During World War II, children were evacuated from British cities to the countryside and other countries to escape German aerial bombings. This is the subject of the Apple TV+ production Blitz, now streaming, where a nine-year-old evacuee decides to journey back home to reunite with his mother. To recreate this historical period, filmmaker Steve McQueen relied upon the skills of Production Designer Adam Stockhausen, Costume Designer Jacqueline Durran, and Visual Effects Supervisor Andrew Whitehurst. Both Whitehurst and McQueen share Fine Arts backgrounds, and a love of painting, which influenced their creative collaboration.Steve had not previously done a film with significant visual effects, says Whitehurst. What I hope I was able to do was talk to him in a more artist-to-artist way rather than making things unnecessarily technical. Most of our initial conversations were creatively driven. Steve is collaborative and wants you to bring ideas. That relationship allowed me to do quick storyboards and say, This is what we had in mind. That helped us establish a visual lexicon quickly. My first conversations with Steve were about atmosphere, smoke, sparks in the air, and debris - the sort of textural stuff. This was how I hoped to get him onboard with using visual effects, which can sometimes feel like an alienating discipline for a director.While historical authenticity was important, McQueen describes Blitz as a Brothers Grimm fairy tale. According to Whitehurst, We always started with historical truth and then asked, What do we want the shot to evoke? What are we trying to make the audience feel at this point? How can the way we light it help that? If we add two small bits of fire still burning in one building, what does that do emotionally? In the films last shot, one destroyed house in the background has a wash line with laundry blowing on it. That may not have happened on that street, but it adds humanity and a connection to something we all understand.Establishing shots were entirely CGI to achieve the necessary scope and narrative context. The wide shots were built from the ground up with a destroyed city in mind, Whitehurst explains. The first establishing shots are over the docks in East London. We used accurate pre-war maps to recreate the street and dock layouts. Since the docks were filled in after the war, and houses now sit on them, it wasnt like we could take a helicopter, film the real locations, and change a few things. Its a profoundly different place.Everything was driven by the desired final cinematic result. By understanding the intended feeling of the finished shot, you can work backward to build it effectively without wasting time on unnecessary details, Whitehurst observes. We dont have the time or budget to build every nut and bolt of East London just to cover it with smoke. I feel horrible anytime something is built that doesnt end up on screen.Street-level destruction was shown in firefighting scenes. We LiDAR-scanned set builds and photographed period-appropriate buildings to create digital variations of the practical sets, says Whitehurst. [Special Effects Supervisor] Hayley Williams team provided real flames for reference in our effects simulations. The only additions without special effects reference were big background smoke columns drifting across the city, for which we used newsreel footage as inspiration. A bombing at Londons Caf de Paris required an elaborate set build focused on the ground floor. Theres a wide shot looking down through tall awnings into the bombed-out caf - thats a matte painting I created over the photography, says Whitehurst. At ground level, most effects were practical, in-camera with some paint out. But we digitally removed the odd blink here and there from actors portraying the dead. When people are pulling earrings off them, its a big ask not to react.People fleeing the bombing often found refuge in the subway tunnels. One tunnel flooding scene was done mostly practical. The production wanted to do as much of the flood practically as possible, so a couple of decommissioned Tube stations in London often used [in productions] wasnt possible, says Whitehurst. Hayleys team built two two-ton dump tanks to release water through the Tube station sets roof. High-volume pumps circulated the warm water through the set. Everything was done practically. Stunt performers were pulled by cables to help sell the strong currents, but child actors only waded through waist-high water, with torrential effects added later using plates and some CG water to tie everything together.The film features 500 visual effects shots, evenly split between Cinesite and Raynault VFX, with ILM stepping in at the end to fill editorial gaps. Post-production took about a year, notes Whitehurst. Each VFX house was assigned distinct assets so they could build them in their own way and avoid the need to share. Nine-year-old Elliott Hefferman made his cinematic debut as the lead. Elliott was a total pro, says Whitehurst. Hes an old soul in a young body. He reacted to practical sets and locations with ease. If we said, It will feel like a stronger current later, he understood. Elliott was fantastic.Whitehursts design process was often ad hoc. I like to take screengrabs from the Avid and paint over them in Procreate or Photoshop, he explains. I did a bunch of scenes where Steve would say, Im not sure why this concept isnt quite working. What can we do? Once we were feeling good and aligned on a vision, Id share them with VFX houses and say, This is the work in progress shot that I painted over the top. I added smoke here. It gave them a clear direction for the next iteration.I did storyboards in sketchbooks, which I show to Steve and asked, Is this what you want? he adds. Then I would take a picture of it, send it to ILM and say, Thats the framing.Principal photography occurred across London and in big, elaborate set builds with greenscreens used for digital extensions. St. Pauls Cathedral had been sandblasted clean in the 