In the new The Fantastic Four: First Steps trailer, if you look closely at the scene where Ebon Moss-Bachrach’s Thing lifts a car over his head, you will see there are stacks of comic books in the foreground. This is a great deep cut Easter egg, because back in the Silver Age, when the Fantastic Four were first created by Stan Lee and Jack Kirby. In their Fantastic Four comics, the FF were celebrities, and the subjects of their very own comics. (Sometimes, the characters would even complain about how Stan and Jack’s comics portrayed them.) It was all very meta, and very ahead of its time.And that’s just one of the cool Marvel references, little details, and hidden Easter eggs you might have missed in the first full trailer for The Fantastic Four: First Steps. In our latest FF video we’ll point out all of them, from the references to The Ed Sullivan Show to the shoutout to Timely Comics to the single most interesting shot in this trailer and what it tells us about Celestials, the multiverse, and the plot of Avengers: Doomsday.Watch our full Fantastic Four trailer breakdown video below:READ MORE: The Weirdest Marvel Comics Ever PublishedIf you liked that video breaking down all the Easter eggs in the first full Fantastic Four: First Steps trailer, check out more of our videos below, including one on The Fantastic Four: First Steps CinemaCon footage, one on Daredevil: Born Again Episode 7 and why the end of the Muse storyline was a huge mistake, and one on why Spider-Man isn’t among the announced cast of Avengers: Doomsday. Plus, there’s tons more videos over at ScreenCrush’s YouTube channel. Be sure to subscribe to catch all our future episodes. The Fantastic Four: First Steps is scheduled to open in theaters on July 25.Sign up for Disney+ here.Get our free mobile appEvery Marvel Cinematic Universe Movie, Ranked From Worst to BestIt started with Iron Man and it’s continued and expanded ever since. It’s the Marvel Cinematic Universe, with 35 movies and counting. But what’s the best and the worst? We ranked them all.

Key ResponsibilitiesFreelance-Shopify Development & Code ManagementDevelop, customize, and optimize Shopify themes using Liquid, HTML, CSS, JavaScript, and JSON.Build and integrate custom Shopify apps to enhance store functionality.Ensure proper version control and collaboration by working with Git branches, managing pull requests, and merging code changes.Maintain code quality, scalability, and documentation for long-term maintainability.UI/UX & Design EnhancementsImplement custom UI elements (buttons, interactive components, layouts) to enhance the shopping experience.Collaborate with designers using Figma to translate mockups into fully functional Shopify pages.Ensure mobile responsiveness, accessibility, and adherence to modern UX best practices.Performance Optimization & A/B TestingOptimize site speed, performance, and SEO for better rankings and user experience.Conduct A/B testing to analyze and improve conversion rates.Use data-driven insights to make iterative improvements in the store’s design and functionality.Security, Automation & Best PracticesImplement security best practices to protect customer data and transactions.Integrate AI-driven automation tools like ChatGPT for task efficiency.Stay up to date with Shopify updates, industry trends, and emerging technologies.Requirements Proven experience as a Shopify Developer with a strong portfolio of e-commerce projects. Expertise in Shopify Liquid, HTML, CSS, JavaScript, JSON. Strong Git skills – experience working with branches, pull requests, merging strategies, and version control workflows. Experience in developing, customizing, and integrating Shopify apps (public or private). Proficiency in A/B testing and data-driven decision-making for improving UI/UX and conversions. Hands-on experience with Figma for design collaboration. Deep understanding of SEO principles and technical optimizations. Awareness of cybersecurity best practices in e-commerce. Strong analytical mindset and ability to optimize performance based on data. Ability to work in an agile, remote team environment. Fluent in English (German is a plus). Availability to work in the Swiss time zone.What We Offer Competitive salary based on experience. Fully remote position with flexible work arrangements. Opportunity to work on a high-growth e-commerce platform. Be part of an innovative and passionate team in the beauty and tech industry.How to ApplyIf you are a proficient Shopify Developer with experience in Git-based workflows, UI/UX design, app development, and A/B testing, we would love to hear from you!Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote Full-Stack Programming JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

