The Advanced Imaging Society just shared that due to the impact of the tragic Southern California fires, they are canceling the 15th Annual awards celebration; winners will still be announced February 7.

InterviewsDune Prophecy: Mike Enriquez (Production VFX Supervisor) & Terron Pratt (Production VFX Producer)By Vincent Frei - 16/01/2025 In 2021, Mike Enriquez shared insights into the visual effects teams efforts on the inaugural season of Foundation. He later contributed to the second season before transitioning to work on Dune: Prophecy.After breaking down the visual effects of Stranger Things: Season 4 in 2022, Terron Pratt is now setting his sights on the epic world of Dune: Prophecy.What was your feeling to enter into the Dune universe?Mike Enriquez, VFX Supervisor: As a huge sci-fi fan, I was a bit incredulous when I was offered this show. I had just come off of two seasons of Foundation, and the opportunity to go from one sci-fi classic to another was massively exciting. Of course, after the excitement came the pressure of having to make sure the VFX in Dune: Prophecy properly carry forth the amazingly grounded yet fantastic look the Dune features have.Terron Pratt, VFX Producer: I had been following this project for a while, since around the time that the first feature was released, so I was very excited when I realized that the timing was going to work out for me to be involved in the project. Having spent 5 years with another beloved sci-fi series prior to Dune: Prophecy, I was looking forward to the challenges that a new sci-fi series would bring.How was the collaboration with the showrunner and the directors?Mike Enriquez: Alison Schapker was great to work with. She always made time for VFX and the discussions that needed to happen to dial in the feel of major shots and scenes. I was always amazed at her ability to go from one facet of the show to another and give her all, especially when our sessions would go for hours on end. Working with the directors was also a pleasure. Each had their own way of working, but all made sure VFX were able to do our jobs on set.Terron Pratt: Its one of the things I love most about working on series in VFX; we have a very close working relationship with both the directors and the showrunner. With a show like Dune: Prophecy, there is a lot of opportunity for VFX to be involved so when a director pitches an idea, we quickly get to work thinking about what that idea might look like in our world. How are we going to achieve this? Lets get previs going or additional concept art to flesh out the idea.Our showrunner, Alison Schapker, loves the filmmaking process but especially post. She understands the technical side of what we do but allows our team the freedom to run with an idea to make it great. Its a huge plus when your boss is also your biggest fan.How did you choose the various vendors and split the work amongst them?Mike Enriquez: Terron and I have a pretty good sense of the strengths of various VFX vendors, and thankfully we were able to lock down the vendors pretty early on for this show. That allowed us to use who we really wanted to use for the various parts of the show. The work split was a bit tricky, as there is a lot of crossover in terms of the effects in the show.Terron Pratt: All of the vendors that were involved in Dune: Prophecy have worked on several, if not all, of my previous projects. As such, I was very familiar with each teams strengths. Additionally, there seemed to be a natural split of the work by environment, which ended up being the perfect amount for each vendor while not overwhelming anyone on back-to-back episodes or overloading them with work on any one episode. For example, Important Looking Pirates (ILP) has done a tremendous amount of amazing organic environments for me in the past, so it was natural that theyd take on everything involving the Sisterhood Complex and the surrounding environment. As well, there is a great deal of comfort working with the team at ILP and I know that we can award them pretty much anything so they also took on all space shots, the burning flesh along with the Agony sequences. Rodeo FX brought the grandeur to the work around the Imperial Palace while my history with Accenture told me that theyd be the perfect fit for the extensive hard surface work at the spaceport as well as a number of one-off creative challenges. Image Engine had a wide variety of work this season since their workload did not include any one major environment that we returned to over and over. That said, theyve done a great deal of animation and simulation work for me in the past on Lost in Space, so they were a great choice for ALL of the Shai Hulud work as well Anirul amongst many other effects in the series. Our icy planet, Lankiveil, was masterfully brought to life by the team at Raynault VFX.What is your role on set and how do you work with other departments?Mike Enriquez: Working as a VFX supervisor on set can be tricky. You need to have an understanding of all the other departments and how they affect the work you need to do. You have to interface with the various departments and discuss the needs for the day, and then keep a constant eye on things to ensure that they dont deviate from the plan. That said, I very much enjoy being on set. I learn something new on every show I work on.My on-set team is an important part of working with other departments. Our data wranglers are always interfacing with other departments to ensure we have all the data we need to do our VFX work.Terron Pratt: On set, Im there to support my team and facilitate their needs so I try to focus my attention on the days or weeks leading up to the shoot; attending location and tech scouts as well as concept & bidding meetings, to make sure that we can find a good blend of VFX in support of production design, props and even the camera department.How did you approach designing the diverse ecosystems and terrains for the planets featured in Dune: Prophecy?Mike Enriquez: The general design and concept for the planets all came from descriptions in the books. Wallach