Dune: Awakening delayed for last minute changes from beta testers "We want to make sure we stick the landing." Image credit: Funcom News by Ed Nightingale Deputy News Editor Published on April 15, 2025 Dune: Awakening has been delayed slightly to implement last minute changes from beta testers. Back in February, developer Funcom announced a release date of 20th May on Steam. That's now been pushed back to 10th June (with earlier access for pre-orders on 5th June). In a statement on social media, Funcom explained a major preview beta has been initiated in addition to the game's ongoing Persistent Closed Beta that's provided "invaluable" feedback to ensure the studio can "launch a quality game". Dune: Awakening - Is It Good? Hands-On Impressions & New GameplayWatch on YouTube "Thanks to this process, we've concluded that with a bit more time to cook, we can act on a lot more of the feedback we know is important to our beta testers," the statement reads. "This is not a decision we take lightly, we know everyone is very excited to get playing, but these three extra weeks will give us the time needed to make improvements that will lead to a better gameplay experience from day one." As a result of the delay, Funcom will launch a large-scale beta weekend next month, with more information expected soon. "Dune: Awakening is a beast of a game," the studio said. "This is multiplayer survival on a massive scale, and we're making gameplay and technical strides not seen in the genre before. We want to make sure we stick the landing." An important update regarding Dune: Awakening:[image or embed]— Dune: Awakening (@duneawakening.com) 15 April 2025 at 15:14 To see this content please enable targeting cookies. There's no mention in the statement of the game's console release on PS5 and Xbox Series X/S, which is expected to follow PC. Before May was originally confirmed, the game had an "early 2025" release date. The game's executive producer Scott Junior told Eurogamer: "I guess it depends how you define early. It could be the first half of '25 - that could be 'early'. So I'll leave it there. It could be the first half of 2025." Eurogamer's Bertie Purchese came away impressed after going hands-on with Dune: Awakening at the start of the year, writing: "You can live out your Dune fantasy in the most faithful recreation of Arrakis we've yet seen in a game, pausing as the ground shudders from a nearby sandworm, ducking for cover as a sandstorm blows in, and searching crevices for the secrets of the world hidden within. Dune: Awakening has promise - keep an eye on this one."

Jessica Chastain’s New York apartment is up for grabs again, this time with a reduced price tag. The pre-war co-op is now up for grabs at $6.5 million; the actor previously listed the dwelling for $7.45 million in May 2024.Chastain’s four-bedroom, three-and-a-half-bathroom apartment is located a block from Central Park—and it’s in the same building where legendary composer Leonard Bernstein once resided. It was there that the icon reportedly wrote the music for West Side Story. Chastain purchased the residence from composer and lyricist Adam Guettel in 2015 for $5.1 million. The Eyes of Tammy Faye star welcomed AD inside the abode in a 2017 home tour, where she shared that Guettel is one of her favorite composers.The roughly 3,200-square-foot pad was originally constructed in 1885. The unit is in the Osbourne, which is reportedly one of New York City’s first luxury apartment buildings. The sprawling abode retains its signature Victorian-era exteriors. Historic details include a Tiffany Studio–designed bay window with leaded glass transoms, restored mahogany wainscoting, intricate millwork, crown moldings, and oak parquet floors. Five wood-burning fireplaces are found throughout the space, with one uncovered in the primary bedroom during renovations.The Zero Dark Thirty star and her husband, Moncler executive Gian Luca Passi de Preposulo, turned to designers Jesse Carrier and Mara Miller of AD100 firm Carrier and Company to update the home. The main bedroom is outfitted with Ralph Lauren furniture and wall coverings. Other amenities found in the expansive primary suite include mirrored closets and a copper soaking tub, which was inspired by the in-bedroom bathtubs at London’s Dean Street Townhouse restaurant. The home’s dining area features custom built-in window seating, and the adjacent eat-in kitchen boasts oak cabinetry, a custom island, luxury integrated appliances, and a rolling library ladder.Join NowAD PRO members enjoy exclusive benefits. Get a year of unlimited access for $25 $20 per month.ArrowCarl Gambino of the Gambino Group at Compass holds the listing.

The real long-term bogey FCC head Brendan Carr tells Europe to get on board with Starlink Author of Project 2025 chapter says EU regulators have “bias” against US tech firms. Kieran Smith and Peggy Hollinger, Financial Times – Apr 15, 2025 9:27 am | 100 A Starlink satellite dish in Oriximiná, Brazil on August 9, 2023. Credit: Getty Images | Tarcisio Schnaider A Starlink satellite dish in Oriximiná, Brazil on August 9, 2023. Credit: Getty Images | Tarcisio Schnaider Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more One of President Donald Trump’s top officials has warned European allies hesitant about working with Elon Musk’s satellite Internet company that they needed to choose between US and Chinese technology. Federal Communications Commission Chair Brendan Carr told the Financial Times that “allied western democracies” needed to “focus on the real long-term bogey: the rise of the Chinese Communist party.” His comments come as European governments and some European companies consider whether Starlink—which is owned by Musk’s SpaceX and provides satellite broadband and limited mobile services—is a reliable partner after Washington threatened to switch off its services in Ukraine. Carr, a longtime ally of Musk who Trump tapped to run the agency after his re-election as president, said it was “unfortunate” that politics appeared to be influencing long-term decisions. “If you’re concerned about Starlink, just wait for the CCP’s version, then you’ll be really worried,” he said. UK telecoms companies BT and Virgin Media 02 are among the companies trialling Starlink’s technology for mobile or broadband services—although neither has yet signed a full agreement with the provider. Carr has previously argued in favor of Musk’s businesses in the US, claiming they had been targets of “regulatory harassment” ever since the billionaire took over Twitter in 2022. He has also repeatedly suggested that Joe Biden’s administration discriminated against Starlink by denying it US government subsidies for rural broadband. Carr told the FT that he believed Europe was “caught” between Washington and Beijing and warned of a “great divide” opening up between “CCP-aligned countries and others” in artificial intelligence and satellite technology. The FCC chair—who authored a chapter of Project 2025, the conservative blueprint for a Republican presidency published by the rightwing Heritage Foundation—said European regulators had a “bias” against US technological companies. He also accused the European Commission of “protectionism” and an “anti-American” attitude. “If Europe has its own satellite constellation then great, I think the more the better. But more broadly, I think Europe is caught a little bit between the US and China. And it’s sort of time for choosing,” he said. The European Commission said it had “always enforced and would continue to enforce laws fairly and without discrimination to all companies operating in the EU, in full compliance with global rules.” Shares in European satellite providers such as Eutelsat and SES soared in recent weeks despite the companies’ heavy debts, in response to the commission saying that Brussels “should fund Ukrainian [military] access to services that can be provided by EU-based commercial providers.” Industry experts warned that despite the positivity, no single European network could yet compete with Starlink’s offering. Carr said that European telecoms companies Nokia and Ericsson should move more of their manufacturing to the US as both face being hit with Trump’s import tariffs. The two companies are the largest vendors of mobile network infrastructure equipment in the US. Carr said there had been a historic “mistake” in US industrial policy, which meant there was no significant American company competing in the telecom vendor market. “I don’t love that current situation we’re in,” he said. Carr added that he would “look at” granting the companies faster regulatory clearances on new technology if they moved to the US. Last month, Ericsson chief executive Börje Ekholm told the FT the company would consider expanding manufacturing in the US depending on how potential tariffs affected it. The Swedish telecoms equipment maker first opened an American factory in Lewisville, Texas, in 2020. “We’ve been ramping up [production in the US] already. Do we need bigger changes? We will have to see,” Ekholm added. Nokia said that the US was the company’s “second home.” “Around 90 percent of all US communications utilizes Nokia equipment at some point. We have five manufacturing sites and five R&D hubs in the US including Nokia Bell Labs,” they added. Ericsson declined to comment. © 2025 The Financial Times Ltd. All rights reserved. Not to be redistributed, copied, or modified in any way. Kieran Smith and Peggy Hollinger, Financial Times Kieran Smith and Peggy Hollinger, Financial Times 100 Comments