1980s, but in 1940 it was filthy from industrial smoke and smog rather than from bomb damage, says Whitehurst. We had to dirty up nice, clean stone fronted buildings to be period correct, adjust street signage, and remove modern elements like skylights and ringing video doorbells. Most of the vehicles were practical; there was a good number of period cars and trucks kept in good condition, as well as buses. There are a couple CG buses. All the stores needed fixing. A lot of that was done by the art department, but for shots out of a moving bus, visual effect sorted that all out. Even the smaller street scenes required augmentation. Most people living in London who want more housing space have extended up into their loft, so theyve got skylights in their roofs, he adds. There was a lot of work to make a real Victorian street look like an actual 1940 Victorian street.Digital doubles were sparingly used. We shot some old-school sprite crowds for backgrounds, says Whitehurst. For instance, George jumping off a train was filmed in a backlot with a stunt performer, onto a greenscreen with a wind machine. For the wide shot, the distance was long enough that there was no need for a face replacement, due to the aesthetic style of the camera work. We didnt need any digital doubles. The vista shots were the hardest because there was nowhere to hide. Theyre long shots so you spend plenty of time looking at them, Whitehurst notes. The rest of the work was difficult because effects simulations are hard, and building environments or set extensions with the fidelity of the needed texture is tricky. Lighting them appropriately is difficult as well. Blitz was shot with Panavision C Series lenses which are beautiful but give compositors a harder time than modern glass. Nothing was a surprise in terms of what I thought would be easy but turned out not to be, or vice versa. Surprises came in realizing places where we needed additional shots, which is where ILM stepped in. The did five extra fully CG shots.Whitehurst, who has lived in London for quite some time, is familiar with much of what happened in the city during World War II. Recreating that period of history was emotionally affecting. The Tube flooding happened in Balham, which is an area of London about a mile and a half from where Im talking to you now, he remarks. I knew about that because its a noted piece of local history. When you walk around the city, youre aware of the history of the bomb damage because buildings still have shrapnel marks, or destroyed buildings have been replaced with something modern. The thing that was most surprising was how emotionally affecting confronting this became. We did some additional photography when George runs down a real street in Stepney, and from a crane up in the rooftops, you can see bomb-damaged Victorian terraces and where theyd been repaired with cement, alongside apartment blocks built in the 1950s when funds became available to rebuild, Whitehurst reflects. Digitally restoring the damage to the houses and imagining the belongings of the people who lived there was profoundly moving. It made the history feel viscerally real. Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

In Raleigh, North Carolina, a project decades in the makingthat promises an 84-acre riverfront park replete with hiking, kayaking, and other water-based recreational optionshit a major milestone earlier this month, when it was approved by Raleigh City Council. Design Workshops Raleigh office drew up the Neuse River Park Master Plan after an $11.4 million bond was approved by Raleigh City Council last year to finance design and construction.Elizabeth Gardner, a local meteorologist and avid kayaker, was a key driver behind the river park. Gardner has been advocating for the project for more than two decades, along with many other Raleigh residents.Neuse River Park will have bike paths, play areas, and more. (Design Workshop)This park is uniquely positioned to become a key recreational destination, Design Workshop said, serving as the northern trailhead for the Neuse River Greenway and Blueway systems. With its combination of open spaces, forests, and direct river access, the park will cater to a wide range of recreational activities including hiking, kayaking, fishing, and birdwatching.Play Area at Neuse River Park (Design Workshop)Neuse River Park expands upon existing waterfront facilities built for river access, frequently used by paddlers and anglers. The new plan makes way for trails for hiking and biking and new opportunities for wildlife viewing. The vision for Neuse River, ideated by Design Workshop with community input, will feature stepped riverfront reinforcement that doubles as seating which juts into the water. It will also have restrooms, accessible trails, a social lawn and pavilion, a pump track for cyclists, an arrival plaza, play areas, a pollinator meadow, and more. A major thoroughfare, Falls of Neuse Road, divides the future park. To reconcile that, Design Workshop ideated a major point of connection underneath the elevated roadway.The park will be divided into northern and southern sections, connected by a walkway underneath a major thoroughfare. (Design Workshop)The series of river overlooks and gathering spaces along the Neuse River provide vantage points for visitors to enjoy scenic views and connect with nature, Design Workshop said. These overlooks feature seating areas, informational displays, and shaded spots, inviting both quiet reflection and social interaction. Residents will soon be able to enjoy white water rafting. (Design Workshop)The landscape architects continued: Designed to enhance public access, the spaces include gentle pathways and riverbank terraces, allowing for closer interaction with the water. The design encourages community engagement with the Neuse and its history, educational opportunities, and a deeper appreciation of the rivers natural beauty.Neuse River Park is slated for completion in 2028 with construction starting in 2026.

