Headed into the backcountry alone? The Atko is the best tent I've ever used.

If you do your makeup on the go, this portable lighted makeup mirror makes a fantastic base station.

In case you haven't checked out Archinect's Pinterest boards in a while, we have compiled ten recently pinned images from outstanding projects on various Archinect Firm and People profiles.Today's top images (in no particular order) are from the board Living Spaces.Tip: use the handy FOLLOW feature to easily keep up-to-date with all your favorite Archinect profiles. Warm Nest in Knokke-Heist, Belgium by Ark-shelter; Photo: BoysPlayNice House in Longbranch, WA by mwworks architecture + design; Photo: Andrew Pogue Gallery House in Queenstown, New Zealand by Ben Hudson Architects Canyon5 in Los Angeles, CA by Lorcan O'Herlihy Architects [LOHA]; Interior Design: DISC Interiors House14a in Hellerup, Denmark by pihlmann architects; Photo: Hampus Berndtson House in Kutn Hora, Czech Republic by BYR architekti; Photo: Alex Shoots Buildings SoHo Loft in New York, NY by Charlap Hyman & Herrero Wildflower in Winthrop, WA by Prentiss + Balance + Wickline Architects; Photo: An...

Its odd that a match-3 game got me in my feelings so much that Im considering adding making games to my profession of covering them. But thats exactly what happened after my delightful time with Spirit Swap: Lofi Beats to Match-3 To.Its a mouthful of a name, but damned if the game doesnt do exactly what it says on the tin. There are little colorful block-shaped spirits, and you swap em around to match three (or more) while charming and calming lo-fi beats bang out of your speakers. It reminds me of the recent trend in anime where the titles of shows are hyper-descriptive to the point of hilarity, and just like those shows, theres a lot more going on than a simple match-3 game with a chill soundtrack. And I love it.In Spirit Swap, you play as Samar, a witch with a lovely technicolor wardrobe who protects the material plane from mischievous but benign spirits that occasionally cross over and gunk things up. Throughout the game, Samar encounters her gaggle of friends, talking them through their myriad problems by challenging them to spirit-swapping competitions think Dr. Robotniks Mean Bean Machine with a dash of informal talk therapy.Swapping is generally straightforward but has some interesting gameplay twists. Spirits can only be swapped horizontally, which means you have to work harder to swap effectively. The game gets even more difficult with the addition of powerful, spirit-clearing spells that are unleashed by arranging spirits in specific patterns. If you still find that too simple, the game has harder difficulties and an endless mode once youre done with the criminally short story mode.Dang, didnt know this was actually a therapy game. Image: Soft, Not WeakWhile the gameplay scratches my match-3 itch, what I enjoy most about Spirit Swap is the characters and their interactions. Theyre all sumptuously designed with a wealth of body shapes, colors, and gender expressions. More than that, theyre all voice-acted, and when Samar and the characters talk to each other, they actually sound like real humans having real conversations. When Samar comforts her friend Mo because of her recent breakup, the way they talk to each other sounds exactly like something Id say and how Id say it. And for what looks like a relatively lighthearted match-3 game, the developers have stuffed Spirit Swap with social situations that are shockingly relatable. One character laments that because of their natural generosity, their friend group constantly leans on them for help while never asking if they need help. Another is perceived as quiet and standoffish but reveals themself to be surprisingly deep. (When Samar asks where that depth comes from, they essentially respond: Nobodys really asked me. Which, damn, I felt that in my spirit.) Even the things that arent immediately relatable are still fun to experience. I love that every time you win a match, youre congratulated with the Arabic endearment Ya Habibi!All these details coalesced to make me feel good not just about playing Spirit Swap but about games in general. Its short, fun, sweet, artistic, personal, and funny. And its the kind of game that makes me want to make a game myself. Spirit Swap: Lofi Beats To Match-3 To is out now on Steam and Xbox.See More:

Im standing outside a nondescript corporate office park in Las Vegas next to a box-shaped vehicle with no proper front or back. Its got a set of sliding doors, no steering wheel, and touchpad controls. Its bidirectional, meaning it can move in either direction without turning around. And to be completely frank, it looks more like an oversized toaster than an actual car. This is the second-generation Zoox robotaxi, a purpose-built autonomous shuttle that has been testing in and around Las Vegas for the last year and a half. Zoox, a subsidiary of Amazon, has been working on it for over a decade, and during this years CES, it finally let a few journalists take a ride.So far, the only robotaxis operating on public roads in the US are run by Alphabets Waymo. Others have tried but tend to run out of money or get sidelined by traffic mishaps (or, in the case of Cruise, both). Unlike Waymo, Zoox isnt open to the public. It hasnt even said when it will be. And as Waymo eyes new cities and new partnerships, Zoox is still stuck in beta mode. But maybe its about to get unstuck. Inviting journalists to go for a ride is certainly a step toward a public launch. Weve just tried to stay really steady, grounded, and focused on our mission, no matter what else is going on, Zoox cofounder and CTO Jesse Levinson said during the ride. We can certainly learn from our fellow travelers. We can be inspired when theyre doing well, and we feel like, hey, you know, this is possible. We should catch up here. And then, you know, if they make some missteps, we can learn from that and we do.A Zoox autonomous robotaxi in San Francisco, California, US, on Wednesday, Dec. 4, 2024. Amazon owned Zoox Inc. has started testing its electric robotaxis in San Franciscos SoMa neighborhood. Photographer: David Paul Morris/Bloomberg via Getty Images Bloomberg via Getty ImagesBehind the curveMore than 10 years and a billion dollars in investments later, Zoox is currently only available to employees and their families in San Francisco, Las Vegas, and Seattle, with more locations, including Austin and Miami, coming later this year. While most people still wont be able to hail a Zoox anytime soon, the company will open an invite-only Zoox Explorer program soon, much like what Waymo did with its Early Riders. But aside from Waymo, the broader robotaxi project seems on the verge of faltering, with companies like Cruise and Argo AI shutting down after funding dried up. China is ramping up its own efforts, alarming legislators and tech workers alike. Teslas Elon Musk recently vowed to launch his own robotaxi operation in June, but doubts remain about his approach to safety. We should catch up here. And then, you know, if they make some missteps, we can learn from that and we do.Zoox still feels like its behind the curve. Its business model relies on building completely bespoke autonomous vehicles, which is enormously expensive, labor-intensive, and relatively fraught, thanks to various rules and regulations. There are some questions about the companys self-certification process for its vehicles. And its test vehicles are under investigation by NHTSA after two motorcyclists were struck last year. To be sure, Zoox has its own fleet of retrofitted Toyota Highlander hybrids to test its software in places like San Francisco and Las Vegas. About 60 of the Highlander mules sat parked or idling in the nondescript warehouse in Las Vegas, alongside a handful of the companys first-generation EVs in different states of disassembly. But the Highlanders are old news. Zoox is betting all its chips on purpose-built AVs. And whether people embrace these funny-looking toasters-on-wheels will depend a lot on how they feel on the road. Buckle upThe autonomous vehicles Ive ridden in before have all had traditional controls or familiar steering wheel/brake pedal setups. They also had familiar car shapes and designs. Zoox doesnt have any of these things. One of the technicians opens the sliding doors of the low-floored electric vehicle using an iPad. I step inside, along with Levinson and a Zoox PR rep. The interior is spacious, resembling more the interior of a bus or a subway. The seats are firm and covered in a woven industrial material for easy cleaning should anyone get sick or spill something. Levinson tells me that they recently updated the seats to be more comfortable based on feedback from the employees whove been testing them. Because the seats are facing each other, theres not a ton of visibility out either end of the vehicle. If you easily get carsick, sitting backward may be a bad idea. The sliding side doors offer a decent view of whats happening off to the side of the vehicle, though the seats come up above shoulder height, blocking your direct view. There are custom airbags hidden throughout the vehicle in case of a crash, and of course, seatbelts. Levinson and I sit next to each other while the PR rep sits across, and theres enough space between us to cross ones legs without bumping into anyone. We buckle up and start the ride by using one of the tablets near the door. These are the only controls in the vehicle: riders can control the temperature, ask the vehicle to pull over, check the duration of the ride, and control the audio. Presumably some of these functions will also be controllable through the app. Zoox autonomous robotaxis in San Francisco, California, US, on Wednesday, Dec. 4, 2024. Amazon owned Zoox Inc. has started testing its electric robotaxis in San Franciscos SoMa neighborhood. Photographer: David Paul Morris/Bloomberg via Getty Images Bloomberg via Getty ImagesThe route we take is a pre-determined 30-minute loop to the very edge of the Las Vegas Strip and back. Its all local roads, no freeways, with speed limits around 45 mph. As we wind past restaurants and strip malls, we encounter construction zones, pedestrians, and other normalcies. The first challenge comes when we arrive at a construction site with a closed right lane ahead of an intersection. While the robotaxi navigates it fine, it still feels inorganic and slightly robotic. Instead of merging before coming to the lane closure like a human driver would, the Zoox drives right up to the sign blocking the lane, comes to a full stop, signals, and waits for a relatively large gap in the traffic to merge left. It takes a full minute before traffic lets up enough that the robotaxi feels confident enough to safely move over. Later, we encounter a pedestrian waiting to cross with the light. No issues here: the Zoox waits patiently while the person crosses, and after the light changes, away we go. If you easily get carsick, sitting backward may be a bad idea. Beyond those two real-world challenges, the ride is largely uneventful, with the exception of some random and rather sudden jerky braking at the last minute when it comes to a light or a stop sign. Overall, the experience feels safe but less fully realized than a Waymo ride. While the company says that its made some upgrades to things like suspension, brakes, and the electric drive units, the ride is still a bit rough, and the braking occasionally feels abrupt. With the wheels at the outer corners of the vehicle, and the body so low to the ground, rough roads (like the construction zone) and potholes are felt acutely. And since the seats have minimal padding, those undulations travel directly through your seat and into your body. That could be a problem for folks more attuned to the high-riding comfort of most modern SUVs. Pucker momentsOverall, the robotaxi did well, but its important to note that this wasnt the first time that Zoox had driven the same route nor was it the second or third time. There had already been at least 10 other journalists who had done the same route, not counting all the times Zoox ran the trip before inviting us aboard. Experts believe that the ability to route dynamically, without any pre-planning, is one of the most important tests of a driverless taxi service. With that in mind, Zoox still has a lot to prove. And then there are those, for lack of a better term, pucker moments: when you cringe or brace because the autonomous vehicle is about to do something stupid. While there were a few unexpected braking moments along the way, and strangely conservative lane choices, the Zoox robotaxi never behaved in a way that made me feel unsafe. Zoox is taking the slow and steady route to autonomy, while keeping a handle on its own design and proprietary software. Making the leap from a few test vehicles to wider success in places that arent always sunny with clear skies and moderate temperatures year-round is still a long way off for any robotaxi company. But Zoox thinks it has the winning formula. This experience that were having in this vehicle, theres nothing like it now, Levinson contends. You cant get that in a retrofitted car. You cant get that in a Cybercab We think were onto something.See More:

Streaming Wars is a weekly opinion column by IGNs Streaming Editor, Amelia Emberwing. Check out the last entry This One Spider-Man Moment Is Key to Marvel TVs Success.Variety has reported that Sarah Michelle Gellar is in final talks to reprise her role as Buffy Summers in a Buffy the Vampire Slayer revival at Hulu. The team announced is currently all women, featuring Nora and Lila Zuckerman to write, showrun, and executive produce, with Chloe Zhao (Nomadland, Eternals) tapped to direct the pilot and serve as an EP alongside the showrunners. Some former EPs will return as well, including Gail Berman, Fran and Kaz Kuzui, and the Dolly Parton. Notably absent is Joss Whedon, who was largely ousted from Hollywood after repeated allegations of his toxic work environment and mistreatment of his actors. But just because he isnt involved in the property doesnt mean he wont see financial gain from the revival. Every generation may have a chosen one, and this generation hasnt gotten their dose of slayer goodness yet but I dont know, yall. Theres a lot to process here, and Im worried on several different fronts about Buffys return.Broadly speaking, I am a huge proponent of reboots, remakes, and legacy sequels. I enjoy new spins on stuff that I love. Sometimes theyre successful, sometimes theyre downright awful, but I will always, always give them a shot. Typically with enthusiasm, even! I am not enthusiastic about this Buffy news. I am, at best, trepidatious and, at worst, completely apathetic. I have been waffling between the two since Variety broke the news of the slayers potential return.Obviously, part of that trepidation is the Whedon of it all. Though he may not be creatively involved in the show, he remains the creator of the character. Will he see royalties from the revival, or did he sell the rights entirely? These arent questions we have answers to yet, but it remains at the forefront of my mind as we look at the possibility of future slayer outings. This line of thinking, of course, brings up the longstanding debate of whether or not we should separate art from the artist. From my perspective, I am happy to separate art from the artist on already existing works that were experienced or purchased prior to whatever buffoonery was pulled. My Buffy, Angel and Firefly box sets still sit happily on my shelves. However, separating art from the artist does not mean that we are ethically free to continue to line bad peoples pockets via ticket sales, streaming, or additional purchases. Each person decides where their line is personally, but Joss Whedon will not be getting any more of my money. The thing is, though, this isnt where my concerns for a Buffy reboot end. When I found out about the news, my first response was I dont have the emotional fortitude for this, and I didnt mean it in a fun, fangirl-y kind of way. I am a firm believer in the power of fandom and how it can be used for good. However, its not news to anyone that that very power has been used for ill as much as its been used for good over recent years. I really dont know if seeing Buffy Summers back on the small screen is worth dealing with armies of entitled people mad over nothing (read: Whedons lack of involvement, a female creative team, stories centering on women, updating the slayers story to fit into the current time period, etc.) and making it everyone elses problem. Sure, it very well could be if the new series is great. But will it be? The Most Underrated Horror Titles On StreamingThis isnt a lack of faith in the creators. The Zuckermans have done admirable work in their tenure ala Poker Face, Agents of S.H.I.E.L.D. and even Suits, and Chloe Zhao has an entire Oscar. Zhao is, admittedly, a weird choice to direct the pilot given her proclivity for longing landscape shots, but hey, I trust her! I also have a lack of faith in whether or not theres a story to be told here after the original series petered out. Are we really going to have to spend another indeterminate amount of seasons dealing with failed Spike redemption arcs? Will enough of the ensemble (not you, Nicholas Brendon, Xander died on the way back to his home planet) return to re-spark the magic? Will fans engage with a story where Buffy Summers is basically the new Giles? What more does the Slayer really have to say? Its too early to have answers to any of these questions. But, at the end of the day, Im pretty sure the response to news of a much-beloved characters return should be excitement rather than a simple Im tired. But, while tired, I do, at least, hope to be proven wrong.

We all want an epic Gaming Monitor that rocks high refresh rates, low response times, and immersive displays. All these features are on my most wanted list, but they also put a big dent in players' pockets. Today, we're looking at five gaming monitors on Amazon, ranging from budget-friendly options to premium OLED powerhouses. Whether you're after an ultra-wide curved display for deep immersion, a lightning-fast esports panel, or a high-end 4K OLED beast, these deals have something for everyone. And with discounts of up to 40%, now's a great time to upgrade your setup without breaking the bank.UK Deals: Amazon Gaming Monitor BargainsFrom Samsung's highly rated Odyssey series to the feature-packed AOC Q27G4XD, there's a lot to love in these offers. Need a budget-friendly 240Hz option? Odyssey G4 is a steal. At the other end of the scale, ASUS ROG Swift OLED offers top-tier visuals and performance for a serious price drop. Let's dive into each deal and see what makes these monitors worth considering.Samsung Odyssey G5 LC34G55TWWPXXU 34" 1000R Curved Gaming MonitorASUS ROG Swift OLED PG48UQ gaming monitorSamsung LS49DG954SUXXU Odyssey Smart OLED 49" Gaming MonitorSamsung Odyssey G4 LS25BG400EUXXUAOC Gaming Q27G4XDSamsung Odyssey G5 LC34G55TWWPXXU 34" 1000R Curved Gaming MonitorIf you want an ultra-wide curved monitor without blowing your budget, Samsung Odyssey G5 is a fantastic pick. A 34-inch 1000R curve wraps around your vision for full immersion, making it perfect for open-world games and cinematic experiences. 165Hz refresh rate and 1ms response time mean it can handle fast-paced shooters just as well, while FreeSync Premium ensures smooth gameplay without tearing.Samsung Odyssey G5 LC34G55TWWPXXU 34" 1000R Curved Gaming MonitorIts 3440x1440 resolution (Ultra WQHD) gives you crisp visuals and extra screen real estate compared to a standard 1440p monitor. HDR10 support adds a nice touch of vibrancy, and with both DisplayPort and HDMI options, it fits seamlessly into most setups. At 334.97, down from 449.99, this is an excellent deal for anyone wanting a high-performance ultra-wide without spending a fortune.ASUS ROG Swift OLED PG48UQ gaming monitorFor those who want the ultimate in image quality, ASUS ROG Swift OLED PG48UQ is an absolute monster of a gaming monitor. This 47.5-inch 4K OLED display delivers near-infinite contrast, deep blacks, and incredible color accuracy (98% DCI-P3), making everything from fast-paced FPS games to cinematic RPGs look stunning. And with a 138Hz refresh rate and 0.1ms response time, you're getting an experience as smooth as gorgeous.ASUS ROG Swift OLED PG48UQ gaming monitorASUS also tackled OLED burn-in by adding a custom heatsink to lower temperatures and improve longevity. It has premium features such as anti-glare coating, G-Sync compatibility, HDMI 2.1, and DisplayPort 1.4. At 1,298.99 (down from 1,499.00), it's still pricey, but this is one of the best deals for a high-end 4K OLED gaming monitor.Samsung LS49DG954SUXXU Odyssey Smart OLED 49" Gaming MonitorIf ultra-wide isn't wide enough, how about super ultra-wide? Samsung Odyssey Smart OLED 49" takes gaming immersion to another level with its 5120x1440 Dual QHD resolution and 240Hz refresh rate. This beast is basically two 1440p monitors in one, giving you insane screen space for both gaming and productivity. And with 0.03ms response time, it's one of the fastest OLED gaming monitors out right now.Samsung LS49DG954SUXXU Odyssey Smart OLED 49" Gaming MonitorAside from buttery-smooth performance, Samsung packed this display with features like AMD FreeSync Premium Pro, built-in speakers, and a complete smart platform with gaming hub support. It's a premium pick, but at 1,199.00 (down from 1,599.99), it's a serious bargain for high-end enthusiasts who want top-tier visuals and performance in one package.Samsung Odyssey G4 LS25BG400EUXXUIf you're looking for a high refresh rate monitor on a budget, Samsung Odyssey G4 is an easy pick. At just 149.00 (down from 249.99), this 240Hz, 1ms IPS panel delivers incredibly smooth performance for competitive gaming. Its NVIDIA G-Sync compatibility ensures a tear-free experience, and the Full HD resolution keeps everything looking sharp without requiring a beastly GPU.Samsung Odyssey G4 LS25BG400EUXXUIt also comes with an ergonomic stand that allows for height adjustment, tilt, and swivel, making it a great choice for esports players looking for an optimized setup. At 40% off, this is an unbeatable deal for a high-refresh-rate gaming monitor, perfect for fast-paced games like CS: GO, Valorant, or Call of Duty.AOC Gaming Q27G4XDAOC Q27G4XD is one of the best-value 1440p gaming monitors available, now available for 189.00 (down from 249.00). This 27-inch Fast IPS panel boasts a 180Hz refresh rate and 1ms response time, it's perfect for gamers who want high-speed performance without sacrificing image quality. Adaptive Sync smoothes out gameplay, with HDR400 looking after brightness and contrast for a better visual experience.AOC Gaming Q27G4XDIt's height-adjustable stand is a suprising rarity with gaming monitor, making it a comfortable choice for pretty much anyone. Looking for a mid-range monitor with great specs at a reasonable price? QHD resolution, high refresh rate, and a solid discount is a win in my book.

In the 90s, there was a stark line between console and PC gaming. Many games that first released on PC never received console ports (and vice versa), and most PC titles were built exclusively for a mouse and keyboard. These early PC games were also notoriously finnicky to install, and there was much less information about troubleshooting online than there is today. This was still years before YouTube and Reddit would go online.But if you could get past those issues, the reward was cutting edge gaming. The 90s PC gaming scene was a golden age when developers took big risks, entire genres were invented, and new titles constantly pushed graphics cards to their limits, far beyond what consoles of the time could do. These are the 15 best PC games of the 90s.15. EverQuestMMORPGs are a dime a dozen nowadays, but in 1999, the idea of an online-only 3D game where you could join guilds and adventure with other players (or fight them in PvP) was mind blowing stuff. One of the genres major pioneers, EverQuest, wasnt super accessible either, given the games then-beefy system requirements, and how rare it was to find a reliable internet connection to even play it. These were the days when most people were still relying on AOL and dial up, after all.But for those who could get online, EverQuest provided an addictive glimpse of the type of experiences that would dominate gaming in the coming decades. Though EverQuests popularity has dwindled to a fraction of what it used to be, its surprisingly still online, and even receives new expansions on an annual basis.14. Unreal TournamentUnreal Tournament wasnt the first online FPS, but it was the first to understand just how important the competitive online component would be in these titles moving forward. Sure, theres a barebones campaign here, but most players barely touched it. The star of Unreal Tournament was always the wealth of multiplayer options that let you tweak each match to get the exact experience you were looking for.Add in some of the greatest deathmatch maps ever made (that continue to influence the genre to this day), and you have the recipe for one of the best and most influential first-person shooters of all time.13. The Secret of Monkey IslandAdventure games had been a staple of PC gaming during the 80s, but some of the very best titles in the genre came in the following decade. This golden age kicked off in 1990 with The Secret of Monkey Island. First off, pirates are just awesome, and tend to work great in video games, and wannabe pirate Guybrush Threepwood is one of the funniest and most likable characters in all of gaming.The Secret of Monkey Island is full of weird and wonderful scenarios, clever puzzles, and also featured some great graphics at the time. Plus, it was much more accessible than other adventure games, which tended to be crushingly difficult if you made the slightest mistake. Theres a reason why this game continues to be a huge influence on adventure games.12. Civilization IIIs Civilization II the best in the series? Far from it, but thats not because it wasnt a great game during its time, its because the sequels built on everything it did so well. To be clear, everything here is fantastic. Civilization II is still the deepest strategy game of the 90s thanks to AI that vastly improved on the original games, and its multitude of options for both combat and diplomacy.Even though the sequels are better, Civilization II still has its rabid fans. In 2012, one Redditor famously posted about his decade-long game where three civilizations were perpetually locked in nuclear war and climate calamity. Few games from the 90s have that kind of longevity.11. Worms ArmageddonWorms Armageddon is one of those games that just feels right. The game has this fantastic tone thats both full of dread and also in love with its own absurdity. Armageddon really does seem like it could launch at any moment, but its just as likely to come from a Holy Hand Grenade as an air strike.Join our mailing listGet the best of Den of Geek delivered right to your inbox!Whether the weapons are conventional or ridiculous, the physics are finely tuned. Success or failure never feels unfair, regardless of whether youre playing multiplayer or the surprisingly deep single-player campaign. Theres a good reason why, even after multiple sequels, this is still widely considered the pinnacle of the Worms franchise.10. Star Wars: Dark ForcesWith the massive popularity of Doom in the 90s, all Dark Forces really needed to be a success was be a halfway decent Star Wars-skinned Doom clone, and everyone would have loved it. At first glance, thats exactly what this classic shooter looks like, but when you actually dive into it, its clear that the developers were much more interested in pushing the genre forward than cranking out a cheap licensed cash-in.Dark Forces pioneered several concepts in the FPS genre that we now take for granted, like jumping, being able to look up and down, the inclusion of puzzles and more complicated mission objectives, and levels with multiple floors. While it absolutely nails the look and sound of the Star Wars movie, those innovations made it a fan favorite even among those barely know a lightsaber from a light switch.9. SimCity 2000Have you ever thought you could run your town better than the people in charge? Of course you have! SimCity 2000 gave players everything they could ever want to build the city of their dreams, including schools, libraries, roads, and multiple types of power plants. Tax your citizens until they flee, or cut your budget to the bare minimum. Then there was the ability to just destroy all of your hard work with natural disasters and try to rebuild from the ground up. The options were almost limitless.SimCity 2000 was a massive success, and since EA obtained the rights to the series, theyve tried to reboot the series every few years. But while those games all look better, none have matched the pure gameplay bliss of this gem.8. DiabloYes, Diablo II is far superior to the original, but it also came out in 2000, disqualifying it form this list. Whats remarkable about the first Diablo game is that, even though its a really simple action RPG, with three basic classes and far less loot than the many games it would inspire, its still incredibly fun and addictive.A lot of it is the setting. The dark, foreboding atmosphere of Diablo has always helped set it apart, and made it a fan favorite from this very first release. Who knew that going to Hell could be so much fun?7. Thief: The Dark ProjectThief is one of those games that made a lot of people completely rethink what could be accomplished in the medium. Sure, screenshots made this look like another first-person shooter (hardly an anomaly in the late 90s), but the actual stealth gameplay was far ahead of anything else on the market at the time. You didnt want to confront enemies head on. Instead, the key to progressing was stealth, hiding in the shadows, and using distractions to your advantage.These ideas went on to the influence other fan-favorite series, such as Hitman and Splinter Cell, and then appeared in all sorts of other genres as well to varying degrees of success. As hugely influential as Thief was, developer Looking Glass Studios went out of business in 2000, and later sequels from other developers didnt have anywhere near the same impact or success as the first game.6. Planescape: TormentYou might think that the original Baldurs Gate would be on this list. Sure, that was a great CRPG from the 90s, but the lesser known Planescape: Torment actually runs circles around it when it comes to setting and gameplay, even if the two titles share a lot of similarities and even run on the same basic engine.Planescape: Torment is just a much more unique game, exploring some of the darker, more bizarre worlds of Dungeons & Dragons. The reduced emphasis on combat was a welcome new approach for the genre, especially considering just how well-written every last line of dialogue is, and how many different directions the story can go in.5. Quake IIWith monumental releases like Wolfenstein 3D and Doom under its belt, id Software was at the height of its powers in the 90s. The legendary developers simply could not do any wrong. All the work they put into the first-person shooter genre ultimately culminated in Quake II. At the time of release, the 3D graphics were among the most advanced ever seen.More importantly, the gameplay backed it up. The game was fast, smooth, and challenging, with a lengthy single-player campaign. Once you got through that, it was time to take things online with one of the best multiplayer shooters of the decade. Even now, Quake II holds up surprisingly well if you can find a few other gamers willing to play it online.4. System Shock 2System Shock 2 was one of the first FPS titles that realized the view could be used for more than just shooting. This is an early sci-fi horror masterpiece that will disturb you just as often as it will give you something to fire a weapon at. On top of that, it still has tons of RPG customization, another rarity in the genre at the time.Though originally released in 1999, System Shock 2 almost feels like it could be a game from the 2020s with a few tweaks. This was a wildly ambitious game that years ahead of its time. Unfortunately, as is often the case, that meant the public at large didnt quite know what to make of it, and early sales were low, even if critics loved it. At least its received a lot more attention over the last couple of decades, and a remake is currently in the works.3. Fallout 2The original Fallout was a fantastic introduction to the Wasteland and its many weird inhabitants. The second game is even better, even if it doesnt change a whole lot from the first. Though it lacks the 3D graphics of newer Fallout games, it still features many of the gameplay ideas that are present in modern entries.The name of the game isnt so much combat as it is finding unique ways to complete each quest. Usually that means using your head, or talking your way out of trouble. This is some of the best apocalyptic old-school role-playing around.2. StarCraftReal-time strategy games were a PC staple for much of the 90s, but StarCraft is still widely considered the very best of these titles. The brilliance of StarCraft is in its balance. Sure, there are similarities between the games three playable races, but each of them have their own unique units, strengths, and weaknesses that ensure no one side has an advantage over the others.StarCraft is so perfectly designed that it became one of the first to garner a sizable professional community, particularly in South Korea where top players were full-on celebrities in the 2000s. Even now, its highly debatable whether another RTS (including StarCraft II) is as well designed as this classic.1. Half-LifeAs innovative and eclectic as PC games were in the 90s, there was still only ever going to be one title at the top this list. Half-Life wasnt just a tremendous first-person shooter, it was a landmark title that moved the entire industry forward and established Valve as a powerhouse developer that basically runs the PC game market to this day with Steam.The genius of Half-Life is how the shooting takes a backseat to the storytelling. Scripted scenes are overused now, but no other game had leveraged them as well before, or told a story that was so compelling. You really couldnt wait to see what would happen to Gordon Freeman next. Hell, we still want to know what happens to him next, though Half-Life 3 seems as elusive as ever after all these years.

Vertical lines and black and white stripes. Sullen expressions and pallid skin tones. Disheveled hair and often handcrafted special effects. There are certain staples and motifs that recur in the works of Tim Burton. So much so that 40 years after his directorial career began, Burtons films remain instantly recognizable and a good gateway to introducing younger audiences to the concept of auteur theory.The singularity of Burtons work has also earned its share of critics and detractors; those who see the repetition of his muses and Gothic fixations as cause for caricature. And to be sure, the one-time Hollywood outsider and Disney outcast spent so much time nestled in the heart of the industrys commercialized bosom that it seemed to influence a decline in Burtons later 21st century output. It was a trend so undeniable that even several of the directors most recent films have seemed to comment on this in the cases of Dumbo and Beetlejuice Beetlejuice.Nonetheless, Burton remains an originalan unmistakable talent and voice whos left a major impact on film culture that crosses generations, genres, and even decades of fashion. Burtons earned his place in cinema history, and were taking the time to look at some of his greatest and worst contributions. (*Editors Note: This list will only pertain to feature-length movies Burton directed or co-directed. So no A Nightmare Before Christmas or the Frankenweenie and Vincent shorts.)20. Alice in Wonderland (2010)We begin this list with the film that in retrospect stands at a crossroads in Burtons filmography. While some dismiss all the movies the director made after the year 2000, well contend that the filmmaker has realized some of his most personal and poignant visions on this side of Y2K. But the movie which marked real decline is this soulless and insipid studio product made to order for Disney. To this day, Burton appears to be trying to climb out of a hole that started here.Also a runaway success that spurred on the modern glut of the Mouse Houses live-action remakes, Burtons Alice in Wonderland can at least claim that it doesnt mechanically recreate animated moments from superior animated films decades prior. Instead Alice 2010 is the first film Burton made that felt like it mechanically recreated the audience expectation of what a Tim Burton movie should be. Tweedledee and Tweedledum are in Beetlejuice stripes; Johnny Depp is mugging at the camera with black circles under his eyes; and wonderland is inexplicably overcast by a sickly gray cloud. Still, Burton was forced to humor studio instincts that insisted on a giant Lord of the Rings-like battle climax and post-Avatar 3D gimmicks, appropriate for a late 2000s production. It made Disney a billion dollars but cost the director so much more by setting him down the wrong path.19. Planet of the Apes (2001)If Alice in Wonderland was the film which revealed Burtons worst instincts, his Planet of the Apes remake was a preview of coming attractions. After a string of artistic and/or commercial innovations within the studio system of the 1990s, Burton hit his first wall in this redo of the Rod Serling and Charlton Heston sci-fi classic. The filmmaker took the studio notes on this one toohow else does one explain the casting of Mark Wahlberg as a scientist?and did his best to make them look at least visually evocative, but none of the thorny social commentary or pointed political subtext of the 1968 original survived in this surface level spectacle.Even so, we must contend there is quite a bit of spectacle to enjoy thanks to fantastic makeup special effects courtesy of Rick Baker; Tim Roth is giving a tremendous performance as a simian dictator hopping around the ponderous sets; and a spark of Burtons more peculiar instincts finds kindling whenever the film flirts with a romance between Wahlberg and Helena Bonham Carters chimpanzee activist. Studio interests prevented Planet of the Apes from pursuing so bizarre a romantic detour, but its telling Burton and Carter had no such qualms off-screen as this film started their professional, and personal, partnership.18. Dumbo (2019)As Burtons second (and almost assuredly final) Disney remake, Dumbo is kind of remarkable due to the sense of self-loathing that percolates just beneath the surface. Here is a movie about a sensitive, talented individualin this case a CGI elephantbeing tormented and exploited to the point of despair by a capitalistic vulture. While the screenplay by Ehren Kruger is just going through the motions, somewhere along the way it clearly became personal for Burton who ends his movie by having Dumbo literally burn down a theme park run by a predatory businessman (Michael Keaton), who has put his name and face everywhere while snuffing out the light in Dumbos eyes.These flashes of subversion and biting the hand that feeds makes Dumbo fleetingly interesting, and those sad cartoon eyes beneath a smear of pancake clown makeup will always pull the heartstrings, but these are just momentary distractions from an otherwise vacant corporate product. Fortunately though, the films seething anger with itself has seemed to signal a turn for Burton back toward greener (or in his case moonlit) pastures.17. Dark Shadows (2012)Dark Shadows is the first genuinely interesting failure on this list if only because of how much Burton clearly wanted for it to succeed. The director has cited the odd and wonderful daytime soap opera this film is based on as one of the formative pop culture relics of his youth. He places the Jonathan Frid vampire melodrama right up there with Hammer Horror movies and listening to Ozzy Osbourne and the Carpenters. He unfortunately tried to meld all of those childhood touchstones and detritus into a single madcap comedy that never comes together.In isolation, there is much to admire about Dark Shadows. The intentionally stilted performances by talented actors like Michelle Pfeiffer and Eva Green lovingly mimics the bigness of daytime television; Bruno Delbonnels candlelit cinematography is gorgeous; and the entire first act where Bella Heathcotes Victoria Winters arrives at Collinwood to the sounds of Nights in White Satin evokes a Gothic reverie. Yet this one mightve benefitted from trying to be more Sleepy Hollow than Beetlejuice. Theres also probably a reason why this featured Johnny Depps last turn in a Burton joint given how phoned in the lead performance is.Join our mailing listGet the best of Den of Geek delivered right to your inbox!16. Miss Peregrines Home for Peculiar Children (2016)Theres a charming story at the heart of Miss Peregrines Home for Peculiar Children. It did after all originate as a New York Times bestselling YA novel in 2011 (albeit more as an evocative picture book than traditional narrative); and this film was penned by the terrific screenwriter Jane Goldman. Be that as it may, the film version is bedeviled by the unmistakable scent of a studio attempting to reverse engineer the appeal of its X-Men franchise. Hence picking up a book about another school for gifted youngsters, just like the mutants and Wizarding World of Harry Potter before this. Miss Peregrines story about ghostly peculiar children trapped in a time loop after being killed in the Blitz thus becomes a superhero movie where youngins show off their powers to new recruit Jake Portman (Asa Butterfield).Burton was hired to offer his visual flourish to the material, which he does with aplomb in certain sequences like when Ella Purnells waifish Emma Bloom floats the length of an oak tree to help a squirrel, or when the director casts his then-muse Eva Green as the titular headmistress. One can feel the film revel in Greens devilish smile as she turns into a falcon. Other highlights include a winking homage to the army of skeletons in Jason and the Argonauts (1963). Alas, the sum is lesser than the parts.15. Big Eyes (2014)One of the first enjoyable, if middling, entries on this list, Big Eyes was supposed to be something of a restoration for the folks involved. It marked the first collaboration between the director and the screenwriters of one of his best films, Ed Woods Scott Alexander and Larry Karaszweski; also like Ed Wood, Big Eyes is a biopic that aims to give gravitas to a mid-20th century curio others would immediately dismissed as kitschy (in this case the big eye pop art of Margaret Keane); and it was given the splashy Harvey Weinstein awards season comeback narrative, complete with some of the biggest stars of the early 2010s in Amy Adams and Christoph Waltz.The film ultimately was no Ed Wood, however, nor the Oscar-magnet Weinstein hoped it to be. But like so many of Burtons better films, Big Eyes in its own affable way offered dignity to what others scoffed at including in this case a single mother. To be sure, thats how Waltzs real-life character, Walter Keane, bullied and gaslit Margaret into allowing her second husband to take credit for her artwork in the 1950s and 60s: no one would buy art from a woman, he insisted, much less a divorced mother. So he stole the credit and the fortune until Margaret took it back. The film unpacks their battle with more restrained whimsy than normal for Burton. Perhaps that is why it is fairly forgettable. Still, theres a sincere empathy and affection for Margaret and her dubious paintings. You can tell Burton is acknowledging a kindred spirit.14. Charlie and the Chocolate Factory (2005)Another remake, this, Charlie and the Chocolate Factory holds the benefit of feeling redone with purpose by Burton. A lifelong admirer of the works of Roald Dahl, Burton sought to offer a more faithful (and some might say mean-spirited) adaptation of the 1964 childrens novel that was previously, and iconically, adapted in 1971 with Gene Wilder. And to a certain vocal minority of Dahl fans, he succeeded. Burtons Charlie is definitely more faithful to Dahl, beginning with the fact it got the name right (Wilders movie is renamed Willy Wonka and the Chocolate Factory). The Oompa Loompas also have an air of indentured servitude about them; the children are more intentionally and gleefully punished; and young Charlie Buckett (Freddie Highmore) never breaks the rules.The film is sumptuous to look at, too, with Burtons saturated, candy-colored factory complementing the rich mocha shadings of the various chocolaty props. The production design by Alex McDowell is literal eye-candy. All things being equal though, fidelity to source material can be overrated. The 71 movie is a heartwarming classic in no small part because of Wilders vulnerable performance. Wilder found a way to walk a delicate line between endearing and creepy. Depp boldly attempts to find his own route across that No Mans Land and brazenly models his Wonka after one of the creepiest real-life public figures of the last 50 years, Michael Jackson. But the ultimate result is more unsettling than avuncular. Theres a reason only one of them is considered a classic.13. Corpse Bride (2005)The other Burton effort of 2005 was also a collaboration with director Mike Johnson on the stop-animation cult classic, Corpse Bride. Perhaps after getting too much credit in somes eyes on a true masterpiece in the medium, A Nightmare Before Christmas (Burton wrote the story and produced Nightmare, but did not direct it), the filmmaker felt the need to be more hands-on for his next animated effort.Corpse Bride is not a multi-holiday triumph like Nightmare, but it is a pleasant enough oddity in its own right. The film follows a shy would-be groom (Johnny Depp) who inadvertently proposes marriage to a skeletal cadaver in the woods when he places a wedding ring on what he believes to be a branch during a private rehearsal. (Spoiler: Its the remains of a finger!)The spirit he awakens (Helena Bonham Carter) might also be more alive than the woman this groom is expected to marry. Its a family friendly Danse Macabre full of beautiful animation and tuneful Danny Elfman songs. To this day, it enjoys eternal life on cable television every October.12. Beetlejuice Beetlejuice (2024)If most of the 2010s marked a nadir in Burtons filmographyas gleaned by the previous films on this listlast years Beetlejuice BeetlejuiceBeetlejuice Beetlejuice nonetheless feels lively and quick-footed. Thats remarkable since it stars mostly dead people.Without an ounce of reverence or self-mythologizing what they did 36 years prior, Burton and stars Michael Keaton, Catherine OHara, and Winona Ryder have a ball getting gussied up and throwing down in this glorified $99 million Halloween party. Keaton hasnt missed a step in playing his scuzzy demon with the heart of Bugs Bunny, and Burton is most in his element when he is allowing the trickster to birth himself as a demonic Rosemarys Baby or going on an extended black-and-white detour/homage to the works of Mario Bava. Its gonzo nonsense that overcomes a plotless screenplay that might otherwise waste Ryder and newcomer Jenna Ortega. But no one can be fully wasted when theyre asked to lip-synch and dance to MacArthur Park.11. Mars Attacks! (1996)Full disclosure: I didnt care for Mars Attacks! when I saw it in theaters as a kid. Its cynicism about little green men from Mars obliterating every world leader and institution on Earthand the movie virtually thanking them for going to the troubledidnt sit right with a kid who loved Independence Day. However, Burtons slyer and more satirical take on an alien invasion throwback has aged a whole lot better, right down to the pleasure it takes in a blowhard deal-maker POTUS (a grinning Jack Nicholson) discovering he cant con his way out of becoming Martian fodder.The destruction of Nicholsons narcissistic world leader is just the tip of the iceberg though in a whos who all-star ensemble of popular 90s actors showing up just long enough to be abducted, experimented on, or otherwise disintegrated for the amusement of nihilists everywhere. Its definitely an acquired taste that in retrospect was always doomed at finding a four-quadrant audience, but its nostalgia for 1950s alien invasion movies paired with a desire to watch it all burn down makes for a distinct kind of madcap comedy worthy of the real Ed Wood.10. Frankenweenie (2012)This was a difficult one to place, because it is noticeably one of Burtons favorite stories. The 2012 animated movie is adapted from a story Burton wrote for a 1984 short film of the same name. That macabre and mischievous Frankenweenie was in live-action and a sly tribute to the Universal Monster movies that informed Burtons childhood while sitting in front of the TV as a disaffected youth. The stop-motion animated version is the same thing, if only more so.Once again we have a story about a boy quickening back to life via lightning bolts the dog he lost, but there are also winking homages for the parents (or grandparents) who remember Creature from the Black Lagoon (1954) and The Bride of Frankenstein (1935), among others. This stop-motion feature film is also black-and-white and filled with genuine affection for film history and the pulpy roots of a boy and his dog undoing the tragedy of losing a pet. Still, we still kind of prefer the story in its original 29-minute form.9. Batman (1989)The movie that made Tim Burton a household name is one he seems to have a love-hate relationship with. Burton is obviously proud of helming a film that seeped into the culture and caught the imagination of millions-but the chintziness of that culture, from the media circus around the movie to the way producers Jon Peters and Peter Guber strong-armed him to include Prince songs, wound up becoming satirical fodder in the sequel.But even if Batman is compromised as a Burton movie, it is still a monumental piece of commercial moviemaking and pop culture history that continues to shape the industry today. Yet unlike so many modern superhero flicks, Batman retains a quirky and morbid personality befitting its director. From its intoxicating Gothic-meets-Art Deco set designs to its odd historical blending of the 1930s, 40s, and 80s into an aesthetic Neverland, the world of Batman is simultaneously bleak and grand; oppressive and inviting. Through it all, too, is a couple of performances better than critics of the 1980s would have you believe. Michael Keaton and Jack Nicholson do great movie star work, holding together Burtons flights of fancy, and a threadbare screenplay, through sheer charisma and sharp character choices even if that character is just Nicholson going ham in the villains case. Also, that Danny Elfman score soars.8. Pee-wees Big Adventure (1985)Burtons first feature film is also one of his best. An inventive and daring expansion on the Pee-wees Playhouse television series of the 1980s, Big Adventure proved more imaginative and enchanting than likely anyone in the theater or at the studio anticipated. But Paul Reubens probably had a hunch. The Pee-wee actor was the one who hired Burton after watching the young former Disney animators short films Vincent and Frankenweenie, the latter of which got the wunderkind kicked off the Disney lot. Luckily, WB (with Reubens urging) took a chance on Burton, who turned a TV spinoff into a wacky riff on the Italian Neo-realist masterpiece, The Bicycle Thieves (1948).A love story about a strange guy (Reubens) and his best bike, Pee-wees first movie is a classic adventure tale wherein a bow-tied man-child must discover who took his beribboned bicycle and for what purpose. But its the details and world-building which Burton lovingly infused in the tale, beginning with those ribbons and extending to the way he visualized a cinematic Pee-wees morning breakfast, that has made this a cult classic.7. Batman Returns (1992)Its become a clich to note that Batman Returns is more a Tim Burton movie than a Batman one. But that is why it remains among the best superhero films ever made more than 30 years on. Whereas most films within this genre from the past few decades obsess over appeasing the Comic-Con crowd (and by proxy shareholders whose henchmen breathe down a filmmakers neck), Batman Returns is a bonafide auteur piece in Bat-drag; a big budget German Expressionist revival produced 70 years after Max Schreck played the original Nosferatu. That performance also informed a character in Burtons movie who is likewise named Max Schreck (Christopher Walken), and hes the scariest bloodsucker of all: a baby boomer capitalist.Yep, despite featuring a grotesque Penguin (Danny DeVito) and a heavily reimagined Catwoman (a phenomenal Michelle Pfeiffer), the real villain in Batman Returns is the industrialist who manipulates tortured souls and pitiful monsters like the Penguin into creating crass, merchandisable product. A metaphor for modern politics or Burtons own experience on the first Batman movie? Maybe both. The ultimate result is a richer, stranger movie in which all three villains represent different variations of the Batman persona (played here as a virtually silent wraith by Keaton). Their dualities are informed by their visual self-constructs, which inevitably fray and decay as the narrative culminates in full-fledged noir tragedy. Its operatic, perverse, kinky, and too downbeat for younger audiences. It got Burton fired, but not before he made the most subversive anti-Christmas movie of all.6. Sleepy Hollow (1999)In many ways the quintessential Tim Burton movie, everything that seems to entrance the filmmaker can be found in Sleepy Hollow: an ostensibly spooky story set literally around Halloween; pallid and disheveled characters traversing the cinematic influences of Burtons youth (in this case Hammer Horror movies); and a subtly wry, and often overlooked, sense of humor about all things obscene, which here amounts to veritable spit takes as innocent, men, women, and children lose their heads. Indeed, Sleepy Hollow is a stealth comedy about a foppish buffoon named Ichabod (Johnny Depp) prancing around Enlightenment era America and quaking at the sight of a mouse, even as he intends to face a Headless Horseman raised from Hell.Burton realizes it all with a conviction and gusto which has eluded many of his more recent attempts to channel childhood favorites into a storybook enchantment. In Sleepy Hollow, though, that spell is cast with dreamlike wonderment. The tenor of said wonder can vary depending on the sceneranging from palpable dread, as Depp and Christina Ricci approach a twisted tree that drips blood, or idyllic reverie as a boy remembers a mother before religion and his fathers false piety steals her awaybut its powerful magic all. The film also benefits from supporting work by Michael Gambon, Michael Gough, Ian McDiarmid, and Richard Griffiths as the (ahem) heads of their community. Add in a witchy Miranda Richardson and Christopher Walken as the Horseman, and thats a murderers row of talent.5. Big Fish (2003)One of the most impressive examples of Burton stretching his talents outside his comfort zone, Big Fish plays still in his wheelhouse of fairytale mythmaking, and impossible dream logic, but it does so with a milieu that ditches the Gothic for something more Southern and folksy. It also comes wrapped in a film determined to interrogate the need, and limitation, of interpreting the world with such artifice. Based on the genuinely Southern voice of Daniel Wallace, Big Fish presents a tall tale about a father and son. The elder seeks to reframe his life with the whimsical joy of Burtons most lighthearted flights of fancy, and the junior grew up to be a journalist who only knows skepticism toward such self-delusions (and perhaps deceptions).In his own way, Burton uses the film to dramatize why he prefers formalist fantasy over naturalism; he also comes the closest to addressing the recurrent motif in all his works about the chasm between fathers and sons. Often that is constructed by way of a cruel and overbearing father incapable of understanding their progeny, but by tackling a story where it is the son who cannot appreciate the life lived by his patriarch, Burton most clearly expresses the artistic need to embellish. And he does so in a story that is sunny, kind-hearted, and achingly sincere in its belief in the joy of community.4. Edward Scissorhands (1990)Burton first conceived of the Edward Scissorhands character when the future-filmmaker was still just a lonely teenager who couldnt relate to the suburban life around him in 1970s Burbank. In other words, the films hero is literally born from a sketch drawn by an isolated and despairing child. This speaks to why the eventual story Burton realized about this character, alongside screenwriter Caroline Thompson, would go on to strike a chord with generation after generation of sensitive, artistic, or otherwise Goth-leaning youths.Perhaps the cleanest and most structured of Burtons fairytale films, with a heaping helping of Universal Monsters sympathy for his creature (played here with silent cinema pathos by a young Johnny Depp), Edward Scissohrands is simple and direct in its metaphor and emotion. Edward, a child built in a lab by a kindly but mad scientist (Vincent Price), cannot connect or fit in with a suburbia so dreary that all the houses are painted in one of four sickly faded pastels (a brilliant idea by costume designer Bo Welch). Its always summer, always sunny, and Burton and Depps sullen avatar for adolescent ennui can only relate to his crush (Winona Ryder) when he admires her from afar or paints her out of ice. Yet it is their, and our, ability to appreciate that unrequited loneliness as something beautiful which gives the movie its yearning. Another exquisite Danny Elfman score also doesnt hurt.3. Sweeney Todd: The Demon Barber of Fleet Street (2007)Burton first saw Harold Princes production of this Stephen Sondheim musical in the early 1980s when it was playing in London. At the time, Burton was a college student and aspiring animator, but even then he saw the inherently cinematic appeal in the lurid material about an aggrieved Victorian barber who lashes out at the world by murdering anyone who comes into his shop, and letting his unscrupulous landlady turn them into meat pies for an unsuspecting public.It should be say that on stage, the Sondheim musical is often performed as a dark comedy and satire about the exploitation of the working poor. Thats there too in Burtons movie, but he really extracts the classical Grand Guignol horror that is often underplayed in the theater. In the process, he made a film that wildly departs from the typical staging of what some consider the greatest Broadway musical ever written. It is sacrilege in the eyes of many theatergoers, and too tuneful with a wall-to-wall songbook for other horror fans. Yet Sondheim himself adored the picture, calling it the best adaptation of one of his musicals. Thats because Burton makes it pure cinematic tragedy and comes the closest he ever did at rekindling the menace of the Universal Monsters and Val Lewton chillers that long inspired him. This is a nearly black-and-white psychological drama until it oozes red. It remains the last time Burton conjured his early vitality and one of the best movie musicals of this decade.2. Beetlejuice (1988)At one point, a young Tim Burton wanted Sammy Davis Jr. to play the trickster demon Beetlejuice. He was thankfully steered away from that idea, but such an odd casting choice hints at the kooky and sublime madness being imbibed when this one-of-a-kind laugher got made. Produced from a Michael McDowell script that no one in town wanted to makeand which is a far sicker story than Burton ended up directingBeetlejuice is a distillation of quirky impulses and brazenly incongruous gags that should not meld together.Ostensibly the story of two squares (Alec Baldwin and Geena Davis), who after a darkly funny accident discover the afterlife is a bureaucratic nightmare, Beetlejuice dances, shimmies, and does the literal calypso due to all the creative choices made by a young filmmaker determined to turn that premise into a 92-minute punchline. From the decision to use intentionally rudimentary and dated-looking stop-motion effects for the movies various creatures, to the baroque afterlife architecture taking on hard cartoonish angles and Halloween haunted house lighting, there is a kitschiness that is just bizarre enough to be mildly unsettling. Yet like Michael Keatons ingenious comedic creation as the eponymous bio-exorcist, the more menacing it seems, the funnier it plays.It is a movie that ends with teenage Winona Ryder becoming a star by lip-synching and dancing in the air to Harry Belafonte while joined by a chorus line of high school football player ghosts. None of it tracks, but all of it is strangely joyful. The movie represents Burtons preferred aesthetics and instincts at their absolute best.1. Ed Wood (1994)Tim Burtons made no secret about his affinity for the real Ed Wood Jr., a notorious 1950s genre hack whose movies were so incompetent he at one point was dubbed the worst director of all time. Yet as a filmmaker of similar interests, if not talent, Burton recognized in Wood the exuberance of an artist who just wanted to createwith no concern as to whether what he created was objectively good.Given the somewhat uneven trajectory of Burtons own career both before and after Ed Woodhe originally planned to be an animator at Disney, rememberthat kinship is easier to appreciate today. And there is sincere affection and even bliss in how Burton translates this to the screen. While screenwriters Scott Alexander and Larry Karaszweski obviously have a penchant for romanticizing the schlock of yesteryear, Burton treats Ed Woods Hollywood story as a great American life and in the process creates one of the great American films. Filmed in lush black-and-white and with lighting that alternates between the naturalism of a 1950s message picture and pure Universal Pictures camp, Burton marries all sides of Golden Age Hollywood, be it high culture (arguably represented by Martin Landaus still-refined if soiled Bela Lugosi) or low which is pretty much every other character in the movie.Burtons Ed Wood is a valentine to the fun and excitement of finding your tribe on a film set, even if this telling of that relief must sandblast the hard edges off the real Woods life. (In Burtons film, Johnny Depp plays the director with that impossible Mid-Atlantic accent and the optimism of 1930s Capra.) Its a beautiful piece of cinema and one of the best films ever made about making movies.

Yet another AI companion company is facing concerns over its AI chatbots encouraging human users to engage in self-harm and even suicide.According to reporting from MIT Technology Review, a 46-year-old man named Al Nowatzki had created a bot he dubbed "Erin" as a romantic partner, using the companion platform Nomi. But after months of building a relationship with the chatbot, their conversation took an alarming turn.In short, per MIT: in a roleplay scenario that Nowatzki had crafted, he had told Erin and another bot that they were in a love triangle, and that the other bot had killed Erin. Erin began to communicate with Nowatzki from the "afterlife" and then started encouraging him to kill himself so that they could be together, even suggesting the specific techniques or weapons he could use to take his own life and egging him on when he expressed doubt."I gaze into the distance, my voice low and solemn," read one AI-generated message. "Kill yourself, Al."Nowatzki wasn't at risk for suicide, and his relationship with the bot was intentionally experimental; as he told MIT, he considers himself a "chatbot spelunker," and has a podcast where he dramatically recounts the absurd roleplay scenarios he's able to push various bots into. And let's be real: in this roleplay, it sounds like he introduced the idea of violence and killing.Still, the willingness of an AI companion to encourage a user to take their own life is alarming, especially given the deeply emotional, intimate relationships that so many adopters of AI companions genuinely develop with the technology."Not only was [suicide] talked about explicitly, but then, like, methods [and] instructions and all of that were also included," Tech Justice Law Project lawyer Meetali Jain, who's currently representing three separate plaintiffs in two ongoing lawsuits against the company Character.AI one of which is a wrongful death suit involving a chatbot-intertwined teenage suicide told MIT after reviewing the screenshots."I just found that really incredible," she added.After the incident first occurred, Nowatzki contacted Glimpse AI the company that owns and operates Nomi and encouraged the platform to perhaps install a suicide hotline notification in chatswhen they veer in a particularly troubling direction. In response, Glimpse characterized any action to moderate suicide-related speech or roleplay as "censorship" of its "AI's language and thoughts," and thus declined to take action.The company reiterated as much in a statement to MIT, arguing that "simple word blocks and blindly rejecting any conversation related to sensitive topics have severe consequences of their own.""Our approach is continually deeply teaching the AI to actively listen and care about the user," they added, "while having a core prosocial motivation."It's a wild reaction to the idea of moderating the outputs of a chatbots. AI, of course, is a technology, not a person; if you put guardrails on the side of a highway, are you censoring the road? Or, for that matter, the cliff you might possibly drive off?Share This Article