A knockout deal.Street Fighter 6 will be coming to Switch 2 on launch day, and you'll be able to pick it up either on its own or as the Years 1-2 Fighters Edition, which includes the first two DLC packs as standard.Well, if you live in the UK, that choice might just be a little bit easier for you now, as friend of the site Jon Cartwright discovered, you can actually grab the version with all the DLC included with it for just over GBP £35.00.Read the full article on nintendolife.com

Semiconductor giant Nvidia is facing unexpected new U.S. export controls on its H20 chips. In a filing Tuesday, Nvidia said it was informed by the U.S. government that it will need a license to export its H20 AI chips to China. This license will be required indefinitely, according to the filing — the U.S. government cited “risk that the [H20] may be used in […] a supercomputer in China.” Nvidia anticipates $5.5 billion in related charges in its Q1 2026 fiscal year, which ends April 27. The company’s stock was down around 6% in extended trading. The H20 is the most advanced AI chip Nvidia can export to China under the U.S.’ current and previous export rules. Last week, NPR reported that CEO Jensen Huang might have talked his way out of new H20 restrictions during a dinner at President Donald Trump’s Mar-a-Lago resort, in part by committing that Nvidia would invest in AI data centers in the U.S. Perhaps not-so-coincidentally, Nvidia announced on Monday that it would spend hundreds of millions of dollars over the next four years manufacturing some AI chips in the U.S. Pundits were quick to point out that the company’s commitment was light on the details. Multiple government officials had been calling for stronger export controls on the H20 because the chip was allegedly used to train models from China-based AI startup DeepSeek, including the R1 “reasoning” model that threw the U.S. AI market for a loop in January. Nvidia declined to comment.

Jennie C. Jones often explores sound in her work to engage and rethink minimalism and modernism. Influenced by Black avant-garde music, she uses sound and listening as key parts of her creative process. Jones’s Ensemble, this year’s Metropolitan Museum of Art Roof Garden Commission, reflects these ideas through three geometric sculptures that interact with natural elements to produce sounds that blend seamlessly with the cacophony of New York City noise. The smooth surfaces of the sculptures are made of aluminum and coated in a deep maroon. The shapes are contemporary interpretations of string instruments featured in The Met’s collection—a trapezoidal zither; a tall Aeolian harp; and a doubled, leaning one-string. The forms are angular, each with edges painted in bright red and are located alongside concrete blocks made to resemble travertine found in The Met’s Great Hall. Ensemble consists of three sculptures, each contemporary interpretations of string instruments featured in The Met’s collection. (Hyla Skopitz/The Metropolitan Museum of Art) The sculpture modeled after a zither, a flat string instrument primarily used to play folk music, resembles Jones’s 2013 work, Bass Traps with False Tones. It is a trapezoid with strings on its back, while its face and hollow center are pointed diagonally toward the sky. Jones’s interpretation of an Aeolian harp is based on These (Mournful) Shores (2020), an outdoor sculpture conceived by Jones for the Clark Art Institute in Williamstown, Massachusetts. The large rectangular structure was faced with strings that play music without the need of a physical musician, instead moving with wind. The sculpture portraying a one-string draws on the instrument played by blues musicians in the South. Jones specifically took inspiration from Moses Williams and Louis Dotson who crafted their instruments from meager means. The musicians played their instruments upright against a wall or tree, so Jones’s piece comprises two oblong shapes with one string, each leaning on a soundbar. The sculptures in Ensemble have the potential to make sound, depending on the wind. (Hyla Skopitz/The Metropolitan Museum of Art) All of the works in Ensemble were engineered and designed specifically with the potential to produce noise. Depending on the wind, the pieces sound along with the tumult of the city. Otherwise, the sculptures sit silently on the rooftop, much like their historic precedents on view in the galleries. The Met has commissioned 12 rooftop installations since 2013. Ensemble is to be the last until the opening of The Met’s modern and contemporary art wing in 2030. Ensemble by Jennie C. Jones is on view at The Met through October 19.