IX is cold and rainy, with a blue-white sun. Salusa Secundus is sunny and temperate, at least before it is destroyed far in the future. Lankiveil is bleak and frozen, and Caladan is wet and lush.What were the biggest challenges in making each planet feel unique while staying cohesive within the Dune universe?Mike Enriquez: The main challenge in this regard was Zimia city on Salusa Secundus. It was tricky getting a sunny, temperate environment to feel like it belonged in Dune. We explored skies, color temperatures, various types of haze and atmosphere until we found something that felt right.How did the collaboration between the VFX and production design teams shape the look of the planets?Mike Enriquez: We worked closely with production designer Tom Meyer who provided designs for the various locations. On Salusa, Tom provided concepts of the Imperial Palace, the general coastline, the space port, and parts of the city. We then took those concepts and fleshed out the overall city layout, spaceport, and Zimia docks with Mackevision while we worked with Raynault to give life to our tighter aerials and ground level Zimia city scenes. In terms of the palace and Imperial Gardens, our friends at Rodeo tackled that task.For Wallach IX, the concepts from Tom were based on a quarry in Budapest and were brought to life with very little adjustments as it took shape. The final looks of Caladan and Lankiveil were also very close to the concept art.Which planet was the most technically complex to bring to life, and why?Mike Enriquez: Id have to say Salusa Secundus, as we not only had to build the massive palace and the dense gardens that surround it, but we also had to build out how that connects to Zimia city. The city itself required a build that was used for our distant skyline shots, and a separate build for our in city shots, along with the suspensor cars and foot traffic that goes with it. Additionally, we had to flesh out the spaceport and Zimia docks as several scenes took place there. This planet had a lot of moving parts and was tricky to parse in a way that would give us what we needed without overbuilding and wasting time and money.How did you balance practicality and imagination when designing the planetary environments?Mike Enriquez: Every location in this show needed to feel grounded. No matter what sci-fi component needed to be present, each place had to feel like somewhere you could go with materials you feel like you could reach out and touch. Many times, our aerial shots and establishers would just end up too pretty and idealistic, so wed pull back and try to find the right balance for each location.What role did lighting and atmosphere play in setting the tone for each planet?Mike Enriquez: Id say they played the most important role. Light quality and type of atmosphere were our main tools in differentiating the various planets. While we had structural differences between them, we needed a visual language for the planets. Wallach IX always has a blue tint and is often foggy or raining. Salusa Secundus has warm sunlight and fluffy clouds, with a steamier feel in the night scenes. Lankiveil was always soft, cold light with overcast skies and snow in the air. Lastly, on our brief visit to Caladan we leaned on the wilderness aspect, leaning towards filtered light and a more natural atmosphere.Were there any specific visual references or concept art that were pivotal in defining the planets environments?Mike Enriquez: I cant speak to the inspirations of Tom Meyer and his art department, but while figuring out where I wanted the finished look of our environment shots, I mostly turned to landscape photography. I really wanted our shots to feel natural. Of course, we always kept in mind the vibe of the recent Dune films since we wanted the show to feel like an extension of that world.Desmonds ability to burn people with his thoughts is visually striking. How did you conceptualize and execute the effects for this power?Mike Enriquez: We decided pretty early on that we didnt want any visible effect on Desmond while he was triggering the burning aside from the toll it takes on him we see in later episodes. However, the effect on the people was heavily discussed, and we went back and forth a bit on the progression of the effect on the victims as well as the severity at the peak of the effect. Each burning scene started with tracking the motion of the camera and actors so we could place a rudimentary burning effect on their skin throughout the scene to test out the progression and intensity. That allowed us to make the most of the effect in each scene to best play into the vibe Alison wanted. Each instance of burning was tailored to the scene to have the greatest impact.What inspired the visual style and intensity of Desmonds psychic energy during those scenes?Mike Enriquez: Given that the burning was driven internally, we tried to figure out what it might look like if someone was superheated from the inside, without any external heat source. We wanted to avoid anything that would take it into comic book superhero territory, or anything over the top like an internal light source. There isnt really any magic in Dune, so it had to have a scientifically grounded feel.The sandworms are iconic to the Dune universe. How did you reimagine their design while paying homage to the original material?Mike Enriquez: They really are iconic. I dont think you can say Dune without people thinking about sandworms. Given that we want to be in the same universe as the features, and sandworms are ancient beings that live for thousands of years, we stayed true to the sandworms portrayed in the feature. The sandworms in our show are the same design as what fans are accustomed to.Could you share the process of integrating the sandworms into their environment and making them feel alive?Mike Enriquez: We had to approach the Arrakis scenes in our show a bit differently than the features did. Since we did not shoot in the deserts of Jordan, we had to recreate the dunes of Arrakis in CG. Though that allowed us to completely integrate the Sandworm and