The Home Office is today opening a consultation on a series of proposals to address the ransomware threat to UK society, and hopes to widen the scope of an existing ransomware payment ban across sectors critical to the functioning of daily life, including the NHS.Such a ban is already in effect covering government departments but under the new plan being put forward, all public sector bodies from local councils to schools and the health service, as well as operators of critical national infrastructure (CNI) such as utility providers, would be forbidden from making payments to cyber criminal extortionists.Describing the proposal as world-leading, the government said that cutting the flow of payments would strike at the heart of the cyber criminal business model and protect organisations that people rely upon across the UK, helping deliver on its wider Plan for Change.Driving down cyber crime is central to this governments missions to reduce crime, deliver growth, and keep the British people safe, said security minister Dan Jarvis.With an estimated $1bn flowing to ransomware criminals globally in 2023, it is vital we act to protect national security as a key foundation upon which this governments Plan for Change is built.These proposals help us meet the scale of the ransomware threat, hitting these criminal networks in their wallets and cutting off the key financial pipeline they rely upon to operate, said Jarvis.Today marks the beginning of a vital step forward to protect the UK economy and keep businesses and jobs safe, he added.This consultation marks a vital step in our efforts to protect the UK from the crippling effects of ransomware attacks and the associated economic and societal costs, said National Cyber Security Centre (NCSC) CEO Richard Horne.Organisations of all sizes need to build their defences against cyber attacks such as ransomware, and our website contains a wealth of advice tailored to different organisations. In addition, using proven frameworks like Cyber Essentials, and free services like NCSCs Early Warning, will help to strengthen their overall security posture.And organisations across the country need to strengthen their ability to continue operations in the face of the disruption caused by successful ransomware attacks. This isnt just about having backups in place: organisations need to make sure they have tested plans to continue their operations in the extended absence of IT should an attack be successful, and have a tested plan to rebuild their systems from backups, he said.Besides a targeted ransom payment ban, the consultation which will run until 8 April 2025 - will also seek input on a proposal to establish a wider payment prevention regime. This will offer ransomware victims not in scope of the ban advice and guidance on how to respond to attacks and will require them to notify the authorities if they intend to pay a ransom. The government also wants to give itself the power to assess potential payments and block them in certain circumstances, such as if they are being made to a suspected sanctioned entity or known gang.Alongside this, the Home Office is also seeking views on the implementation of the previously-proposed mandatory ransomware reporting regime which forms a key part of the Cyber Security and Resilience Bill and is set to be introduced into parliament in the near future.It said these further proposals would help bring ransomware out of the shadows and enable bodies such as the National Crime Agency (NCA) and NCSC to maximise their analysis and intelligence-gathering capabilities to better establish the true scale of the ransomware threat, target their investigations and actions, and get out ahead of emerging ransomware operations.Among other things, the consultation will explore whether or not these proposals are to apply universally or whether or not a threshold ought to be established.Deputy director Paul Foster, Head of the NCA National Cyber Crime Unit, commented:We welcome this consultation, which will give businesses a chance to formally input on this important topic.Ransomwareis the most significant cyber crime threat facing the UK and the world, with attacks costing millions in terms of losses and recovery.The number of identified attacks on UK victims is increasing, with those in 2023 double the number of the previous year, so it's vital that victims report incidents as soon as possible, so they can get the urgent support, guidance and expertise when it's needed most. The more victims report, the better our ability to tackle the threat, said Foster.We look forward to engaging with this process and supporting efforts to further improve the UK's cyber security.Ransomware expert Jamie MacColl, cyber research fellow at the Royal United Services Institute (RUSI) think tank, said he had mixed feelings about some of the governments suggestions.The proposal to mandate reporting ofransomwareincidents is sensible and will improve law enforcements ability to disrupt criminals. By shining a light on organisations that pay, it may also cause some victims to think twice about paying a ransom, he said."However, I have serious doubts about whether banning ransom payments for specific sectors will stop them