Forests are the second-largest carbon sink on the planet, after the oceans. To understand exactly how much carbon they trap, the European Space Agency and Airbus have built a satellite called Biomass that will use a long-prohibited band of the radio spectrum to see below the treetops around the world. It will lift off from French Guiana toward the end of April and will boast the largest space-based radar in history, though it will soon be tied in orbit by the US-India NISAR imaging satellite, due to launch later this year. Roughly half of a tree’s dry mass is made of carbon, so getting a good measure of how much a forest weighs can tell you how much carbon dioxide it’s taken from the atmosphere. But scientists have no way of measuring that mass directly.  “To measure biomass, you need to cut the tree down and weigh it, which is why we use indirect measuring systems,” says Klaus Scipal, manager of the Biomass mission.  These indirect systems rely on a combination of field sampling—foresters roaming among the trees to measure their height and diameter—and remote sensing technologies like lidar scanners, which can be flown over the forests on airplanes or drones and used to measure treetop height along lines of flight. This approach has worked well in North America and Europe, which have well-established forest management systems in place. “People know every tree there, take lots of measurements,” Scipal says.  But most of the world’s trees are in less-mapped places, like the Amazon jungle, where less than 20% of the forest has been studied in depth on the ground. To get a sense of the biomass in those remote, mostly inaccessible areas, space-based forest sensing is the only feasible option. The problem is, the satellites we currently have in orbit are not equipped for monitoring trees.  Tropical forests seen from space look like green plush carpets, because all we can see are the treetops; from imagery like this, we can’t tell how high or thick the trees are. Radars we have on satellites like Sentinel 1 use short radio wavelengths like those in the C band, which fall between 3.9 and 7.5 centimeters. These bounce off the leaves and smaller branches and can’t penetrate the forest all the way to the ground.  This is why for the Biomass mission ESA went with P-band radar. P-band radio waves, which are about 10 times longer in wavelength, can see bigger branches and the trunks of trees, where most of their mass is stored. But fitting a P-band radar system on a satellite isn’t easy. The first problem is the size.  “Radar systems scale with wavelengths—the longer the wavelength, the bigger your antennas need to be. You need bigger structures,” says Scipal. To enable it to carry the P-band radar, Airbus engineers had to make the Biomass satellite two meters wide, two meters thick, and four meters tall. The antenna for the radar is 12 meters in diameter. It sits on a long, multi-joint boom, and Airbus engineers had to fold it like a giant umbrella to fit it into the Vega C rocket that will lift it into orbit. The unfolding procedure alone is going to take several days once the satellite gets to space.  Sheer size, though, is just one reason we have generally avoided sending P-band radars to space. Operating such radar systems in space is banned by International Telecommunication Union regulations, and for a good reason: interference.  Workers roll the BIOMASS satellite out into a cleanroom to be inspected before the launchESA-CNES-ARIANESPACE/OPTIQUE VIDéO DU CSG–S. MARTIN “The primary frequency allocation in P band is for huge SOTR [single-object-tracking radars] Americans use to detect incoming intercontinental ballistic missiles. That was, of course, a problem for us,” Scipal says. To get an exemption from the ban on space-based P-band radars, ESA had to agree to several limitations, the most painful of which was turning the Biomass radar off over North America and Europe to avoid interfering with SOTR coverage. “This was a pity. It’s a European mission, so we wanted to do observations in Europe,” Scipal says. The rest of the world, though, is fair game. The Biomass mission is scheduled to last five years. Calibration of the radar and other systems is going to take the first five months. After that, Biomass will enter its tomography phase, gathering data to create detailed biomass maps of the forests in India, Australia, Siberia, South America, Africa—everywhere but North America and Europe. “Tomography will work like a CT scan in a hospital. We will take images of each area from various different positions and create the 3D map of the forests,” Scipal says.  Getting full, global coverage is expected to take 18 months. Then, for the rest of the mission, Biomass will switch to a different measurement method, capturing one full global map every nine months to measure how the condition of our forests changes over time.  “The scientific goal here is to really understand the role of forests in the global carbon cycle. The main interest is the tropics because it’s the densest forest which is under the biggest threat of deforestation and the one we know the least about,” Scipal says. Biomass is going to provide hectare-scale-resolution 3D maps of those tropical forests, including everything from the tree heights to ground topography—something we’ve never had before. But there are limits to what it can do.  “One drawback is that we won’t get insights into seasonal deviations in forest throughout the year because of the time it takes for Biomass to do global coverage,” says Irena Hajnsek, a professor of Earth observation at ETH Zurich, who is not involved in the Biomass mission. And Biomass is still going to leave some of our questions about carbon sinks unanswered. “In all our estimations of climate change, we know how much carbon is in the atmosphere, but we do not know so much about how much carbon is stored on land,” says Hajnsek. Biomass will have its limits, she says, since significant amounts of carbon are trapped in the soil in permafrost areas, which the mission won’t be able to measure. “But we’re going to learn how much carbon is stored in the forests and also how much of it is getting released due to disturbances like deforestation or fires,” she says. “And that is going to be a huge contribution.”

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Heatherwick Studio has remodeled the Coex Convention Centre with "a fortress-like façade" in Seoul, South Korea. Heatherwick Studio was selected in a competition to redesign the appearance and function of Seoul's Coex Convention Center. The project offers a chance to revitalize one of South Korea's most well-known conference and exposition locations.The design, which was created in partnership with the Korea International Trade Association (KITA), will turn the existing generic glass building into a gathering spot that captures Seoul's dynamic energy. At the moment, Coex is 350 meters long and has a generally nondescript front that does not convey the building's significance as a national center for innovation, trade, and culture. "Cabinet of Curiosities"The conference center is transformed into a place to explore and a cause to visit the region even when not attending a formal event thanks to the studio's winning design, which presents a daring concept based on the notion of a "Cabinet of Curiosities." Modular "boxes" of various sizes are stacked along the perimeter of the design, creating dynamic areas for conferences, public events, and exhibitions. The goal is to maximize the reuse of materials in order to produce a new front that departs from the current structure's fortress-like aspect and is open, captivating, and unmissable. "Ironically for places that bring people together, most conventions centres feel imposing and uninviting and are often devoid of public activity," said Stuart Wood, Executive Partner and Group Leader at Heatherwick studio."Our design will radically reinvent Coex to become a new cultural destination for the city of Seoul that attracts both locals and visitors alike," Wood added.The "display case" design, which is unique and varied, is a real depiction of Seoul's creative potential and offers countless opportunities to arrange art, performance, food, entertainment, and nature. The studio's goal is for Coex to develop into an alluring location that is vibrant, open, and constantly culturally relevant. More than conventions Beyond changing the building's appearance, the renovation seeks to make it blend in with the neighborhood more naturally. The ground floor will be transformed into a public area with a variety of activities to entice both tourists and residents to stay and explore. The Gangnam community will have a place to congregate whether or not they are attending an event thanks to the new public realm's connection to the nearby park. In addition to enabling public access to a sky garden and viewing deck with sweeping views of Seoul and the Han River, the higher floors will also have new indoor and outdoor areas that will support official functions. Even when there aren't any significant events happening at the location, the experience is still meant to be thrilling and relevant. Sustainability at the core of the projectA significant dedication to sustainability is incorporated into the studio's plan, guaranteeing that Coex would not only meet but surpass future environmental norms.These features—maximizing material reuse, boosting energy efficiency, enhancing interior and outdoor environmental comfort, and promoting tourists' and residents' general well-being—are given top priority in the project. The project, which is expected to be completed in 2029, will add to the studio's expanding portfolio in South Korea, which already includes a new plan for Hanwha Galleria in the Gangnam region and the reimagining of Nodeul Island on the Han River.Heatherwick Studio revealed plans for the transformation of South Miami’s Sunset Place with "permeable buildings" in Florida, United States. In addition, Thomas Heatherwick was appointed as the General Director of the 5th Seoul Biennale of Architecture and Urbanism, which will take place from 1 September to 31 October 2025. The 2025 program will explore "how to make buildings and cities radically more joyful and engaging," responding to Thomas Heatherwick's Humanise Campaign and drawing on the city's ambition for a human-centered and climate-friendly future. All renderings © Devisual.> via Heatherwick Studio

Accessories, however, will see a little increase in price.

April 18, 20258 min readSevere Morning Sickness Is Caused by a Specific Hormone—And It Could Unlock New TreatmentsScientists discovered two genes involved in hyperemesis gravidarum, a condition that can cause extreme nausea and vomiting during pregnancy. Now they're looking into treatmentsBy Tanya Lewis edited by Dean Visser PeopleImages/Getty ImagesRoughly 70 percent of pregnant people experience morning sickness: bouts of nausea or vomiting, or both, that put them off their food and send them running for the toilet. Despite its name, the miserable condition can strike at any time of day—or last all day. It usually subsides after the first trimester, though it can sometimes linger throughout an entire pregnancy.Up to 3 percent of people who are pregnant experience a severe and sometimes life-threatening form of morning sickness known as hyperemesis gravidarum (HG), which makes it extremely difficult to keep down food or liquid. This can cause severe dehydration and can sometimes lead to a hospital stay. Catherine, Princess of Wales (formerly Kate Middleton) and comedian Amy Schumer have both suffered from the condition.Marlena Fejzo, an assistant professor of population and public health sciences at the Keck School of Medicine of the University of Southern California, was recently awarded the BioInnovation Institute & Science Translational Medicine Prize for Innovations in Women’s Health for her work on the genetics of HG. “We put men on the moon decades ago, but women are still dying from severe nausea and vomiting during pregnancy,” Fejzo wrote in an essay accompanying the award.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Fejzo got interested in studying HG after suffering from the condition during both of her pregnancies. In collaboration with the consumer genetics company 23andMe, she conducted an analysis of people with HG that identified two genes involved: GDF15 and IGFBP7.Fejzo and her colleagues published a 2023 study in Nature that confirmed the role of the hormone GDF15—whose production is controlled by the GDF15 gene—in HG and milder morning sickness. Most people produce the GDF15 hormone in response to physiological stress, even when they’re not pregnant, but people with HG have a version of the gene that prevents this. During pregnancy, the placenta—which develops from embryonic tissue—produces GDF15 at high levels that can trigger morning sickness. People with HG are hypersensitive to GDF15, so the effects are severe.Fejzo is currently focused on investigating potential treatments for HG, including the diabetes drug metformin, as well as more targeted antibody therapies.Scientific American spoke with Fejzo about hyperemesis gravidarum, the discovery of GDF15 and progress toward treatments for the debilitating condition.[An edited transcript of the interview follows.]What is hyperemesis gravidarum?It is nausea and vomiting that are debilitating. It affects your daily routine, and you can’t eat or drink normally, and patients become dehydrated, so they generally will have weight loss and need to have IV fluids for dehydration and electrolyte imbalances—and they will, in more severe cases, need hospitalization and nutrition. Most cases need intervention with antinausea medications that currently don’t work very well and are pretty much used off-label to treat the condition [meaning such drugs are generally not officially approved for such treatment].It is the primary cause of hospitalization in early pregnancy and the second leading cause of hospitalization in pregnancy overall after preterm birth (tied with gestational hypertension). For it to be so common, it’s really shocking how little is known.Marlena S. Fejzo, PhD.HER FoundationWhat interested you in studying this condition?I had already been studying women’s health as my focus in my career. And then I had hyperemesis in my pregnancy. It was so severe in my second pregnancy that I couldn’t move without violently vomiting. It really was torture. I just had to lie down and stare at the ceiling. I couldn’t get up. I couldn’t even sit up. I couldn’t get up to go to the bathroom or brush my teeth or shower or anything for weeks and weeks. My doctor gave me seven different medications at once and IV fluids, but nothing helped get me to be able to eat. Eventually, I was put on a feeding tube. And I ended up losing the baby in the second trimester.After that, I looked into what was known about the condition, and there was so little known. I decided to start looking into whether it was genetic. I didn’t have it in my family, so I didn’t know. I partnered with Kimber MacGibbon, director of the Hyperemesis Education and Research [HER] Foundation, which had a great website with information on HG that people from all over the world were going to. We posted surveys on the HER Foundation website and started to look for answers to questions about HG, such as what the recurrence risk was and whether it ran in families. Those two things would provide evidence as to whether it was genetic or not.What were some of your findings about the genetic basis of HG?We found a high recurrence risk. More than 80 percent of the patients in our study had HG in a second pregnancy after the first one. Then we did a familial aggregation study and found that it did aggregate in families, so there’s a 17-fold increased risk of having it if your sister has it. We started a study to collect DNA saliva samples in addition to survey data from patients. We asked them to recruit unaffected controls—friends or acquaintances who did not have HG in their pregnancies—so that we could do a genetic study. I applied for funding to do the study on my cohort but was denied. But I was fortunate in that I got a kit for my brother from 23andMe (which just went out of business [last month]). They had a brilliant model to invite their customers whose DNA was already sequenced to participate in surveys. I called 23andMe and asked them to add hyperemesis questions to their survey, and they