the FX from the interaction with the sand with the environment. It was a lot of work, but Martyn Culpitt and his team over at Image Engine did a fantastic job.There is no real shortcut to creating shots of the sandworm in the sands of Arrakis. The desert environment had to be built first, so we had a photorealistic environment to place the worm into. The worm itself was quite an undertaking, as the way it needed to move required a rather unique rig to most creatures done in VFX. The way it bends, how the skin moves, how the mouth opens and closes, all of it needed to be sorted out given how featured the worm was going to be in our shots.Were there any unexpected technical or creative challenges encountered during the production?Mike Enriquez: Every production has its issues and unexpected challenges, and this one is no different. The intro sequence in episode 1 went through some creative changes that were challenging for VFX. The Agony ended up a bit different from the idea we had when we shot it, so it required a full CG replacement. Anirul was also quite a challenge, but perhaps that wasnt really unexpected. We knew visualizing the breeding index would be a mountain to climb.Terron Pratt: I think one of the biggest creative challenges that weve had this season was living up to the impressive visuals in the recent features along with the worlds that all of the fans have envisioned in their heads for so long. Creating something unique to our world but living up to those expectations puts a lot of pressure on the team and the creative process. We knew going in that wed be compared to the features but really hoped that wed carve our own path in the Dune Universe.Looking back on the project, what aspects of the visual effects are you most proud of?Mike Enriquez: Im really happy with how Wallach IX turned out. You cant differentiate the full CG shots from the shots using location photography at the quarry. Kudos to Philip Engstrom and his team at Important Looking Pirates.The Agony especially stands out in my mind. Im very happy with how that scene turned out. Additionally, the sandworm shots were very successful, as was Valyas vision in episode 6.Terron Pratt: There is a lot to be proud of this season and ALL of our creative teams around the world did a fantastic job so its hard to pick favorites. That said, seeing Shai Hulud breaching in the first few minutes of the series was a special treat and kind of set the tone for what was to come. But, as Mike mentioned, Wallch IX is amazing, and you cant tell where the practical environment ends, and the CG begins.The Agony was so creepy and a bit of a pivot in post so its a sequence that everyone was very excited to see come together, especially once sound design and music was added!The Zimia spaceport set was stunning in its own right, and Tom & team really did an incredible job with that build. Once the CG set & environment extension was complete, it really felt so expansive. I think it was one of the best collaborations between production design and VFX in the series.How long have you worked on this show?Mike Enriquez: I came onto this show in May of 2023, so about a year and a half.Terron Pratt: Ive been on the project since July of 2022Whats the VFX shots count?Terron Pratt: We ended up around 2800 shots over the 6 episodesA big thanks for your time.WANT TO KNOW MORE?Image Engine: Dedicated page about Dune: Prophecy on Image Engine website.Important Looking Pirates: Dedicated page about Dune: Prophecy on Important Looking Pirates website.Rodeo FX: Dedicated page about Dune: Prophecy on Rodeo FX website. Vincent Frei The Art of VFX 2025

The U.S. and Canada share 5,525 miles of borderand there are just over 100 border crossings between Washington and Maine. These portals between countries facilitate the flow of goods and people. Theyre also harbingers of diplomatic relations more broadly, where international policy choices play out in space. Siegel, a New York City office, recently completed a new U.S. Land Port of Entry (USLPOE) that connects Madawaska, Maineand Edmundston, Canadaa small town in New Brunswick with about 16,000 people. That firm was tasked with ideating a replacement structure on the road between the two towns.Separate bays divide traffic under the canopy, which is tall enough for B-Train size trucks. (Paul Warchol)The first station between Madawaska and Edmundston was built in 1959, a building which over time became ill-equipped for modern needs. The U.S. General Services Administration (GSA) eventually stepped in, and sought out architects to replace it. The new USLPOE by Siegel is 52,000 square feet and sits on an 11-acre site. It hosts a bevy of uses, including administration, training, staff support, processing, enforcement, agricultural inspection, and general inspection.The building, Siegel said, more broadly serves as a symbolic representation of America as the first and last interaction with the country for those who travel through it.The interiors are sheathed in wood finishes. (Paul Warchol)The training room sits next to a gym. (Paul Warchol)Siegel opted to give the USLPOEs exterior an industrial look, a nod to the corrugated metal siding common on nearby warehouses. The interiors are sheathed in warm wood finishings. The roof has only a slight pitch and recessed canopies. These features were safety precautions to prevent snow and ice hazards. It is cold there, after all. The expanse between the ground and roof plane had to be large enough for B-Train size trucks (which are about 15 feet tall) to easily go through, so the design by Siegel responds accordingly. This is essential for trucks going to and from a nearby paper mill in Maine. The glass and concrete is quite thick to ensure ballistic resiliency.Concrete was used in the warehouse (Paul Warchol)A coffee room, break room, conference room, and lockers for border guards are interspersed throughout the building, whose pronounced canopy makes for its defining feature. It also has a large warehouse for processing goods.The design by Siegel achieved SITES Silver and LEED Gold certification.

The work of Pezo von Ellrichshausen transitions seamlessly between drawing, building and painting. In each of these mediums, the spaces they create are made of sharp geometries but filled with an ethereal ambiguity. Titled 22105242016 (Patio no 80), this oilpainting would be a pleasant room to wait inCredit:Pezo von EllrichshausenShe was in a waiting room. She was ina hurry but had to wait. It was nother turn yet. The door was closed. There was nobody around tocomplain to. She was waiting, looking around, thinking.There is something intentionally sturdy aboutwaiting rooms. This one was rather small and windowless. There was only the door she hadused to enter, and another to go into theappointment. There were also sixchairs, a low central table and a circular clock on the white wall opposite her seat. There was no doubt it was a room to wait infor the time to come. Before her, others had read the newspaper in this room, taken a phone call or had a nap.She had never visited this waiting room, yet she knew it was a slow room. Waiting rooms do not need much space, but they need a lot of time. They require patience butare filled with boredom and impatience. They are very common in buildings, normally connected with halls and corridors, leading to more rooms. They always interfere with other spaces, destinations and duties.She had an appointment and had to go back home before it became too late. She didnot want to be here. The waiting room isalways a provisional, intermediate stage between anintention and the realisation ofthat intention. This one was tiny but was taking up a colossal amount of time. The time of thewaiting room, she knew by experience, was inversely proportional topersonal idleness. Counterintuitively, thefewer people waiting in the waiting room, thelonger the wait can take. She wasstillthe only one waiting.Waiting is a form of postponing, until something else happens. There can always be hope in waiting, shethought. Waiting is an anticipation, implying a possible future. It can only go inthat direction. One cannot wait for eitherthe past or the present.There is also a degree of helplessness inthe act of waiting. She cannot be totally certain that her appointment will take place.The walls of a waiting room hold anunintentional perversity. The air is thick, even when scented with lavender spray. While waiting, the room becomes a resonance instrument, a silent void despitethe background music.The waiting room is a powerful device: aspace that mandates us to pause. The delayof time is imposed, within a designated room. People waiting in waiting rooms areprisoners of that intention, which has nothing to do with the qualities of the room.Could one really wait before the invention oflinear time?, she wondered. Does my waiting belong to me or to this waiting room? The room was waiting before she walked through the door.Architecture is about duration: a sequence of spaces, and the time it takes to move from one to the next. There are many buildings without waiting rooms, but waiting can take place anywhere. Some buildings are slower than others. Delaying time is one of the primary functions of architecture. All roomsare waiting rooms, she thought.In some way or another, we are all always waiting for something: a text message, lunchtime, the weekend, a family event, thenext project, retirement. Waiting doesnot need a special, designated room.Rooms for waiting in are those that nobody notices: an invisible waiting room, aspace for hopes and dreams, a solid but concealed reality. A dark bedroom is a roomfor waiting in while counting sheep toovercome insomnia. A shower cubicle isaspace for waiting in while hair soaks intheconditioner.The time spent waiting in rooms is the time during which a building is experienced. While everyday life is filled with memories and desires, architecture compartmentalises the limited and always moving linear time ofour existence. We move forward, slowly but steadily, at times hopelessly.Rooms for waiting in can become alienating, yet they also represent a promised land, a wasteland, a marginal corner at the edge of meaningful business. Despite the limited time of our existence, the room is always waiting, as if in a metaphysical pause, interrupting the unbroken chain of waiting times.The waiting room can only be outdone byits domestic alter ego: the living room, aroom for living, for those who wait without knowing what they are waiting for.Explore the good rooms series, a collection of domestic spaces made, imagined or described by architects, curators and writers2025-01-16Kristina RapackiShare

Although they have had two years to prepare for the incoming legislation, a study has today revealed that a significant minority of UK financial services organisations are set to miss the 17 January 2025 deadline to comply with the European Unions (EUs) Digital Operational Resilience Act (DORA).According to the Censuswide survey commissioned by Orange Cyberdefense, 43% of British financial services organisations say they are still exploring DORA and will not be compliant for another three months at least, putting them at significant risk of regulatory fines.The 200 UK chief information security officers and cyber decision-makers polled on Oranges behalf overwhelmingly believed DORA would be beneficial and would significantly enhance overall resilience across the EU and its wider ecosystem.Yet barriers to compliance persist, with respondents to the survey describing a plethora of issues most of them relating to their own organisation rather than the DORA legislation. Orange found these issues include a lack of prioritisation in the wider organisation (28%), a short timeline to becoming compliant (25%), a lack of specific skills and knowledge (24%), and a lack of visibility into supply chains and third-party partners (23%). To overcome these, 97% said they were considering enlisting external support.Some 84% said they had been given enough or more than enough budget to become compliant, and a parallel study from Rubrik Zero Labs today reported that about 47% of UK financial services organisations had spent over 1m (842,000) on compliance measures. DORA doesnt mandate anything by way of revolutionary requirements. Most can be addressed by investing in comprehensive cyber risk assessments, integrated incident reporting, cyber resilience testing and cross-framework governance Richard Lindsay, Orange CyberdefenseThe regulatory landscape in the EU is heavily congested, with several overlapping standards and laws now in effect. There is a lot to navigate, and were increasingly seeing businesses taking a more reactive approach to compliance requirements once the threat of reprisals becomes tangible, said Richard Lindsay, principal advisory consultant at Orange Cyberdefense.However, remaining non-compliant could have severe ramifications, with fines of up to 2% of