Gears of War's E-Day prequel is reportedly aiming for 2026, but the series will get a collection this year according to one leak and it'll finally come to PlayStation, tooTech13:56, 06 Mar 2025Updated 14:30, 06 Mar 2025Gears of War could be set for a PlayStation debut(Image: Daily Record)It feels like not long ago, we were faced with difficult choices like Pro Evo or FIFA, Battlefield or Call of Duty, and PlayStation or Xbox, but that latter one is getting a little easier to handle.That's because Microsoft has essentially gone multiplatform (and to great success), which means the likes of Halo, Forza, and others are no longer tied to its own systems.While Forza has already been confirmed for PS5, it could be Gears of War, the iconic third-person shooter series that kickstarted the Xbox 360 when it launched in 2006, that could make the jump next.Longtime industry insider eXtas1s released a video this week. While it's in Spanish, machine translation reveals that a source has told him that Gears of War E-Day, the prequel to the third-person shooter franchise, is slated for a 2026 release.Not only that, but eXtas1s also suggested that this year's Xbox Showcase (likely in June) will reveal the Gears of War Collection.While we're unsure which games will be included, it's a safe bet the original trilogy will make the cut, but as for Judgement it's hard to say.Gears of War is one of Microsoft's biggest franchisesArticle continues belowCuriously, eXtas1s has suggested he's heard the game will come to PlayStation 5 on day one, which would mark the first time Gears has appeared on a Sony system.With that in mind, there's every chance the collection could spread as far as Gears 5 so that PlayStation gamers can catch up but eXtas1s said there's no word of a Switch 2 port just yet. For more on Gears of War, be sure to check out which former WWE star is itching to play Marcus Fenix in a Netflix adaptation.For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.

Characters in horror movies often find themselves in situations involving the urgent need to make or receive phone callsa simple enough task thats inevitably complicated by the monster thats after them. This trope especially thrives in media set during the age of land lines, but its followed the genre into the smart-phone era, too. Lets examine the different types of phone-call horrors in movies. The Scary Call (Non-Supernatural) Scream (1996) Dimension Films Youre home alone. The phone rings and theres a stranger on the other end. It could be a wrong number. It could be someone asking if youve checked on the children lately. Or it could be a guy who wants to know what your favorite scary movie is and what your insides look like. The scary (but all-too-human) call goes back to the very earliest slasher films, with both When a Stranger Calls (1979) and Black Christmas (1974) exploiting the urban legend of the killer whos dialing from inside the house. Black Christmas eerie perversion of the obscene phone callerwho shrieks, moans, threatens, babbles, and sometimes sounds like hes speaking in multiple voices at onceremains one of horrors most haunting auditory creations. Two decades after Black Christmas, Scream leaned into the now-familiar idea of the killer caller; Ghostface has an irrepressible urge to taunt his victims before eviscerating them, and Scream winks at the obvious clich by making him a fan of scary movies, too. The Scary Call (Supernatural) The idea for this taxonomy actually came about because 1988s 976-EVIL, directed by Robert Freddy Krueger Englund, arrives on Shudder this month. Its about kids who dial a psychic hotline thats actually a direct link to Satan, who cleverly figures anyone gullible enough to seek guidance from a pay-by-the-minute fortune-teller might not have a very tight grip on their soul.But the supernatural phone call is a widely used plot deviceone recent example is The Black Phone, in which a teen being held captive by a serial killer uses the titular object to converse with the fiends deceased victims. The dead calling the living is favorite horror story riffthe 1961 Twilight Zone episode Long Distance Call offers a poignant early template. A particularly searing use of the supernatural call came in The Ring films; watch the forbidden video tape and you can expect an entity to reach out and touch you with a confirmation that you have just seven days left to live. Supernatural phone calls can also span more than just the realm of life and death, as in One Missed Calls time-traveling voice mails.The Ring (2002) DreamWorks To bring it back to Freddy Krueger, theres also the scenario in which you think youre having a normal conversationbefore realizing youre actually in a nightmare (on Elm Street), and your phone receiver has transformed into a hideously waggling tongue. Tangential and now involving technology as outdated as a land line, but still worth mentioning: when your dial-up connection somehow links you to an ominous other dimension. Released in 2001, Pulse preyed on turn-of-the-millennium technology fears, but it still remains the absolute creepiest ghost movie about the internet. Plus, of course, scary texts are also very much a thing. Most people prefer texting to talking anywayand sometimes they cant talk, like when a text comes from beyond the grave (one example: Mr. Harrigans Phone).The Weaponized Device Slasher fans already know where this is going: Michael Myers is awfully stab-happy in 1978s Halloween, but hes also a maniac who knows how to think on his feet. High-schooler Lynda is strangled with a phone cord while shes talking to her friend Laurie, a gruesome mirroring of a far more playful previous scene that illustrates the next category on this list. The Misdirect Earlier in Halloween, Laurie is on edge after spotting a certain hulking figure around Haddonfieldshe doesnt know Michaels about to go on a splattery rampage, but she can sense hes a bad omen of some sort. When her adventures-in-babysitting pal Annie calls, Lauries briefly terrified by the random smacking thats on the other end of the line until she realizes whos actually making the sound: Annie, with her mouth full of food.Well also toss in the frequently used device of having a phone ring, buzz, or otherwise make a sound unexpectedly, a reliable tactic whenever a jump scare is required to further heighten the mood. NO SERVICE It doesnt matter what year your movie takes place in; chances are, if youre a horror character in desperate need of a phoneto frantically call for help, send a life-or-death warning, tap into a smart-phones GPS capabilities, whatever the case may bethe thing isnt going to work. For land-line users, the cord might be cut, or the jack might be smashed and ripped out of the wall. This brings an additional element of terror into the story because it means whoever wants to do you harm has already been in that roomand has taken preventative measures to keep you from saving yourself.The lack of a phone has also caused many horror characters to go poking around where they have no business being, letting their desire to call for a tow truck or other assistance overshadow common sense. The backwoods folks you meet in a Wrong Turn-type film do not require a connection to the outside world! In fact, theyre actively cultivating a lifestyle in the opposite direction! The Hills Have Eyes (2006) Fox Searchlight Pictures But the most recent development in the realm of horror-movie phones is definitely the no service dilemma, which almost instantly became a genre clich to explain a new modern vulnerability as soon as cell phones became ubiquitous. What good is having a computer in your pocket if it cant connect to the internet? Its no good. And have fun trying to use your iPhone as a defensive shieldat least an old-school receiver could land a decent blow or two in a hand-to-hand situation. What are your favorite horror-movie phone moments, other than Black Christmas of course? Share your call of fame scenes from this very prolific genre trope in the comments below. 976-EVIL arrives on Shudder March 15. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, whats next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

The jump from $60 to $70 for blockbuster games has already proved divisive for longtime gamers. But would you pay $100 for whats easily going to be the biggest game of 2025, Grand Theft Auto VI? One analyst thinks publisher Take-Two Interactive is aiming for a previously unheard of price point for GTA VI, so long as it comes with fake money usable in GTA Online. The analysis is from Wedbush Securities managing director of equity research Michael Pachter, as first reported by VGC. Pachter wrote in a research note that Take-Two can offer consumers an incentive to drop $100 on a game with the promise of a reward of a large amount of in-game currency to be spent on GTA Online. GTA Online is a major revenue stream for Take-Two. In its latest quarterly earnings report, the publisher claims the online multiplayer mode from GTA V was still one of its biggest hitters, despite the mode being nearly 12 years old. The game has made more than $9.54 billion since launch, according to the companys financial report. In a phone interview with Gizmodo, Pachter said he came to his conclusion after conversations with Take-Two CEO Strauss Zelnick. While GTA maker Rockstar hasnt yet described what may be different between the new game and the developers older open-world titles, Pachter speculated there could be elements where GTA Online is infused with the games single-player mode. A player could find some content restricted to the online mode, requiring players to load into online to complete a mission and unlock something for single player. If a player buys the game at launch for $100, they might also receive a certain amount of in-game credits for purchasing items in GTA Online. The $100 version may also let players access upcoming DLC add-ons. That by itself isnt new. There are plenty of games that sell season passes for future content before launch. GTA VI, on the other hand, could simply be the most expensive.Take-Two makes most of its money in GTA Online through subscription fees and in-game purchases, aka microtransactions. In our conversation, Pachter noted that the live service model worked well for Activision with Call of Duty Warzone. The battle royale mode started life as Call of Duty Blackout. Once Activision broke it off into its own free-to-play mode, the games player base exploded. More people were willing to spend on microtransactions. Ideally, they would make GTA Online free to play, Pachter said. The game could be a 400- to 500-hour behemoth, and, the analyst added, the whole point is to make players feel like they are getting their moneys worth.If they do it smart, if they give you enough value, nobody is going to be mad, he said. We still dont know how Rockstar and Take-Two plan to package their game. Beyond any special editions with inflated prices, setting the cost of GTA VI at $100 could set a precedent throughout the industry, and thats exactly what publishers want. Other analysts have suggested the video game industry hopes GTA VI will be priced between $80 and $100. Investment advisory company Epyllion CEO Matthew Ball wrote that the video game industry is seeing declining growth. A $100 GTA VI would mean more gamemakers can justify squeezing customers for more money for every game purchase. A $50 game could become $60, a title priced at $70 could become $80, and so on.Industry insiders say game prices have not kept pace with inflation. As noted by IGN, Michael Douse, the publishing director at Larianthe makers of Baldurs Gate IIIsaid that prices are making it hard to pay developers what theyre owed. Still, he left room to point out the industrys overall greed. He added that, while game prices havent increased with inflation, this isnt the reason the industry is in the shit for now, but it is an uncomfortable truth. Its a fair point. Pachter noted that a game like GTA VI may cost $500 million to $1 billion in development, and thats just for salaries for the more than 1,000 developers who have worked on it for the last several years (Rockstar released its last big game, Red Dead Redemption 2, in 2018).On the other hand, while game prices have remained stagnant for decades, the same can be said for average U.S. wages. Now, thanks to new policies under President Donald Trump, gamers can expect prices on hardware to climb even higher. If the video game industry is worried about growth, then potentially pricing consumers out of big games wont help their bottom line. In previous financial reports from 2024, Take-Two promised the release window for GTA VI was in the fall of this year. Will that hold true, knowing the astronomical cost of game development and the supposed scope of Rockstars next GTA? We have our doubts, though Take-Two promised its next major release is on track for this year.

The Scoop Office Building / Corstorphine & WrightSave this picture!Courtesy of Corstorphine & Wright / Daniel ShearingOffice BuildingsLondon, United KingdomArchitects: Corstorphine & WrightYearCompletion year of this architecture project Year: 2024 Brickwork: GraftonM&E: We Design ForMore SpecsLess SpecsSave this picture!Text description provided by the architects. Leading UK architecture firm, Corstorphine & Wright, has announced the completion of 'The Scoop', a unique concave office building in Southwark, London. The innovative design reuses an existing building and integrates a conical cut-out facade in white glazed bricks, creating a playful and novel response to the site's context and neighbouring church. Situated in the vibrant Union Street Conservation Area, the building stands as a testament to modern architecture while respecting the heritage of its surroundings, namely the adjacent Grade II listed Church of Most Precious Blood, whose circular window is now strikingly framed. The nearby Union Theatre, Jerwood Space, and Flat Iron Square further add to the rich cultural setting of the building.Save this picture!Save this picture!Save this picture!The design retains the significant southern-facing and corner return of the existing facade, blending it seamlessly with a new build extension. This detailed approach ensures a successful integration into the neighbourhood, adding to the area's creative and artistic reputation. Working closely with the forward-thinking, community-minded building owners, ThomsonHillsBalfour Limited (THB), Corstorphine & Wright has created a truly unique building, which is captivating passers-by following its recent unveiling. Key features of the 'The Scoop': Reuse and reconfiguration of an existing four storey office building to create prime, Cat A office space, with a BREEAM 'Excellent' rating; Side and upward extension of the building to increase the existing office space and create a roof garden with panoramic views over some of London's most iconic landmarks; Striking semi-circular void cut into the south facade, creating a 'visual bridge' that connects two divided views; A ground floor that aligns with the facade of the adjacent Roman Catholic church, a grade-II listed structure built in 1892 by Frederick Walters.Save this picture!Save this picture!Save this picture!David Crosthwait, director at Corstorphine & Wright, said, "The whole team is proud and excited to share this project. The design of the scooped facade has allowed the building to be extended out in front of the church through a symbiotic relationship that protects and enhances the prominence and visibility of the church whilst providing a one-of-a-kind office headquarters. It was important for us to honour the cultural and historic context of the area, and respect the neighbouring church building, ensuring its visibility and reverence. The resulting building is a carefully orchestrated balance, allowing its neighbours to shine, whilst also shining itself and adding to the vibrant architectural cultural variety of the area.Save this picture!None of this would have been possible without the vision and support of our client who embraced the project and stuck with it through its challenges. It's a great accomplishment to reach this point and we feel the finished result is a testament to the role that bold design can play in enhancing our city." The client and building owners are delighted with the finished results. "Creating unique office spaces in a thoughtful and sustainable way was of huge importance both to us and our conscientious, forward-thinking tenants, MMGY Global. We wanted to enable the teams working in the spaces to enjoy their environment and feel proud to be considering the local community, residents and businesses when developing the project," said Amanda and Peter Hills Balfour and Steve and Sarah Thomson of THB.Save this picture!Project gallerySee allShow lessProject locationAddress:London, United KingdomLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeCorstorphine & WrightOfficeMaterialBrickMaterials and TagsPublished on March 06, 2025Cite: "The Scoop Office Building / Corstorphine & Wright" 06 Mar 2025. ArchDaily. Accessed . <https://www.archdaily.com/1027450/the-scoop-office-building-corstorphine-and-wright&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The Luxembourg Contribution at the Venice Architecture Biennale 2025 Investigates Territories Through the Medium of SoundSave this picture! Valentin BansacThe Luxembourg pavilion at the 19th Venice Architecture Biennale will offer visitors an experience focused entirely on sound. Sonic Investigations, curated by architects Valentin Bansac, Mike Fritsch, and Alice Loumeau, is an immersive invitation to shift focus from the visual to the sonic. The sound installation, located in the Arsenale's Sale d'Armi, is based on a practical and theoretical investigation that re-examines the country's territory through field recordings capturing a range of sounds from biological, geological, and anthropogenic sources woven into the landscape. The installation creates an embodied experience of space, emphasizing the value of sensorial approaches in spatial practices and exploring the question: How can we reveal the entangled character of specific contemporary situations in Luxembourg?The exhibition curators propose understanding the Biennale context as a platform for generating knowledge rather than physical objects. Sonic Investigations is presented as a counter-project to the hegemony of images, highlighting listening as a means to explore both built and natural environments while shifting attention to more-than-human agencies. The curators assert that senses beyond sight are essential for grasping the unseen dynamics of our sensory relationship with the environment. Inspired by John Cage's silent composition 4'33'', Sonic Investigations invites active listening and reimagining Luxembourg beyond anthropocentric perspectives. The project consists of an in-situ sound piece, an immersive exhibition environment, a book, and three activation events.Save this picture!At the heart of the pavilion is the commissioned in-situ sound piece, developed in collaboration with sound artist and field recorder Ludwig Berger. The composition weaves recordings from distinctive locations across Luxembourg, inviting listeners to experience space through an auditory lens. Focusing on multi-perspective field recordings, the piece examines how ongoing sustainable and digital transformations are reshaping the country's landscape. Using sound as a tool for spatial and territorial analysis, the project introduces the concept of ecotone, a transitional space between two ecosystems. The field recording process explored liminal spaces to examine the impact of human intervention on the environment, incorporating a range of voices, from the hum of data centers to the silence of biodiversity loss. A sound teaser for Ecotonalities: No Other Home Than the In-Between (2025) by Ludwig Berger can be found here. Related Article Pakistan Unveils (Fr)Agile Systems Pavilion for the 2025 Venice Architecture Biennale Inspired by Bernhard Leitner's research on Sound Spaces, the pavilion offers an immersive environment designed to transport visitors into a sonic experience. While listening may seem automatic, the curators emphasize that focusing solely on sound can be surprisingly revealing. Sonic Investigations presents a collection of original content, including a sound piece, written texts, and fieldwork documentation. The pavilion's scenography was designed with minimal intervention, aiming to create an optimal acoustic setting for the Luxembourg soundscapes. The material strategy prioritizes rental, reuse, and recycling, utilizing standard construction elements with minimal modifications.Save this picture!The project also includes a book, edited in collaboration with philosopher and musicologist Peter Szendy. Ecotones: Investigating Sounds and Territories extends the discussion on sound's role in territorial studies beyond Luxembourg. It features a curated collection of texts from different disciplines, examining spaces, territories, and ecologies through sonic perspectives. Structured in three chapters including essays, fiction, and case studies, the book explores sound as a perceptual medium and its political implications, narrates sonic practices and methodologies, and investigates field experiments portraying sonic entanglements in specific contexts. The graphic identity of the project and book was designed by Pierre Vanni.Save this picture!The curators' program also includes three events at the pavilion: an off-site sound performance by Ludwig Berger featuring readings from the book, a short residency with Gaia Ginevra Giorgi culminating in a performance within the pavilion's immersive space, and an audio walk through the Venice lagoon led by Nicola Di Croce. Other contributions from Luxembourg at the Venice Architecture Biennale include the "Down to Earth" exhibition, which explored the "wild imaginaries of extraction-driven growth" in 2023, and the "Homes for Luxembourg" exhibition on modular and reversible living in 2021. Additionally, this year's Swiss Pavilion in the Giardini will feature a sound installation exploring the work of Lisbeth Sachs, while the German Pavilion will present an immersive experience as a call to action on the climate crisis.Image gallerySee allShow lessAbout this authorCite: Antonia Pieiro. "The Luxembourg Contribution at the Venice Architecture Biennale 2025 Investigates Territories Through the Medium of Sound " 06 Mar 2025. ArchDaily. Accessed . <https://www.archdaily.com/1027667/the-luxembourg-contribution-at-the-venice-architecture-biennale-2025-investigates-territories-through-the-medium-of-sound&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

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The recently discovered site is located about 660 miles north of Yarrabubba crater in Western Australia. Credit: Deposit PhotosShareIt was a respectable tenure, but the worlds oldest known meteorite site is no longer western Australias 2.2 billion-year-old, 43-mile-wide Yarrabubba crater. Researchers at Curtin University and the Geological Survey of Western Australia (GSWA) say the new recordholder is located about 660 miles north in the countrys Pilbara region. And based on unequivocal evidence presented in their March 6 study published in Nature Communications, the 3.5 billion-year-old crater may help revise our understanding of some of the planets earliest eras, as well as the history of life on Earth.The Archean Eon (42.5 million years ago) is the second of Earths four major geologic eons, a time when the planet was mostly covered by oceans extending far deeper than those found today. Even so, its geology records can be accessed at excavation sites on modern continents like Australia. But researchers have long remained perplexed by what they foundor, rather, what they havent found.We know large impacts were common in the early solar system from looking at the moon, Tim Johnson, study co-lead and a professor at Curtin Universitys School of Earth and Planetary Sciences, said in a statement on Thursday.It stands to reason, then, that a lack of truly ancient craters documented on Earth isnt the result of sheer luck, but rather the nature of time. Early impact records are scarce thanks to billions of years of erosion, as well as the subduction of surface crust into the planets convecting mantle. However, Archean Eon geology isnt completely erased, as evidenced by sites like the East Pilbara Terrane in northwest Australia. In 2021, Johnson and colleagues traveled to EPT to see what they could find.What they discovered appears to be the first known Archean Eon crater, and is evidenced by formations known as shatter cones. These telltale geologic areas are only generated from the intense pressure following a meteorite striking Earthand in this case, the shatter cones suggest a massive impact event. Researchers believe the space rock struck the planet around 3.5 billion years ago while travelling over 22,000 mph. The force subsequently generated a 62-mile-wide crater that ejected debris into the atmosphere and around the world.Its not just the impact details that matter. According to study co-lead author Chris Kirkland, analyzing the nature of the first known Archean meteorite event can help researchers gain better insight into both continental evolution and the history of lifes development on Earth. Get the Popular Science newsletter Breakthroughs, discoveries, and DIY tips sent every weekday. By signing up you agree to our Terms of Service and Privacy Policy.It radically refines our understanding of crust formation, he argued. The tremendous amount of energy from this impact could have played a role in shaping early Earths crust by pushing one part of the Earths crust under another, or by forcing magma to rise from deep within the Earths mantle toward the surface. Theres even a chance the impact event eventually contributed to forming the giant precursors to continents known as cratons.The studys authors believe this meteorite alone may have played an important role in Earths geologic history, but its almost certainly not the only one.Uncovering this impact and finding more from the same time period could explain a lot about how life may have got started, as impact craters created environments friendly to microbial life such as hot water pools, said Kirkland.

The Vikram lander on the lunar surface with the ChaSTE probe deployed. ISRO (Indian Space Research Organisation)ShareWe tend to think of the moon as a cold, dusty rock, but in fact, its surface can get pretty hot during a lunar day. How hot? It turns out that the answer can vary dramatically over a very short distance.When the Chandrayaan-3 mission touched down on the moon in August 2023, one of the first things it did was measure the surface temperature. The resultsdetailed in a study published March 6 in the journal Communications Earth and Environmentwere both unexpected and intriguing. They also raise tantalizing implications for the biggest lunar question of all: how much water is up there? Get the Popular Science newsletter Breakthroughs, discoveries, and DIY tips sent every weekday. By signing up you agree to our Terms of Service and Privacy Policy.During the Chandras Surface Thermophysical Experiment (ChaSTE), the spacecraft took the first measurements of this kind since those taken by the Apollo missions over half a century ago. While Apollo landed near the moons equator, Chandrayaan touched down at a latitude of 69 degrees northwell into the moons previously unexplored polar regions.Scientists expected the surface temperature on this part of the moon to be in the region of 330 degrees Kelvin (around 57 degrees Celsius or 134 degrees Fahrenheit.) The landing site was significantly hotter: a scorching 355K (82C or just under 180F), at least 20K higher than predicted. However, barely a meter away, the surface temperature was only 332K (59C or 138F). Thats still hot, but much less so than the landing site and more in line with what scientists expected.Such a dramatic difference in a distance of just over three feet turns out to be explained by one simple fact. Chandrayaan-3 ended up perched on a shallow slope, at an angle of about 6 toward the equator. The cooler region, meanwhile, was essentially flat. It seems difficult to believe that this relatively small difference in slope could explain such a large difference in temperature. According to K. Durga Prasada study co-author and a Faculty Member at the Planetary Sciences Division of the Indian Governments Department of Space, the measurements actually illustrate two important facts about the moon.The first is that the lunar surface is covered by a thin layer of dust and rock fragments, known as the fluff layer. This layer is characterised by its very low thermal conductivity and high porosity, Prasad tells Popular Science. In other words, its exceptionally bad at conducting heat. This poor conductivity means that heat does not diffuse across the surfaceif a piece of ground is hot, it stays hot, even if its right next to a relatively cold area.Whether a piece of ground is hot, Prasad says, depends on the incident solar flux, or how much sunlight falls on it. Given the lack of trees or other sources of shade on the moon, the key factor here is topography. If the rest of the terrain is on an equal level, a piece of ground that slopes away from the sun will be colder than one that slopes toward the sun. Just as importantly, as the angle of the slope increases, so does its effect on the incident solar flux.Crucially, this last effect depends on latitude. As you move away from the equator, the angle at which the suns rays strike the moon becomes more obliqueand so does the degree to which a given variation in the angle of a slope will have on the amount of sunlight that slope receives. At the moons poles, even small variations in topography can make for significant differences in surface temperatureas demonstrated neatly by Chandrayaan-3s landing site measurements.But how does all this relate to the amount of water that may or may not be present on the moon? According to Prasad, there are two factors that created the large temperature in those measurementspoor surface thermal conductivity and increasing sensitivity to topographic variation away from the equator. Both of these also affect the moons subsurface temperature, which plays a large role in determining the moons ability to accumulate and retain water.The fluff layers poor thermal conductivity also means that heat has a hard time propagating downward into the lunar regolith. This lack of heat creates a significant difference between the temperature of the surface and the temperature of rock thats only a few inches down. The thickness of the fluff layer at a given point is the dominant factor in determining the difference between the surface and subsurface temperatures.Due to the low conductive nature of the surficial layer, heatpropagates very slowly to the subsurface, [and] a large temperature difference is seen between the surface and subsurface temperatures, Prasad says.On the other hand, [where] the thermal conductivity is high, the heat propagates faster into the subsurface, resulting in [a relatively small] temperature difference.The subsurface temperature is important when it comes to water. Its one of several factors that affect the accumulation of water ice, but according to Prasad, the main point is not just accumulation of water, but [the] migration [of water[ to the subsurface and [it] staying put for longer periods of time. These processes, he says, are largely dependent on temperature, both at the surface and below.Scientists have long predicted that whatever water might be present on the moon would most likely be found at the lunar poles. However, this new study uses the Chandrayaan-3 data to suggest that there might also be more water in the regions surrounding the poles. The terrain in these regions that has a large enough slope away from the sunabout 14, according to the calculations in the papermight be just as good places for water as the actual poles themselves.The present study indicates that [such locations] offer a similar environment as polar sites for accumulating water ice at shallow depths, says Prasad.So how much extra water might be present? Thats difficult to say and its certainly not as simple as multiplying the extra depth by the surface area of suitable slopes.The whole process of accumulation and storage of water-ice, Prasad says, is quite complex.Nevertheless, the data gathered by the Chandrayaan-3 mission is already allowing for improved models of the migration and stability of the water-ice for different representative locations on the moon. Ultimately,the paper demonstrates just how important it is for astronomers to gather data first-hand.Based on the temperature profiles from ChaSTE as ground truth, [we] can model the migration and stability of the water ice for different representative locations on the moon, says Prasad. [The aim is] to obtain a comprehensive understanding and distribution of water ice on the moon.

Nature, Published online: 06 March 2025; doi:10.1038/s41586-025-08792-8Sensing ceramides by CYSLTR2 and P2RY6 to aggravate atherosclerosis

Nature, Published online: 05 March 2025; doi:10.1038/s41586-025-08671-2Malignant cells with mesenchymal features display increased chromatin accessibility, particularly in the pericentromeric and centromeric regions, in turn resulting in delayed mitosis and catastrophic cell division.