agreed. It was really fruitful, and we published our first paper that showed the link between both hyperemesis and normal nausea and vomiting.It showed that both hyperemesis and regular nausea and vomiting are very strongly associated with this nausea and vomiting hormone GDF15. After I published that, I was able to get my study participants sequenced by the pharmaceutical company Regeneron. And in that cohort, we found a mutation in GDF15 that increased risk of hyperemesis almost 10-fold. So that really helped to solidify the association between this hormone and hyperemesis, because it was a rare mutation that you're born with, and then you get the disease. But when I was looking at those patients with the mutation, some of them didn't have hyperemesis in every pregnancy. My hypothesis was that whether the mother would have hyperemesis depended on whether the baby inherited the mutation or not. So I started sequencing the children from these women who had the mutation, and I got the surprising result that they were less likely to have hyperemesis if the baby inherited the mutation.So even though some people have the gene that prevents production of GDF15 before pregnancy, if their baby’s placenta doesn’t produce it either, the pregnant person wouldn’t experience HG symptoms?Exactly. That’s why, even though the mothers had lower levels of GDF15 before pregnancy that made them hypersensitive to the hormone, they would have less chance of getting hyperemesis—because they had lower levels during pregnancy if the baby inherited the gene.At that time, I partnered with Steven O’Rahilly, an endocrinologist at the University of Cambridge, and we worked together to solve this really perplexing finding. The three genetic variants I had identified were actually associated with producing lower levels of the nausea and vomiting hormone rather than higher levels, which was surprising—but then also exciting because it meant that maybe there was desensitization going on in people who had higher levels, and that could be protective. In our Nature paper, we proved that is likely the case, both in a mouse model that O’Rahilly did and also with evidence from humans. It’s long been known, for example, that chronic smokers have a lower risk of nausea and vomiting in pregnancy and hyperemesis. It’s also known that chronic smokers have high levels of circulating GDF15 because it is actually a stress-response hormone. It’s produced whether you’re pregnant or not, and whether you're male or female, from cells or in tissues that are under stress. That’s not to say people should start smoking before pregnancy! We’re looking into other methods that might be safer.Is there any evolutionary reason for why we have more GDF15 in our body during pregnancy?Back in ancient times, millions of years ago, even hundreds of years ago, going out to hunt for food was fraught with risk. So I think this evolved as a mechanism, when you are in some kind of sensitive state, to stop you from going out to eat, to stay in your cave, rest and recover or to get through that first part of pregnancy—rather than wandering far and going out to get foods where you could be attacked by a predator in a weakened state or you could, in pregnancy, eat something poisonous.I always use the example of the octopus that lays its eggs and then starves to death and dies. And the other gene that I found, IGFBP7, is the same gene that gets [dialed up] in that octopus. It's like an age-old mechanism where, in the case of the octopus, it’s clearly evolutionary beneficial for the mother to die in order to save the eggs. It’s an extreme example, but it still goes on in nature. But some animals, and I think humans, just don’t need it anymore. And I think it also wears off at a time when the nutritional needs of the fetus outweigh the risk to the fetus from not eating.Is it true that morning sickness symptoms are associated with a lower risk of miscarriage? And does that suggest the ability to produce GDF15 is a good thing?I think it’s just showing that the pregnancy is progressing. The placenta produces GDF15, so the more cells you have of the placenta, the more GDF15 you’re going to produce, right? So in those studies where they show that morning sickness is good, it’s more that no morning sickness may mean that your placenta and the fetus are not growing, and so you’re more likely to lose the baby.There are actually human knockouts [people who lack the gene entirely] out there. There is a population of people who married their first cousins, in which both partners carry the mutation, and then their offspring have the knockout of the hormone. And they’re fine. They have a normal lifespan and normal fertility. That suggests that we really don’t need this hormone anymore.Has there been any progress on treatments for HG? I believe you’ve studied the diabetes drug metformin?I haven’t published it yet, but I have done a retrospective study of metformin use prior to pregnancy and risk of hyperemesis, and that showed positive results. Metformin increases GDF15 levels. It’s also been used, for example, to increase fertility in polycystic ovarian syndrome patients. So it’s been used in the same time frame we would want to use it in people who have a history of hyperemesis: prior to pregnancy. It’s also used to treat gestational diabetes, so there’s quite a lot of evidence out there on its safety, though more study is needed to understand the potential effects on fetal growth. And it’s also available in generic form, so that’s also great, as far as it being an equitable approach.I just initiated a prospective study of metformin in patients. I don’t have the results of that yet. The company [NGM Biopharmaceuticals], which I have been working with, just announced that they treated their first patient with a drug that is an antibody to the receptor for GDF15. And they’ve initiated a clinical trial, too. We are on the cusp of finding out whether these approaches are going to work. So it’s an exciting time.