being disrupted.Ransomwareoperators are opportunistic they do not target specific sectors and so are unlikely to be discerning enough to avoid UK CNI. Im also sceptical of the proposal about the government authorising individual ransom payments victims will require government and law enforcement to be uncharacteristically dynamic in responding to requests to make a payment. If the government refuses requests to make a payment, it also raises the question of whether the government will step in to financially support victims who cant afford operational downtime.However, he added, should the proposals make it to the statute books, they would represent the most significant intervention on the issue of ransomware by any national government to date. The governments ambition should be celebrated given the UKs ostrich approach toransomwareand cyber crime over the last decade, he said.Read more about ransomwareWe look at ransomware attacks, and the importance of good backup practice as well as immutable snapshots, air-gapping, network segmentation,AI anomaly detection and supplier warranties.Anomaly detection and immutable copies can be frontline tools against ransomware we look at the role storage can play against the latest techniquesemployed by ransomware gangs.Threat intel specialists at Recorded Future have shared details of newly developed techniques they are using to disrupt Rhysida ransomware attacks before the gangeven has a chance to execute them.

Here's the inside scoop on what ZDNET readers snagged this past month (including during holiday sales). And some of these products are still on sale, too.

The Walking Dead: The Ones Who LiveCredit: AMCIn my review of the finale of The Walking Dead: The Ones Who Live, I open with a statement that I think a lot of my readers will agree with: Gimple-speak ruins everything.Thus began a rather scathing takedown of the highly-anticipated Rick and Michonne spinoff. Wed all waited years for this reunion and to learn more about the mysterious and powerful CRM, only to get one of the worst seasons of The Walking Dead ever made. No, it wasnt as bad as the last few seasons of Fear The Walking Dead, but Id lost hope for that show long ago. I was actually excited to see what happened with Rick Grimes (Andrew Lincoln) and Michonne (Danai Gurira).The crushing disappointment at what we were given after all this time (both our time and the in-universe fictional time that had passed) was enormous and painful. I am certainly a harsh critic when it comes to AMCs zombie empire, but my criticism comes from a place of love. I want these shows to be great, and I am constantly baffled at the low-effort nonsense that goes into each new offering.This could have been so much more. It deserved to be so much more. Fans deserved more. Andrew Lincoln and Danai Gurira deserved more, I wrote at the time. Too neat, too convenient, too poorly written, too rushed. I am Jacks crushing sense of disappointment.Now you can experience that same feeling. All six episodes (a disappointing number in and of itself) are available today on Netflix. And perhaps you will like it better than I did. I am, it appears, in the minority in my sense of betrayal at how badly they dropped the ball. On Rotten Tomatoes, it has an 88% with critics and an 80% with fans, which is rather puzzling to me.Read More: Todays Wordle #1304 Hints, Clues And Answer For Monday, January 13thThe Ones Who LiveCredit: AMCAnd sure, it was nicely filmed. There are some fun action set-pieces. The cinematography is, at times, quite good. Lincoln and Gurira and the supporting cast do a pretty good job. Its just filled with so many plot conveniences, rushed storylines and that hideously botched ending that I cant ever recommend it. Of course, these are all things that every TWD show engages in with gusto. Nobody talks like real people. Nobody makes sensible, logical choices. They kill off the best characters shortly after introducing them and hold on to the worst characters for far too long.Before you accuse me of wanting plausibility in a zombie apocalypse show, Ill turn your attention to this post I recently wrote about what The Walking Dead could learn from Netflixs other new show, American Primeval, and how it pertains to small details in The Walking Dead, like costumes and makeup and the importance of creating a believable and immersive fictional world.What did you think of The Ones Who Live? Or are you only now watching it thanks to its release on Netflix? Either way, chime in on Twitter, Instagram, Bluesky or Facebook. Also be sure to subscribe to my YouTube channel and follow me here on this blog. Sign up for my newsletter for more reviews and commentary on entertainment and culture.P.S. I have been much-criticized for saying that I dont much care for the romance between Rick and Michonne, and that it felt rushed from the start and that their chemistry never clicked for me. But even though all thats trueand my opinionthats not what actually hurt The Ones Who Live. It was everything else. The bad scripts. The logical leaps. The shortcuts. The weird, stilted dialogue. And it was just way, way too easy for our heroes to overcome such enormous obstacles. Barely an inconvenience!