global annual turnover and the potential of fines of over 1m for individual senior leadership.The threat landscape has never been more volatile. The financial services industry is an attractive target for bad actors, and the likelihood of breach has never been higher. By implementing the required changes, businesses can avoid unwelcome fines and negative publicity and, most importantly, build resilience against digital threats, Lindsay added.DORA doesnt mandate anything by way of revolutionary requirements. Most can be addressed by investing in comprehensive cyber risk assessments, integrated incident reporting, cyber resilience testing and cross-framework governance. But, as is always the case in cyber security, the clock is ticking.Orange additionally noted that given the formal introduction of DORA comes just three months after the EU stood up the Network and Information Systems Directive 2 (NIS2) in October 2024, the need to address broader cyber compliance demands and overlapping requirements in both sets of regulations may explain why the majority of respondents are feeling positive about DORA, despite anticipating delays in achieving compliance.At its core, DORA aims to strengthen cyber security at financial services organisations and improve sector resilience across Europe. It harmonises operational resilience rules that apply to 20 different types of financial entities, such as banks, insurance companies and third-party tech suppliers.According to Brussels, regulation such as DORA has become necessary because the financial services industrys dependence on IT and the tech ecosystem makes it acutely vulnerable to cyber disruption, and if not managed properly this can spill over into the wider economy.DORA governs a number of areas, such as IT risk management frameworks, third-party risk monitoring and oversight of suppliers, operational resilience testing, cyber incident reporting, and information and intelligence sharing.Sonatypes vice-president of solution architecture, Mitun Zavery, said: If GDPR taught us anything, it was that last-minute compliance efforts lead to headaches and half-measures. Like many EU laws, UK companies may be pulled into scope as the act extends beyond European financial institutions and deep into their software supply chains.This is a big problem for UK businesses whose European customers fall under the regulations purview. The stern financial penalties for non-compliance are enough motivation for EU financial institutions to tell partners, If you arent compliant, we need someone who is.He added: Rather than a burden, UK organisations should seeDORAas an opportunity to streamline systems and processes by leveraging automation, reinforcing their software supply chains, and adopting a proactive approach to risk mitigation and vulnerability management. IfDORAbecomes like GDPR, then prioritising compliance now will open doors as forms of this standard are adopted in the UK.Read more about cyber regulation in 2025

Need a lot of ports? This easy-to-use docking station from Baseus can help.

ToplineThe federal ban on TikTok is set to take effect Sunday unless the Supreme Court steps in to stop it, and while reports Wednesday suggest President-elect Donald Trump is mulling an executive order that would quickly reinstate the app, he may have limited options should the law be upheldand his attempts to stop it could be challenged in court.President-elect Donald Trump speaks at a news conference at his Mar-a-Lago resort on December 16 in ... [+] Palm Beach, Florida.Getty ImagesKey FactsTrump opposes the TikTok ban taking effect, his lawyers said in a recent court filing, and the president-elect asked, Why would I want to get rid of TikTok? on Truth Social, posting a graphic that boasted his popularity on the platform and the billions of views his official accounts and hashtags associated with him have garnered.The lawwhich prohibits U.S. app stores from hosting TikTok unless Chinese parent company ByteDance divests from itis scheduled to take effect one day before Trumps Jan. 20 inauguration, so Trump has also asked the Supreme Court to stop the law from taking effect until after he takes office, arguing he wants time to resolve the ban before it can take effect.The Supreme Court has not yet ruled in the case or commented on whether it will agree with Trumps request to pause the law, and its unclear if the court will issue a ruling before the law takes effect Sunday.The law empowers the president to pause the ban for 90 days if TikTok shows its in the process of separating from ByteDance, so Trump could pause it once he takes officewhich reports suggest he may do, as The Washington Post cited anonymous sources who said Trump is considering delaying the law for 60 to 90 days, and The New York Times similarly reported Trump could issue an executive order pausing the law until a deal with ByteDance is reached.While any executive order could give time to negotiate a deal with ByteDance, if he pauses the law without actual evidence showing ByteDance is divesting, the executive order may not be legally sound, meaning it could be challenged in court and the ban could take effect anywayor companies like Apple and Google could still take TikTok off their app stores regardless of what Trump says, in order to avoid any potential legal liability.Trump could also similarly just declare TikTok in compliance with the lawregardless of whether or not its actually separated from ByteDanceUniversity of Minnesota law professor Alan Rozenshtein noted, which would keep TikTok legal but similarly leave room for the move to be challenged in court or ignored by companies if ByteDance hasnt actually divested.Beyond that, Trump cant do much: He could try to negotiate a deal for TikTok to be sold to a U.S. company so it would properly comply with the law, but if ByteDance isnt willing to sellwhich so far it isntthe ban will stay in effect unless Congress decides to repeal the law.Crucial QuoteTrumps incoming national security advisor Michael Waltz told Fox News Wednesday Trump has been very clear he thinks TikTok is a great platform, but also is gonna protect [Americans] data from potential foreign interference by China. Hes a deal maker, I dont want to get ahead of our executive orders, but were going to create the space to put that deal in place.What Will Trump Do About Tiktok?Trump has been mulling a range of options on how to handle TikTok, the Post reports. In addition to an executive order that would pause the law from taking effect for a few months, Trump has reportedly considered issuing an order that would unravel the lawwhich is all but certain to result in legal challenges, given the policy was passed by Congress with bipartisan support and presidents cannot unilaterally repeal federal laws. The Times similarly reports Trump could use an executive order to declare the