Nintendo raising cost of Switch 2 accessories in US due to tariffs, but console price to remain same Pre-orders finally open next week. Image credit: Adobe / Nintendo / Eurogamer News by Tom Phillips Editor-in-Chief Published on April 18, 2025 Nintendo has finally detailed how US tariffs will impact the launch of Switch 2, and confirmed price rises for an array of console accessories "due to changes in market conditions". A new set of Joy-Con 2 controllers, for example, will now cost $95, an increase of $5. The Switch 2 Pro controller and Switch 2 camera have also seen $5 price rises, up to $85 and $55 respectively. But the $450 Switch 2 itself, including its $500 bundle with Mario Kart World, will not increase in price for now, Nintendo has decided. The cost of key software launches Mario Kart World ($80 when bought separately) and Donkey Kong Bananza ($70) will also remain unchanged "at launch", Nintendo has said. To see this content please enable targeting cookies. Eurogamer goes hands-on with Switch 2.Watch on YouTube The news comes amidst a backdrop of calls from fans for Nintendo to lower the price of Switch 2 - something that seemed increasingly unlikely as the expected impact of tariffs became clear. Indeed, a statement from Nintendo today makes clear that price rises may still take place in future - and not just for Switch 2. "Other adjustments to the price of any Nintendo product are also possible in the future depending on market conditions," the company said. Switch 2 pre-orders in the US, which had been delayed while Nintendo took stock of the fluctuating economic situation, will now finally begin next Thursday, 24th April. "We apologise for the retail pre-order delay, and hope this reduces some of the uncertainty our customers may be facing," Nintendo added. "We thank our customers for their patience, and we share their excitement to experience Nintendo Switch 2 starting 5th June 2025." Eurogamer previously heard from an analyst that predicted Nintendo would likely not raise the price of Switch 2 in response to tariffs, as it faced criticism of the console's cost already. While a portion of Switch 2 consoles are being manufactured in China, Nintendo has also used factories in Vietnam and diverted the majority of their manufactured stock to the US in advance of the current US-Chinese trade war taking effect.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Nintendo has confirmed that the United States pricing for the Nintendo Switch 2 will not change after delaying pre-orders due to tariffs imposed by the Trump Administration. However, gamers in the US will have to fork out extra for accessories for the new console/handheld hybrid. United States pre-orders for the Nintendo Switch 2 will now go live next week on April 24, 2025 alongside the newly priced accessories for the console. Nintendo Switch 2 US pricing confirmed In a statement, Nintendo confirmed that Nintendo Switch 2 pre-orders will go live on April 24, 2025 at the same price as previously announced. The base console will release for an MSRP of $449.99 with the Mario Kart World bundle available for $499.99. “Nintendo Switch 2 accessories will experience price adjustments from those announced on April 2 due to changes in market conditions,” Nintendo announced, “Other adjustments to the price of any Nintendo product are also possible in the future depending on market conditions.” The jump in prices for accessories does appear to only be a minor jump in cost with the Nintendo Switch 2 Pro controller now costing $84.99 instead of $79.99. The Nintendo Switch 2 Dock Set is jumping in price by $10 from $109.99 to $119.99. Nintendo has also confirmed that the prices of game software, both physical and digital, will remain exactly the same “on launch”. Unlike other regions, the United States will not receive cheaper digital games compared to physical releases for the console’s launch period. For more coverage of Nintendo’s upcoming console, read about how the Switch 2’s reveal has caused MicroSD Express memory cards to sell out across the world. Additionally, read about how game developers are very happy with the power of the handheld, dubbing it a tiny “mid-range PC” for modern gamers. Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

Although the move didn’t cover a huge physical distance—just a short journey across the George Washington Bridge from New Jersey and down to New York City’s Upper East Side—its emotional span was much greater. Erika Jones and her two daughters, Gigi and Valentina, weren’t only changing residences but also making a fresh start in their family life as an independent threesome.Jones, a real estate developer who focuses on affordable housing, had been checking out apartments up and down Park and Lexington avenues, wanting their home base to be within walking distance of the girls’ school; when she came across a high-floor unit on Fifth Avenue instead, overlooking Central Park in a prewar building not far from Museum Mile, the other choices paled in comparison. The place was far from perfect: It had been cobbled together from two smaller apartments in less-than-ideal fashion by a previous owner, resulting in a hodgepodge of awkward ceiling soffits, irregular bump-outs in walls, and wood floors whose decorative borders no longer matched the geometry of the rooms they were in. However, Jones recalls, “At the time there was limited inventory, so I understood that I was going to have to create for myself the space I wanted to live in.”Erika Jones, wearing Valentino, with her daughters Valentina (far left) and Gigi Gieves AndersonShe turned to the AD100 list to track down a partner for the work, and was immediately drawn to AD PRO Directory designer Corey Damen Jenkins, both for his maximalist aesthetic and his personal narrative. “I loved how he bootstrapped himself in Detroit,” Jones says, “and then moved to the big city of New York and was able to be successful here too.” She saw in his experiences a kinship with what she refers to as her own “phoenix-rising story in progress.”Initial plans for the family’s new quarters only included renovating the kitchen and bathrooms, along with some cosmetic upgrades. But then, as design meetings got underway, Jenkins suggested that Jones take advantage of the opportunity to create the apartment of her dreams. “I looked myself in the mirror,” she reports, “and said, ‘You know, if I’m not going to live how I want to live now, when am I going to do it? What am I waiting for?’” She decided it was time to go all-in, and the designer and client embarked together on a total makeover.The de Gournay chinoiserie wall mural in the apartment’s front hall is hand-embroidered in colored silks. A stately peacock next to the dining room entrance symbolizes the homeowner; a pair of smaller peacocks nearby represents the girls. A grid of mirrored tiles makes the room’s ceiling seem to dissolve, while Eichholtz Hildebrandt chandeliers, dripping with crystals, supply still more sparkle. Andrew FraszEighteen months later, the condo had been utterly transformed into a vibrant, elegant, unapologetically feminine realm of layered patterns and sometimes audacious color choices. An entry hall with green chinoiserie walls beneath a ceiling of glittering hexagonal mirrored tiles leads to a dining room that is coated in a high-gloss lacquer—the velvety purple hue of a blueberry panna cotta. Jones’s love affair with de Gournay and Gracie mural papers is evident in almost every room. The kitchen—countertops, backsplash, range hood, open shelves, and all—is sheathed in a luscious Calacatta viola marble, with glittering brass hardware and fixtures added as jewelry.Jenkins designed the upholstered seat in the corner, which he dubs a “soquette” (half sofa, half banquette). A Jean Roget Flame lamp on the faux malachite desk at left (from Maitland-Smith) rubs shoulders with a carved mask from the Congo—just one of many delicious juxtapositions in the apartment. Andrew FraszJenkins and his firm completely reworked the interior architecture. Rooms were reconfigured. Arched doorways, fluted pilasters, and coffered ceilings—which occasionally conceal structural beams that couldn’t be moved—now adorn the public spaces, entirely in keeping with the kind of Beaux Arts detailing that the building’s original architect deployed in its grand foyer downstairs. New herringbone floors were also laid, which now definitely fit the spaces they’re part of.The landscape of Central Park beyond the windows almost seems to merge with the living room’s mural wallpaper. Three milk-glass chandeliers punctuate a coffered ceiling that Jenkins added; below, a joyous medley of colors and patterns animates the space. Andrew FraszJones, wearing Carolina Herrera, sits on one of the custom scallop-backed banquettes in the dining room. Gieves AndersonThe spectacular living room is proof of just how well Jones and Jenkins vibed with their shared vision. Until a fairly late stage in the project, the emerald silk grass cloth that ended up on the ceiling was meant to go on the walls. Jones, though, really desired a bolder look. So, late one night, she texted Jenkins an image of Gracie’s Kano Garden wall covering—which led to a phone call, which led to a revised scheme involving custom colors to match the furniture that was already on order. “Unlike other clients, who want to be a bit more conservative, she pushed me further, which was a lot of fun,” Jenkins says. “And it became one of the most dynamic rooms in the house as a result.” The lesson? “Even at the 11th hour, you can still make pivots,” he concludes, “and you should never settle for less.”“Settling for less” is not a thought that would come to mind when anyone sees this home today, chock-full as it is of what Jenkins terms “cultured, worldly, gathered, curated” furnishings, objects, and works of art. It has been thoroughly, and meticulously, reinvented as the perfect backdrop for a mother and her two daughters setting out on their New York adventure.Monkeys scamper among palm fronds on either side of the dining room’s fireplace. The streamlined table and chairs are from Baker, and the spectacular Murano palmette chandelier dates to circa 1920. Andrew FraszGlints of brass add warmth to an otherwise cool-toned kitchen. One entire wall, open shelving and range hood included, is paneled in Calacatta viola marble; cabinets and moldings are painted in Benjamin Moore’s Elephant Gray; and the Kravet faux leather used on the ceiling has an extremely subtle shagreen texture. Andrew FraszSoft tones of blush pink, rose gold, and celadon give the principal bedroom a wholly feminine spirit, despite a few contrasting modern notes such as the acrylic ribbon chandelier. The custom Gracie wallpaper has a slight sheen that beautifully reflects daylight streaming in from the park outside. Jenkins designed the upholstered bed. Andrew FraszJones, wearing Reem Acra, stands in her ethereal bedroom. Gieves AndersonHygiene, beauty, and self-care functions are split up among three different spaces in the primary suite: a “glam chamber” devoted to hair and makeup, a spa room (with soaking tub) concealed behind a panel in the dressing room, and this bathroom with its classic Ann Sacks marble sink and contemporary Arteriors chandelier. The medicine cabinet mirror lifts up like a garage door. Andrew FraszA Drummonds soaking tub sits in the hidden spa room, artfully aligned with the Iksel mural behind it so that arcs of water seem to be spouting from the tap. Andrew FraszJones’s decidedly pink dressing room was formerly a separate bedroom. The elaborate millwork encloses loads of storage, and a comfy bench is upholstered in a Gastón y Daniela matelassé velvet. Andrew FraszThe media room is a space where the young ladies can do their homework or relax with friends in front of the TV. Its walls are covered in a suede-like vinyl from Arte that includes a tracery of metallic shapes. The art piece above the sofa, a collage of durags, is by Anthony Akinbola. Art: Anthony Olubunmi AkinbolaDaughter Gigi wished for a room with a more atmospheric feel. Puffy clouds scud across the walls—no need for any other artwork here—and a beaded Regina Andrew chandelier introduces a slight bohemian flavor. Andrew FraszValentina, Jones’s younger daughter, originally asked for a black bedroom—but very dark shades of green and teal proved to be an acceptable compromise. The rich amber wall covering from Cole & Son has an allover pattern of stylized feathers. Art: Christian Brechneff/KRB NYCA berry-colored Kast concrete basin and matching textured grass cloth give a compact guest bath a bit of extra punch. The over-mirror light fixture is from Visual Comfort & Co. Andrew FraszA tiny but opulent powder room sports an Alexa Hampton tiger stripe paper on its walls, above ebony-stained tambour wainscoting. The lacemaker sconces, from Kohler, are filled with water. Andrew FraszShop it out:French Mirror with SconceKate Spade Suki Table LampVintage Biedermeier Style Chairs (Set of 6)KRB Hexagonal Umbrella Standde Gournay Étienne Wall CoveringMurano Palm ChandelierVaughan Carrick Leaf Wall LightGuardian Senufo MaskPooky Empire ShadeJean Roger Paris Tulip CandlestickWilliams Sonoma Sabre Bamboo Flatware SetsLilou Green Table LampMoroccan Ceramic VaseWilliams Sonoma Scalamandré Animal Pillow CoverJonathan Adler Brass Turtle BoxMassoud Audra SetteeChanel Classic Double Flap BagCrane & Canopy Towel Essentials BundleDenver Trundle Sleeper SofaLa Rue Brass Floor Lamp