The big picture: Traditional AI-based image tools often focus on generating images from scratch using text prompts, which has invited controversy due to copyright concerns. Firefly, however, leverages prompts to make complex edits to existing images within Adobe programs like Photoshop and Illustrator. Users can seamlessly add objects while maintaining consistent lighting, introduce new patterns, remove backgrounds, or extend image boundaries though sometimes with unintentionally humorous results. Adobe has added numerous features to its Firefly GenAI suite since its introduction in 2023. The latest update enables companies to adjust images in bulk and when they say bulk they are claiming by the thousands, if necessary. Known as Firefly Bulk Create, this tool aims to accelerate advertising and messaging campaigns by making image alterations more efficient. While some critics worry that this technology might erode human artistry in advertising, Adobe's press release promotes the new tools as a means to cut through tedious work.According to a now-removed Adobe press release (perhaps deemed too contentious for its audience?), the Bulk Create feature can automate tasks like removing backgrounds, resizing images, and making other adjustments that would otherwise be repetitive if done manually. The functionality could facilitate large-scale communication by helping companies and organizations quickly customize assets for multiple channels and platforms.Currently, Bulk Create appears as two distinct functions within the Firefly web app. One function enables users to upload images, change their backgrounds, and save copies in batches as PNGs or JPEGs. The other function automatically adjusts image dimensions to fit the requirements of social media platforms like TikTok, Instagram, and Facebook by stretching or resizing backgrounds.In addition to Bulk Create, Adobe plans to introduce a new method for automating brand layouts in Firefly next month. This feature, entering beta, will integrate InDesign APIs with various data sources, allowing companies to arrange text and images into templates for posters, magazines, and other advertising formats.Although Adobe mostly advertises its AI tools by discussing how it reduces the tedious aspects of editing pictures on a mass scale, the company still mentions the controversial use of GenAI for creating new images or performing tasks traditionally handled by human artists. // Related StoriesFor instance, Adobe is launching GenAI avatars in beta this month, featuring capabilities like text-to-speech and automatic animation. Additionally, AI-based translation, dubbing, and lip-syncing for videos are expected to exit beta soon.Since the launch of Firefly, Adobe has attempted to address fears about copyright and the potential impact of GenAI on human creativity. The toolset is partially trained on stock photos, and Adobe has promised to compensate artists who contribute to improving the AI. Despite this, skepticism remains prevalent, as the debate over the ethical implications of GenAI remains contentious.

Table of ContentsTable of ContentsWhy you should buy the Samsung Galaxy Z Fold 6Security software deal worth checking out: 55% off IncogniThe Samsung Galaxy Z Fold 6 is a beast of a phone with a steep price tag, but you can currently get it with an up to $1,000 discount from Samsung through its enhanced trade-in credit program. Trading in even the two-generations-old Samsung Galaxy Z Fold 4 will get you the maximum value, which would drop the price of the 256GB model of the Samsung Galaxy Z Fold 6 from $1,900 all the way down to just $900. Youre going to have to be quick though, as theres no telling how much time is remaining in this fantastic promotion from Samsung Galaxy deals.Samsungs Galaxy Unpacked 2025 will take place on January 22, but if youd rather have a foldable smartphone over a traditional device like the upcoming Samsung Galaxy S25, you wont regret going for the Samsung Galaxy Z Fold 6. With a rating of 4 stars out of 5 stars in our review and one of the top spots in our list of the best folding phones, the Samsung Galaxy Z Fold 6 is a highly recommended purchase. Gone are the days of durability issues, as it features a fantastic design with an improved hinge, an IP48 resistance rating against water and dust, and Corning Gorilla Glass Victus 2 to protect its screen.The Samsung Galaxy Z Fold 6 comes with a 6.3-inch cover screen with a 120Hz refresh rate, and a 7.6-inch inner screen with an adaptive 120Hz refresh rate. However, despite its size, the best thing about the Samsung Galaxy Z Fold 6 is that its pocket-friendly. Its powered by the Qualcomm Snapdragon 8 Gen 3 for Galaxy processor and 12GB of RAM, which enable performance that supports Galaxy AI, and its rear camera system includes a 50MP main camera, a 10MP telephoto camera for 3x optical zoom, and a 12MP wide-angle camera.RelatedIf youre on the hunt for phone deals to make an upgrade, you should check out Samsungs enhanced trade-in credit program for the Samsung Galaxy Z Fold 6. You can get up to $1,000 off the folding phones sticker price of $1,900, which would mean youll only have to pay $900 for this amazing device. You need to hurry if youre interested though, as were not sure until when these raised trade-in values will hold. Proceed with taking advantage of this promotion for the Samsung Galaxy Z Fold 6 as soon as you can.How many scam calls have you gotten this week? Scam calls are getting so common that a lot of people have opted to stop answering the phone if they dont recognize the number on caller ID. These scammers are finding you because your data leaked somewhere. What if we told you there was a way to get your personal data removed from the internet?Thats what Incogni does. It removes your information from data broker databases. Throughout your yearly subscription, Incogni will continuously check for your data and scrub it away. Youll start getting fewer scam calls within a week.Right now, a year of Incogni is 50% off. That means removing your data will only cost you $90 for a full year, or $7.49 per month. Use code DIGITALDEAL at checkout.Editors Recommendations

Meta is pursuing a MAGA makeover, in the latest political pivot for a company that once banned the now-president-elect from its platforms.

Gross Biofilms, unwashed hands: FDA found violations at McDonalds ex-onion supplier The outbreak sickened at least 104 across 14 states, killing one and hospitalizing 34. Beth Mole Jan 13, 2025 6:44 pm | 25 A Quarter Pounder hamburger is served at a McDonald's restaurant on March 30, 2017 in Effingham, Illinois. Credit: Getty | Scott Olson A Quarter Pounder hamburger is served at a McDonald's restaurant on March 30, 2017 in Effingham, Illinois. Credit: Getty | Scott Olson Story textSizeSmallStandardLargeWidth *StandardWideLinksStandardOrange* Subscribers only Learn moreThe onion supplier behind a deadly E. coli outbreak linked to McDonald's Quarter Pounders this past fall had numerous health and sanitation violations, including employees with unwashed hands, dirty equipment, and puddles of Listeria bacteria. That's according to a Food and Drug Administration inspection report that was obtained by CBS News via a Freedom of Information Act request.On October 22, the Centers for Disease Control and Prevention announced the outbreak investigation, which at that time had only been linked to 48 illnesses across 10 states, including one death. The slivered onions on the fast-food giant's popular Quarter Pounder burgers were an immediate suspect. McDonald's temporarily pulled the burgers from the menu in affected states, and the supplier of the suspect onions, Taylor Farms of Colorado, swiftly recalled thousands of cases. Ultimately, 104 were sickened across 14 states, with 34 people hospitalized and one dead.On October 28, the FDA began a multi-day inspection of Taylor Farms' facility in Colorado Springs, in which inspectors found numerous violations. The facility processes "ready-to-eat" (RTE) produce, like the cut onions, that do not go through a lethal treatment step for any environmental pathogens before being sold to consumers. This makes any unsanitary conditions in the facility particularly risky for food safety.Inspection findingsInspectors found clear evidence of such risks. Numerous surfaces and pooled water in non-food contact areas of the facility tested positive for Listeria bacteria, a potentially deadly food pathogen behind an outbreak linked to Boar's Head meat last year. However, corrective action procedures were not properly implemented by Taylor Farms, FDA inspectors found.The inspectors also noted debris and dirty equipmentafter the employees had allegedly done cleaning procedures. "We observed numerous equipment with apparent biofilm and large amounts of food debris present after the firms post-operation cleans," the report notes. Taylor Farms had graded the cleaning procedures as "Pass" even though the equipment was left visibly dirty and should have been graded as "Fail," the inspectors wrote.Perhaps most concerning, FDA inspectors noted that employees were never seen washing their hands. Instead, they wore gloves, and if they touched dirty surfaces or items, they would simply put hand sanitizer on their dirty gloves and carry on. What they should have been doing was removing their dirty gloves, washing their hands, and getting clean gloves. However, the FDA inspectors never saw this happen, and managers confirmed that hand sanitizing gloves was common practice.The inspectors also noted that the facility's equipment was always wet. Employees applied sanitizing solutions on knives and other equipment used