law wont be enforced, or that it wont be enforced only temporarily until a deal is reached. Trump is reportedly eager to make a deal with TikTok and ByteDance, per The Post, with allies floating options that could include forcing a sale of TikToks U.S. assets in a way that would give the U.S. Treasury a cut of the proceeds, or revive TikToks Project Texas, a plan TikTok previously offered to the Biden administration about how it could handle the U.S. national security concerns without separating from ByteDance. Experts cited by the Post suggested Chinawhich would have to approve any sale by ByteDancewould only be likely to cut a deal with Trump on TikTok as part of broader political negotiations between the two governments.What To Watch ForThe Supreme Court expressed skepticism of TikToks arguments against the ban during oral arguments on Jan. 10, signaling justices could uphold the ban. Its been expected the court will quickly rule before the law is due to take effect Jan. 19, though its unclear when, as the court issued opinions in other cases Wednesday without making any announcements in the TikTok case. It has not announced any other days for releasing opinions before the law takes effect. Justices could also decide to temporarily pause the law from taking effect if they needs more time to deliberate, which could be announced at any time. Though Trump has asked the Supreme Court to pause the ban until after his inauguration, he isnt a party in the litigation, and Rozenshtein told CBS News there are no legal grounds for Trump to unilaterally pause the law since hes still a private citizen and isnt actually the president yet. That means theres no guarantee the justices will listen to his requestand they didnt signal Friday whether they willand its still possible the law could take effect Sunday, before Trump takes office.Can Trump Just Not Enforce The Tiktok Ban?While Trump could just declare his administration wont enforce the TikTok ban, its hard to say whether that would actually work. Justice Brett Kavanaugh questioned Solicitor General Elizabeth Prelogar on Friday about that possibility, and Prelogar acknowledged Trump could order it not to be enforced and while it remains to be seen what the effects of that would be, there may be safeguards to legally protect companies who keep TikTok up as a result of his promises about facing penalties. Legal experts have suggested companies arent likely to take the risk and potentially subject themselves to legal liability by keeping up TikTok even if Trump says its fine, however, given the possibility that Trump could change his mind and decide to start enforcing the ban. You could have a policy not to enforce this ban, University of Washington Law School professor Ryan Calo told The Times. But I think that maybe conservative companies would just be like: OK, youre not going to enforce it. But it is on the books, and you could enforce at any time.Will Bytedance Divest From Tiktok?TikTok and ByteDance so far havent shown any interest in separating, with TikTok arguing in a court filing that doing so is not possible technologically, commercially, or legally. It remains to be seen if the company will change its mind should the Supreme Court uphold the law and it actually takes effect, however, and Prelogar suggested Friday that justices upholding the ban could be the jolt that ByteDance and TikTok need to actually start the divestment process. Trump could also potentially have an impact on forcing ByteDances hand, as James Lewis, director of the Strategic Technologies Program at the Center for Strategic and International Studies, told NPR that China could be persuaded to approve of ByteDance selling TikTok in exchange for Trump backing off his threat of high tariffs on Chinese imports. A source familiar with ByteDances thinking told The Post that reports TikTok could serve as part of a big bargain or a big negotiation were legitimate.What Happens If The Tiktok Ban Takes Effect?The full impact of the TikTok ban taking effect is still unclear. The law does not ban Americans from using TikTok and wouldnt wipe it from users phones, but rather bans U.S. app stores and internet service providers from hosting it. That would mean that users could not download or update TikTok from Apple or Googles app stores, so it would grow obsolete and eventually no longer work. Oracle also wouldnt be allowed to host TikToks U.S. user data, as it does now. Though its been unclear on whether that would result in TikTok shutting down entirely in the U.S., TikTok said in a court filing that banning internet service providers from hosting the app means the company could no longer provid[e] the services that enable the TikTok platform to function, effectively shutting down TikTok in the United States, and TikToks lawyer Noel Francisco reiterated that Friday, saying its his understanding that if the ban takes effect, we go dark. Multiple outlets report TikTok is planning to totally shut off access to the app in the U.S. on Sunday should the ban take effect as scheduled, with Reuters reporting users will only see a pop up message directing them to a website with more information about the ban. TikTok has told its U.S. employees they will still have jobs and the companys U.S. offices will remain open even if the ban takes effect, The Times reports.Will The Ban Impact Possible Tiktok Alternative Lemon8?Yes, the ban is expected to similarly impact ByteDance-owned apps CapCut and Lemon8.Surprising FactIf the ban does take effect and block TikToks U.S. user data from being hosted by a U.S. company, its possible the data that TikTok already has on its American users could be moved to China, which a Forbes investigation found is what happened when India similarly banned the app. That would actually make it more likely the data could be accessed by the Chinese government, contrary to the federal laws national security goals.Key BackgroundPresident Joe Biden signed the bill requiring TikTok to leave ByteDance or else be banned into law in April, reflecting a bipartisan concern from lawmakers that the app poses a threat to national security. TikTok has long denied any wrongdoing or links to the Chinese government, but Forbes has reported numerous concerns involving the app, including TikTok spying on journalists, promoting Chinese propaganda that criticized U.S. politicians, mishandling user data and tracking sensitive words. The specific evidence the government has for justifying TikToks ban has not been made public, however, and was entirely redacted in court filings. TikTok and creators on the app sued to block the law days after it was enacted, arguing the ban unlawfully infringed on their First Amendment rights. A panel of federal judges sided with the governments argument that the ban was justified due to the national security threat and did not violate TikToks First Amendment rights, given that users can still post on the app if it just separates itself from ByteDance. The court ruled the law as it was enacted is actually a less restrictive way of handling the governments concerns about TikTok, given the fact it still allows the company to operate in the U.S. if ByteDance divests from it. TikTok appealed the case to the Supreme Court after the lower court declined to pause the law from taking effect, and the Supreme Court quickly took it up, scheduling arguments for Jan. 10 but declining to pause the law in the meantime.Further Reading

The photo illustration shows a phone screen as American TikTok users pour into the Chinese Social Media Platform Xiaohongshu, which translates as "Red Note."VCG via Getty ImagesIdeasBy Yaling JiangJanuary 16, 2025 6:44 AM ESTYaling Jiang is the founder of research and strategy consultancy ApertureChina and Chinese consumer newsletter Following the Yuan. She is a graduate of Columbia Journalism School and the University of Bath.During a recent layover in Tokyo from China to the U.S., as I was planning the ramen spot I was going to hit and friends I wanted to catch up with, I was stopped by a middle-aged border agent. This is Japan, you need a visa, he said sternly.I knew I didnt need one according to official rules, but I didnt speak Japanese to argue with him. As I turned back, thinking that I had to live like Tom Hanks in The Terminal before my next flight, I searched on Red Note. Thanks to multiple posts by people who had been in the exact same situation, I learned that I had to go to a specific counter by the corner and ask for a shore pass. I was able to enter Japan for 72 hours instead of sleeping on a bench in my 30s.Thats the kind of obscure situation Red Note has saved people out of. Since last weekend, the TikTok refugeesthe American social media users who are flocking to Red Note ahead of the U.S. ban on Sundayare being welcomed with Chinese memes, photos of food, pets, street views, and Taylor Swift lyrics. English-language tutorials are helping them navigate the Chinese app. Although Red Note may now be known as the no.1 free app in the U.S., it has since its inception in 2013 been known as a forum that caters to middle-class Chinese users niche interests and hobbiesa lifestyle guide on dining and travel, and a search engine for questions big and small. Yet the ongoing digital migrationhelped by the #TikTokrefugee hashtag that has amassed 872 million views and 16 million discussions so farwill likely be a unique and short-lived phase. And either Beijing, Washington, or Red Note itself needs to find a solution fast. From a business perspective, Red Note has achieved something TikTok owner ByteDance has been dreaming of for yearswinning overseas users without trying too hard. In 2020, ByteDance launched a knockoff version, Lemon8, and has paid users to post on it. Yet the app has struggled to retain users. It has recently benefited from the TikTok migration, now ranking at no. 2 on the U.S. app store, but almost all the buzz surrounds Red Note. Why arent more users turning instead to Weibo, Bilibili, Kwai, or indeed, the real Chinese TikTok Douyin? Red Note was initially prototyped in October 2013 by Stanford University graduate Mao Wenchao and Qu Fang as a shopping guide for female consumers. It has now evolved into a lifestyle guru for around 300 million people. The app has a highly educated audience, which includes a large diasporic population who speak fluent English. Because of their shared socio-economic background, the platforms users are keen to provide value and feedback to each other, like how I found help at the airport. It is also the most apolitical social platform in China. On Nov. 16, 2023, the day of Xi Jinpings first visit to the U.S. in years, I analyzed the trending lists on Chinese social media. While lists on other apps were peppered with items like China will be unified and must be unified (Weibo) and Biden shows a 38-year-old photo to Xi Jinping (Douyin), Red Notes users were concerned about the boundary of two married people and white people food. Its not difficult to imagine that even if U.S. users tried other Chinese platforms, they may encounter more nationalism, hostility, or, at best, indifference.For now, the posts I come across on Red Note are mostly about food, pets, and ordinary people. But what happens if political activists decide to use the platform to amplify their voices? And more likely, what happens if American users, who are used to free speech, want to verify the news theyve been hearing about China, on Tibet, Xinjiang, Taiwan, or labor rights? The hodgepodge of Western and Chinese users within the Great Firewall has created unprecedented regulatory problems that have never been dealt with by either China or the U.S. Before Red Note became a thing for Americans, China could simply block an app thats operating on its soil. But what about now?As of Wednesday, a Weibo trending item may have spelled out the solution: Red Note is urgently recruiting English content moderators [Chinese].Chinas censorship has intensified since Xi took office in 2012, with stricter measures like enhanced online real-name verification and the silencing of high-profile voices including economists, law firms, and even stock analysts. Red Notes relatively non-political user base has helped protect it. But in recent years it has increasingly featured emotional stories about economic struggles, published content banned by state media, and played host to posts that criticized Chinese officials and the government. The recent flood of American users to Red Note may push Beijing to pay more attention to the app. Indeed, Chinas censorship has routinely evolved with the times. While in middle school in the early 2000s, I sent out five postcards to Ohio as part of a cultural exchange programblocked the platform. And in 2021, I was almost sleepless when Clubhouse was live in mainland China, when many Chinese users were discussing political issues freely. That freedom lasted a mere two weeks.While the U.S. TikTok ban and censorship in China are inescapable facts, people always find a way to connectif not for on TikTok or Red Note, then somewhere else.More Must-Reads from TIMEL.A. Fires Show Reality of 1.5C of WarmingHow Canada Fell Out of Love With TrudeauTrump Is Treating the Globe Like a Monopoly BoardBad Bunny On Heartbreak and New Album10 Boundaries Therapists Want You to Set in the New YearThe Motivational Trick That Makes You Exercise HarderNicole Kidman Is a Pure Pleasure to Watch in BabygirlColumn: Jimmy Carters Global Legacy Was Moral ClarityContact us at letters@time.comTIME Ideas hosts the world's leading voices, providing commentary on events in news, society, and culture. We welcome outside contributions. Opinions expressed do not necessarily reflect the views of TIME editors.

Highly anticipated: After years of rumors and speculation, Nintendo has officially unveiled the successor to its highly successful Switch handheld console. The initial reveal trailer provided few details but confirmed earlier rumors about the device's design, and gave fans a brief glimpse of a new Mario Kart game. Nintendo plans to release more information in April ahead of a 2025 launch. Nintendo's two-minute reveal trailer highlights several external hardware changes from its predecessor, though performance details remain undisclosed. Hands-on previews and a full unveiling are scheduled for April.The Nintendo Switch 2 closely resembles mockups that have surfaced in recent weeks. The main unit features a larger screen, an additional top-mounted USB-C port, and an upgraded kickstand. Meanwhile, the Joy-Con controllers are shown gliding along a surface, possibly confirming previous rumors that they will gain functionality akin to a PC mouse.The trailer also revealed a new, untitled Mario Kart game, featuring only a few seconds of gameplay. The clip showcases an expansive desert environment, overhauled character designs, and starting positions for 24 racers doubling Mario Kart 8's maximum of 12.With the official announcement of the Switch 2, third-party publishers are expected to confirm more games for the system in the coming weeks. Nate the Hate, the reliable tipster who accurately predicted this week's reveal trailer, has suggested that the new Mario Kart will be a launch title and that a new 3D Mario platformer will debut during the holidays.Titles like Final Fantasy 7 Remake, Assassin's Creed Mirage, and Metal Gear Solid Delta have also been speculated. Microsoft may support the system with games like Halo, Hi-Fi Rush, and Microsoft Flight Simulator. Nintendo confirmed that the new handheld will support backward compatibility with Switch games, though a small number of titles may not be compatible.Other leaks suggest that the Switch 2 will feature graphics and performance comparable to the PlayStation 4, Xbox One, or Steam Deck. It is also expected to incorporate Nvidia's DLSS super resolution and hardware-assisted ray tracing.A Nintendo Direct will provide more details on April 2. In the following weeks, Nintendo plans to host public events in cities including New York, Los Angeles, Toronto, Tokyo, Paris, Berlin, and Seoul, among others, where attendees can experience the Switch 2 firsthand. Nate the Hate and other sources speculate that the console may begin shipping in May or June. // Related Stories

Goldman Sachs is seeking to end its Apple Card partnership with Apply before their contract expires.According to a report from Reuters, Goldman Sachs CEO David Solomon told analysts in an earnings call on Wednesday that theres some possibility the companys credit card deal with the Silicon Valley giant could come to an end before their contract runs out in 2030. This comes after a Wall Street Journal report from November 2023 saying the deal would end within 12 to 15 months, as the bank wants out of the consumer business.Recommended VideosWe have a contract with Apple to run that partnership until 2030, although theres some possibility that it wont continue until that time frame, Soloman said.Please enable Javascript to view this contentGoldman Sachs entered the partnership with Apple when it launched the Apple Card in 2019, which has since gained over 12 million users as of last year. The credit card partnership turned out to be a troubled one, as it caused a laundry list of issues for the bank, including intense regulatory scrutiny, customer service problems over billing, and a net loss $1 billion last January. The billing part was due to Apples insistence on sending out credit card bills to everybody at the beginning of every month rather than on a rolling basis like most credit card companies.The problems that arose from the Apple Card partnership caused Goldman Sachs to find ways out of the deal, including talking to American Express and JPMorgan Chase about taking over the Apple Card. Meanwhile, Apple had been in talks with Synchrony Financial, Capital One and Chase about the same thing. The 15-month mark for Goldman Sachs to end the Apple Card partnership comes up in February. Well see what happens then.Editors Recommendations