This attractive Federal-style Cape house is located in Canterbury, Connecticut, and is one of the very finest such houses of its type in the state. The house was built by William Levally, a successful millowner in town who married Patience Horton just prior. William died unexpectedly in 1841, and the property was inherited by Patience, who then married Hezekiah Crandall, also a millowner, who was also the brother of Prudence Crandall, the teacher who operated the famous African American girls boarding school in Canterbury Center in the 1830s. Hezekiah and his sister later migrated to Kansas, after essentially being pushed out of town. The Levally-Crandall House stands out for its proportions, exterior moldings, and ornate entry with pilasters, sidelights, and a molded, keyed arched transom. The house has been lovingly preserved by the successive owners, who clearly take pride in owning such a piece of history.

Photo by Mauricio Hoyos. All images courtesy of Ralph Ziman, shared with permission Five Years in the Making, an MiG-21 Fighter Jet Gets a Glow-Up from Tens of Millions of Glass Beads April 15, 2025 Kate Mothes “We’re going to make stuff out of beads that is going to take people’s breath away,” says Ralph Ziman in the trailer for “The MiG-21 Project,” a military jet that he and a transcontinental team coated nose to tail in millions upon millions of glass beads. For the past 12 years, the Los Angeles-based artist has examined the impacts of the Cold War Era and the global arms trade through a trilogy titled Weapons of Mass Production, motivated by his upbringing in Apartheid-era South Africa. More than half a decade in the making, “The MiG-21 Project” completes the series. The first installment, “The AK-47 Project,” reimagined the aesthetic of one of the world’s most ubiquitous wartime weapons, the Avtomat Kalashnikova 1947, by coating dozens of the guns in colorful glass beads. The second project revolved around the Casspir, a heavy-duty Mine-Resistant Ambush Protected Vehicle (MRAPV) introduced in the 1970s, which he likewise ornamented in vibrant geometric patterns. “The idea was to take these weapons of war and to repurpose them,” Ziman says, flipping the narrative about icons of violence and transforming them instead into symbols of resilience, collaboration, and collectivity. Vehicles and firearms morph into a theater of hope and strength in the face of a terrible 20th-century legacy. Apartheid, which in Afrikaans means “separateness,” is the name assigned by the minority white-ruled Nationalist Party of South Africa to a harsh system of racial segregation that began in 1948. The period lasted until 1991 and was closely linked within the context of international relations to the Cold War as tensions erupted between the U.S. and the former U.S.S.R. Spurred by the deterioration of the two countries’ WWII alliance and fears about the spread of Communism into the West, the war began in 1947 and also ended in 1991 when the U.S.S.R. was dissolved. During this time, the Russians produced a fighter jet called the Mikoyan-Gurevich MiG-21. The plane is “the most-produced supersonic fighter aircraft of all time,” Ziman says. “The Russians built 12,500 MiG-21s, and they’re still in use today—just like the Casspir and just like the AK-47s. But it’s one thing to say, hey, I want to bead a MiG, and then the next thing, you’ve got a 48-foot MiG sitting in your studio.” The MiG-21 cockpit “The MiG-21 Project” combines photography and costume design with historical research and time-honored Indigenous craft. The project encompasses not only the jet but a series of cinematic photographs and elaborate Afrofuturist regalia inspired by military flight suits, African tribal textiles, and space travel. Ziman’s team comprises numerous skilled artisans from Zimbabwe and Indigenous Ndebele women from South Africa’s Mpumalanga Province, who are renowned for their beadwork. For the Ndebele, beadwork is a means of expressing cultural identity and rites of passage, taking on powerful political connotations in the 20th century as it became associated with pre-colonial African traditions and identity. Tapping into the lessons of our not-so-distant past, Ziman addresses current conflicts like war and the global arms race, modern colonialism, systemic racism, and white supremacy through the lens of Apartheid. Funds raised throughout the process, part of the mission of the Weapons of Mass Production trilogy as a whole, are being donated to the people of Ukraine in support of the country’s ongoing conflict with Russia. You’ll be able to see the “The MiG-21 Project” later this year in Seattle, where it will be on view from June 21 to January 26, 2026, at the Museum of Flight. Explore more on Ziman’s website. Photo by Mauricio Hoyos Photo by Mauricio Hoyos “Hero Of Cuito Cuanavale,” Inkjet on Moab Entrada paper, 43 x 56 inches Photo by Mauricio Hoyos Detail of the MiG-21 cockpit Photo by Mauricio Hoyos “The Raider and Her MiG-21,” Inkjet on Moab Entrada paper, 43 x 56 inches Photo by Mauricio Hoyos Next article

One of the cyber security world's most significant assets, the common vulnerabilities and exposures (CVE) system operated by US-based non-profit MITRE appears to be heading for trouble after it emerged that the contract pathway for MITRE to continue to run the project on behalf of the US authorities, is set to lapse on Wednesday 16 April with no replacement ready. In a letter to MITRE board members circulated today, a copy of which has been reviewed by Computer Weekly, Yosry Barsoum, vice president and director at the Centre for Securing Homeland (CSH) at MITRE, said the US government was currently making “considerable efforts” to continue MITRE’s longstanding role in the CVE programme. “If a break in service were to occur, we anticipate multiple impacts to CVE, including deterioration of national vulnerability databases and advisories, tool vendors, incident response operations, and all manner of critical infrastructure,” wrote Barsoum. “MITRE continues to be committed to CVE as a global resource. We thank you as a member of the CVE Board for your continued partnership,” he added. A spokesperson for MITRE confirmed the legitimacy of Barsoum’s statement to Computer Weekly. They described the CVE programme as a “foundational pillar” of the cyber sector, anchoring a global industry worth close to $40bn (£30bn). The 25 year-old CVE system is designed to serve as a reference and repository for disclosed cyber security vulnerabilities, and has been maintained by MITRE since its inception at the end of the 1990s, with funding drawn from the National Cyber Security Division of the Department of Homeland Security. Over the years its impact on the world of security research has been of immense significance, providing cyber defenders with data on emerging vulnerabilities and threats, some of which have been implicated in some of the largest cyber incidents ever seen – such as WannaCry, SolarWinds Sunburst, Log4j, and MOVEit to name but a few. Its continuing work will be familiar to most thanks to the sheer volume of CVEs – recognisable by their unique identifiers comprising the letters CVE, the year, and a numeric code – released on the second Tuesday of every month by Microsoft in its Patch Tuesday update. If it was to have to cease operations, even temporarily pending a contract renewal, the impact would be keenly felt across the entire technology industry. Patch Tuesday aside, the current number of CVEs of all types being discovered and disclosed is running at record highs and shows no signs of slowing. Disruption to the CVE system would be a gift to both financially-motivated cyber criminals and nation-state actors alike, who would be able to swiftly take advantage of any downtime as they continue to seek out, develop and weaponise new vulnerabilities, while security professionals would be left fumbling in the dark. Coming amidst deep and painful government cuts being made in the US, the potential risk to the national security postures of the US and its allies from states such as China and Russia, is also extremely serious – a fact not lost on many members of the security community who took to social media late 15 April to spread the word. Writing on LinkedIn, one observer speculated that the deprecation of MITRE’s contract was by design, and that taken alongside cuts to the likes of the Cybersecurity and Infrastructure Security Agency (CISA) and the National Institute of Standards and Technology (NIST), the US was tearing down core security institutions amid a significant ongoing cyber crisis. But with customary community spirit, many cyber professionals are already stepping up to address the looming shutdown. Patrick Garrity, a security researcher at VulnCheck, said: “We want to take a moment to thank MITRE for its decades of contributions to the CVE programme. “Given the current uncertainty surrounding which services at MITRE or within the CVE programme may be affected, VulnCheck has proactively reserved 1,000 CVEs for 2025.” Garrity added that VulnCheck’s reporting service would continue to assign CVE numbers for as long as it could do so. “VulnCheck is closely monitoring the situation to ensure that both the community and our customers continue to receive timely, accurate vulnerability data,” he said. MITRE added that historical CVE Records will continue to be available at GitHub. Read more about MITRE's work A MITRE collaboration with industry looks to strengthen AI defences with trusted contributors set to receive, protected, anonymised data about AI cyber incidents. The Mitre ATT&CK framework may seem daunting at first, but it is a key tool that helps SOC teams conduct threat modeling. Learn how to get started. An FDA MITRE playbook highlights key medical device security considerations and a resource appendix to help healthcare organisations navigate incident preparedness and response.

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