to dice and chop fresh produce. The sanitizing solution is meant to be air-dried before use, but Taylor Farms employees immediately used the equipmentstill dripping with sanitizing solutionto cut RTE produce.On one day of the inspection, FDA agents saw employees chop RTE lettuce with equipment that was wet with sanitizing solution at the maximum concentration, which was 200 ppm. In another instance, the inspectors saw an employee mix cleaning chemicals together to make a sanitizing solution, which the employee said was done "routinely." When inspectors asked about the mixture, Taylor Farms "could not find the source of this recipe," nor could they find the manufacturer label or other information stating the mixture was designed for use.Highest expectationsIn a statement to CBS, Taylor Farms said that it "immediately took steps to address" the problems found in the FDA's inspection, which resulted in no "administrative or regulatory action" against the company."Taylor Farms is confident in our best-in-class food safety processes, and in turn, the quality and safety of our products," the company said in the statement. "As is common following an inspection, FDA issued observations of conditions that could be improved at one of our facilities." The company added that "no illnesses or public health threat has been linked to these observations" in the inspection.McDonald's, meanwhile, said it had stopped getting onions from the facility."We hold our suppliers to the highest expectations and standards of food safety. Prior to this inspection, and unrelated to its findings, McDonald's stopped sourcing from Taylor Farms' Colorado Springs facility," McDonald's said in a statement.Beth MoleSenior Health ReporterBeth MoleSenior Health Reporter Beth is Ars Technicas Senior Health Reporter. Beth has a Ph.D. in microbiology from the University of North Carolina at Chapel Hill and attended the Science Communication program at the University of California, Santa Cruz. She specializes in covering infectious diseases, public health, and microbes. 25 Comments

Meta owns social media platforms including Facebook and InstagramJRdes / ShutterstockIn 2024, Meta allowed more than 3300 pornographic ads many featuring AI-generated content on its social media platforms, including Facebook and Instagram.The findings come from a report by AI Forensics, a European non-profit organisation focused on investigating tech platform algorithms. The researchers also discovered an inconsistency in Metas content moderation policies by re-uploading many of the same explicit images as standard posts on Instagram and Facebook. Unlike the ads, those posts were swiftly removed for violating Metas Community Standards. AdvertisementIm both disappointed and not surprised by the report, given that my research has already exposed double standards in content moderation, particularly in the realms of sexual content, says Carolina Are at Northumbria Universitys Centre for Digital Citizens in the UK.The AI Forensics report focused on a small sample of ads aimed at the European Union. It found that the explicit ads allowed by Meta primarily targeted middle-aged and older men with promotions for dubious sexual enhancement products and hook-up dating websites, with a total reach of more than 8.2 million impressions.Such permissiveness reflects a broader double standard in content moderation, says Are. Tech platforms often block content by and for women, femme-presenting and LGBTQIA+ users, she says. That double standard extends to male and female sexual health. An example is lingerie and period-related ads being [removed] from Meta, while ads for Viagra are approved, she says. Receive a weekly dose of discovery in your inbox.Sign up to newsletterIn addition to finding AI-generated imagery in the ads, the AI Forensics team also discovered audio deepfakes: in some ads for sexual enhancement medication, for example, pornographic visuals were overlaid with the digitally manipulated voice of actor Vincent Cassel.Meta prohibits the display of nudity or sexual activity in ads or organic posts on our platforms, and we are removing the violating content that was shared with us, says a Meta spokesperson. Bad actors are constantly evolving their tactics to avoid enforcement, which is why we continue to invest in the best tools and technology to help identify and remove violating content.The report coincides with Meta CEO Mark Zuckerberg announcing that the company will be getting rid of its fact-checking teams in favour of crowdsourced community notes.If we want to sound really dystopian and at this stage given Zuckerbergs latest decision to remove fact-checkers I think we have reason to be we can even say that Meta is as quick to strip individual, marginalised users of their agency as it is to take money from dubious ads, says Are.Topics: