RIBA president-elect has written a two-hour play based on rivalry between Leonardo Davinci and MichelangeloSource: Dan FontanelliChris Williamson, founding partner of WW&P and RIBA president electRIBA president-elect Chris Williamson has revealed that he has written a stage play which has been nominated for an award in Rome.The two-hour historical drama, called Legacy, is based on the rivalry between Michelangelo and Leonardo Davinci during the height of the Italian renaissance in the early 16th century.It has been selected for best script in the Rome Prisma Film Awards, which includes nominations for both screen and stage productions, ahead of an awards ceremony in Rome next month.Williamson, who will become the next president of RIBA in September, said the subject matter was something he had been thinking about for a long time.The WW&P co-founderstarted writing the play during the covid pandemic, completing a first draft which he then revisited and refined last summer.He told Building Design the three-act play was about the futility of thinking about your own legacy, and was partly inspired by conversations he had had with leading British architects including Norman Foster, Nicholas Grimsahw and the late Richard Rogers.The play is partly based in Rome during Michelangelos work on the ceiling of the Sistine ChapelThe big names are always thinking about what their legacy is going to be, what they think they should have done and what they had done, he said.People are still talking about Leonardo Davinci and Michelangelo, but still cant decide who was better.The competition between the two artists had echoes in recent architectural history, he said, particularly in terms of rivalries between starchitects including Foster and Rogers.The play starts in Florence, where both artists were based in the first years of the 16th century, before moving to Rome during Michelangelos work on the Sistine Chapel.Williamsons award nomination was congratulated on LinkedIn by various built environment names including former RIBA president Jane Duncan and Crossrail International non-executive chairman Keith Wallace.

The ILM Vancouver artist details her globe-trotting career path from special make-up effects to art direction to effects supervision.By Lucas O. SeastromLost Ollie (Credit: Netflix)Ultraman: Rising (Credit: Netflix)For decades, a significant aspect of Industrial Light & Magics company culture has been defined by the atmosphere in dailies. These routine sessions where the effects team reviews work-in-progress and provides feedback are common across the industry, but ILM has always prided itself on its distinct style that encourages open and equal communication. Tania Richard had spent some 15 years working in visual effects before she joined ILM in 2018 as an art director at the Vancouver studio. And as she puts it, ILMs collaborative dynamic really shines in dailies.While working on Space Jam: A New Legacy (2021), Richard was at first surprised when visual effects supervisor Grady Cofer would call on her in dailies, seemingly at random. Grady wouldnt hesitate to call my name out and ask me what I thought about something, even if it wasnt something I was working directly on, Richard explains. He valued everyones opinion, and made you feel part of the overall process. Earlier in my career at other studios, dailies was pretty quiet and you didnt speak up very often. Everyone has their own way of approaching things in dailies, but at ILM its always with the intent of creating a collaborative experience.As ILM has continued its global expansion which now includes studios in Vancouver, London, Sydney, and Mumbai, in addition to its San Francisco headquarters seasoned professionals from across the effects industry have joined the ranks. Each brings their unique experience working on diverse projects and often in many different types of roles. Richard is no different.Growing up in Sarnia on the southern border of Ontario, Canada, Richard had what she describes as a creative upbringing. Both of her parents had their own artistic pursuits, and her mother in particular encouraged Richard and her brother (now a storyboard artist) to make careers out of their passions. Though she aspired to work in filmmaking from her time in high school, Richard chose to study traditional fine art while studying at McMaster University southwest of Toronto. But I was lucky in that the university also had film theory courses, she notes, so I studied film theory as well as fine art.With this unusual blend of disciplines, Richard was able to both learn academic theories and create artworks that attempted to realize them in aesthetic form. She studied sculpture, drawing, print-making, art history, and painting, as well as film theory. Her fascination with the concept of film spectatorship inspired her to focus in painting. There was a film theorist, Laura Mulvey, who talked a lot about the male gaze in spectatorship, Richard explains. I studied her a lot, as well as Cindy Sherman, who would often photograph herself in these film-looking environments and settings. I ended up doing something similar where Id start by creating these film stills, photographing myself dressed up in various situations, and using that as reference for my paintings.To this day, Richard is fascinated by the intersections of artistic craft and theory, in particular the way that filmmakers code their works. It can almost be a language, a communication between the filmmaker and the audience, she says. Somebody like [Andrei] Tarkovsky puts these little codes throughout his filmmaking, whether its sound like dripping water or a cuckoo, or a visual like apples. They were all meaningful to him on a personal level. You see and hear these codes throughout all of his films, and if you were familiar enough with them, it was almost as if he was talking to you in a way, on another level.At ILM, Richard has worked with director Shannon Tindle on both Lost Ollie (2022) and Ultraman: Rising (2024), and she describes the filmmaker along similar lines. Hell reference the same films in his creative process, like Kramer vs. Kramer [1979], for example. He loves that film, and Im aware of that because Ive worked with him long enough and had enough discussions with him to know that when I see something in the way a frame is composed or an animation performance in one of his films, I can understand where his influence is coming from. Its special. It makes you feel like youre connecting with the filmmaker on another level.As she finished her undergraduate studies, Richard jumped into work at Toronto-based FXSMITH, a special effects company founded by innovative makeup designer, Gordon Smith. Initially thinking shed be working on a local television show, Richard soon discovered their teams assignment was the feature film X-Men (2000). Initially, Smith had his new hire drawing concepts for characters requiring prosthetics, and as production commenced, Richard was part of the on-set team creating the extensive make-up for Rebecca Romijn as Mystique.It was a great experience and I had my foot in the door, says Richard. But this was back around 1999, and the transition from practical effects to computer effects was happening. For X-Men, we worked closely with the visual effects team on set because they had to pick up a lot of our work in post-production and refine it. In talking to some of the crew there, they encouraged me to move into visual effects.Concept art by Richard for Mystique (Rebecca Romijn) in X-Men (2000) from 20th Century Studios (Credit: Tania Richard).Richards brother was then studying classical animation at Torontos Sheridan College, a school that had graduated a number of artists later hired by ILM. If the Sheridan opportunity hadnt worked out, I mightve gone for a PhD in film theory, Richard notes. Joining the schools postgraduate visual effects program, her main professor was Richard Cohen, recently returned from a stint at ILM as a CG artist on Terminator 2: Judgment Day (1991) and Death Becomes Her (1992).There were about 12 of us in the class, and Richard [Cohen] felt that rather than having us all isolated and doing our own thing, we should make a short film together, says Richard. If I had not done that, I mightve focused more on the animation side. But on the group project, we leaned into each others strengths, and because I had a painting background, it was clear that I was the concept artist, matte painter, and designer on the team. I did do some animation, but I learned that it wasnt my strength. She adds that although she intended to create traditional matte paintings for their film (ultimately titled The Artist of the Beautiful), Cohen urged her to learn Photoshop and embrace the emerging computer-based tools.As she finished her studies at Sheridan, Richard had already begun professional work, initially as a concept designer for 2003s Blizzard under production designer Tamara Deverell. She then became a digital matte painter at Toybox, a local effects house that was soon acquired by Technicolor. Eventually, a former colleague invited her to come to Sydney, Australia where Animal Logic was developing the animated feature Happy Feet (2006). I was young and up for the big move, so I said yes, Richard comments. That was back when 2 D projections were the thing, so I did a number of those mattes on that feature.During this period, Richard encountered a number of important mentors, among whom was the late visual effects producer Diana Giorgiutti, with whom Richard served as a concept artist on Baz Luhrmanns Australia (2008). We were on location in Darwin and Bowen for something like seven to nine weeks, Richard explains. Di had me working directly with [production designer] Catherine Martin. She had me sitting with editor Dody Dorn for a week. Dody had cut Memento [2000]. We were together early on when she had voice recordings of the actors reading the script and she wanted some images to cut in with them. Id be mocking up frames for her and she explained to me the compositions they needed. She was really generous with her time.Soon, London-based Double Negative came calling, and Richard spent nearly a decade in the United Kingdom working on everything from Harry Potter and the Deathly Hallows: Part 2 (2011) to Interstellar (2014). As visual effects art director on Fantastic Beasts and Where to Find Them (2016), she again found an important mentor in production designer Stuart Craig, whod overseen the visual development of the entire Potter franchise. After creating elevation and sectional drawings for sets, Craig tasked Richard with building digital mock-ups, and together theyd determine the preferred camera angles for which Richard then created detailed concepts.Stuart had worked with set designer Stephanie McMillan for many years, says Richard, and they would often go onto set together and shoot the space in black and white. That helped them analyze the composition before they started adding color and texture, which only came after they were happy with the black and white composition. When I built my models, I rendered them in black and white as well, so I was approaching it instinctively in a similar way. Stuart loved it and helped me understand why it was a good approach. Rather than going full-tilt and adding lots of texture and detail right from the beginning, you start to learn that actually you might never see a particular area because of the way its being lit, or something like that. You learn to focus in an efficient way on where to add that structural detail, where to hit the image with color to have the most impact. It was a brilliant lesson from Stuart.Shooting reference photography for Australia at Kakadu National Park. (Credit: Zam Wimberley).With producer Diana Giorgiutti (Credit: Will Reichelt).Shooting background photography in Scotland for Harry Potter and the Deathly Hallows (Credit: Tania Richard).A return to Animal Logic for 2018s Peter Rabbit was Richards ultimate springboard to ILM. With the opportunity to work closely with director Will Gluck, visual effects supervisor Will Reichelt, and associate visual effects supervisor Matt Middleton (the latter of whom are both with ILM now), she came to realize that effects supervision was her chosen path. Will [Reichelt] had me run lighting dailies and look after the assets while he was busy on set, Richard explains. I was also really involved in the DI process and had a team of artists who I delegated a lot of design work to, so in many ways, it felt like a natural transition.In early 2018, the ILM Art Departments creative director David Nakabayashi and senior producer Jennifer Coronado convinced Richard to make another move, this time back to her native Canada to work at ILMs Vancouver studio. It was a significant decision, as Richard was then considering a move to New Zealand for a brief respite from active work. But the opportunity to join ILM was too important to pass up.ILM was the pinnacle, Richard says frankly. For anybody who is around my age and grew up with Star Wars, you see ILM as the height of where you want to be in the industry. But I wasnt sure I had what it took to be a part of the company, so it was a surprise when they reached out. I barely took any time off between working on Peter Rabbit and coming to ILM.Initially working as an art director, Richard describes her first impressions of ILM as overwhelming, exciting, and different. After assisting Vancouvers creative director Jeff White on some initial project bids, she was soon working on Disneys Aladdin (2019). The ILM Art Department is incredibly talented and is really the best of the best, Richard notes. Theres so much you can learn from them. She continued as an art director on Space Jam: A New Legacy, for which ILM was responsible for integrating the classic Warner Brothers animated characters with live action footage.There was a lot of artwork created at the beginning of Space Jam, Richard explains. The spirit of it evolved quite a lot over the course of the show. I had a wonderful team, and I really loved working on Bugs Bunny! [laughs] Grady Cofer had me doing paint-overs on some of the characters, which I really enjoyed. The whole team was involved in refining the final looks of each character, including the textures crew, the groom artists, the modeling team, and the animators. Im always blown away when I see animation come through.It was after Space Jam that Richard made the transition to associate visual effects supervisor on Lost Ollie. Im a bit like the righthand person or wingman for the visual effects supervisor, she elaborates. We work very closely with production and our department leads and supes to help establish looks, refine shots, and execute what needs to be done in post to maintain a certain level of quality and consistency. I