‼️ MUST BE BASED IN 🌍 EUROPEAN TIMEZONESlideSpeak is transforming how consumers and businesses create presentations with AI. Since launching just 12 months ago, our users have generated over 6 million presentations, and we're experiencing explosive growth - all while being profitable and bootstrapped. We're the fastest-growing company in the space, doubling our revenue every 3 months. We have a world-class team and product competing against legacy software that hasn't innovated in decades. The only thing that can stop us now is the team we cultivate, so we're looking for exceptional people dedicated to reimagining how people tell stories.About the roleWe're looking for a motivated Full Stack Software Engineer with a focus on backend who wants to make a significant impact. As part of our small but growing team of 5, your work will directly influence the core product, enhancing our offering at a global scale. We're building out a one-of-a-kind AI-first presentation editor, so we hope you like working with 2D graphics.Key Responsibilities:Build and maintain backend services using Python, FastAPI, and other frameworksDevelop and optimize front-end UI with NextJS, React, and TypeScriptDevelop LLM and ML services to generate content for presentations (images, infographics, icons, content, ...)Collaborate on database management and query optimizationContribute to all phases of the development lifecycle, from design to deploymentAbout youYou have concrete career goals and are looking to grow rapidly in a high-velocity environment. You're eager to learn and contribute meaningfully to a product that's changing how millions of people create presentations.You move fast and can adapt quickly. We've entered a phase of growth where there is more work to do than there are people to do it - this means everyone on the team will be busy, but there are also countless opportunities to grow personally and make progress towards your goals.You have a high quality bar for your work, even when moving quickly. As we scale our teams and customer base, the expectations of our software rises with it.You're looking for teammates, not coworkers - folks you can learn from and grow with at SlideSpeak, and beyond.Skills and QualificationsDegree in Computer Science or a related fieldProficiency in NextJS, React, TypeScriptSome experience with Python and experience with backend frameworks and databasesFamiliarity with cloud services (AWS, GCP, Azure) and server management via shellPractical experience through internships or personal projectsBuilder mentality (show us your projects)Nice-to-HaveExperience with FastAPI, and RAG frameworks like LangChain, Llama IndexKnowledge of vector databases and advanced database management systemsKnowledge of 2D graphics editors and SVG (yep, it gets quite nitty gritty)Previous experience in fast-paced startup environmentsTech StackFrontend: NextJS, Zustand, Tailwind, PrismaBackend: Python, FastAPI, Llama IndexDatabase: PostgreSQL, PGVectorLLMs & AI: Azure OpenAI, Google Gemini Flash, ReplicaDevOps: GitHub Actions, Checkly, Docker Compose, Azure, GCP, AWSBenefitsCompetitive salary: $50k-$60k based on experienceFully remote work environment with flexible schedulingCompany-provided laptop and software budget tailored to your needsBudget for attending industry conferences (AI Engineer, Figma Config, WebSummit, etc.)Extraordinary quarterly fully-paid trips across Europe and globally, including accommodations and flights, to foster team bonding and creativity (our next trips are to SF and Lisbon) 🌎WeWork membershipInterview ProcessInitial Screening: 20-minutes, details on the role, questions to assess initial fitSkill Deep Dive: 45-minutes: In-depth assessment of your drivers, work ethic, and goals to determine mutual fitTechnical Coding Challenge: Showcase your coding skills and problem-solving abilities with a case that we send beforeCultural Fit with Founder/CEO (60 minutes)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

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Foster + Partners has imagined a village-like Saudi Arabia Pavilion with meandering streets at Expo 2025 Osaka. The Kingdom of Saudi Arabia Pavilion for Expo 2025 Osaka is open to the public in Osaka, Japan. The pavilion features angular buildings that form winding streets between them. This project draws inspiration from Saudi Arabian culture, highlighting its vibrant streetscapes and stunning natural landscapes.The Pavilion, which was designed by Foster + Partners and is situated on the Yumeshima waterfront, offers a setting for immersive engagement that introduces visitors to the Kingdom's hidden treasures while creating a spatial experience that mirrors the discovery of Saudi Arabian towns and cities.The landscaped forecourt acts as a barrier to protect the pavilion from harsher northerly windsAs the project achieves the highest level of the Japanese green building grading system (CASBEE S) and will be net zero operational emissions, the highly sustainable and inclusive Pavilion was created with its legacy in mind.Visitors are invited to explore a ‘village’ of meandering streets, with windows and doorways into a series of immersive spaces"An epic journey of new discovery""We are delighted to see the Saudi Pavilion open to the public and ready to welcome its first visitors on an epic journey of new discovery," said Luke Fox, Head of Studio, Foster + Partners."The project is a celebration of Saudi Arabian culture, evoking the wonderful streetscapes and captivating natural landscapes that define the Kingdom.""Every element has been carefully considered to create a one-of-a- kind experience that is highly sustainable and accessible to everyone," Fox added.The central courtyard allows for moments of quiet reflection during the dayThrough the forecourt, which is filled with native Saudi Arabian plants, visitors enter the Pavilion. They then proceed down winding walkways to the Saudi Courtyard, the focal point of the design. The Courtyard serves as a space for concerts and performances at night and provides opportunities for peaceful contemplation during the day. A "village" of winding streets with windows and doorways leading into a number of immersive areas created in close cooperation with Journey - which includes 59 Productions and Squint/Opera - is then open for visitors to explore. Journey was formed by uniting the award-winning studios ICRAVE, Squint/Opera, 59 and VMI Studio.In addition to honoring Saudi Arabia's architectural legacy, the project gives tourists a sense of location and gives them a look at the daily activities and urban fabric of the Kingdom's streets.The pavilion creates a spatial experience that echoes the exploration of Saudi Arabian towns and cities"It create" meaningful connections""The Saudi Pavilion is also designed to create meaningful connections between the visiting public and Saudi Arabia’s incredible artists and musicians. By engaging all of the senses, the space allows visitors to experience the national transformation of Saudi Arabia," said Tony Miki, Partner, Foster + Partners. "It is its own urban microcosm that carefully balances tradition and heritage with modern technologies which is shaping the Kingdom’s future. We have worked closely with Journey to ensure that the immersive digital content is holistically integrated within the architectural design," Miki added.The massing of the Saudi Pavilion has elements of the natural forms of old Saudi villages. These ideas were developed in the practice's design, which was meticulously created using computational fluid dynamics models to let cool westerly winds enter the streets during the hottest part of the summer. The façade is made from a lightweight Saudi stone composite system and designed to be efficiently deconstructed and reassembled, or completely reconfigured, to meet different requirements in a future locationThe manicured courtyard serves as a barrier to shield the pavilion from stronger northerly breezes during the cooler months of April and October.The Saudi Pavilion has made history as the first temporary structure to receive the WELL Health and Safety Rating (HSR) certification. This achievement underscores its commitment to health and safety standards while showcasing innovative design principles. Constructed from low carbon materials, the pavilion aligns with the objectives of the Saudi Green Initiative, emphasizing sustainability and environmental responsibility. Its design incorporates energy-saving luminaires and rooftop photovoltaic technologies that harness solar energy, further enhancing its eco-friendly credentials.Visitors are invited to explore a ‘village’ of meandering streets, with windows and doorways into a series of immersive spacesIn striving for minimal environmental impact, the Saudi Pavilion is engineered to be as lightweight as possible. This approach reduces the amount of concrete required for its foundations, reflecting a commitment to sustainable construction practices. The pavilion's innovative structural system relies on a jointless DfMA-based (Design for Manufacturing and Assembly) design, which integrates a steel moment frame with precast reinforced concrete slabs supported by steel beams. This configuration not only adheres to ductile design principles suitable for high-seismic zones but also facilitates rapid construction and stringent quality control.The exterior of the Saudi Pavilion features a lightweight composite system made from Saudi stone, designed with an emphasis on efficiently deconstructing and reassembling. This allows the structure to be completely reconfigured to meet varying requirements at different future locations. Immersive spaces have been designed in close collaboration with Journey (59 Productions and Squint/Opera)While designed for flexibility, the facade also creates an impression of permanence, blending functionality with aesthetic appeal. Overall, the pavilion stands as a testament to modern architectural advancements that prioritize sustainability, safety, and adaptability.The design is shaped through inclusive design principles. The site features a thoughtfully designed ramped entrance that accommodates its gradient, providing a single entryway for all visitors. At the center, a sunken stage is fully retractable, allowing it to be raised to ground level for equitable participation among performers. The courtyard transforms into a venue for performances and events at nightWheelchair-accessible spaces are integrated into the audience seating, ensuring everyone can enjoy performances together. The restaurant offers innovative seating areas at various levels to enhance the dining experience, and its restrooms include a ceiling track hoist, promoting dignified and independent movement for individuals needing physical assistance—making it one of the first facilities of its kind in Japan.Immersive spaces have been designed in close collaboration with Journey (59 Productions and Squint/Opera)Additionally, a calm room designed with neuro-inclusion principles provides a quiet space for visitors needing a break from sensory stimulation. All signage throughout the facility is presented in Japanese Braille, along with written Japanese and English, ensuring accessibility for a diverse audience.The pavilion’s massing recalls the organic shapes of traditional Saudi villagesMasterplanLevel 1 planLevel 2 planRoof level planLong and short sectionsThe six-month Osaka Expo 2025 will take place on Yumeshima Island in Osaka Bay from April 13 to October 13, 2025.Recently, Foster + Partners unveiled design for a stadium for Manchester United club that is designed to be "outward-looking." In addition, the firm revealed plans for a masterplan for a 38-hectare site at the heart of Constanța, a port city in the Dobrogea historical region of Romania.Project factsProject name: KSA Pavilion, Expo 2025 OsakaArchitects: Foster + PartnersLocation: Osaka, JapanClient: Kingdom of Saudi Arabia, Ministry of CultureCompletion date: 2025Site area: 3,505m2Total floor area: 3,542.54m2Number of floors: 2Height: 16.66m / Length: 103.7m / Width: 34.06mCapacity: 23,100 visitors per dayLocal architect: Azusa SekkeiExhibition designer: 59 Productions, Squint OperaFoster + Partners design team: Norman Foster, Luke Fox, Tony Miki, Nick Haddock, Juan Zhang, Farah Caswell, Wolfgang Muller, Jiannan Luo, Xiaonian Duan, Yue-Qi Hou, Mingchen Liu, Luigi Rodrigues Durando,Chi Yen Fu, Xiaomin Zhang, Ami Matsumoto, Natasha Rieffel, Alan Cheng, Ken Ho, Nadia Saki, Ioanna Nika, Hang Sia, Lorenzo Luzzi, Sarah Abiad, Caio Ribeiro, Jiahao Syu, Jordan Bizzell, Pierre Zebouni.Main contractor: RIMOND JapanMechanical engineers: Azusa SekkeiCost consultant: Turner & TownsendLandscape consultant: Foster + PartnersLighting consultant: Foster + PartnersFaçade consultant: FrontGraphics & Wayfinding Designer: Bright Dot DesignFood & Beverage Consultant: Humble ArnoldPeople Moving Strategy Consultant: Buro HappoldConstruction Project Manager: Black EngineeringThe top image in the article: The pavilion’s massing recalls the organic shapes of traditional Saudi villages.All images © Nigel Young courtesy of Foster + Partners.All drawings © Foster + Partners.> via Foster + Partners

Scheme branded as making a “total mockery” of council’s tall buildings policies View of the Glassmill scheme from Chelsea Terry Farrell’s proposals for a 29-storey mixed-use tower at the southern end of Battersea Bridge have been resoundingly refused by Wandsworth council’s planning committee. Councillors unanimously rejected developer Rockwell’s controversial 110-home Glassmill scheme at a committee meeting yesterday evening following a discussion lasting just over an hour in which no councillor voiced support for the plans. The decision follows an onslaught of local opposition to the application, which has received more than 2,000 objections from members of the public while two separate petitions launched by campaigners to scrap the scheme amassed a total of nearly 6,000 signatures. First submitted in early 2024, the scheme has been widely criticised for being too tall for the mostly low and mid-rise area next to Battersea Park despite lead architect Farrells shortening the building by five storeys on two occasions from the original 39-storey proposal. The final version of the building, which would also contain 7,000sq ft of office space and a 2,000sq ft riverside restaurant, is 10 storeys shorter and contains 60 fewer homes than the original submission, although its level of affordable housing had been increased from 25% to 50%.  The amendments failed to persuade Wandsowrth’s planning officers, who recommended the application for refusal ahead of yesterday’s committee meeting due to its “excessive and dominant” height and the harm it would cause to the character of the surrounding area. Officers also noted the plans would breach both Wandsworth’s 2023 local plan and the London plan. Councillor Caroline de La Soujeole said voting in favour of the application would “make a total mockery” of the council’s policies, adding the scheme was “quite simply the wrong building for the wrong site”. Councillor Ravi Govindia described the application as “grossly unacceptable”, suggesting Rockwell had sought to increase the height of the scheme to recoup its investment in the site. “The applicant, having paid an enormous sum of money for the site, is then recovering that investment by jacking up the building and I think it’s right that the applicant should get the message that it is not for us and the local community to bear the negative side of their bad economic decisions,” he said. In a letter read out to the meeting, councillors Jamie Colclough and Jessica Lee said: “Beyond simply turning down this proposal, our residents think it’s important to send a lot and clear message to developers that schemes like this that ignore local character and put profit ahead of improvement to the local area and people’s wellbeing just aren’t welcome here in Battersea.” The site is located in a low and mid-rise area next to Battersea Park The plans have also been opposed by a roll call of local and heritage groups including Historic England, which described the proposed tower as a “visually intrusive and incongruous addition to the townscape with wide reaching harmful impacts on the historic environment”. Other groups which have submitted objections include the Environment Agency, Wandsworth council’s conservation and heritage advisory committee, the Battersea Society, the Chelsea Society, the Wandsworth Society and the Putney Society. Wandsworth council’s own leader, Simon Hogg, has also made clear his own opposition in a series of social media posts including a post on X last June in which he said “a structure of this magnitude on this site would inflict more harm than good on the local area and its residents”. The council had been due to make a decision on the scheme last month before the application was pulled from the March committee’s agenda. A petition against the plans started by local campaigner Rob McGibbon has reportedly been signed by celebrities including Mick Jagger, Eric Clapton, Felicity Kendal and Anthea Turner. Rockwell managing director Nicholas Mee said: “Wandsworth Council has made the wrong call, one that shuts the door on urgently needed homes. It’s blocked 110 new properties, half at social rent, far exceeding the borough’s own affordable housing targets. Meanwhile, 11,000 people in Wandsworth are still waiting for a secure place to live. Across London, 80,000 children don’t have a permanent home.  “This scheme still has the potential to change things for the better. More than 1,800 residents and 100 local businesses backed it. They know what this means: fewer families in temporary accommodation. A stronger local economy. A fairer borough.   “The Spring Statement made it clear: housebuilding is a national priority and a route to growth. Wandsworth hasn’t just turned its back on the Labour Government - it’s turned its back on the people who need help the most.” The developer now has six months to appeal the decision. The project team for 1 Battersea Bridge Road includes DP9 on planning, Montagu Evans on townscape and heritage, Exterior Architecture as landscape architect, Velocity on transport, GIA on daylight, Ashton Fire as fire consultant and EOC as structural and civil engineer.

The latest meme around generative AI's hallucinations proves you can't lick a badger twice.

OpinionApril 25, 20254 min readScience Isn’t about Domination. It’s about DemocracyScience is key to diplomacy, unity and democracy. What the Trump administration is trying to do to it will weaken the U.S.By Megha Satyanarayana Rob Dobi/Getty ImagesNestled in the Heritage Foundation’s Project 2025, the slash-and-burn playbook for the federal government that the Trump administration is following while saying it isn’t, is a call for American “science dominance.”There is no such thing. And what the project means by the term—turning the Department of Energy into a handmaiden of the coal, oil and natural gas industry—betrays not only the taxpayer but science itself.Science isn’t a winner-take-all, zero-sum game of flag football. Whether during the cold war or the era of Sir Francis Bacon’s New Atlantis, the bedrock of science has been international cooperation. People pursue scientific knowledge not solely for the sake of lording our spoils over everyone else. The monetary value of research is not the only reason why humans engage in asking why of the world around us.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.Science breeds diplomacy. It counters division. It tells us what is, not what we want things to be. Science enables democracy. The way the Trump administration is approaching it, by cutting funds for projects that run afoul of conservative values, such as ones related to diversity, or calling for research into claims that have already been debunked, which is the case for the idea that vaccines are linked to autism, defies all this. If that approach succeeds, it will make us a poorer nation in every sense of the word.By halting federal funds to scientific research, canceling university grants and threatening to deport immigrant scientists, the Trump administration is restricting the flow of ideas. By trying to legitimize debunked scientific ideas and allocating taxpayer dollars to research into those debunked ideas, the administration sows discord and undermines the role of public health in preventing sickness and disease. By canceling global aid for public health projects, the administration is shunning the U.S. role in global health. And in their push for energy dominance, Trump and his allies are kicking years of negotiation over climate change to the curb.By becoming insular, by cutting out the world, we stand to lose our best and brightest minds in science and the exchange of ideas that leads to innovation. Our country is a scientific and economic powerhouse precisely because we have been so open and collaborative for so long. China’s academic scientific output, as measured by publications in Nature journals, has surpassed that of the U.S. How can cutting federal science funding help the administration’s intellectual war with China? How can the U.S. further its national interests if we shut out ideas and people? How does democracy survive if we stop research and the flow of information?In setting the stage for the role of the U.S. government in science, Vannevar Bush told President Harry Truman in 1945 that “scientific progress is one essential key to our security as a nation, to our better health, to more jobs, to a higher standard of living, and to our cultural progress.” He noted the federal government’s role in supporting agricultural research and said, “The time has come when such support should be extended to other fields.”From the 1950s on, the U.S. government has been the largest funder of scientific research in the nation, not to mention the world. Those dollars have helped develop countless drugs, and a wide assortment of military and domestic machinery, and they have paid the salaries of millions of researchers. Those dollars have saved people and helped industrialize nations the world over.American scientific research has also influenced policymaking. This is where the tie to democracy matters most: evidence-based policymaking allows the largest number of people in the country to be healthy, be safe and have a voice. This is what cutbacks to science threaten. This is how Trump administration–sponsored research into questions that have basically been answered, because officials don’t like the answer, threatens the ability of all Americans to thrive.When Secretary of Health and Human Services Robert F. Kennedy, Jr., says the nation will know by the end of the summer what environmental factors cause autism and calls for the private medical records of autistic people as part of this push, this is a fishing expedition. Kennedy doesn’t like the answers that we already have—vaccines do not cause autism, and genetics influences the development of autism—so he wastes taxpayer money.Recently, a group of scientists from all over the world earned Breakthrough Prize for the work they did at CERN, a multinational facility that tests fundamental ideas in physics. With cuts to science funding, what will happen to projects like this, plans to improve our Antarctic field stations, and efforts like the evidence-driven Paris climate agreement? Such ideas underpin our grasp of the natural world and probe the technologies the U.S. needs. Scuttling science and shutting doors on the world will leave us in the dark. Domination will doom us to failure.This is an opinion and analysis article, and the views expressed by the author or authors are not necessarily those of Scientific American.

Meta reportedly lays off over 100 employees across AR/VR hardware and games division Company says cuts will help teams "work more efficiently". Image credit: Meta News by Matt Wales News Reporter Published on April 25, 2025 Facebook owner Meta has reportedly cut over 100 jobs at Reality Labs, the division responsible for its virtual reality and augmented reality software and hardware, including Quest. The news was initially reported by The Verge, whose sources said the cuts had impacted teams within Meta's Oculus Studios - which is focused on developing games for the company's Quest headsets - as well as "some" employees from Reality Labs' hardware arm. Bloomberg later reported "more than 100" workers were impacted. In a statement provided to The Verge, Meta spokesperson Tracy Clayton confirmed cuts had been made within Oculus Studios, saying "some" teams were "undergoing shifts in structure and roles that have impacted team size." Clayton added the changes were intended to "help Studios work more efficiently on future mixed reality experiences for our growing audience, while still delivering great content for people today." The Verge says Meta declined to comment on layoffs outside of Oculus Studios. Impacted staff include the team behind Meta Quest fitness application Supernatural, which Meta acquired for $400m USD - alongside its developer Within - in 2023, following an anti-trust battle with the FTC. The Supernatural team confirmed it had been affected by Meta's latest layoffs in a statement shared on Facebook, writing it was "deeply saddened" by the loss of "some of our incredibly talented team members". Despite the layoffs, Meta says it remains "committed to investing in mixed reality experiences, including fitness and games, and our drive to deliver the best experiences possible for the Quest and Supernatural communities remains unchanged." Meta has dramatically reduced staff numbers of the last few years, cutting more than 20,000 jobs in 2022 and 2023. Lone Echo developer Ready at Dawn - which Meta acquired in 2020 - was heavily impacted by those cuts and was closed down at the end of last year. Today's Reality Labs layoffs follow Meta's admission last April that the AR/VR division had lost over $1bn every month for most of the last two years, with the company saying it expected losses to increase as it deepened its investment.

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 Contents hide Even though we haven’t had a new mainline Tomb Raider installment since Shadow in 2018, fans of Lara Croft have been treated to a couple of excellent remastered trilogies, as well as a boatload of crossovers such as with Fortnite and Call of Duty. There has also been a Netflix series starring the wonderful Hayley Atwell, which is set to receive a second season. While all of this has been good, fans are obviously craving a new AAA adventure. The next game has officially been in-development by Crystal Dynamics for years, and an alleged Tomb Raider 12 leaker who revealed open-world details now claims they “can see the announcement coming soon”. Tomb Raider 12 leaker claims they “can see the announcement coming soon” A movie leaker on X, VScooper, shared “rumored details” about Tomb Raider 12 back in May 2024. These details include the game allegedly taking place in a “fully open world” India where “Lara strategically races against a Society of Raiders and other rivals for powerful relics”. The leaker elaborated “The Society of Raiders are inspired by Lara yet unaffiliated,” and there will be a “new feature based on recruiting teams and allies to strategically aid you in missions”. It was also claimed that there will be an “emphasis on a new non-lethal combat option”. In addition, the leaker claimed there will be “vast sceneries, free use of the motorcycle, parachute, and common Lara’s traversal methods to unrestrictedly navigate across a big map and its challenges”. Image credit: @vthescooper on X In a follow-up almost a year later, Vscooper recently posted on April 11th that they “can see the announcement coming anytime soon…”. Unfortunately, there’s no elaboration on this tease, but this could possibly be referring to Summer Game Fest set to take place in June. Image credit: @thevscooper on X Of course, none of these details are official. VScooper is a movie leaker with a thread of verified leaks that came true involving the film industry, so it remains to be seen if they will turn out to be accurate about Tomb Raider 12. TR12 official details There are only a few official details we know about Tomb Raider 12. We know it’s being developed by Crystal Dynamics again, it will be published by Amazon Games, it is using the Unreal Engine 5, and it stars a unified Lara Croft with the survivor trilogy recognized as Lara’s tomb raiding origin. Crystal Dynamics has also shared a concept art preview of how Lara should look in TR12. It’s not the final product so there may be a few alterations, but it appears Lara will again rock dual pistols along with the iconic drip of a blue tank top, cargo shorts, and backpack. Image credit: Crystal Dynamics Talking about Tomb Raider 12 back in August 2024, Amazon Games boss, Christoph Hartmann, told IGN “the bar is so high” and that “there’s some really great ideas” with development “going well” at Crystal Dynamics. Then, earlier this year, there were unfortunately some layoffs at Crystal Dynamics, but the developer assured fans that it does not “alter plans” for the game. Lastly, the official Tomb Raider website encourages fans to sign-up to join the “Society of Raiders,” which possibly lends credence to the supposed leaks from VScooper. Again, we will just have to wait and see. In other gaming news, the release date for the next PS Plus day-one free game has been announced and it’s soon. Tomb Raider Platform(s): Android, iOS, PC, PlayStation, PlayStation 3, SEGA Saturn, Xbox 360 Genre(s): Action 8 VideoGamer Related Topics Tomb Raider Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

“Understanding the financial and legal aspects, including intellectual property rights and contracts, is key to protecting your design integrity while expanding your reach,” Magon notes. A hired expert can do that legwork—and paperwork—for you.Carter mentions that an agent can also help to fast-track product visibility and placement, although he did not choose to engage one for his licensing agreements. When not working with an agent, having the utmost patience is as important as having product design savvy.Communicate wisely and oftenIt’s essential that the company that will produce your designs fully comprehends the ethos of your brand and that the two parties are true partners. To help foster this collaboration, open communication is key.“Be sure to stay in constant communication with the manufacturer about production costs,” Langdon advises. “The last thing you want is to bring a product to market and learn that the price point is not in line with what you wanted.” In an effort to quell this issue, she recommends making tweaks during the prototype stage that could help pricing, if necessary. “It’s better to be flexible,” she says, “and make slight design adjustments to get the look you want but for an optimal cost.”Asserts Goralnick, “Take into account the time, money, and sources required for you to deliver what your partner needs. Developing, revising, and optimizing designs can be far more time-consuming and resource-demanding than you might imagine, which can take a break even or profitable scenario further away than you think.”Expand your brandBesides the obvious advantage of potentially providing a stream of revenue, a huge benefit of product licensing is that designers are able to focus on what they really love—designing—rather than getting bogged down with the minutiae of bringing a product to market. “My favorite part of the process is working out the details with the engineers and manufacturer’s team to make it producible, scalable, and hit a price point, all while keeping the designs’ creative integrity,” Goralnick explains. “Licensing allows me to do what I enjoy best, while my licensing partners help to realize the vision. In the end, we both benefit financially when the partnership is successful.”Another positive result of product licensing is enhancing awareness of your brand through your manufacturer’s audience. Goralnick explains that the increased awareness of his product designs on an international level also had a positive outcome—a “halo effect,” he says—on his architecture and interior design business.“Product licensing offers an incredible opportunity to extend your brand’s reach and influence beyond your immediate clientele. It’s a way to diversify your portfolio and tap into new markets while staying true to your design vision,” Magon explains. “The benefit lies in the ability to collaborate with established manufacturers or brands that have the infrastructure and expertise to bring your vision to life at scale. Licensing also allows you to build your brand’s equity, offering consumers a tangible piece of your creative world, all while generating passive income. It creates a symbiotic relationship where both the designer and the partner can grow through collaboration.”Bunny Williams’s Campbell House pattern for Ballard Above all, stay creativeWhile Carter urges designers to distinguish themselves from the crowd, “don’t be different for different’s sake,” he advises. Similarly, Landgon suggests creating products that are designed to sell. “Wacky or avant-garde is tricky,” she says. “Be sure to have a handle on what the final collection will look like, who you’re designing for, how much they will pay for it, and where they will use it.”“Stay true to your aesthetic,” Carter encourages, adding a final piece of advice when considering product licensing: “Maintain creative control, and don’t do anything that feels artificial.”APPLY NOWGrow your business with the AD PRO DirectoryArrow

CLOSE X By Aliss Higham US News Reporter Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Read original Speed: 0.5xSpeed: 1xSpeed: 1.5xSpeed: 2x 🎙️ Voice is AI-generated. Inconsistencies may occur. Thousands of living Americans have been mistakenly declared dead at the Social Security Administration (SSA) under the leadership of Elon Musk's Department of Government Efficiency (DOGE), according to a federal worker.Rennie Glasgow, a claims technical analyst at the SSA's Schenectady office in New York state, told The Daily Beast that DOGE staffers have mistakenly moved the records of living people to the SSA's Death Master File, which holds information about individuals who had Social Security numbers and whose deaths have been reported to the federal agency."We have people who did not receive benefits come in every day with their ID and say, 'I'm not dead, I'm alive!" Rennie Glasgow, a claims technical analyst with 15 years of experience at the SSA's Schenectady office in New York.Newsweek has contacted both the SSA and DOGE for comment via email.Why It MattersGlasgow's comments come at a time when DOGE has been working on "a major cleanup" of Social Security records.The work began after Musk, who is spearheading President Donald Trump's vast federal spending cuts, claimed in February that millions of people — many who would be long dead — over the age of 100 could be collecting Social Security benefits.The SSA clarified that the figures had been misinterpreted and the millions of records Musk referenced include individuals who, while not receiving benefits, have records lacking a recorded date of death. White House Senior Advisor Elon Musk walks to the White House after landing in Marine One on the South Lawn with U.S. President Donald Trump (not pictured) on March 9, 2025 in Washington, DC. White House Senior Advisor Elon Musk walks to the White House after landing in Marine One on the South Lawn with U.S. President Donald Trump (not pictured) on March 9, 