“Can’t you do better than that?” This is one of the many legendary taunts offered up by victory screens in 1991’s Street Fighter II—in this case by E. Honda, a sumo wrestler who proves to be a surprisingly good boxer—but it probably refers to the opinions of a lot of gamers about the two live-action Street Fighter movies that have so far been made. Despite the iconic fighting video game series being one of the touchstones of ’90s gaming culture, and one which still produces genre-shaping hits as indicated by 2023’s Street Fighter 6, Hollywood has struggled to make a good movie out of the franchise. That might be changing if Legendary Pictures has anything to do with it. The studio behind the American Godzilla and Kong “MonsterVerse” movies is visibly moving forward with their new take on a big screen Street Fighter, and as first reported by Deadline, they have the growing cast to prove it. As per the trade site, Andre Koji, Noah Centineo, Roman Reigns, and no less than Jason Momoa have been cast in undisclosed roles in the film. Furthermore, the film is slated to be directed by Kitao Sakurai (Bad Trip). Obviously this will prove to be just the beginning of an ensemble that has plenty of space to grow—the original and still most influential Street Fighter II game features 12 characters alone in its most base version—but already from these four male leads, we get an idea of who might be the main characters for the new cinematic interpretation… as well as perhaps what direction the series could be taking. Andrew Koji Let’s start with the most obvious bit of casting: Andrew Koji is almost certainly intended to play Ryu, the Street Fighter franchise’s closest thing to a protagonist and hero. Video gamers might be most familiar with Koji from playing the villainous Storm Shadow opposite Henry Golding in 2021’s Snake Eyes movie, but the British Koji has some real martial arts bonafides in his career after starring in Cinemax’s Warrior where Koji portrayed Ah Sahm, a character that was once the dream role of Bruce Lee. He also appeared as an assassin opposite Brad Pitt in Bullet Train. In addition to Koji’s Japanese heritage, his casting as Ryu makes sense after Hollywood bizarrely sidelined the fan favorite character in previous adaptations. While the 1994 film is a kitschy camp classic in some circles, many still have frustration over Capcom choosing to make the main character all-American soldier Col. William Guile (likely to appeal to the American box office at the time). Ryu was played in that Steven E. de Souza movie by Byron Mann, but also as something of a sidekick to not only Guile but also the other American character, Ken Masters (Damian Chapa). And none of the above characters appeared at all in the other Hollywood Street Fighter movie, Street Fighter: The Legend of Chun-Li (2009). So this is a chance to put the Hollywood lens where it always belonged… Noah Centineo Speaking of Ryu and Ken though, you cannot have one without the other. Usually depicted in the fighting games as BFFs (though not always), these respective Japanese and American playable characters act as doppelgängers with many of the same moves and power sets, including the beloved hadouken. So the young American Centineo, who is perhaps best known for appearing in Netflix’s To All the Boys I Love trilogy—as well as the Disney Channel’s Austin & Ally and as the superhero Atom Smasher in Dwayne Johnson’s Black Adam—makes perfect sense as Ken. More headstrong and arrogant than Ryu, Ken is a proper yankee foil to the stoic hero of the story, and the opportunity for a screenwriter to really play up some bromance dynamics. Jason Momoa Now we come to what is obviously the biggest name casting in the film, and where speculation gets a little harder. Who is Jason Momoa, the once and future DC actor with both Aquaman and Lobo on his resume, going to play? We don’t know for certain, but Jimmy Blanka seems like an obviously good guess. In the games, Blanka was a nominally human character until a plane crash in the Brazil rainforest somehow(!) resulted in a mutation that turned Blanka’s skin lime green, his hair orange, and his teeth into fangs. Even his blood is now charged by the shock of lightning! Look…. folks took video game storylines and lore a lot less seriouslyGame of Thrones or more recently Lobo. Granted, he also is now the family friendly face of another video game franchise for all ages via Minecraft, but we think Street Fighter will be a chance for him to return to his more familiar well with a new generation of budding action aficionados. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Roman Reigns Finally we come to the most difficult piece of casting to wrap our heads around: WWE wrestler and former footballer Roman Reigns. The Georgia Tech alumni has been cast in an undisclosed role which offers a lot of possibilities, and it’s worth noting that the first wave of casting has not included any obvious choice for one of the Street Fighter franchise’s biggest villains: M. Bison and Viktor Sagat. Reigns could easily become a clean shaven Bison. But we suspect the American entertainer will be cast as the all-American Col. Guile instead. While it seems likely the new Street Fighter will seek to avoid the mistakes of the 1994 movie’s reputation, including by supplanting the Japanese Ryu with the American Guile (and then strangely insisting on casting a Belgian in the role), Guile is still a fan favorite. And again, once Reigns shaves the beard and trades in long locks for a platinum mane, he could certainly pass for a square-jawed hero. And who knows, maybe if the new Street Fighter follows the original games’ fighting tournament setup, the film might even begin with Guile taking a beating from Ken and Ryu? That would establish this no longer Jean-Claude Van Damme’s kind of action movie… *Editor’s Note: While no casting is confirmed after press time Jeff Sneider has reported that Reigns is actually cast as Akuma, a hidden final boss from a later iteration of Street Fighter II. It would make sense to cast Reigns as a villain, however it is worth noting Akuma is Japanese in the video game. The new Street Fighter movie does not currently have a release date.

Back in 2010, when Cartoon Network first announced its plan to reboot the beloved 1985 animated TV series Thundercats, the first thought that went through my mind was, “That’s great! Do Blackstar next!” In 2014, when Boat Rocker Media announced its reboot of 1981’s Danger Mouse, same thing: “Huh, interesting, but do Blackstar next.” 2016’s Disney reveal about its reboot of 1987’s Duck Tales? “Rad. But… Blackstar?” And so it went, year after year, with the announcements about 2018’s Netflix reboot of She-Ra: Princess of Power, 2021’s He-Man reboot Masters of the Universe: Revelation, the CG version of Inspector Gadget, the American Voltron update Voltron: Legendary Defender, half a dozen new Teenage Mutant Ninja Turtles and Transformers projects, a little-loved second Thundercats series, and every single Smurfs movie. I get it — the kids of the ’80s are producers and writers and showrunners now, with enough clout to get their childhood memories turned into new shows. But apparently none of them watched Blackstar, easily one of the coolest animated series of the 1980s, built around the coolest sword. There’s a direct genetic line between the success of 1977’s Star Wars and the wave of space-set, fantasy-themed Saturday morning cartoons that closely followed. Star Wars beget ABC’s popular Thundarr the Barbarian, a post-apocalyptic dystopian-future fantasy about a muscular hero who fought oppressive magical villains while wearing a fur skirt, hanging out with a leotard-clad sorceress, and more or less carrying a lightsaber and traveling with a Wookiee. Thundarr helped inspire Blackstar, CBS’ equivalent show, about a muscular hero who fought oppressive magical villains while wearing a fur skirt, hanging out with a leotard-clad sorceress, and carrying his own form of laser sword. (No Wookiee, though — instead, series hero Blackstar got to ride a dragon.) Both shows were on the leading edge of the post-Star Wars dark fantasy wave, leading to movies like Excalibur, Conan the Barbarian, and Dragonslayer. But unlike most of those ’80s fantasies — Flash Gordon aside — Thundarr and Blackstar kept a foot in Star Wars’ science fiction roots, hanging onto the idea of worlds where technology and mysticism met and clashed. Thundarr was more popular, but Blackstar was more compelling: a weirder, darker, richer world with a lot more going on, and a much more imaginative sword that wasn’t just a lightly reskinned lightsaber. Though the show only managed a single season and 13 episodes (compared with Thundarr’s two-year, 21-episode stint), Blackstar’s potential still sticks with me decades later. The story in brief: An astronaut from a future Earth, John Blackstar, enters a black hole in his experimental timeship, and winds up trapped on an ancient alien world, full of magic and monsters. (It’s essentially an isekai series, decades before isekai was the hottest trend in anime and manga.) The local Sauron equivalent, the Overlord, dominates the planet Sagar with an artifact called the Powerstar, a huge two-handed crystalline energy sword. Somehow, the Powerstar gets broken into identical halves, producing two badass weapons: the Power Sword, which the Overlord still holds, and the Star Sword, which falls into Blackstar’s hands. Blackstar winds up as the figurehead in a growing rebellion against the Overlord’s. Meanwhile, the Overlord wants not just to squash this budding rebellion, but to reclaim the Star Sword and take up the Powerstar again. In a series of interviews for Blackstar’s 2006 DVD release, the creators and writers cop to some of their influences in writing the show: The protagonist is a little bit John Carter of Mars (the original Edgar Rice Burroughs version, not the 2012 fantasy-movie version) and a little bit Flash Gordon, though he also closely resembles the protagonist of the 1979 live-action series Buck Rogers in the 25th Century. The Trobbits — tiny comedy-relief people who find and rescue Blackstar after his timeship crashes — take a little inspiration from J.R.R. Tolkien’s hobbits, and a lot more from Disney’s seven dwarfs, complete with the “one personality trait apiece” dynamic, and a youngest member who never speaks. (There are also seven of them.)  The Overlord is somewhere between Darth Vader and Ming the Merciless, while Blackstar’s sorceress companion, Mara, is basically just a reskin of Thundarr’s Princess Ariel, with very similar powers, a similar elegant, educated personality and role as party historian, and similar obvious crush on the oblivious hero. Although these characters rarely feel unique, the mythology and setting of Blackstar’s world very much do, and the central plot device of the Powerstar is unique in fantasy animation. The symmetry of the central villain and hero each having half of the world’s most legendary weapon — which is to say, half of the power left in a world struggling to define itself — is a clever riff on the idea that heroes and villains should mirror each other for maximum thematic impact. Their connection through the sundered Powerstar gives the protagonist and antagonist an intimate personal connection, a reason to clash again and again. It also helps define their characters, and what they do with power. It’s no coincidence that in the Overlord’s hands, the Power Sword is all blunt force, used solely to blast or slash, while Blackstar uses the Star Sword as a finesse weapon with flexible magical abilities. (Too flexible, really: Its magic is ill-defined, and the show’s writers invented new Star Sword powers in nearly every episode.) The idea of these two swords as yin and yang, perfect halves that assemble into a greater whole, is unusually elegant for an ’80s cartoon — and one of the series’ many ideas that was never really explored to full advantage. For modern viewers Blackstar is fairly close to unwatchable. Its production company, Filmation, emerged from a series of commercial jobs in the 1960s, but by the 1980s, it specialized in budget-priced television animated entirely in America, rather than in cheaper overseas production houses. That necessitated a lot of cost-saving devices, like recycling the same hand-drawn sequences many times over, often within the same episode, and using a hilariously limited library of sound effects. Blackstar’s sound design is garish and repetitive, with vocal work that sounds like almost everyone is shouting. The scripts are clunky: Blackstar is conceived as a quippy hero who peppers his foes with snarky one-liners, but his jokes are cataclysmically stiff. About the best he can muster is a jaunty “Putting on a little weight, aren’t you, Rocko?” when hefting one rock elemental to toss it onto another during a battle. And the series is designed for the syndication of the era, meaning that episodes might re-air in any order. So there’s no story development, no character arcs, not even an opening episode to establish Blackstar’s origins. Continuity glitches, inconsistent design and storytelling, and budget-saving slow pans across paintings abound. But the world it’s set in is fascinating. There are hints here and there of ancient technologies and centuries-old civilizations buried under what’s become a verdant forest, centered on the magic of the gigantic central Sagar tree, a mystic font of power the Trobbits live in and tend to. Sagar is a world full of weird creatures that seem either like evolutions of familiar animals, or like magical constructs — shark-bats and frog-rabbits and monkey-birds, long before Avatar: The Last Airbender made these kinds of amalgams a running joke. Those slow-pan, cash-saving painting backgrounds are rich, elaborate, and colorful, suggesting a world with the darkness and detail of Jim Henson’s The Dark Crystal.  While so much of 1980s animation was about the clear line between good and evil, there’s a sense throughout Blackstar that most of the world of Sagar isn’t aspected in such a black-and-white way. It’s just a chaotic ruin, where hungry monsters, prim but weary civilizations, and barbaric enclaves all exist side by side, divided by lethal geography. Every scattered outpost and wandering monster is equally dangerous to Blackstar and the Overlord, but ripe for either of them to exploit for an advantage in their ongoing war. There are even hints at a nuanced system for magic, where the mental power of sorcery and the elemental power of nature magic are different things that work in different ways. After Blackstar’s single season ended, Filmation immediately followed it with the Mattel-backed and far better funded He-Man and the Masters of the Universe, a series based on an existing toy line, but just as clearly based on elements borrowed from Blackstar. Once again, there’s a muscular hero in a fur skirt with a magic sword, battling a sorcerous villain in a chaotic technofantasy world packed with environmental hazards and weird, wildly diverse humanoids. Filmation regular Alan Oppenheimer voiced both Blackstar’s Overlord and He-Man’s Skeletor; similarly, Linda Gary voiced Blackstar’s leading lady Mara and He-Man’s Teela. Filmation staff writer Tom Ruegger developed the series bible for both shows, and it shows, in everything from the similar heroes’ and rogues’ galleries to the sprawling high-and-low-tech world where magic and robots co-exist. One He-Man episode, “The Remedy,” even reused several Blackstar sequences, reintroducing Blackstar’s dragon-horse Warlock as a beast He-Man saves from a giant spider, then rides around. While He-Man had many of the same budgetary and aesthetic limitations as Blackstar — frequently recycled animation, obnoxious sound design, goofy and often ineffectual comedy relief — He-Man was immediately more popular. So popular, in fact that toy maker Galoob tried to nab some of Mattel’s sales success by putting out a weirdly modeled toy line for Blackstar, two full years after the show was canceled. (Those toys did not do well.) Now, we’re in an era where He-Man gets reboot after reboot — an all-ages animated version, a CG version for kids, a new live-action movie scheduled for 2026 — while Blackstar is all but forgotten. And I find that so strange. The bid to reboot and update every hit cartoon of the 1980s seems like a natural enough progression for an era of media fueled by nostalgia, but I’ve never understood why there isn’t more of it for Blackstar, a series that was more imaginative and ambitious than either the predecessor it was trying to outdo or the follower that got all the glory. In the way of so many other ’80s cartoons, my interest in a reboot is much less about re-creating an often janky, limited, cheaply made TV series, and much more about realizing the potential these characters and this world couldn’t take advantage of in the 1980s. A modern version with up-to-date animation could give John Blackstar a proper backstory, and actually make some sense of the biggest hero/villain themes the ’80s version lightly touched on. It could take advantage of the retro-future magic setting and the sprawling original world of Sagar in ways Filmation never dreamed of.  And most importantly, a proper modern update could finally dig into the event that split the Powerstar and turned its two halves into thematic weapons. There are so many story possibilities for that particular cool sword, just waiting to be discovered by a new generation.

It's been a big few weeks for Xbox, and Microsoft's gaming division just dropped a huge number of classic games onto Xbox Game Pass in what might be its biggest update everTech16:39, 21 May 2025Xbox Game Pass just added a whole host of games in one fell swoopIf you thought Microsoft was done for the day with its announcement that Xbox exclusive Senua's Saga: Hellblade 2 would be coming to PlayStation, you'd be wrong.The company has gone muiltiplatform in a big way, but Xbox and Windows remain the only places to enjoy Xbox Game Pass, and as Microsoft keeps picking up studios and publishers, its content offering on the service is growing rapidly (just look at last week's excellent DOOM: The Dark Ages).‌Today, in a new May Update blog post, Dean Shimabukuro, Product Marketing Manager, Xbox Services Marketing confirmed that Game Pass players are able to play a huge host of older titles dubbed Retro Classics, while also confirming more features for Xbox and PC gamers.‌Content cannot be displayed without consentEarlier today, Xbox's Game Pass account posted on X (formerly Twitter) to confirm huge games like Game of the Year contender Metaphor: ReFantazio would be coming to the service, as well as titles like STALKER 2 and more coming to the standard tier.It's a solid lineup, but another surprise fell shortly after when the blog post revealed more than 50 classic Activision games would be added under the Retro Classics banner.Article continues below"We’re thrilled to announce the launch of Retro Classics, a collaboration between Xbox and Antstream Arcade, available to play for Game Pass members globally," the aforementioned blog post explains.Game Bar is getting some changes"Starting today, Game Pass members can dive into a collection of 50+ classic Activision games from the ’80s and ’90s, including beloved titles like Commando, Grand Prix, Kaboom!, Mech Warrior 2: 31st Century Combat, and Pitfall! This initiative is a step in our commitment to game preservation and backwards compatibility, allowing players to experience many timeless games on modern devices."‌Microsoft says the games offer a "seamless gaming experience across console, PC, and on supported devices with cloud gaming".Elsewhere, Microsoft is making changes to its Game Bar on PC, which offers a series of quick settings for Windows gamers, while a browser which is "built specifically for players" will help players navigate their favourite guides while they play.NVIDIA's GeForce Now will also now be found in the Xbox app, players will be able to stream games like Skull and Bones and Watch Dog Legion in the future.Article continues belowFinally, more games are getting the "Play Anywhere" treatment that means you can buy a game on your Xbox, PC or "supported handheld" and find it on the others. Is that another hint at the Xbox handheld we heard about recently? Who knows, but for now, big games like Blue Prince and Clair Obscur: Expedition 33 are part of Play Anywhere.For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.‌‌‌

At the Ricardo residence in the ’50s sitcom I Love Lucy, over-the-top housewife Lucy and Ricky, her excitable husband, were always getting into some sort of entertaining hijinks. But life at home for the married actors who portrayed them, Lucille Ball and Desi Arnaz, was much different. “They were very busy,” the late stars’s daughter, Lucie Arnaz, explained in a 2011 interview. “From probably the age of birth up through seven, they weren’t home a lot [aside from] very late at night and weekends.”When Ball wasn’t at work alongside her husband on the hit television comedy, “she was very businesslike about running her house,” their daughter said. The couple, who eloped in November 1940 after a whirlwind romance, bought an abode about 10 miles north of Hollywood in the San Fernando Valley, where they stayed for 15 years. Their domestic lives as Lucy and Ricky—broadcast into dwellings nationwide for six seasons—made them stars, but their actual home lives were still captured by the occasional photoshoot. Read on for a roundup of images of the TV-famous duo in their element as they raised a family in the 1950s.Photo: Bettmann/Getty Images1/21Desilu ranchShortly after Ball and Arnaz eloped, they purchased their beloved five-acre ranch in Chatsworth, California, a suburban neighborhood in the San Fernando Valley area. The couple paid around $16,000 in 1941 for the home, designed by architect Paul R. Williams, and named it Desilu, a portmanteau of their names and later the title of their production company. Ball and Arnaz made the property their own by adding a slew of amenities, including a swimming pool, which Arnaz filled with floating gardenias for a surprise party for Ball’s 30th birthday in 1941.Photo: George Rinhart/Corbis via Getty Images2/21Animal companionsBall and Arnaz weren’t the only two who lived at Desilu ranch. The Devonshire Street abode also hosted a bunch of the couple’s animal friends. The two adopted a handful of dogs, cats, chickens, and a cow known as the Duchess of Devonshire. According to Madelyn Pugh Davis, I Love Lucy writer and Ball’s personal friend, “[Ball would] fall in love with the chickens and wouldn’t kill them. She had the oldest chickens in the Valley.”Photo: FPG/Getty Image3/21Lucy’s design styleBall decorated Desilu in a style she once described as “early Victorian” meets “bastard American.” The single-story home featured whitewood siding and a long driveway that led to the main house, which was surrounded by eucalyptus and peppertrees. This 1945 photograph showcases Ball’s affinity for floral prints, which cover the walls.Photo: Archive Photos/Getty Images4/21Lucy and Desi’s growing familyBall and Arnaz’s two children grew up at the San Fernando Valley area property. Here, Ball and Arnaz celebrate the first birthday of their daughter, Lucie Arnaz, whom they welcomed on July 17, 1951. Ball was expecting—and showing—when she and Arnaz shot the pilot episode of I Love Lucy, but the show made no mention of the pregnancy.Photo: Archive Photos/Getty Images5/21Arts and craftsWhile Ball was known for putting in endless hours at work, she embraced the opportunity to savor her time off. A woman of many hobbies, the comedian loved painting in her spare time. She was no stranger to setting up an easel and canvas by the pool at home, where she could draw inspiration from the natural beauty of picturesque Southern California.Photo: Graphic House/Archive Photos/Getty Images6/21America’s sweetheartsAfter I Love Lucy premiered in October 1951, Ball and Arnaz soon became America’s favorite couple, both onscreen and off—and, according to Arnaz, it was all thanks to his wife. “There’s nobody else that can do what Lucy does with her face, with her walk,” he said, according to Warren G. Harris, author of the biography Lucy & Desi: The Legendary Love Story of Television’s Most Famous Couple. However, the two had their disagreements: Their estate had a small guesthouse that was said to have been used by Arnaz whenever they argued. In 1944, Ball filed for divorce. After it was granted, the two quickly reconciled, making the divorce null and void by California law.Photo: CBS via Getty Images7/21Working from homeGiven the San Fernando Valley ranch was not too far from Hollywood, it offered a prime location for I Love Lucy’s promotional photo needs, like this November 1951 shoot in the couple’s living room. Their mantel, beneath a collection of plates hanging on the wall, made a warm backdrop for a series of images ahead of the holidays; it was sparsely adorned for one shot, then set for a New Year’s–themed photo, and reset for some yuletide-themed press, festooned with various ornaments and matching stockings for Christmas.Photo: Bettmann/Contributor/Getty Images8/21The heart of the homeBall loved to be in the kitchen, as seen in this 1952 photograph. “She fashioned herself as a homemaker of sorts [and] really enjoyed when she could get in the kitchen and make chicken and dumplings,” daughter Lucie said in 2011. “She worried a lot about her household and how the kids were being taken care of and whether the garage was being cleaned out and the homework was being done.”Photo: Archive Photos/Getty Images9/21Hollywood famous hostessEntertaining celebrity friends at dinner parties was one of Ball’s favorite activities, according to Sarah Royal, author of A.K.A. Lucy: The Dynamic and Determined Life of Lucille Ball. Arnaz would cook for their guests, and after meals, friends would gather for coffee that was passed over through a serving hatch, a common midcentury feature between a kitchen and a dining room, through which dishes could seamlessly go in and out of the kitchen.Photo: Bettmann/Contributor/Getty Images10/21Kicking backThe couple sure made working from home look fun as they kicked back in their living room while checking scripts for a forthcoming TV shoot in this 1952 snapshot. From a set of rattan chairs clad in a floral print to the Asian-inspired silk seat in which Arnaz reclines here, the couple found a way to infuse their home with furniture that functioned for both work and play.Photo: CBS Photo Archive/Getty Images11/21Desi’s Cuban design influencesIn this 1953 photograph, Ball was expecting the couple’s second child. Arnaz, meanwhile, was always striving to make their family’s house feel like home. Inspired by his Cuban roots, he had a few small buildings erected on the property—including a game room, a poolhouse, and a barbecue pit—to mirror the sprawling ranch-style aesthetic he was familiar with growing up in Santiago de Cuba. Lemon and orange trees, which Arnaz planted, surrounded the home’s exterior.Photo: KM Archive/Getty Images12/21A new additionLucie’s younger brother, Desiderio Alberto “Desi Jr.” Arnaz IV, was born in 1953. The little one was ready for prime time before he could even walk. In fact, Desi Jr. appeared with his famous mother on the first national issue of TV Guide on April 3, 1953, under the headline “Lucy’s $50,000,000 baby.” In 2019, Lucie told Good Morning America that she and her younger brother savor the sweet memories of time at home with their mom. “Home and being together is a fond and favorite memory—if she made me a grilled cheese sandwich and we sat in the living room and we talked, that is a great moment in my memory,” Lucie said.Photo: Archive Photos/Getty Images13/21Star-studded pool partiesBall and Arnaz enjoyed hosting and were known for having their Hollywood pals over. The Los Angeles Times reports that they’d throw parties for famous friends such as Clark Gable and William Holden, and Arnaz would serve his signature spaghetti sauce.Photo: Archive Photos/Getty Images14/21Fun and gamesArnaz’s idea to have a game room constructed on their property meant nights often involved lively games of cards for the couple. The duo could frequently be found cutting a deck at home, whether in their game room or at their kitchen table. Here, the couple plays cards while seated on their rattan furniture. Art imitates life, or vice versa: One episode of I Love Lucy famously showed Lucy playing poker with Arnaz’s friends.Photo: Archive Photos/Getty Images15/21The Roxbury Drive home’s I Love Lucy cameoBall and Arnaz purchased a Beverly Hills home in 1955 for $85,000. The couple reportedly spent six months renovating the dwelling, located at 1000 North Roxbury Drive. The exterior was used in an episode of I Love Lucy when Lucy and Ethel get off a bus to see actor Richard Widmark’s house.Photo: Archive Photos/Getty Images16/21Leaving the Desilu ranchOne year after purchasing their Beverly Hills home (which offered the couple privacy, as its backyard was walled in), they sold the Desilu ranch to onetime child actress Jane Withers. Ball remained very fond of the ranch; according to the late actor’s publicist, the pair would sometimes drive by the property for a passing glimpse.Photo: Archive Photos/Getty Images17/21Dropping inIn fact, at least on one reported occasion after Withers purchased the property, Ball allegedly waltzed right in. One day, the sitcom actress happened to be in the area and decided to pop by for a visit—though it turned out Withers wasn’t home to host her. Realizing she still had the keys to her former abode, Ball unlocked the door, entered, and was eventually caught in the living room when Withers returned. It’s been said that Ball wasn’t a fan of the redecorating.Photo: Archive Photos/Getty Images18/21A musical homeMusic and dancing were a big part of Arnaz and Ball’s lives, both in their onscreen roles as entertainers as well as in their time relaxing at home, as seen in this 1955 photo. When they first met, Arnaz asked Ball if she knew how to rumba and, according to Harris’s Lucy & Desi biography, added: “I can teach you quickly, but only on condition that you go out with me tonight.”Photo: Gene Lester/Getty Images19/21Family timeIn this 1957 shot, Ball plays with her son in the backyard of their home. “Because she was a working mom in the ’50s, there probably was a lot of guilt involved in not being home with the kids because you’re supposed to be,” said daughter Lucie. “She played a very funny person in her show—very crazy, outrageous person—and all my friends used to think that my mother was really like that. But at home, of course, she wasn’t like that at all. She was very responsible.”Photo: Gene Lester/Getty Images20/21Lucy in the gardenIn her time at home in California, Ball fostered a lifelong love of gardening. Her Beverly Hills home, with its walled-in backyard, added an extra layer of privacy for her to dig into her hobby. The plot was lined with lush landscaping, potted plants, and mature trees. The pastime carried over to the small screen in one episode of I Love Lucy, which showed the sitcom star facing off against the other members of the local club to take home the honor of best garden. Ball later made an onscreen appearance in one of the country’s most famous gardens in the 1974 musical Mame, where she danced by the fountain at the botanical gardens at The Huntington in San Marino, California.Photo: Archive Photos/Getty Images21/21Lucy after DesiBall, pictured here in 1960—the same year she and Arnaz divorced—would have the Beverly Hills estate for the rest of her life. A year after the split, Ball married comedian Gary Morton. The two purchased a New York City apartment in the fall of 1983. It was the first place the two furnished together, Ball told AD in May 1984, adding she’s been so “comfortable” in her properties on the West Coast and wouldn’t allow Morton to “change anything about them.”

Mattel has partnered with Uken Games, an independent Canadian game studio, to develop “Mattel Match: Toybox Unlocked,” a free-to-play match game that “brings together all of Mattel’s iconic brands in a brand-new digital experience.” The new game marks the first IP crossover mobile game from Mattel, and was developed as part of Mattel’s 80th anniversary celebration campaign. Related Stories “Toybox Unlocked” features Barbie, Hot Wheels, Fisher-Price, UNO, Thomas & Friends and Masters of the Universe and more Mattel franchises in a leveled puzzle adventure that challenges players to match characters, toys and items from across Mattel’s titles before time runs out.  “For the first time ever, Mattel is uniting its beloved brands in a single mobile game with ‘Mattel Match: Toybox Unlocked,’ offering fans an exciting, new way to engage with the characters and stories they love,” Mattel’s head of business development and digital gaming Erika Winterholler said. “Our team has really enjoyed working with Uken Games to imagine and create this unique, interconnected world on mobile and can’t wait to have it join our growing portfolio of digital entertainment titles.”  Popular on Variety “Uken is delighted to partner with Mattel on this iconic mobile match game that seamlessly brings together your favorite Mattel brands with this unique & challenging gameplay style,” added Uken Games co-CEO. “I cannot wait to see players filling up their digital toy boxes with their favorite Barbie, Hot Wheels, and UNO toys among the many others the game will feature.”   “Mattel Match: Toybox Unlocked” is currently soft launching in the Philippines and Canada, with additional regions rolling out ahead of its official wide launch later this year.

21 May, 2025 Clare Dowdy finds out about the excitement, and challenges, that come with working with an early-stage company. “Culturally, working with founders is intense, in the best possible way,” says Kelly Mackenzie, founder and creative director of White Bear. The London and Dublin based branding agency has form working with founder-led companies, including Tom Parker Creamery and chocolate brand Luvli. “The business isn’t just what they do, it’s often wrapped up in their identity, sense of self-worth and purpose,” Mackenzie explains. And because of this intensity, the agency becomes almost as invested as the client. “When we’re asked to evolve or build their brand, we often tell them that it’s like being asked to mind their child,” Mackenzie says. “Naming that emotional connection early builds trust. It helps them feel safe in a process they’ve often never experienced before.” Many designers talk of going on a journey with these clients. “You have a very close relationship with the founders, and get to know them very deeply,” says Hijinks co-founder Marc Allenby. “Their idea is usually based on passion, and you – as a designer – are fuelled by that passion. That energy is self-motivating, you really care about what you’re creating.” The WeRepresent logo and wordmark designed by Hijinks When Hijinks presented the founder of talent agency WeRepresent with their logo, she burst into tears, which isn’t standard practice when presenting to bigger clients. But Hijinks had created an animated version that “breathed” – a nod to the founder’s traumatic experience of being in a coma on a ventilator with Covid. A moving approach, in more ways than one. The entrepreneurial spirit found in start-ups can be infectious. “Rather than being jaded, they have a youthful energy, and that attracts us,” says Russell Potter, the co-founder of architecture and design firm SODA, whose many hospitality start-up clients include the Instagram-beloved crumble shop, Humble Crumble. Then there’s the potential for creative freedom. “It’s a blank canvas. We’re creating something from nothing,” says Allenby at Hijinks, in contrast to a more mature brand that will come with its own baggage. But these clients may not have worked with a design studio before process, and inevitably there’s a lot of hand-holding. Dundee-based Agency of None branded the start-up QuickBlock “Start-ups by their nature, are often a very small group of people, all trying to cover many roles. So the role of the designer is often as an educator, as much as a designer,” says Lyall Bruce, director of Dundee-based Agency of None, whose start-up clients include QuickBlock, a sustainable building block made from recycled food packaging, and coffee roaster Bryte. As a consequence of this inexperience, the brief is rarely formal. It might be a loose deck, a stream-of-consciousness call, or a rough vision, according to Mackenzie. “And throughout, there will be extra calls to talk through thinking, being available on WhatsApp or Slack, and giving reassurance at each step.” That naivety is both beautiful and brilliant, says Potter at SODA. But if you’re not careful, you can get dragged into a lot of business decisions. “We’re often asked to comment above our pay grade – we can’t always have the answers,” he says. “Someone client side has to have a leap of faith and make a decision.” Inevitably budgets are tight, and agencies often need to explain the value of effective design, “Once they see the link between strong branding and commercial outcomes, budget conversations become much easier,” says Mackenzie at White Bear. Although, as several designers pointed out, this challenge is not unique to start-up clients.But for start-ups, agencies often break down payment into smaller chunks, as a way of protecting themselves. The interior of the new Crunch sandwich shop in London’s Soho designed by KIDZ KIDZ, which has offices in Amsterdam, Belgrade, Dubai and Paris, designed the new Crunch sandwich shop in London’s Soho. “Working with early-stage companies inevitably involves risk — timelines can shift, priorities may change, or funding may fall through,” says KIDZ co-founder Dmitrii Mironov. “To protect our team and ensure a smooth process, we break the work into smaller, clearly defined stages. We require prepayment for each stage; keep written records of all agreements, even when communication is fast and informal; limit the number of revisions and fix the scope of work for each stage; and withhold certain deliverables until full payment is received.” They’ve had a few cases where a project wasn’t completed because the client pivoted or changed direction unexpectedly. “While that’s never ideal, it’s part of the reality of working with start-ups,” he adds. And sometimes it makes sense to rethink payment completely. In lieu of fees from a business consultancy, Hijinks did a skills swap. Meanwhile, when Run for the Hills designed a third site for restaurant chain Cricket in London’s White City, they threw in a £5,000 bar bill to make up for the smaller fee. That allowed the agency to take the team out, thereby boosting morale, and host clients, thereby showcasing their work. The interior of one of the Humble Crumble shops, designed by SODA studio In 2015, SODA had a start-up client in the hospitality sector who offered to pay part of the fee in Bitcoin. “We ummed and ahhed, but decided to take the £19,000 in money,” Potter says. Some years later, it would have been worth over £1 million, though Potter points out that they would have sold it before then. Then there’s the gamble of a profit share, where you’re investing in their business in lieu of partial payment. At a former agency, product designer Jake Weir occasionally ended up doing sweat equity to help out, “so you’re basically partners.” When a hairdresser with limited funding came to him wanting to develop a new hair curler, the agency was given shares in the company for their design input. “We were incentivised to make it work,” Weir says. The product was a success – ultimately sold to BaByliss for “millions.” But even when budgets are low, these jobs are still worth doing sometimes. “We’ll do them as a passion project as they’re quick turnaround and they give younger guys in the studio more on-site experience,” Potter says. What happens when the client’s dream is never going to make it? MAP Project Office was once asked to design a very specific backpack. “We wondered if there was a market for this,” says MAP’s creative director, Weir. When people are pouring their life savings into a project, there’s a responsibility to warn them of the risks. Regardless, founders often have their mind set on these things. In these circumstances, MAP will look for a way to “dial the founders’ single-mindedness down,” Weirs says. “If you relax the concept a little bit, you can make it less niche and more accessible, especially for a first product.” White Bear’s work with the Tom Parker Creamery brand And experienced designers in this sector get good at spotting the jobs to avoid. Start-ups have a reputation for being short-lived. It’s commonly said that 90% of them fail, although the source for this stat is not at all clear. Harvard Business Review puts it more modestly, claiming that more than two-thirds of them never deliver a positive return to investors. The food and beverage sector, in particular, is full of such tragedies, according to The Grocer. But these potential risks shouldn’t be a reason not to take on a start-up. “The reason the project fails is not because of the design,” says Trotman at Run for the Hills, “unless the client has shittified it.” A fish restaurant that Run for the Hills worked on in London had great interiors and a cool brand, Trotman says. “But it failed on the food, and we can’t do anything about the food.” Conversely, when they do well, the agency is part of that success story. In 2005, Big Fish named and branded start-up chocolate puddings company Gü, cleverly persuading its founder to ditch his name, The Belgian Chocolate Company. Just seven later, it was sold for £32.5m. And because the agency is so embedded – it’s personal, remember – the work takes on real significance. “You really get the chance to make a lasting impact and build a long-term working relationship,” says Bruce at Agency of None. And better still for the broader industry. “The experience they have here will set up the relationship with design forever.” Design disciplines in this article Brands in this article What to read next More human resources – designers brand new workplace apps Brand Identity 15 Apr, 2025

Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. Spiral staircases are famously beautiful but notoriously tricky to design, particularly in section. (Ask any architect who’s ever tried!) Still, the payoff is worth it. Beyond their visual appeal, spiral stairs can save space, guide circulation, and even become striking centerpieces within a building. The projects below prove there’s more than one way to embrace the twist, using unexpected materials and creative details to shape spaces in offices, schools, restaurants and parks. Even when things get complicated, these nine stairs make a strong case for taking the spiral route. OFFICE @ 63 By Sanjay Puri Architects, Navi Mumbai, India Popular Choice Winner, 12th Annual A+Awards, Commercial Interiors (<25,000 sq ft.) A curved steel staircase rises through the center of this workplace, connecting three levels in one continuous movement. Perforated and matte-finished, it feels both solid and light. Its underside, lined with warm tones, softens the otherwise industrial palette. Set within a tall, multipurpose space used for exhibitions and gatherings, the stair becomes a quiet focal point. Surrounded by concrete, cork, glass and exposed metal, it stands out not just as a route between floors, but as an element that gives the entire space rhythm and focus. La Maison de Beauté Carita, L’Oréal-Luxe By Le studio REV, Paris, France At the center of Carita’s Paris beauty house, part of the L’Oréal portfolio, a curved staircase rises through what was once a closed courtyard. The space is now topped with a tall glass roof that brings in soft, natural light. Pale marble, pink onyx and brushed metal set a quiet, polished tone. The staircase is kept light with floating steps and slim supports. It connects the levels clearly and efficiently, without blocking views through arched openings. In a building designed around care and detail, the stair adds just the right touch of structure and calm movement. Sjustjärnan, New Nordic Headquarters for E.On By Kanozi Arkitekter, Malmö, Sweden A wide, open staircase connects the floors of E.ON’s Malmö headquarters, rising through a central glass atrium that joins the two curved volumes of the building. Designed to encourage movement and connection between departments, the stair is placed at the heart of shared circulation. Materials are simple and natural: light wood treads, glass balustrades and metal accents, chosen to support the building’s focus on well-being and daylight. Generous landings allow for pauses and casual interaction, reinforcing the workplace’s flexible layout. With no assigned desks and no divided entrances, the building encourages a sense of togetherness and the staircase plays a clear role in making that daily flow visible and accessible. The Learning Center at Quest By KSM Architecture, Chennai, India Jury Winner, 12th Annual A+Awards, Architecture +Learning A vivid red spiral staircase rises along the facade of this learning center in Chennai, connecting the top floor library to a rooftop cafeteria and terrace. Attached to the exterior, the stair adds a moment of surprise to the otherwise calm, ribbed concrete surface. Made from perforated metal, its bright finish contrasts with the muted palette of the building while echoing the colorful window frames scattered across the elevation. Inside, a separate metal stair winds through a central atrium, linking five stacked classrooms and open learning spaces. Together, the staircases reflect the school’s focus on movement, openness and curiosity — key principles in its interest-based approach to education. Varee Valley Restaurant : Jungle Junction By NPDA studio, Thailand Inside this forest-side restaurant in Northeast Thailand, a white spiral staircase rises slowly through the center of a light-filled dining area. Designed for pause and perspective, the stair leads visitors to a rooftop platform that opens up to the surrounding trees. Built with slender steel members and a delicate footprint, it reflects the lightness of the overall structure and mirrors the verticality of nearby tree trunks. The stair wraps around a central cylindrical column that also serves as a rainwater drain and light shaft, drawing daylight into the heart of the space. The Opera Park By Cobe, Copenhagen, Denmark Jury Winner, Public Parks & Green Spaces, 12th Annual A+Awards At the heart of this new harbor front park in Copenhagen, a spiral staircase descends through the center of a circular greenhouse, wrapping gently around a subtropical garden. The stair connects the café at park level with an underground parking facility, guiding visitors down through layers of greenery. Slim metal railings trace its curve, while the surrounding glass enclosure creates the feeling of walking through an open-air terrarium. The park itself spans six themed gardens across a former industrial island, offering paths, ponds and planting from around the world. In this setting, the staircase becomes part of a wider idea: architecture that supports slow movement, seasonal change and a close connection to nature. Balmy Palmy By CplusC Architects + Builders, Sydney, Australia In this compact holiday home raised above a rocky slope, a yellow spiral staircase links the natural ground to the open-air platform above. Built from powder-coated steel, it curves tightly between tree trunks and timber posts, bringing a sharp contrast to the greens and browns of the site. The stair leads into an outdoor area that connects the home’s simple rooms, with views of the treetops, the bay and the sky shifting between the leaves. Designed to limit excavation and preserve the forest setting, the staircase plays a clear role in the project’s minimal footprint — serving as a key access point and everyday reminder of the landscape it rises from. Dental Clinic By IFAgroup, Gdańsk, Poland Jury Winner, Hospitals and Healthcare Centers, 12th Annual A+Awards Jury Winner,  Architecture +Health, 12th Annual A+Awards Photos by Hanna Połczyńska This dental clinic, once a granary, is organized around a wide spiral staircase that rises through its three-story foyer. Clad in warm wood, the stair connects waiting areas, dental offices and training spaces while giving the interior a clear center. It’s surrounded by concrete, brick and steel surfaces that reflect the building’s industrial past. Live piano music and soft lighting help create a calm atmosphere, while sound-absorbing materials keep the space quiet and focused. Envisioned as more than a circulation route, the stair shapes how people move, wait and gather inside. Concept WRRF Yixing (Water Resource Recovery Facility) By SUP Atelier of THAD, China Inside this water treatment facility, a spiral staircase sits next to a café and community area. Built from metal with clean, simple details, it leads visitors through spaces designed to educate the public about recycling and sustainability. Large windows around the stair offer clear views of the nearby farmland and waterways, connecting visitors with the natural setting. As part of the facility’s open, welcoming design, the staircase makes it easy to see and understand how wastewater is turned into clean water and renewable energy. Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. Top image: The Learning Center at Quest by KSM Architecture, Chennai, India The post 9 (Somewhat) Unconventional Takes on The Beloved Spiral Staircase appeared first on Journal.

Netflix puts out tons of new content every week, and while some of it is critically beloved, other things get panned or don’t get much critical attention at all. One of the streamer’s new shows this May, though, has debuted with a perfect score on Rotten Tomatoes. American Manhunt: Osama bin Ladin is a documentary series that tells the story of the hunt for Osama bin Ladin the aftermath of the 9/11 terrorist attack. Although he was known in the years before 9/11, bin Ladin became U.S. intelligence’s top target in the aftermath of the attacks, and it took nearly 10 years to track him down. The miniseries is just three episodes and three hours, but chronicles the hunt from the days immediately following the attacks all the way through to 2011 when he was killed following a SEAL team operation. Recommended Videos The critical reception for this miniseries is roughly on par with other docuseries that have come under the American Manhunt mantle. The Trial of O.J. Simpson also had a perfect critics score on Rotten Tomatoes, and The Boston Marathon Bombing had an 89% score. Although these docuseries have often caught fire on the platform, they aren’t often being reviewed by every major television critic, so there might be some element of self-selection involved here. Even so, this story has undeniable intrigue for Netflix subscribers, and is quickly becoming a part of American history. 9/11 was almost 25 years ago, although the aftermath of those attacks is still reverberating through American society all these years later.

While we know Naughty Dog is currently developing its next big single-player adventure Intergalactic: The Heretic Prophet, studio head Neil Druckmann casually mentioned Tuesday that the studio concurrently has another game in the works. Appearing on the Press X to Continue podcast, Druckmann said, “There’s another game that’s being worked on at Naughty Dog where I’m [in] more of a producer role and I get to mentor, and watch this other team, and give feedback and be like the executive in the room. I enjoy all those roles, and the fact that I jump from one to the next it makes my job very exciting and always feeling fresh. I’m never bored.” While Druckmann is credited as Creative Director on both The Last of Us games and Intergalactic, he seems be embracing a more hands-off role with this new project. Having multiple teams develop separate games alongside each other is nothing new for studios as large as Naughty Dog. It was recently working on a The Last of Us multiplayer game before that was cancelled in 2023. Perhaps Druckmann is overseeing the revival of one of the studio’s dormant franchises — Naughty Dog was known for the Crash Bandicoot and Jax and Dexter series before it pivoted its focus to The Last of Us and Uncharted. Speaking of which… could an Uncharted 5 be on the way? 2016’s Uncharted 4: A Thief’s End closed out Nathan Drake’s journey as a swashbuckling treasure hunter, though it kept the door open for more adventures through the introduction of his and Elena Fisher’s daughter, Cassie. Kaitlyn Dever portrayed Cassie in Uncharted 4’s epilogue and currently stars as Abby in season 2 of The Last of Us. A 2023 PS5 ad ignited speculation the Uncharted series was due to return. It featured live-action clips emulating Sony’s robust first-party lineup, and one Uncharted-like clip showed a young woman holding a torch and exploring a cave in search of some sort of artifact. Job listings at that time sought talent for a separate studio “co-developing an exciting new project with Naughty Dog in a beloved franchise” (via VGC), though it’s not confirmed if that “beloved franchise” is Uncharted or something else. We likely won’t know what Naughty Dog is working on for some time, if it gets formally revealed at all; remember, plenty of games get cancelled before the public even knew they existed.

Principal Narrative AnimatorActivisionSanta Monica California 90405 United States of America1 hour agoApplyJob Title:Principal Narrative AnimatorRequisition ID:R025330Job Description:Elsewhere Entertainment is looking for a Principal Narrative Animator to join the development of our next AAA title—an exciting new Narrative Driven IP.Feed your creativity while driving the development of our game’s world and story! Collaborate with our highly skilled team to build something innovative, exhilarating, and expansively entertaining.As a member of the animation department, you’ll guide the creation of memorable moments in telling an epic player driven story. You’ll also oversee the project’s cinematic pipelines, tools, and best practices, and you’ll manage your team by tasking and reviewing work, providing growth opportunities in skill and career progression, and tending to the emotional health of the team. You’ll work closely with Narrative, Content, Gameplay, and Art leads to coordinate, design, implement, and polish animation and cinematic content of the game.As a leader on the project, you’ll help take the studio and our game from great to even better—with a focus on inclusivity, mutual respect (for ourselves and our players), thoughtfulness, empathy, professionalism, and collaboration.If you’re a passionate creator and a positive, respectful collaborator who enjoys cross-department communication and creative problem-solving as a part of your workflow, we’d love to talk to you!You’ll help us by…Ensuring consistency of tone and style is depicted across the entire cinematic experience that matches the vision set by the Creative Director.Using traditional animation principles, gameplay fundamentals and motion-capture to craft high quality animations and systems.Take narrative ownership of the cinematic and dialogue presentations and pipelines, helping bring the characters, world, and story to life.Assist in the development and direction of storyboarding and animatics to develop the cinematic pipeline.Support in developing the presentation of the games dialogue, cinematic sequences, etc.Becoming proficient in using the game's proprietary animation tools.Providing constructive feedback on others’ work.Acting as a liaison to other departments, conveying the consistent cinematic & animation vision of the project.Working with directors, animators, narrative designers, cinematics designers, and campaign designers to develop the best visual storytelling practices for the game.Working with 3rd party vendors/clients to help facilitate asset creation, pre-rendered assets both for the game and media support.Mentoring the staff of cinematic animators and designers.Ensuring all tasks are completed according to given specifications and deadlines.Performing any additional cinematic responsibilities as assigned by Studio Leadership.You’re awesome because you have…13+ years of credited CG directorial experience working in either videogame cinematics or TV/film – with mocap and keyframed animation direction.A strong understanding of composition and camera language and how it helps tell our stories.One or more shipped titles as a cinematics director.Fluent in Maya.Experience with technical cinematics content (animation, camera presentation, facial animations, and conveying mood and emotions).The ability to collaborate and thrive as part of a creative team.An eagerness to work independently; are self-driven in taking ownership of tasks in a highly confidential environment.Creativity in problem solving and a positive, respectful team-first attitude.Organization methods and the capability to meet deadlines.Comfort with self-critique and accepting outside feedback.A habit of regularly playing and understanding modern video games and popular media.Bonus points for…Experience with directing cinematics and dialogue for AAA Open World Games.Credited CG Work in other media (Film, television, shorts, etc...)Experience developing both bespoke cinematic content as well as dialogue in systematic systemsExperience working with Hollywood talent and/or reputable VO recording studios and directorsMajor recognition in your field of workFamiliarity with many of the major games released in the last decadeEnjoyment of playing a variety of video game genres and titlesExperience in adjacent disciplines such as quest design, narrative design, environment art, programming, etc...Not sure you meet all the qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! At Activision, we are committed to creating a diverse and inclusive environment and strongly encourage you to apply.Our WorldAt Activision, we strive to create the most iconic brands in gaming and entertainment. We’re driven by our mission to deliver unrivaled gaming experiences for the world to enjoy, together. We are home to some of the most beloved entertainment franchises including Call of Duty®, Crash Bandicoot™, Tony Hawk’s™ Pro Skater™, and Guitar Hero®. As a leading worldwide developer, publisher and distributor of interactive entertainment and products, our “press start” is simple: delight hundreds of millions of players around the world with innovative, fun, thrilling, and engaging entertainment experiences.We’re not just looking back at our decades-long legacy; we’re forging ahead to keep advancing gameplay with some of the most popular titles and sophisticated technology in the world. We have bold ambitions to create the most inclusive company as we know our success comes from the passionate, creative, and diverse teams within our organization.We’re in the business of delivering fun and unforgettable entertainment for our player community to enjoy. And our future opportunities have never been greater — this could be your opportunity to level up.Ready to Activate Your Future?#elsewhereRewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $134,000.00 - $247,900.00 Annual. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply