[Sylvain Fortin] recently wrote in to tell us about his Homebrew CPU Project, and the story behind this one is truly remarkable. He began working on this toy CPU back …read more

animation, basketball, urban culture, Sony Pictures Animation, GOAT, Michael Jordan, LeBron James, Space Jam, original project, visual spectacle ## Introduction In a thrilling fusion of animation, basketball, and urban culture, Sony Pictures Animation is launching an innovative project that promises to captivate audiences of all ages. Following the iconic legacy of *Space Jam*, which first...

Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys (or, I guess, furries); overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“[Even] back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest.

Elon Musk may be gone from the Trump administration — and his friendship status with President Donald Trump may be at best uncertain — but his whirlwind stint in government certainly left its imprint. The Department of Government Efficiency (DOGE), his pet government-slashing project, remains entrenched in Washington. During his 130-day tenure, Musk led DOGE in eliminating about 260,000 federal employee jobs and gutting agencies supporting scientific research and humanitarian aid. But to date, DOGE claims to have saved the government $180 billion — well short of its ambitious (and frankly never realistic) target of cutting at least $2 trillion from the federal budget. And with Musk’s departure still fresh, there are reports that the federal government is trying to rehire federal workers who quit or were let go. For Elaine Kamarck, senior fellow at the Brookings Institution, DOGE’s tactics will likely end up being disastrous in the long run. “DOGE came in with these huge cuts, which were not attached to a plan,” she told Today, Explained co-host Sean Rameswaram. Kamarck knows all about making government more efficient. In the 1990s, she ran the Clinton administration’s Reinventing Government program. “I was Elon Musk,” she told Today, Explained. With the benefit of that experience, she assesses Musk’s record at DOGE, and what, if anything, the billionaire’s loud efforts at cutting government spending added up to. Below is an excerpt of the conversation, edited for length and clarity. There’s much more in the full podcast, so listen to Today, Explained wherever you get podcasts, including Apple Podcasts, Pandora, and Spotify. What do you think Elon Musk’s legacy is? Well, he will not have totally, radically reshaped the federal government. Absolutely not. In fact, there’s a high probability that on January 20, 2029, when the next president takes over, the federal government is about the same size as it is now, and is probably doing the same stuff that it’s doing now. What he did manage to do was insert chaos, fear, and loathing into the federal workforce. There was reporting in the Washington Post late last week that these cuts were so ineffective that the White House is actually reaching out to various federal employees who were laid off and asking them to come back, from the FDA to the IRS to even USAID. Which cuts are sticking at this point and which ones aren’t?First of all, in a lot of cases, people went to court and the courts have reversed those earlier decisions. So the first thing that happened is, courts said, “No, no, no, you can’t do it this way. You have to bring them back.” The second thing that happened is that Cabinet officers started to get confirmed by the Senate. And remember that a lot of the most spectacular DOGE stuff was happening in February. In February, these Cabinet secretaries were preparing for their Senate hearings. They weren’t on the job. Now that their Cabinet secretary’s home, what’s happening is they’re looking at these cuts and they’re saying, “No, no, no! We can’t live with these cuts because we have a mission to do.”As the government tries to hire back the people they fired, they’re going to have a tough time, and they’re going to have a tough time for two reasons. First of all, they treated them like dirt, and they’ve said a lot of insulting things. Second, most of the people who work for the federal government are highly skilled. They’re not paper pushers. We have computers to push our paper, right? They’re scientists. They’re engineers. They’re people with high skills, and guess what? They can get jobs outside the government. So there’s going to be real lasting damage to the government from the way they did this. And it’s analogous to the lasting damage that they’re causing at universities, where we now have top scientists who used to invent great cures for cancer and things like that, deciding to go find jobs in Europe because this culture has gotten so bad.What happens to this agency now? Who’s in charge of it?Well, what they’ve done is DOGE employees have been embedded in each of the organizations in the government, okay? And they basically — and the president himself has said this — they basically report to the Cabinet secretaries. So if you are in the Transportation Department, you have to make sure that Sean Duffy, who’s the secretary of transportation, agrees with you on what you want to do. And Sean Duffy has already had a fight during a Cabinet meeting with Elon Musk. You know that he has not been thrilled with the advice he’s gotten from DOGE. So from now on, DOGE is going to have to work hand in hand with Donald Trump’s appointed leaders.And just to bring this around to what we’re here talking about now, they’re in this huge fight over wasteful spending with the so-called big, beautiful bill. Does this just look like the government as usual, ultimately?It’s actually worse than normal. Because the deficit impacts are bigger than normal. It’s adding more to the deficit than previous bills have done. And the second reason it’s worse than normal is that everybody is still living in a fantasy world. And the fantasy world says that somehow we can deal with our deficits by cutting waste, fraud, and abuse. That is pure nonsense. Let me say it: pure nonsense.Where does most of the government money go? Does it go to some bureaucrats sitting on Pennsylvania Avenue? It goes to us. It goes to your grandmother and her Social Security and her Medicare. It goes to veterans in veterans benefits. It goes to Americans. That’s why it’s so hard to cut it. It’s so hard to cut it because it’s us. And people are living on it. Now, there’s a whole other topic that nobody talks about, and it’s called entitlement reform, right? Could we reform Social Security? Could we make the retirement age go from 67 to 68? That would save a lot of money. Could we change the cost of living? Nobody, nobody, nobody is talking about that. And that’s because we are in this crazy, polarized environment where we can no longer have serious conversations about serious issues. See More:

By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when those [alien] characters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Sanii [Visual Effects Supervisor] gave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Hom [Production Manager] and I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowds [department] is dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessup [Production Designer] because sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Muren [VES] was keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter (CCO, Pixar). “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.”