2025 in Washington, DC. Samuel Corum/GETTY What To Know"[DOGE staffers] went into the system and they killed off people," Glasgow told The Daily Beast.He said that DOGE had marked approximately 4 million people as deceased, but the non-official federal agency said it is unclear whether that was done correctly."But they're [DOGE] not sure if those people were supposed to be marked as dead, so they're sending us an email saying, 'If these people come into the office with their identification, you can reinstate them.'""We have to go through this long process to resurrect them, to get them back as alive, which can take about three to four days," Glasgow said, who said such incidents can have severe repercussions on benefit recipients, tens of millions of which are elderly and/or disabled."It stops their car payments, it stops their credit, it stops their ability to do anything," he said. "Their identification gets flagged. And most times those things have to go to the payment center."The mistakes are having a knock-on effect. "What used to take 15 days to get done when we send something to a payment center is now taking about 30 to 45," Glasgow said.SSA Death Records And MuskMusk first brought attention to the SSA's records on deceased Social Security number holders in February. On X, formerly Twitter, he posted a spreadsheet of data showing "the numbers of people in each age bucket with the death field set to FALSE!""Maybe Twilight is real and there are a lot of vampires collecting Social Security," Musk wrote. He later reiterated his claim in an appearance at the White House alongside President Donald Trump.Musk did not say where the information had come from, aside from that it was a "Social Security database". However, it appears to originate from the SSA's Numident system, which has maintained records of all Social Security numbers since they were first used in 1936.According to a report by nonpartisan think-tank Brookings, the absence of a death date "doesn't necessarily mean the person is still alive; it may simply mean the death was never reported," saying that the system was introduced as a time when "when record-keeping was paper-based and less reliable.""Computerized death records were not introduced until 1962, meaning information on deaths prior to that year is often incomplete or inaccurate," the report reads.The SSA has previously conceded it has not kept its filings up to speed, saying in a March 2015 review that death records had not been updated for 6.5 million individuals over the age of 112 who were presumed deceased. However, the SSA clarified that these Social Security numbers are not receiving benefits, noting that the agency automatically suspends payments to anyone listed as 115 years old or older."The data referenced in the media pertain to individuals whose records lack a recorded date of death," the SSA said on March 5, referring to Musk's claim that dead people are collecting federal benefits. "While these individuals may not be receiving benefits, it is crucial for the agency to uphold accurate and complete records."What Happens NextDOGE confirmed on April 24 that it continues to update the records, writing on X: "For the past 7 weeks, @SocialSecurity has been executing a major cleanup of their records. Approximately 11 million numberholders, all listed age 120+, have now been marked deceased."Another ~2 million to go."Have you been declared dead by the SSA? Or do you work in an SSA office and have experience this elsewhere in the country? 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Play in the Sandbox Dune Awakening preview: a loving recreation of a beloved sci-fi property that offers more questions than answers, but it's a good start Dune Awakening is about as loving an adaptation of the Herbert's universe as you could get, to a fault. Image credit: VG247 Article by Connor Makar Staff Writer Published on April 25, 2025 There's a fine line when adapting something to the video game medium: a balancing act between making an experience that's enjoyable to play, but keeps things in line with the source material. Creating a Dune game is a task fraught with peril, especially at a time when love for Dune's popularity - thanks to both the original novels and theatrical releases - is at an all time high. Dune Awakening walks that tightrope with grace, for the most part. But there are a few wobbles here and there. Playing on an early press server over the past two weeks was my second hands-on experience with Dune Awakening, my prior preview in a controlled preview environment with a hard time limit. The content I got to mess around with isn't much different, though the playing at home allowed for the real MMO experience to shine through. Late night sessions, fast food, and the added exploration and depth the lack of a time limit allows. To see this content please enable targeting cookies. It's a moreish journey; a cycle of researching a new mining laser or tier of armour, then heading out to gather the requisite materials necessary to construct these upgrades. Stronger guns, a tougher bike, a sturdier energy shield. A familiar experience for anyone who has played around in a survival MMO, though draped in fine Dune-ery. Certain resources require treks to old Fremman hideouts, bandit camps, or sprawling dungeon-like research facilities. All while darting between islands of stone, lest the worm take you. What was crystal clear to me in this preview build is how the difficulty ramps up. The starting zone is, as you'd expect, introductory. No more than a handful of enemies come at you at once, offering you a chance to familiarize yourself with how the game's basic combat and survival mechanics actually work. Once you journey north, Dune Awakening turns up the heat a little. Melee fighters will leap at you with flying knees, ranged riflemen will pick away at you from afar, while shielded heavy weapon fellas unload barrages at you. It's here that you're forced to make the most of the tools available to you and, actually, where Dune Awakening's biggest flaw lies. Funcom has created a game true to its roots here. As any Dune lore goblin will tell you, shielded foes are best taken out at close with the slow knife. How this translated in game is a repetitive process of slicing away at enemies until they stagger, then thrusting once through the shields for a chunk of damage. Against tougher enemies, this must be repeated several times. When taking out packs of murderous ne'er-do-wells, what should be a tense battle can quickly devolve into a slog. Skill trees offer some spice to keep things interesting, but it all eventually comes down to the sword and gun. | Image credit: VG247 Now, it's worth noting a few things. My time playing Dune Awakening was largely done solo. In research facilities, where this problem bares its fangs most ferociously, another player assisting you may reduce the slog. But the flip side of that coin is this; everything I played didn't feel as though I needed another player to help out. I can only hope that, in the game's later regions, the difficulty continues to increase in such a way as to encourage collaboration. Otherwise expect lengthy runs of these stab sessions that even I - a British person! - felt was a bit much. Even during these less enjoyable periods, though, I found myself thoroughly impressed with the point-of-interest design, and the wider world itself. When the Funcom team talked of the varied biomes (promising me the whole game wouldn't just be a bunch of sand,) I reckon I shared the opinion of many: Yeah, sure. But, believe it or not, the various wrecked ships and ruined bases are distinct enough to keep the sands of Arrakis fresh and rich for exploration. The best work is done within research facilities, where uncontrolled plant growth offers sweet succor for its madened inhabitants, or the bones of a cavernous installation are hollowed out and retro-fitted into a salvaging base for raiders. Diving into these spaces open up the setting in glorious fashion. Quests, or rather tasks provided from bounty boards, are the major call-to-action for such exploration, and while these aren't especially spectacular in terms of what they have you do, they do offer some glimpses into the wider narrative. A girl will ask you to venture into a grey market hub filled with goons to grab some gizmo or data. This is your typical fetch quest, sure, but the thought of otherwise missing this lovely example of world-building makes it worth the trip. From the opening moments, you're transported straight into the movies. | Image credit: VG247 / Funcom Now. Let's talk about the worms. I like the worms. They remain an ever-present force of nature that must be taken into account at all times. While the map itself is open, you can't just zoon across the open desert willy nilly. The worm will get ya', so organic paths that connect each island reveal themselves naturally. As you upgrade your bike with a booster, these open up drastically in a fashion that proves fulfilling. It does not, however, remove the threat altogether. Resources like Flour Sand (only harvestable in the desert), require some quick thinking. Drive out to the harvest location, jump off your bike, harvest the sand, jump back on the bike, then rush back to safety. Every time I did this, the worm nearly had me. It's exhilerating. This constant threat is a major boon for Dune Awakening. The cost of dying to one is a total inventory loss, versus the push to venture out and brave the worm for sweet loot. But it's worth it. It's always worth it. I almost wish that Sardukar patrols, nightly ships that patrol the world, were as big a threat. I'm left with the same questions following this preview than I had during my first time playing the game. I was locked out from the rest of the world, and while I could look at the Lansrad screen (the end game mechanic that allows player factions to fight over influence of the server), I could not interact with it. All of what I played is the early game: learning who your character will be, learning whether you'll go Atreides or Harkonen, landing on what abilities and passive skills you like. This should lead into an endgame where you'll be able to further dive into your player expression, land on a loadout that works for you, and build a base that isn't just a box in the sand. It's also worth noting that this right here never gets old. | Image credit: VG247 I've not seen nor experienced any of that. The only people who have are the closed beta testers, who can't convey their experiences to the wider public. Why is this important? Well, it's the juice: it's the part of the game that keeps folks around, that leads to friendships and rivalries. Writing this, I can say that I had a great time exploring Arrakis, but the only sensibile conclusion I can take from different fighting styles, player backgrounds, and base building is to say it's all building up to an endgame I haven't seen. Whether all the time spent getting immersed in the world, staying loyal to the Harkonen or getting invested in the narrative will blossom beautifully 30 hours later is a mystery. A mystery that I'm guessing a sizable number of people won't be willing to bet $50 on. My takeaway from my time rotting in my chair and sinking days into Dune Awakening is that it feels like a solid start to a great MMO. I can say that Dune fans should enjoy this depiction of the universe, and that the Funcom team is clearly passionate about making this game the right way. I would recommend it to people, with the understanding that the part of the MMO I truly care for is shrouded in mist. I do hope that, in the next month or so before the game's release, we actually see this part of the game in action. Otherwise, Funcom will be asking players to take a leap of faith with Dune Awakening. I'll be taking it, but praying I land softly on a game that's as compelling at its 80th hour as it is when you start.