had been slowly navigating into an effects supervisor-type role for a while, but I wasnt sure if I had all the skillsets to be able to do it. I talked to Jenn and Nak about it, and they were very supportive and helped to guide me into this position along with Jeff White and [executive in charge] Spencer Kent.Lost Ollie (Credit: Netflix).I think I just got really lucky, Richard continues. I believe that Jeff had Ultraman in mind for me, but it wasnt quite ready yet. [Visual effects supervisor] Hayden [Jones] and [visual effects executive producer] Stefan [Drury] were working with Shannon Tindle on Lost Ollie, so I had a chance to establish a relationship with the same client. I think thats why they thought it might be a good starting point for me. It was a smaller project, and I love the hybrid between live action and CG characters. Its probably what Im best at and what I love to do the most. I ended up diving in heavily on two episodes, and then I stayed in the background on the final two because that was when I started transitioning to Ultraman: Rising.The move into supervision has allowed Richard to focus more on refining her approach to communication and collaboration between the artists and the clients. On Ultraman, Hayden was great at encouraging the team to ask questions and offer up suggestions with Shannon, she notes. Whats great about Shannon is that he creates an environment where its okay to suggest something that might not ultimately be the right idea, but its great to put it out there and see if it works. [ILM executive creative director] John Knoll is very similar. He embraces that exploration and isnt afraid to try something.Richard emphasizes that part of being a supervisor is having an ability to read the room and understand the personalities of the artists and how they like to communicate. And as an artist herself, Richard brings her own unique blend of experiences. Ive been lucky to have had a toe in the practical side of things very early on. Ive also worked with some really talented people who come from an earlier generation of filmmakers. I hope that some of that knowledge translates in my communication with the artists. Both Grady and Hayden like to do quick paint-overs on things in dailies, and thats something I like to do as well. If words dont quite explain something, sometimes a quick drawing or paint-over can act as a visual reference. Many supes like to do that.As so many have attested, its the people that have truly made the difference at ILM in its 50 years of storytelling. Have curiosity about the people youre working with, Richard says, and have empathy for them. Try to understand where your colleagues may be at a certain point in time. You can use that to develop relationships throughout your career, which is so important.Ultraman: Rising (Credit: Netflix).Read more about Richards work on Ultraman: Rising here on ILM.com.Lucas O. Seastrom is the editor of ILM.com and a contributing writer & historian for Lucasfilm.

2024 Wondering which budgeting app you should use? Rocket Money should be at the top of your consideration list.Rocket Money (formerly known as Truebill) was CNET's 2024 Editors' Choice pick for best budgeting app. It's affordable, user-friendly and packs a ton of valuable features. It also offers some unique perks, such as subscription cancellation and bill negotiation. There's a free and a premium version, with the premium version costing as little as $6 per month.Here's what you need to know to decide if Rocket Money is right for you. 9.4 Rocket Money Buy at Rocket Money Like Affordable Easy to use Savings goals Credit score and net worth tracking Bill negotiation and cancellation services Don't like Free version is limited No debt playoff planning features No investment tools Fees for bill negotiation How does Rocket Money work? The Rocket Money budgeting app links to your bank accounts to track your income and spending. It can automatically sort your transactions into specific categories, such as groceries or housing, to take some of the legwork out of budgeting. You can also edit individual transactions and create rules for sorting future transactions. Rocket Money allows you to set spending goals and shows you how much you've spent to date in each category. You can adjust your budget at any time to account for unexpected expenses. The free version of Rocket Money is limited but provides basic budgeting functions like expense tracking that may be sufficient for some users. The paid version, which costs $6 to $12 per month, offers advanced features like custom budget categories, automated savings and credit reports and net worth tracking. What we like Affordable price: Rocket Money Premium costs $6 to $12 per month. How much you pay is up to you, and you'll enjoy the same features regardless of the amount you choose.Easy to use: Rocket Money's mobile app and online platform are both intuitive to use. Information is presented in a clean, easy-to-understand way that tells you what you need to know without overwhelming you.Lots of notifications: You can choose to receive a wide variety of notifications to stay on top of your finances, from bill increase and bank fee alerts to identity theft and credit score alerts.Savings goals: Rocket Money Premium offers a Smart Savings account to make setting money aside easier. You can set savings goals and schedule regular automatic transfers to this account. Smart Savings accounts are held by an FDIC-insured partner bank, so your money is safe up to $250,000 per account holder.Credit score and net worth tracking: Rocket Money Premium offers credit score viewing and credit report and net worth trackers. (The free version offers credit score viewing only.)Bill negotiation: Rocket Money also offers a bill negotiation service that's available to both free and paid users. Rocket contacts your service providers -- like your cell phone or internet provider -- for you to try to lower your bill. You'll pay a fee if they succeed, but it may be worth it for you if you hate haggling with customer service reps. What we didn't like Free version is limited: You may be able to get away with using Rocket Money's free version, but it's pretty barebones. If you want features like custom budget categories, you'll need to pay for the premium membership.No debt payoff planning: Some budgeting apps, like PocketGuard, provide debt payoff planning to help you reduce your debt load. Rocket doesn't. You can link your credit card accounts to monitor your balances, but that's about it.No investment tools: You can connect your investment accounts to Rocket Money and view your balances, but if you want help with investment planning, you're better off with an app like Empower, which provides tools to assess and adjust your strategy.Traditional budgeting approach: Rocket Money uses a basic budgeting method: You set your budget categories and spending goals upfront, and you can tweak them from month to month. This strategy may not work for everyone. If you want a more granular approach to your budget or need help getting a handle on your spending, you may be better served by zero-based budgeting apps like EveryDollar and YNAB or by Goodbudget's envelope method.Bill negotiation fees: If Rocket Money's bill negotiation service succeeds, you'll pay them 30% to 60% of your first year's savings (you choose your percentage). You could contact your service providers yourself and save on this cost. Is Rocket Money safe? Yes, the Rocket Money app is generally safe. It uses 256-bit encryption -- the same encryption many banks use -- and partners with the payment network Plaid to link to your accounts rather than storing your login information. That said, your financial data could still be at risk if your phone is ever lost or stolen, so you should know how to remotely wipe your phone in this event. Who is Rocket Money best suited for? Rocket Money offers all the essentials you need to create and maintain a budget. It's accessible to a wide range of budgeters, easy to use, and the premium subscription is affordable. Because of this, we found Rocket Money to be a solid replacement for Mint, the popular budgeting app that disappeared in March 2024. Alternatives to the Rocket Money app Rocket Money offers something for everyone, but it isn't the only budgeting app on the market. You can explore your options by checking out our best budgeting apps roundup. Rocket Money Finally crush your budgeting goals with Rocket Money. Details See at Rocket Money Is Rocket Money legit? Yes, Rocket Money is a legitimate budgeting app that can help you track your spending habits, identify ways to save money and get a better handle on your personal finances. It has a 4.4-star (out of 5) rating on Trustpilot and is accredited by the Better Business Bureau. How much does Rocket Money cost? Rocket Money is a free budgeting app that offers limited budgeting features for no cost. If you want to create unlimited budgets, customize your budget categories or access features like automated savings, you'll need to pay for a Premium subscription, which costs between $6 and $12 per month. You pick your amount -- you get the same features at any price level. Should I pay for Rocket Money Premium membership? Some users may find Rocket Money's free version is enough for their needs. If you'd like more, the paid version's sliding scale pricing of $6 and $12 is affordable by budgeting app standards. With a free seven-day trial to test it out and flexible monthly billing options, it's certainly worth considering if you'd like to see all that Rocket Money can do. More budgeting advice:

GOG joins Europe's largest organisation dedicated to game preservation"Every game deserves to be remembered."Image credit: GOG News by Ed Nightingale Deputy News Editor Published on Jan. 15, 2025 GOG has joined the European Federation of Game Archives, Museums and Preservation Projects (EFGAMP) as it continues to push for game preservation.The PC game platform is the first Polish institution to join EFGAMP, which was founded in 2012 to represent over 20 organisations focused on collecting and preserving digital games. It's the largest organisation in Europe of its kind."GOG was created with video game preservation in mind," said GOG managing director Maciej Gołębiewski, emphasising the company's game preservation ambitions.GOG Preservation Program - Make Games Live ForeverWatch on YouTube"Classic games and the mission to safeguard them for future generations have always been at the core of our work. Over the past decade, we've honed our expertise in this area. The GOG Preservation Program, which ensures compatibility for over 100 games and delivers hundreds of enhancements, is just one example of this commitment. We were thrilled to see the Program warmly received not only by our players but also by our partners and the gaming industry as a whole."He continued: "As a European company, we feel a responsibility to lead in preserving gaming heritage. Joining EFGAMP reinforces this commitment. Our next step is to expand institutional collaboration with museums and governmental and non-governmental organisations worldwide. We hope our experience will contribute meaningfully to their efforts. We are also discussing exciting new game preservation projects, which we look forward to sharing soon."To see this content please enable targeting cookies.Andreas Lange, COO of EFGAMP, highlighted GOG's "unique perspective" as a "European leader in digital game distribution"."Their experience in making classic games accessible to modern audiences complements the work of our existing members by bringing further digital expertise to our collective efforts," said Lange. "As GOG distributes classic games worldwide, GOG is a fantastic addition to EFGAMP, whose members are primarily rooted in the cultural heritage sector."In November last year, GOG announced its Preservation Program to maintain the compatibility of games with modern and future systems. So far, over 100 games are part of the initiative, receiving a Good Old Game badge."Every game deserves to be remembered, and were committed to fighting for your gaming legacy," said GOG in a social media post.

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 hereEveryone is desperate to know when Grand Theft Auto 6 is coming out. Other developers and publishers want to know so they can give it a wide berth, meanwhile, fans want the game to come out as soon as possible so they can leave reality behind to start living in Vice City. The release date window is still currently scheduled for Fall 2025, but fans want Rockstar to announce a specific launch day. We dont know when Rockstar will make the announcement, however, a new theory suggests the release date for GTA 6 could be revealed in January because of Rockstars history.GTA 6 release date reveal in January theory explainedThere is a new theory circling online that suggests the release date for GTA 6 could be revealed before the end of January. This theory is built off the back of Rockstar previously announcing launch days for their games in the first month of the new year.As shown by GTAVI_Countdown on X, the launch day for GTA 4 was announced on January 24th, 2008, and the launch day for Max Payne 3 was announced on January 17th, 2012. The release date for Grand Theft Auto 5 was also revealed on January 31st, 2013.The only exception to the rule in the evidence lined up is Red Dead Redemption 2s release date getting announced on February 1st, 2018. In addition to getting their launch day revealed in January and the beginning of February, all the games included as evidence came out as announced by Rockstar.Its certainly a compelling theory with a history of evidence to get fans excited. Theres also the fact that Take-Two Interactives next quarterly earnings call is scheduled for February 6th. We are hopeful news about GTA 6 will be revealed before the imminent earnings report, but nothing is officially planned as of writing.There have been theories in the past such as trailer 2 coming out on December 27th that didnt come to fruition, so fans should keep expectations in check and not take theories as gospel. Rockstar will reveal the launch day for the game when theyre ready, and hopefully it will come out in Fall 2025 rather than getting delayed to 2026.In more Grand Theft Auto 6 news, Take-Two has explained why it is not launching day one on PC.Grand Theft Auto 6Platform(s):PlayStation 5, Xbox Series S, Xbox Series S/X, Xbox Series XGenre(s):Action, Action AdventureSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

Do you know how to clean a dishwasher? Its okay if the answer is no. After all, Lucy Peachy Challenger, a cleaning influencer and TV star based in Blaenavon, Wales, notes that most people often forget about scrubbing the easily overlooked appliance when cleaning their kitchen. But forgetting to clean your dishwasher regularly can mean that your dishwasher doesnt clean your dishes as well as it could, Challenger says. Its a simple 10-minute task that should be done approximately every four weeks if used regularly.In the following guide from AD, learn how to clean a dishwasher with white vinegar, baking soda, and dish soap. Not only will your machine look brand-new, but it will also run more efficiently than ever.Find what you needWhy dishwasher cleaning is importantHave you ever put your dishes into the dishwasher and they come out dirty? Or find a glass tainted with soap scum, or worse, bits of food left on a plate? If youre experiencing this, your dishwasher might need some extra care.Regular cleaning helps to provide the best cleaning experience and keep your dishwasher in top shape for years to come, Morgan Eberhard, senior scientist at Cascade based in Cincinnati, Ohio, says.By regularly cleaning your machine, you can ensure that you wont have to rewash your dishes in a frustrated rush. (Knowing how to properly load your dishwasher the right way can also make a world of difference.)In short, cleaning your dishwasher can help save you time, prevent costly surprise repairs, and get rid of any foul odors.How often you should clean a dishwasherHow often you clean your dishwasher depends on your schedule and needs, but Eberhard recommends cleaning your dishwasher at least once a month. If you think about it, this appliance is responsible for ensuring the surfaces you eat food off of every day are sanitary. So, youll want to make sure youre cleaning it often and well.Over time, food particles, grease, and soap scum can build up in the filter and the holes of the spray arms, affecting its efficiency and even causing unpleasant odors, Eberhard says.By cleaning your dishwasher regularly, you can ensure it will function well and last longer. A little effort now can save money and time in the long run. Tip: Pick a day each month to deep clean your major appliances to make them less overwhelming to keep track of.How to clean a dishwasherFor a quick clean, Eberhard recommends running the dishwasher in an empty wash cycle with a single dose of Cascade Platinum Dishwasher Cleaner to prevent food particles and soap scum from building up.For a deeper clean, follow the below steps.Step 1: Gather your suppliesYou cant clean a dishwasher without gathering a few cleaning products first. But, great news, you probably already have most of them. The following steps are general guidelines, but make sure to look at your specific appliances manual.What is the best thing to clean the inside of a dishwasher?While there are different products you could use, youll need the following for this method:Warm waterDish soapDistilled white vinegarBaking sodaToothpickToothbrushMicrofiber clothRubber glovesNotice: Experts do not recommend using bleach when cleaning your dishwasher.Step 2: Remove the filter, utensil holders, and dishwasher racksCleaning the filter will ensure your dishwasher runs smoother.Phto: Tatjana Meininger/Getty Images

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Begone, KongNintendo cuts original developer from credits yet again, this time for Donkey Kong Country Returns HDThat's not very K O N G of you, NintendoImage credit: Nintendo News by Connor Makar Staff Writer Published on Jan. 15, 2025 Donkey Kong Country Returns HD is here at last, but with the lifting of the review embargo, it looks like Nintendo has once again decided to not include the original developers in the game's credits. Instead, the only devleopment credits go to Forever Entertainment, which handled the modern port.This was confirmed by outlets like Nintendo Life, which published its findings as the review embargo lifted. Ollie Reynolds, a staff writer at Nintendo Life, noted that Retro Studios (the original devlopers of Donkey Kong Country Returns) weren't present in the credits at all.To see this content please enable targeting cookies. This isn't the first time this has happened either. Back in 2023, the Metroid Prime Remaster was suddenly dropped onto the Nintendo Switch with a new coat of paint. However, original developers behind the game were left off the credits, which caused quite a stir online. A handful of original devs, including Jack Mathews, went public to share his displeasure at the decision.It seems the same has happened again, and that Nintendo has no intention of shifting its stance. Nonetheless, it's a rough move. At least include a line thanking the orignal devs, c'mon. It's also a weird stain against what seems to be an otherwise great HD port. A shame.What do you think of all this? Do you think proper credit should be given to the OG devs? Let us know below!

Speed up environment creation, collaborate more efficiently, and deliver immersive experiences for your clients with the new V-Ray 7 for Cinema4D.