or] studio partners to just come in because because of how it sold. We really want our partners to love it for the right reason.Goldberg: I’ll put on a former agent hat. What’s ridiculous is, New York Times bestselling books typically start at the lower end of the spectrum, somewhere between 30,000 and 50,000 units sold. [...] The New York Times bestselling list is great, and Hollywood goes insane for it. But if you look at an indie game, even an indie game that’s, like, a basement garage dev and it’s his or her or their first game, and that game comes out, and it’ll sell tens or hundreds of thousands of copies, millions of copies. Not just in English and [in] North America; these [are] indie games that are selling in multiple languages, multiple countries.So we remind our friends, the buyers on the film and TV side, You’re willing to go after a New York Times bestselling property, or a manuscript that has not yet published. Why would you be hesitant to wait to see how the game does? It makes no sense to us. […] The buying executives having come up with us now, that were assistants with us and junior executives with us, that also had Ataris or Nintendos or Segas, PlayStations, [Xboxes], that started the process at the same time — they get it. We can poke holes in that concept all day long, because for a game to be produced and then be shipped, there’s going to be game scripts, there’s going to be game bibles; we get ’em all, as Dimitri was saying. There’s going to be playable builds, or even vertical slices we will share if we can.But we bring the onboarding materials in. If you’re going to take a bet on that book, why would you not take a bet on something that is audiovisual, and probably going to do it outstandingly better than that book? So it’s been a bit of retraining everyone and adjusting the narrative. And Hollywood has become a lot more flexible, accepting. And when they don’t listen to us — like Dmitri’s example of It Takes Two — we make them financially pay for it, to their detriment and our rights holders’ benefit. [laughs]It Takes Two Image: Hazelight Studios/Electronic Arts via PolygonI wanted to ask about the original Sonic the Hedgehog showing, and how there was a lot of strong pushback to that. How do you factor in that kind of feedback from that incident? How has that factored into your work, in terms of setting up projects and talking to studios and creatives to convey, Here’s what you actually need to do with this project to make it authentic?Johnson: I’ll answer that in a more broad, general way, to not get us in trouble. Look, that was a period in time where I think Hollywood thought they knew better than the folks who made the game, the thing that we were excited about in the first place. I think that’s how we got the original [Super Mario Bros.] movie. I think that’s how we got some of those awful, awful, awful early adaptations — they would take the rights and kind of shove the talent to the side. We flipped that on its head. After Sonic, that definitely changed the pushback that we had, and the pushback we could do on behalf of our game partners.So, one of the exercises I like to point to is how we handled Tomb Raider. The original Tomb Raider films, [the creatives] largely felt like they were not as much a part of that conversation as they would’ve liked. So the first thing we did [with Tomb Raider] was, we flew up to Crystal Dynamics several times, and spent hours just filling up whiteboards: Lara Croft is this. She’s not this. We’re going to touch on this. We’re not going to touch on this. And we ended up with this exercise that really created this creative sandbox, and it was really effective. If our game partners are too busy focusing on the next game, they knew that their vision, that their concerns, were documented. In the case of Crystal, they have more resources than others. So we actually have had dedicated teammates. But for the smaller indie studios, that exercise has been extremely key for protecting their voice. The other thing we do is, we get them a seat at the table. Pre-Sonic 1, there was a lot of lip service: Oh, we are going to be a partner. And then, again, they show up to the movie and it’s unrecognizable [to them].We fight for our partners on the gaming side to get producing credit. And that’s not just so that they can see their name on the screen, or make some producing money. It’s so that, legally, they’re part of every conversation. If we’re talking actors, actresses; if we’re getting movie outlines, TV outlines; they’re seeing it in real time. So we treat them like a real partner, with a real seat at the table. And what we do is, we try to do a delicate dance making both sides clear upfront: We have to make the best film, we have to make the best TV, but we’re going to do it while honoring our partners and their original vision as much as possible.What’s next? What’s closest to filming, coming to completion? Talk to me about the slate and how things are kind of jelling.Goldberg: I’m trying to think of what has already been messaged out there. In addition to having Tomb Raider in production right now, animated and live action, there’s a couple that are moving so fast, but we haven’t officially announced yet. We have some big things planned to announce. It feels like 2025 is going to be a pretty extraordinary year. There’s a lot of fantastic momentum. Johnson: I will tell you this: Sifu is tracking incredibly well. We’re super excited about that. The same with Shinobi; it’s moving unbelievably fast. There’s Just Cause with Universal that we’ve announced. It Takes Two, which the Sonic writers are adapting for us — such a wonderful adaptation of that. We are really excited about how that one’s coming together. Ruiner, the indie game that we’re doing with Wes Ball, who directed all the Maze Runner movies and did [Kingdom of the Planet of the Apes] and is going to do [The Legend of Zelda] — we have a draft. Those are things that are announced. Then there’s things that haven’t been announced, but when they’re announced, they’ll be announced with speed. They’re primarily TV-facing, but they’re huge, break-the-internet type of announcements that our nerdoms are exploding on — and we can’t believe it hasn’t leaked. Then there’s the new things we’re putting together. We are so close to getting our Vampire Survivors package out and our Dredge package out. Our last 24 hours have been consumed [by] Hazelight’s new game, Split Fiction, that has done extraordinarily well since the game came out. We are in the middle of it with Hazelight, [and] we have a massive [meeting] in a few minutes with someone who could be one of the two characters for the movie. It’s unbelievable.One of the projects we’re most excited about is with Brooklyn’s own (by way of London) Sam Barlow. We’re putting together Her Story, which is a passion project. Goldberg: Sam is so unbelievable as a game developer. [We think] it should be a movie, as a tight, twisty concept. It’s an intimate movie, and we’ve been building our village for that.See More:

Menu Home News Hardware Gaming Mobile Finance Deals Reviews How To Wccftech Mobile iPadOS 19 Reportedly Getting A Major Revamp To Make It Look And Feel Like macOS, As Apple’s Tablets Feature Hardware Easily Capable Of Running A Desktop Operating System Omar Sohail • Apr 13, 2025 at 08:40am EDT Apple has always made it a point to equip its iPads with the same highly capable internals as its Macs to raise the bar against the competition. At this time, there is no other product that can come to these slates. Unfortunately, the company has always come up short on the software front, as the previous iPadOS versions have always lacked features that would otherwise allow these tablets to properly flex their muscles. Well, the company might have realized the error of its ways because the latest report states that the upcoming iPadOS 19 update will deliver a significant design revamp that will deliver an experience equivalent to macOS. With the new design, iPadOS 19 will be focused on improving productivity, giving iPad owners a bigger reason to upgrade to the newer models In the latest ‘Power On’ newsletter from Bloomberg’s Mark Gurman, which was spotted by 9to5Mac, Apple is finally introducing an overhauled version of iPadOS 19. The company did bring in keyboard and mouse support over the years, along with data being copied through external storage such as portable solid-state drives, but it was high time that some solid additions made the cut to finally give iPad owners an experience similar to a laptop substitute. “I’m told that this year’s upgrade will focus on productivity, multitasking and app window management — with an eye on the device operating more like a Mac. It’s been a long time coming, with iPad power users pleading with Apple to make the tablet more powerful.” The details mentioned above do not provide any specifics, but what Gurman describes could be similar to how macOS functions. However, if there are too many similarities between the two operating systems, customers might be compelled to drop one product class over the other, resulting in lowered sales. We should find out more information during Apple’s WWDC 2025 keynote, which will kick off on June 9, so stay tuned for more updates. Subscribe to get an everyday digest of the latest technology news in your inbox Follow us on Topics Sections Company Some posts on wccftech.com may contain affiliate links. We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com © 2025 WCCF TECH INC. 700 - 401 West Georgia Street, Vancouver, BC, Canada

هل استحق ليغانيس ركلة جزاء أمام برشلونة؟ليغانيس خسر على أرضه أمام برشلونة بهدف عكسي (غيتي)13/4/2025لا تخلُ مباريات الدوري الإسباني من الجدل التحكيمي ففي كل جولة تشهد فيها مباراة أو أكثر لقطات تنقسم فيها أراء المتابعين بين مؤيد أو مخالف لرأي الحكم وآخرها في مباراة ليغانيس وضيفه برشلونة. وانتزع برشلونة أمس فوزا شاقا من مضيفه ليغانيس بهدف دون رد سجله المدافع خورخي ساينث بالخطأ في مرمى فريقه، في المباراة التي أقيمت على ملعب بوتاركي ضمن منافسات الجولة الـ31 من الدوري الإسباني. اقرأ أيضا list of 2 itemslist 1 of 2list 2 of 2end of list ودخل ليغانيس المهدد بالهبوط مباراته وهو تحت ضغوط فوز نظيره لاس بالماس على خيتافي 3-1، وعليه كان الفريق المحلي مطالبا بتحقيق الفوز من أجل الخروج ولو مؤقتا من دائرة الخطر، أما برشلونة فسعى لتحقيق انتصار يعزز من خلاله صدارته لجدول الترتيب. وعند الدقيقة61 طالب لاعبو ليغانيس ومدربهم بورخا خيمينيز باحتساب ركلة جزاء بعد ارتطام الكرة بجسد ويد إنيغو مارتينيز مدافع برشلونة، لكن الحكم هيرنانديز ماسيو لم يستجب لهم، وفي الوقت نفسه أكدت غرفة تقنية حكم الفيديو المساعد "فار" على صحة القرار. إعلان واتفق الخبير التحكيمي إيتورالدي غونزاليس مع قرار حكم الساحة، وقال "برأيي ليست ركلة جزاء. الكرة ارتطمت بالذراع اليمنى لمدافع برشلونة لكني أعتقد أن يديه كانتا ملتصقتين بجسده". وأضاف "لمسة اليد لم تكن متعمدة. وبعد مراجعة اللقطة عبر تقنية الفيديو (VAR) لم يُحتسب أي شيء أيضا، القرار صحيح". ولم يُخف غونزاليس استياءه من الجدل الدائم والمستمر حول الغموض الذي يحيط بقواعد احتساب لمسات اليد. وقال إيتوالدي غونزاليس "دعونا نتوقف عن تكرار هذه الأسطوانة، ليس المشجعين فقط بل المحترفين الذين يقولون دائما لم نعد نعرف متى تُعتبر لمسة يد يستوجب احتسابها". وتابع "من بين 1000 لمسة يد تحدث طوال الموسم قد أختلف في 4 حالات لا أكثر، إذا كنت لا تعرف ما هي اللقطة التي تستوجب احتساب لمسة يد من عدمه فأنت لست محترفا، كفي بُكاء ولنحاول أن نكون واضحين". وابتعد برشلونة بصدارة الدوري الإسباني موقتا بعد أن رفع رصيده من النقاط إلى 70، بفارق 7 نقاط عن غريمه ريال مدريد الذي يحل اليوم ضيفا على ألافيس ضمن الجولة ذاتها. فيما تجمّد رصيد ليغانيس عند 28 نقطة أبقته في المركز الـ19 وقبل الأخير، علما بأنه يبتعد مؤقتا بفارق نقطتين عن مراكز البقاء. المصدر : الصحافة الإسبانية

تشير التسريبات الأخيرة إلى أن جهاز iPhone 17 Pro القادم قد يحمل تصميمًا جديدًا بشكل كبير لوحدة الكاميرا الخلفية، على الرغم من أن أبل لم تؤكد أي تفاصيل رسمية بعد.وظهرت صور لحافظات طرف ثالث، والتي نشرها بشكل متكرر المُسرب المعروف في مجال أبل، Sonny Dickson، تظهر تقطيعًا أفقيًا أكبر يمتد عبر الجزء العلوي من الجهاز.وقد أثار هذا التغيير المحتمل التكهنات بأن أبل قد تتحول إلى شريط كاميرا كامل العرض لأول مرة في تاريخها. يُذكر أن Dickson يعتبر من أبرز الشخصيات في مجال تسريبات أبل، حيث قدم صورًا دقيقة لأجهزة مبكرة وتسريبات لحافظات الأجهزة المبنية على تصاميم CAD.وسبق له أن أثار الانتباه بتسريبات iPhone 5C، وأصبح منذ ذلك الحين مصدرًا موثوقًا للعديد من التسريبات المتعلقة بإكسسوارات iPhone.كما رصدت MacRumors لأول مرة الصور التي تُظهر هذا التغيير في تصميم الحافظة، الذي يختلف عن أي تصميمات سابقة.فبدلاً من الجزيرة المستطيلة أو المدورة للكاميرا، التي ظهرت في iPhone 15 Pro و iPhone 14 Pro، يبدو أن النموذج الجديد يدعم وحدة كاميرا تمتد عبر عرض الجهاز بالكامل. وقد قارن البعض هذا التصميم المحتمل مع تصميم Google Pixel 6 وما تلاه من نماذج، والتي اعتمدت شريطًا كاميرًا أفقيًا مشابهًا.قد يوفر هذا التصميم الجديد بعض الفوائد التقنية لأجهزة أبل، مثل تحسين توزيع الحرارة، وتوسيع المسافة بين العدسات، ودعم ميزات الفيديو المكانية المتوافقة مع Apple Vision Pro. ومع ذلك، تبقى هذه الفوائد محل تكهنات دون تأكيد رسمي من الشركة.كما هو الحال مع الأجيال السابقة، من الممكن أن يؤثر أي تغيير في تصميم وحدة الكاميرا على توافق الملحقات. وقد كانت أبل دائمًا ما تحدث إمكانيات الكاميرا كل عام، لكن هذا التغيير المقترح قد يمثل أول تحول رئيسي في تصميم وحدة الكاميرا منذ إدخال الشكل المربع لأول مرة مع iPhone 11 Pro.من غير الواضح في الوقت الحالي ما إذا كانت طرازات iPhone 17 و iPhone 17 Plus ستعتمدان نفس التصميم، حيث استخدمت أبل دائمًا طرازاتها الاحترافية لعرض الاتجاهات الجديدة في التصميم والابتكارات في مجال الكاميرا. ومن المتوقع أن يتم الإعلان عن سلسلة iPhone 17 في سبتمبر 2025.في النهاية، رغم أن التسريبات توفر لمحة مثيرة عما قد يحدث، إلا أنه يجب التنبيه إلى أن أبل لم تؤكد أي تغييرات حتى الآن. لذا يجب التعامل مع جميع تكهنات التصميم بحذر حتى الإعلان الرسمي.المصدر

While the gameplay loop in Schedule 1 is quite satisfying, the game is still in the early access phase, and it will require some time to solidify its mechanics and add more user-friendly features. However, that's where modders come in to help the community.

Andor, the best Star Wars show to date, is set to return for its second and final season on April 22. A lot of people are excited about it, not the least of which being Andor showrunner Tony Gilroy, who has gone so far as to describe it as “the most important thing [he’ll] ever get to do in terms of how much imagination went into it.” That enthusiasm is owed not only to the cultural ubiquity of Star Wars itself, with its centuries-spanning chronology and incalculably vast offshoots, but the show’s intricate exploration of the nature of how rebellions are formed and what motivates the people who fight in them. What better way to prepare for Andor’s swan song than to watch some of the greatest films to depict the moral and mortal stakes of revolutionary movements, how despotic regimes come into power, and the lives of those who participate in them? Here are five great films about revolution to watch while you wait for Andor season 2. Army of Shadows Director: Jean-Pierre MelvilleCast: Lino Ventura, Paul Meurisse, Jean-Pierre CasselWhere to watch: Available to rent on Amazon, Apple, and Vudu In the final episode of Andor’s first season, Cassian listens to Karis Nemik’s manifesto while hiding out inside a derelict starcruiser on the outskirts of Ferrix City. “There will be times when the struggle seems impossible,” Nemik’s voice narrates from beyond the grave. “I know this already. Alone, unsure, dwarfed by the scale of the enemy.” He could easily have been describing the premise of Jean-Pierre Melville’s 1969 suspense-drama about French resistance fighters living in Nazi-occupied Lyon. Lino Ventura stars as Philippe Gerbier, a leader of a resistance cell who narrowly escapes from a concentration camp before resuming his operation to frustrate and overcome the occupation. Buoyed by success as belayed setbacks, Gerbier and his fast-made compatriots sacrifice everything in their fight to free themselves from the yoke of Nazi oppression. Melville’s film is a bleak, unglamorous depiction of the mortal and moral costs of resistance, as Gerbier’s compatriots are either outed as Nazi conspirators and subsequently executed or lose their lives in service of liberating France from its occupiers. While perhaps not as, say, propulsive as Andor’s premise, Army of Shadows is an exquisite film vindicated by its performances and marvelous execution. —Toussaint Egan The Battle of Algiers Director: Gillo PontecorvoCast: Jean Martin, Saadi Yacef, Brahim HadjadjWhere to watch: Max, Criterion Channel Back in 2023, Benjamin Caron, who directed three episodes in the first season of Andor, said in an interview with The Hollywood Reporter that the climax of season 1 was directly inspired by Gillo Pontecorvo’s 1966 war film. “I actually pitched [Andor showrunner Tony Gilroy] a reference for the last episode. One of my favorite films is The Battle of Algiers, and I was like, ‘There’s something about your writing that feels similar to that.’ And he was like, ‘Yeah, that’s it! I’ve gotta go back and watch that.’ And so we just jammed about how great that film is and how much of that flavor and texture we could get from it. So that became a big reference point for the [season 1] finale where the locals rise up against the Empire.” Released in 1966, just four years following the conclusion of the Algerian War, The Battle of Algiers centers on two protagonists: Ali La Pointe, the Algerian freedom fighter who led an uprising between 1954 and 1957, and Lt. Col. Mathieu, the French paratrooper commander tasked with quelling the rebellion and apprehending La Pointe. Shot on location with newsreel-inspired cinematography, Pontecorvo’s film is a blistering, kinetic experience from beginning to end, with crowd-sized street scuffles and explosive skirmishes. Of all the memorable moments I can recall from my first time watching of The Battle of Algiers, it’s the quiet exchange between Ali and Ben M’hidi, a fellow revolutionary, that’s stuck in my mind. “It’s hard enough to start a revolution, even harder to sustain it, and hardest of all to win it,” Ben M’Hidi tells Ali. “But it’s only afterwards, once we’ve won, that the real difficulties begin.” —TE The Conformist Director: Bernardo BertolucciCast: Jean-Louis Trintignant, Stefania Sandrelli, Gastone MoschinWhere to watch: Kanopy, Hoopla; available to rent on Amazon, Apple, and Vudu There’s two sides to every rebellion. For every uprising clamoring to be seen and heard, there’s a status quo pulling strings to stamp it out. For every revolutionary, there is a collaborator. In Andor, that collaborator is Syril Karn, a civil servant with a dedication to the Galactic Empire that borders on fanatical. In Bernardo Bertolucci’s 1970 classic The Conformist, that collaborator is Marcello Clerici, a mid-level flunky for the Italian Fascist secret police who is tasked with killing his mentor and former professor, an anti-Fascist dissident living in Paris. The Conformist isn’t just a fascinating depiction of the tacit complicity and barbarism inherent to fascist regimes, but one of the most visually stunning stories ever committed to the medium of film. Bertolucci’s film has been cited by the likes of the Coen brothers, Francis Ford Coppola, and Steven Spielberg as an influence on their respective work, and for good reason. The Conformist’s use of canted angle cinematography, symbolic lighting, and composition coalesces into an immaculate aesthetic whole, conveying its exploration of the depths of Clerici’s cowardice and cruelty on both a visual and psychological level. Don’t just watch this film because it’s a terrific pairing with Andor; watch it because it’s a bona fide life-changing masterpiece. —TE The Motorcycle Diaries Director: Walter SallesCast: Gael García Bernal, Rodrigo de la Serna, Mía MaestroWhere to watch: Available to rent on Amazon, Apple, and Vudu The Battle of Algiers wasn’t the only prominent historical inspiration Caron divulged while discussing the making of Andor season 1 with The Hollywood Reporter. In the same interview, Caron shared that when Gilroy brought him on board to work on the show, they discussed Cassian Andor’s arc from a modest smuggler to a revolutionary leader. “[Tony] was like, ‘What was Che Guevara like before he became Che Guevara?’ So it was about how this individual who was a bit lost and just trying to make a quick buck could start believing in something bigger than himself, and that would be the start of a rebellion.” What better film to watch in the lead-up to Andor’s final season than Walter Salles’ coming-of-age biopic about Guevara’s 1952 trek across the South American continent with his lifelong friend Alberto Granado? The Motorcycle Diaries stars Gael García Bernal (Y tu mamá también) as Ernesto “Fuser” Guevara, a 23-year-old medical student who embarks on the journey in order to see the world before graduating medical school. Over the course of their adventure, Guevara and Granado witness the harsh disparity between the haves and the have-nots, culminating in an fateful encounter working at a leper colony that shapes Guevara’s worldview for the rest of his life. If that connective tissue weren’t already enough, García Bernal and Diego Luna, who plays Cassian Andor, have been lifelong friends and co-starred in Y tu mamá también. —TE Uptight Director: Jules DassinCast: Raymond St. Jacques, Ruby Dee, Julian MayfieldWhere to watch: Available to rent on Amazon, Apple, and Vudu The great filmmaker Jules Dassin is best known for the heist movie classic Rififi. Andor is a show that has its own heists, so there’s an argument to watch that one as well (and truly, you don’t need an excuse). But it’s his scintillating drama Uptight that most closely relates to Andor’s themes and narratives, and it’s an all-timer in the history of American movies about activism and the difficulties of organizing mass political movements amid times of despair. Co-written by stars Ruby Dee and Julian Mayfield, Uptight takes place directly after the assassination of Martin Luther King Jr., and follows a group of Black activists preparing for what seems like an inevitable, larger armed racial conflict. When one of the activists — distraught by King’s assassination, spiraling into alcoholism and despair, and outcast by the others — is tempted to make his life more simple by telling the police about the group’s activities, tensions flare and no easy answers are found. Uptight is an explosive, sweaty, and immaculately constructed political drama that feels as relevant as it’s ever been. It fits with many of Andor’s themes about the challenges of revolution, but also just as well with our own current political moment. —Pete Volk

Lucid Motors has announced that it's acquiring certain facilities in Arizona owned by Nikola, an EV truck maker that filed for Chapter 11 bankruptcy protection back in February. It will also offer more than 300 former Nikola employees jobs across its facilities in the state, including roles in engineering, software, assembly, vehicle testing and warehouse support. Lucid says that most of the space it's buying is comprised of state-of-the-art manufacturing and warehousing buildings. It's also getting the equipment inside those buildings, such as Nikola's battery and environmental testing chambers, machining equipment and a full-size chassis dynamometer, among others.  Nikola, which was founded in 2015, used those facilities as its factory, headquarters and development center for zero-emission heavy trucks. When it announced its bankruptcy in February, the company also said that it was going to sell off its assets. Lucid didn't say how much it's paying for the purchase, but the deal is valued at $30 million in cash and non-cash considerations, according to Electrek. The acquisition is part of Lucid's planned expansion in Arizona, but it still has to be approved by the US Bankruptcy Court for the District of Delaware.  "As we continue our production ramp of Lucid Gravity and prepare for our upcoming midsize platform vehicles, acquiring these assets is an opportunity to strategically expand our manufacturing, warehousing, testing, and development facilities while supporting our local Arizona community," said Marc Winterhoff, Interim CEO at Lucid. The company launched its electric SUV, Gravity, 2024. At the moment, only the $94,000 Grand Touring trim is available, but Lucid plans to start production for the $79,900 Touring model sometime this year.This article originally appeared on Engadget at https://www.engadget.com/transportation/lucid-to-buy-nikolas-arizona-ev-facilities-after-the-latters-bankruptcy-123027329.html?src=rss

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Want more housing market stories from Lance Lambert’s ResiClub in your inbox? Subscribe to the ResiClub newsletter. U.S. existing-home sales totaled just 4.06 million in 2024—the lowest annual level since 1995, according to the National Association of Realtors. That’s far below the 5.3 million in pre-pandemic 2019. But here’s the thing: Today’s housing market is even more constrained when you consider that the U.S. now has 76.3 million more people and 33.2 million more households than it did in 1995. To illustrate this point, ResiClub created the following chart: U.S. existing home sales adjusted for population size. (We used total household counts instead of total population counts). In January 2025, the seasonally adjusted annualized rate of U.S. existing home sales was 4.08 million. Dividing that figure by the total number of U.S. households (132.2 million) results in 3.1%. Pretty much the last time U.S. existing home sales—adjusted for population—were lower was in the early 1980s, when the average 30-year fixed mortgage rate peaked at 18.63% in October 1981. The sharp deterioration in housing affordability has constrained existing home sales across the country. Some of this is due to homebuyers pulling back from the market, but much of it stems from homeowners who would like to sell and buy something else but aren’t doing so. Giving up their lower monthly payment and interest rate—73.3% of outstanding mortgages have a rate below 5.0%—for a much higher monthly payment and rate is hard to stomach. And even if they were willing to move, many homeowners can’t qualify right now for that new mortgage at current mortgage rates and home prices. To compare with the analysis/chart above, below is the monthly seasonally adjusted annualized rate (SAAR) of U.S. existing home sales without adjusting for population. Big picture: To some degree, pent-up churn is building up in the housing market. In theory, the lock-in effect caused by the affordability deterioration and mortgage rate shock is most acute right out of the gate. However, over time, as lifestyle changes increase, incomes rise, and affordability improves, some additional turnover in the existing home market could be unlocked as “switching costs” come down.

A nightstand doesn’t have to be bulky to be beautiful—and this Floating Wooden Bedside Table proves it perfectly. Designed with minimalism in mind (and using premium solid wood), it’s the kind of piece that adds elegance and practicality without taking up extra floor space. This nightstand is ideal for small bedrooms, guest rooms, or apartments where smart storage is key. It features a clever floating design with compartments for books, candles, glasses, and nighttime essentials. So you can keep everything you need when in bed right at hand, but without taking up too much space in your room. Its warm, natural tone and clean lines bring a cozy and organic vibe. This works amazingly with everything, from rustic to Scandinavian interiors. Use it beside your bed, next to a reading nook, or even in an entryway—it’s that versatile. Plus, installation will take you just minutes. This makes it a win for DIY lovers and design minimalists alike. Whether you’re updating your space or gifting a piece of furniture with real staying power, this floating nightstand is both a functional favorite and a stylish standout. We especially love it as a housewarming gift, too! You can find yours now, available on Etsy.