As we reflect on the past year, we can’t help but be proud of all that the Unity community accomplished. From award-winning masterpieces and cult hits to the pure, unadulterated joy that Trombone Champ has brought to all of our lives. Case in point…Before we move into a new year, full of new possibilities, let’s take a moment to celebrate some of your biggest achievements from the past 12 months. Thank you for being part of our story; here’s to an even better 2023!To the best of our abilities, here’s a non-exhaustive list of Made with Unity games that you released in 2022, either into early access or full release. There have been so many great titles this year, so we’ve categorized them by genre to make this list a bit more digestible and hopefully inspire some of your future projects – though, of course, some titles defy easy genre categorization (*cough* Cult of the Lamb *cough*).See any on the list that have already become favorites or know of any that we missed? Tell us about it in the forums.Rollerdrome, Roll7 (August 16)Other action titles we love include:Sanabi, WONDER POTION (June 20) [Early Access]Cuphead: The Delicious Last Course, Studio MDHR Entertainment Inc. (June 30)Midnight Fight Express, Jacob Dzwinel (August 23)Warhammer 40,000: Shootas, Blood & Teef, Rogueside (October 20)Outshine, Fishing Cactus (November 3)SIGNALIS, rose-engine (October 27)Other horror titles we love include:The Mortuary Assistant, DarkStone Digital (August 2)Hell is Others, Strelka Games, Yonder (October 20)Bendy and the Dark Revival, Joey Drew Studios (November 15)TUNIC, TUNIC team (March 16)Other puzzle adventure titles we love include:FAR: Changing Tides, Okomotive (March 1)Syberia: The World Before, Microids Studio Paris (March 18)Lost in Play, Happy Juice Games (August 10)The Spirit and the Mouse, Albune Games (September 26)LEGO® Bricktales, ClockStone (October 12)The Past Within, Rusty Lake (November 2)How to Say Goodbye, Florian Veltman, Baptiste Portefaix, and ARTE France (November 3)Somerville, Jumpship (November 14)Ghost Song, Old Moon (November 3)Other metroidvania titles we love include:Infernax, Berzerk Studio (February 14)Haiku, the Robot, Mister Morris Games (April 28)HAAK, Blingame (August 24)Moonscars, Black Mermaid (September 27)Neon White, Angel Matrix (June 16)Other FPS titles we love include:Gloomwood, Dillon Rogers and David Szymanski (September 5) [Early Access]Isonzo, M2H and, Blackmill Games (September 13)Metal: Hellsinger, The Outsiders (September 15)Prodeus, Bounding Box Software Inc. (September 23)BONELAB, Stress Level Zero (September 29)CULTIC, Jasozz Games (October 13)Cult of the Lamb, Massive Monster (August 11)Other roguelike titles we love include:Have a Nice Death, Magic Design Studios (March 8) [Early Access]Across the Obelisk, Dreamsite Games (April 8) [Early Access]Rogue Legacy 2, Cellar Door Games (April 28)20 Minutes Till Dawn, flanne (June 8) [Early Access]Necrosmith, Alawar Premium (July 13)ORX, johnbell (August 30)Alina of the Arena, PINIX (October 13)I See Red, Whiteboard Games (October 24)Ship of Fools, Fika Productions (November 22)IMMORTALITY, Sam Barlow, Half Mermaid (August 30)Other narrative-focused titles we love include:NORCO, Geography of Robots (March 24)A Memoir Blue, Cloisters Interactive (March 24)As Dusk Falls, INTERIOR/NIGHT (July 19)Hindsight, Team Hindsight (August 4)Gerda: A Flame in Winter, PortaPlay (September 1)Beacon Pines, Hiding Spot (September 22)Pentiment, Obsidian Entertainment (November 15)Dortformantik, Toukana Interactive (April 28)Other city builder and strategy titles we love include:Diplomacy is Not an Option, Door 407 (February 9) [Early Access]Farthest Frontier, Crate Entertainment (August 9) [Early Access]The Wandering Village, Stray Fawn Studio (September 14) [Early Access]Terra Invicta, Pavonis Interactive (September 26) [Early Access]Moonbreaker, Unknown Worlds Entertainment (September 29) [Early Access]Stardeus, Kodo Linija, (October 12) [Early Access]Against the Storm, Eremite Games (November 1) [Early Access]IXION, Bulwark Studios (December 7)Citizen Sleeper, Jump Over The Age (May 2)Other RPG titles we love include:Unexplored 2: The Wayfarer’s Legacy, Ludomotion (May 27)Dungeon Munchies, maJAja (July 27)Backpack Hero, Jaspel (August 22) [Early Access]I Was a Teenage Exocolonist, Northway Games (August 25)Temtem, Crema (September 6)Lost Eidolons, Ocean Drive Studio (September 13)Gedonia, Kazakov Oleg (October 14)Chained Echoes,Matthias Linda (December 8)V Rising, Stunlock Studios (May 17)[Early Access]Other survival titles we love include:Arctico, Claudio Norori, Antonio Vargas (February 15)Core Keeper, Pugstorm (March 8)[Early Access]The Planet Crafter, Miju Games (May 24)Raft: The Final Chapter,Redbeet Interactive (June 20)Flat Eye, Monkey Moon (November 14)Other management titles we love include:Bear and Breakfast, Gummy Cat (July 28)PlateUp!, It’s happening (August 4)Two Point Campus, Two Point Studios (August 9)Arcade Paradise, Nosebleed Interactive (August 11)Dave the Diver, MINTROCKET (October 27) [Early Access]Aka, Cosmo Gatto (December 14)Other simulation titles we love include:Hardspace: Shipbreaker, Blackbird Interactive (May 24)Dinkum, James Bendon (July 14) [Early Access]PowerWash Simulator, FuturLab (July 14)CTRL ALT EGO, MindThunk (July 22)Disney Dreamlight Valley, Gameloft (September 6)Construction Simulator, weltenbauer. Software Entwicklung GmbH (September 20)Slime Rancher 2, Monomi Park (September 22) [Early Access]Turbo Golf Racing, Hugecalf Studios (August 4) [Early Access]Other sports or driving titles we love include:Olli Olli World, Roll7 (February 7)Shredders, FoamPunch (March 16)Blacktop Hoops, Vinci Games (April 19)[Early Access]Hot Lap League: Deluxe Edition, Ultimate Studio (August 23)You Suck at Parking, Happy Volcano (September 14)Trombone Champ, Holy Wow (September 15)Other funny titles we love include:Tentacular, Firepunchd Games UG (March 24)The Stanley Parable: Ultra Deluxe, Crows Crows Crows (April 27)Cosmonious High, Owlchemy Labs (May 31)The Looker, Subcreation Studio (July 17)The Last Hero of Nostalgaia, Over The Moon (October 19)MARVEL SNAP, Second Dinner (October 18)Other card titles we love include:Stacklands, Sokpop Collective (April 8)Card Shark, Nerial (June 2)Card Crawl Adventure, Tinytouchtales (August 3)That’s a wrap for 2022! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch.

Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial CompetitionSponsored ContentSave this picture!Courtesy of BuildnerBuildner has announced the results of its competition, the In recognition of this treaty, Buildner invites conceptual designs for a memorial to be located on any known decommissioned nuclear weapon testing site. The conceptual memorial is intended to reflect the history and ongoing threat of nuclear weapons, aiming to promote public awareness of nuclear disarmament. The challenge is intended to bring attention to the history and dangers of nuclear weapons. Participants are tasked with designing a space that commemorates nuclear warfare victims and conveys the need for a nuclear-free future. As a 'silent' competition, submissions are not allowed to include any text, titles, or annotations.The next edition of this competition, the , has been launched with an early bird registration deadline of June 12, 2025.The briefThis competition invites designers to conceive a memorial that meaningfully engages the public with the critical issue of nuclear disarmament. Memorials play a crucial role in capturing history and facilitating collective reflection, shaping how future generations understand and respond to global challenges. The proposed memorial will specifically address the legacy of nuclear warfare, emphasizing the urgency of diplomatic solutions and international solidarity in preventing nuclear conflict.Design proposals are encouraged to consider the following core principles: Vision of Peace: Proposals should embody the aspiration for a world free of nuclear threats, incorporating symbolic or abstract representations that inspire unity and harmony. Reflection and Remembrance: Designs must foster a thoughtful and enduring dialogue, offering visitors a contemplative environment where they can reflect upon the consequences of nuclear weaponry. Educational Impact: The memorial should provide visitors with accessible insights into the historical realities and ongoing dangers of nuclear arms, actively promoting public knowledge and awareness. Emotional Engagement: Successful memorials will create a powerful emotional connection, provoking personal and collective introspection on peace, responsibility, and the human cost of nuclear conflict. Sustainable Stewardship: Designs must embrace environmental sustainability, reinforcing the memorial's overarching message of responsible stewardship and enduring peace. Save this picture!Jury PanelThis year's submissions were reviewed by a distinguished jury panel featuring experts from architecture, urbanism, and the arts:  Olha Kleytman, founder of Ukraine-based SBM Studio, brings expertise in architecture and urban design, alongside her humanitarian work through the NGO "Through the War."  Flora Lee, Associate Partner at MAD Architects, has contributed to major international projects including the Lucas Museum of Narrative Art.  Peter Newman, a London-based artist, explores humanity's relationship with space and modernity, with exhibitions spanning Trafalgar Square, the Hayward Gallery, and the Guggenheim Museum in Venice.  Vincent Panhuysen, co-founder of KAAN Architecten, integrates contextual sensitivity into large-scale projects, such as the Netherlands American Cemetery Visitor Center.  James Whitaker, founder of Whitaker Studio, is an architect known for his widely published Joshua Tree Residence.  Wu Ziye, co-founder of China's Mix Architecture, has received international acclaim for his studio's exploration of spatial consciousness, materiality, and integration with nature. Buildner's other ongoing competitions include: the 10th edition of MICROHOME competition, in collaboration with Kingspan and Hapi Homes; the Mujassam Watan Urban Sculpture Challenge aimed at finding innovative sculptures reflecting Saudi Arabia's heritage, modern achievements, and future ambitions; and the Howard Waterfall Retreatcompetition, which invites architects to propose designs for a multi-generational family retreat at the scenic and historically significant Howard Falls in Pennsylvania, USA. Each of these competitions aims to build the winning designs.Projects:First Prize Winner + Buildner Student AwardProject title: Urbs AeternaAuthors: Alessia Angela Sanchez, Erminia Cirillo and Adele Maria Saita, from ItalyThe project presents a memorial using sand and metal to depict a post-apocalyptic vision of what appears to be Rome reduced to an archaeological remnant. The design evokes the destruction and preservation paradox, allowing viewers to observe the site from above or navigate its fractured streets leading to a central void. A ghostly wireframe reconstruction of a vanished temple stands as the focal point, symbolizing loss and memory. The restrained material palette reinforces themes of impermanence and time. While conceptually strong and visually compelling, its cost and environmental impact raise questions. The experience unfolds gradually, inviting contemplation.Save this picture!Save this picture!Second Prize WinnerProject title: The Rainbow Of RenewalAuthors: Chen Yang, Ruijing Sun and Chao Li, from the United StatesThe project envisions a memorial for the last nuclear bomb through a landscape intervention that transforms destruction into renewal. A circular water installation generates mist, evoking the image of an explosion while simultaneously creating rainbows, symbolizing hope. The design's ephemeral quality enhances its poetic impact, making it a striking presence on the horizon. The intervention integrates with the natural environment, fostering an evolving atmospheric experience.Save this picture!Save this picture!3rd Prize Winner + Buildner Student AwardProject title: Projected DestructionAuthors: Marco Moreno Donohoe of Washington University in St. Louis , WUSTL, the United StatesThis project envisions a memorial set within a cratered landscape. A striking linear structure cuts through the void, acting as both a bridge and a viewing platform, inviting visitors to experience the vastness of destruction. The interplay of light and shadow within the perforated walls creates dynamic spatial effects, offering different perspectives from above and within. The scale and placement evoke a sense of isolation and reflection.Save this picture!Save this picture!Highlighted ProjectsProject title: Mycelial Rebirth: Fungi Restoring Nuclear Wounds Authors: Shengfeng Gao, Zhuohan Zhou and Shengnan Gao from the United StatesThis project envisions a memorial landscape where fungi serve as agents of ecological healing in a post-nuclear context. A dense forest setting is activated by a grid of ultraviolet lights that stimulate mycelial growth, enhancing the fungi's capacity to absorb and break down radioactive contaminants. As the soil regenerates, the design allows for gradual ecological succession, beginning with mushrooms and pioneering vegetation. The illuminated ground plane forms a quiet, immersive field that marks both decay and recovery. Over time, the site transforms into a living testament to resilience, where nature's unseen networks remediate and renew.Save this picture!Save this picture!Project title: Nuclear Living ForceAuthors: Luis Manuel Carcamo Cura of company LUIS CARCAMO ARQUITECTOS, from MexicoThis project responds to the atomic age by offering a message of harmony over despair, using the human eye as a central metaphor for awareness and reflection. A series of monumental, petal-like structures rise from a crater-shaped void, recalling both the iris and the bomb site in Santa Fe. Surrounding this core, the Flower of Life geometry guides the masterplan, symbolizing universal patterns and organic regeneration. The design emphasizes nature's resilience, referencing ecosystems like Chernobyl where life has returned unaided. Rather than mourning destruction, the project celebrates life, order, and the potential for collective transformation.Save this picture!Project title: The Illusion of ChoicesAuthors: Ruiqi Yao, University of Edinburgh from the United KingdomThis project explores the illusion of choice within the existential tension between nuclear war and peace. Set inside a vast crater, visitors begin their journey in a monumental spherical chamber, where a singular path ends abruptly, symbolizing unreachable goals and the false promise of nuclear power. Descending into a subterranean network, seven red-lit paths depict ruin and inevitability, while one blue-lit path offers a narrow route toward peace and introspection. The final space contrasts confinement with openness, guiding visitors through mirrored walls toward a hopeful exit. Through spatial transitions and stark lighting contrasts, the project stages a powerful moral journey.Save this picture!Save this picture!Project title: Möbius Elegy: Red Warning and Green ReturnAuthors: Daii Shimada, Mai Nakano and Midori Watanabe, from JapanThis project imagines a regenerative forest emerging from the scars of nuclear devastation. Set within a vast desert crater, a radial pattern of multicolored vegetation radiates outward, suggesting seasonal cycles and ecological diversity. The planting strategy appears gradual and deliberate, with craters used as microclimates for reforestation—each acting as a node in a larger ecological system. A lone figure stands before the transformed landscape, underscoring the scale and ambition of the intervention. Through time-lapse-like sequences, the imagery suggests the forest's steady expansion, turning the desert into a sanctuary of life. The memorial becomes a living archive of resilience and renewal.Save this picture!Project title: Soft FalloutAuthors: Louis Bourdages and Cedric Harvey, from the Université Laval School of Architecture, CanadaThis project proposes an immersive memorial defined by a luminous, amorphous structure suspended over a crater. From the outside, the glowing yellow form evokes a captured sun or lingering explosion, radiating both warmth and unease. Inside, visitors enter a soft, undulating landscape of quilted fabric that molds to the human body, allowing for stillness, reflection, or playful interaction. Light filters through the translucent skin, creating a surreal atmosphere suspended between comfort and disquiet. The form's biomorphic geometry contrasts the rationality of war, transforming the site into a sensorial space of pause and presence.Save this picture!Project title: "Used to be there"Authors: Hữu Nhân Hoàng, Hoàng Kỳ Lê and Anh Khoa Huỳnh, VietnamThis project constructs a memorial as a collective reflection on memory, identity, and everyday life disrupted by nuclear war. Set in a radial formation across a barren landscape, semi-transparent glass panels display ghosted historical photographs—scenes of people, architecture, and ordinary moments—layered over the present. Visitors navigate between these life-sized images, encountering echoes of the past embedded in space. The transparent surfaces blend time periods and dissolve boundaries, inviting viewers to see themselves within the continuity of human experience. Rather than focusing on devastation, the project quietly honors what stands to be lost: ordinary lives, familiar places, and shared memories.Save this picture!Visit the website for the recently launched , to take part and learn more, before the early bird registration deadline of June 12, 2025. Image gallerySee allShow less Cite: "Buildner Announces Winners of the 5th Annual Last Nuclear Bomb Memorial Competition" 21 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030195/buildner-announces-winners-of-the-5th-annual-last-nuclear-bomb-memorial-competition&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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

Abel Avellan is taking on SpaceX and Jeff Bezos’ Project Kuiper in the battle to provide broadband satellite internet directly to your smartphone. Last September, a crowd of seasoned spectators gathered at Cape Canaveral, Florida, to watch as SpaceX’s Falcon 9 rocket took flight for the 373rd time. But it wasn’t carrying yet another of Elon Musk’s Starlink satellites to join the 7,100-plus he has already circling Earth. Onboard instead were five satellites from AST SpaceMobile, a tiny Starlink rival that SpaceX has derided as a “meme stock” in regulatory filings with the federal government. Each was equipped with a 700-square-foot antenna that would unfold in orbit, an early step in establishing a network AST hopes will someday best the incumbent mocking it. The size of these antennas—and the even larger 2,400-square-foot version that will succeed them—are key to CEO and founder Abel Avellan’s plan to win a new market: satellite internet beamed directly to your phone. In contrast to SpaceX, which uses thousands of satellites to connect residences, businesses, vehicles and even the White House to the internet, AST’s super-large antennas should give it global coverage with just 90 satellites. The company plans to launch 60 into orbit by the end of 2026. Jamel Toppin for Forbes The goal is to keep cellphones connected when out of range of a tower. You’d be able to make calls even when hiking in a remote area or from a boat miles offshore. Until recently, that required expensive satellite phones with special hardware. “Our vision is to provide connectivity without disadvantage to wherever people are located,” says Avellan, 54. This isn’t Starlink’s main business: Its $12.3 billion in revenue largely comes from providing internet to fixed-base stations attached to homes and businesses, not mobile phones. Nor is it the vision of Jeff Bezos’ Project Kuiper, a direct Starlink competitor, which launched the first 27 of a planned 3,200-plus satellites in late April. But Starlink isn’t totally ignoring the phone business. It’s currently in beta testing with T-Mobile to let users text on their phones via Starlink when they don’t have any bars, giving it an early lead over AST. It also has thousands of satellites, to AST’s five, and Musk’s insider status with the Trump administration could prove important in the heavily regulated telecom business. Starlink’s staggering $350 billion valuation dwarfs Midland, Texas–based AST’s market cap (it went public in April 2021 via a special purpose acquisition company) of around $8.7 billion. Still, AST has a shot at the emerging market for a satellite-based mobile cell plan, with a potentially substantial payoff. The big opportunity is not off-grid connectivity for Europeans and North Americans but providing internet to the more than 2.6 billion people, largely in the developing world, who struggle to get online at all. Most of them can’t afford Starlink. A basic base station starts at $350; then it’s around $80 per month for residential Wi-Fi. AST’s pricing is still largely theoretical, but the startup hopes it can deliver for just a few extra dollars a month on a cellphone bill. That’s a compelling proposition. When it comes to broadband, “the cheapest and most efficient way is through your phone,” Avellan says. Skipping out on building new cell towers entirely could mean major cost savings for the telecoms companies as well, if they can offer satellite internet in markets that don’t yet justify that investment. Deutsche Bank (which is not an AST investor) estimates that the company’s revenues could top $370 million in 2026 once its commercial service is up and running, and surpass $5 billion by 2030—with far less capital expenditure than Starlink will need to keep launching thousands of satellites. The big obstacle for both companies is the basic physics of satellite communication: namely, that you need a direct line of sight from a satellite to your phone to get a signal. Starlink, Project Kuiper and multiple Chinese firms plan to tackle this by flooding the zone with thousands of small, cheap satellites in low Earth orbit, which hop signals between them to maintain steady connections with ground-based dishes. The antenna in your phone is a lot smaller, making it harder to get bandwidth to do more than text. But AST’s satellites are outfitted with antennas at least 50 times the size of Starlink’s. It’s a tricky feat of engineering—the centimeters-thick antennas require assembly in clean rooms to be securely packed into satellites at launch; then they’re carefully unfolded again in orbit. It’s much more complicated than a Starlink satellite, and each AST satellite costs about $21 million compared to around $1.2 million to build each Starlink bird. But the result is true broadband connectivity. AST’s five satellites have successfully made video calls with phones on Verizon, Vodafone, Rakuten and AT&T networks. AST’s have a longer lifespan, too, requiring replacement every 10 years compared to five to seven years for Starlink. AST’s big antennas make broadband-to-cellphone connections easier to pull off, says John Baras, a University of Maryland aerospace engineering professor, because they cover a much larger area and are designed to deliver a signal to devices in motion. Starlink has a bigger challenge making its system work for phones, he says, because it was envisioned as a way to deliver internet to fixed stations on the ground—not to mobile phones that by definition move around. “Starlink is going to have problems,” he says. SpaceX did not respond to a comment request. JR Wilson, VP of towers and roaming at AT&T, a major AST investor, compares the tech race between Starlink and AST to the home-video race of the 1980s. “Beta came out first, but it didn’t have some of the same qualities as VHS,” he explained, recalling Sony’s ill-starred format which, despite delivering a better picture, failed because of its high price and short recording times. AT&T plans to start offering satellite connectivity using AST’s service once it has more satellites in orbit next year. AST currently has deals with dozens of other telecom providers around the world, including Vodafone, Rakuten and Verizon (all investors), offering potential access to around 3 billion subscribers. Partnering with big telecoms offers loads of advantages, says Mike Crawford, an analyst at Los Angeles–based B. Riley Securities. By avoiding the home satellite internet market that Starlink dominates, AST doesn’t have to spend money to attract subscribers or build costly ground infrastructure—its partners have already done that. Plus, it avoids going head-to-head with giant legacy telecoms. Avellan knows the ins and outs of the industry. Born in Venezuela, he studied engineering before starting his career at the Swedish telecom giant Ericsson. He founded his first company, Emer­ging Markets Communications, “with $50,000 and a pregnant wife” in 2000, he says, to provide satellite communication services to Africa and the Middle East, as well as cruise and cargo ships. He sold it to satellite company Global Eagle in 2016 for $550 million and used some of the proceeds to found AST the following year. After launching its first demonstration satellite in 2019, AST raised $110 million from Vodafone, Rakuten, AT&T and VC shops like London-based Shift Ventures. In 2021, it went public through a SPAC backed by private equity firm New Providence, raising an additional $462 million. The company’s stock has more than doubled since then, making Avellan, who owns about 25% of it, worth some $2.1 billion. In March, AST and Voda­fone announced plans for a joint venture spin-out company to offer AST’s satellite connectivity to mobile operators in Europe and Africa.PATRICK WELSH FOR FORBES How To Play It By John Buckingham For a more grounded play on soaring demand for connectivity, wireless communications and broadcast tower REIT American Tower should continue to benefit from mobile data proliferation and 5G deployments, while an expan­ding data center segment positions it to profit from the rise of hybrid IT and AI workloads. Meanwhile, shareholders are rewarded with a 3.3% dividend yield to go along with handsome capital appreciation potential from a conservative “picks-and-shovels” terrestrial player in the tech gold rush. Moody’s just awarded the company’s strong balance sheet, citing AMT’s lea­ding position in the global wireless infrastructure market, predic­table revenue and income, consistently solid fixed charge coverage and excellent liquidity (it’s also an investor in AST). John Buckingham is a principal of AFAM Capital and editor of The Prudent Speculator. These partnerships also unlock the parts of the radio spectrum that make communications between satellites and phones possible, which are primarily owned by legacy telecoms. Assu­ming regulators greenlight these deals—including a crucial lease from Ligado Networks for a frequency that would give AST’s data the equivalent of 4G speeds—its satellites will be able to offer coverage globally. SpaceX can offer only text right now, although obviously that could change. With far fewer partnerships, Starlink is “cash-rich but spectrum-poor,” according to Crawford, the B. Riley analyst. That’s not surprising, given Musk’s ruthless approach to business. “SpaceX famously partners with people to the point that they can extract what they want from you, and then they stomp on your face, right?” industry analyst Chris Quilty says. Still, Musk’s deep connections to the Trump administration could present an existential challenge to AST’s burgeoning business. It’s clear Musk’s company views AST as a threat. SpaceX has already taken it to the mat over an array of regulatory issues governed by the FCC: spectrum access, space junk, blocking astronomical observations. Those FCC filings are also where SpaceX dismissed AST as a “meme stock.” It has a point: While shares in AST have gained a total of 172% since it went public, the stock has been on a tear since last May, jumping more than 1,000% at its peak. The company still has virtually no revenue to support its multi­billion-dollar market cap; in 2024, AST spent $300 million but brought in only about $4 million in revenue due entirely to a contract with the Space Defense Agency to build military satellite communications infrastructure. And like all meme stocks, it has a flock of ardent believers online. AST’s investment community on Reddit has more than 30,000 active subscribers. When the company invited its retail investors to attend the September launch of its satellites, nearly 1,000 showed up. “People are enthusiastic about the prospect that no matter where you live or work, you can have broadband,” Avellan says of the attention. “If at the same time they can make money by investing and following what we do? Even better.” More from Forbes

Today, Fortune revealed its 2025 list of the Most Powerful Women in Business, and Apple’s SVP of Retail + People, Deirdre O’Brien, has once again secured her spot. This is O’Brien’s seventh consecutive appearance on the list, which features “only 20 Fortune 500 CEOs” out of the more than 50 women who lead Fortune 500 companies. According to Fortune, this highlights “just how competitive it has become.” O’Brien ranks 67th on this year’s list. Here’s what Fortune had to say: An Apple veteran of over 35 years, Deirdre O’Brien manages the tech giant’s retail teams as senior vice president, leading the way on its global retail expansion, including in emerging markets. She oversees a diverse range of functions, from training and development at Apple University to diversity and inclusion, compensation, benefits, and more. In March, O’Brien added Apple’s top people manager spot to her retail duties, returning to a role she’d held from 2017 to 2023. She holds a bachelor’s degree from Michigan State University and an MBA from San Jose State University. Over the past year, O’Brien has overseen store openings in the U.S., China, Spain, and Sweden, as well as the launch of Apple’s first-ever retail location in Malaysia; further openings in India, the U.S., Japan, and the UAE are slated for later in 2025. As Fortune notes, O’Brien’s path has been quite eventful. After taking over the role previously held by Angela Ahrendts, she inherited the task of reinvigorating iPhone sales through Apple’s global retail presence, while also navigating shifting labor dynamics, including increased unionization efforts at retail stores and the long-term workplace changes brought on by the pandemic. More recently, after a brief period in which Apple appointed its first Chief People Officer, Carol Surface, O’Brien resumed leadership of the People team following Surface’s departure in late 2024. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

Staff Software Engineer, Progression - VALORANTRiot GamesMercer Island, USA2 hours agoApplyRiot engineers bring deep knowledge of specific technical areas but also value the opportunity to work in a variety of broader domains. As a Software Engineer, you’ll also dive into projects that focus on team cohesiveness and cross-team objectives. You’ll lead without authority and provide other engineers with a clear illustration of extraordinary engineering.VALORANT is Riot’s take on a character-based tactical shooter (for more info on VALORANT click here!). As a Staff Software Engineer on the VALORANT team you will be responsible for building metagame client features and scalable backend services for progression systems throughout VALORANT. You'll influence the technical direction for how VALORANT services are built, scale and are operated in production, and collaborate with design to build smooth and intuitive player-facing in-game experiences. All the systems you design and build will be “Player Focused”, meaning striving for the goal of motivating players to choose to engage with them, rather than feeling pressured to.You will report to the Engineering Manager of the Progression team.Responsibilities:Create and/or contribute to best practices, development processes and coding standards; demonstrate a high bar of craft excellence for your teamDesign, build and deliver full-stack, in-game features enabling players to have a world-class experienceDesign, build, and deliver large scale backend services to support millions of playersCollaborate closely with Production, Game Design and UI/UX disciplinesMentor and grow other engineers on the teamRequired Qualifications6+ years of experience as a software engineerBS degree or equivalent experienceExperience with C++, C#, Java, Golang, or similar language(s)Desired QualificationsProfessional experience working with cloud computing and cloud technologiesProfessional experience building large scale backend systems or game servicesProfessional experience building player- or user-facing frontend experiences (e.g. web, mobile, game)Professional experience working with the Go programming languageProfessional or academic experience working with C++Professional or hobby experience working with the Unreal EngineFor this role, you'll find success through craft expertise, a collaborative spirit, and decision-making that prioritizes the delight of players. We will be looking at your past studies, experience, and your personal relationship with games. If you embody player empathy and care about players' experiences, this could be your role!Our Perks:Riot focuses on work/life balance, shown by our open paid time off policy and other perks such as flexible work schedules. We offer medical, dental, and life insurance, parental leave for you, your spouse/domestic partner, and children, and a 401k with company match. Check out our benefits pages for more information.Riot Games fosters a player and workplace experience that values teamwork embodied by the Summoner's Code and Community Code . Our culture embraces differences as a strength, and our values are the guiding principles for how we approach work. We are committed to putting diversity and inclusion (D&I) at the center of everything we do, and promoting a fair and collaborative culture where Rioters treat one another with dignity and respect. We encourage you to read more about our value of thriving together and our ongoing work to build the most inclusive company in Gaming .It’s our policy to provide equal employment opportunity for all applicants and members of Riot Games, Inc. Riot Games makes reasonable accommodations for handicapped and disabled Rioters and does not unlawfully discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity or expression, national origin, age, handicap, veteran status, marital status, criminal history, or any other category protected by applicable federal and state law. We consider for employment all qualified applicants, including those with criminal histories, in a manner consistent with applicable federal, state and local law, including the California Fair Chance Act, the City of Los Angeles Fair Chance Initiative for Hiring Ordinance, the Los Angeles County Fair Chance Ordinance for Employers, the San Francisco Fair Chance Ordinance, and the Washington Fair Chance Act.Per the Los Angeles County Fair Chance Ordinance, the following core duties may create a basis for disqualifying candidates with relevant criminal histories:Safeguarding confidential and sensitive Company dataCommunication with others, including Rioters and third parties such as vendors, and/or players, including minorsAccessing Company assets, secure digital systems, and networksEnsuring a safe interactive environment for players and other RiotersThese duties are directly related to essential operations, safety, trust, and compliance obligations within our organization. Please note that job duties may evolve based on business needs and additional responsibilities may be assigned as necessary to maintain operational efficiency and security. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

This Amateur Art Detective Thinks Paul Gauguin’s Last Self-Portrait Is a Fake The new allegations come from Fabrice Fourmanoir, who previously identified a fraudulent Gauguin sculpture that the Getty Museum had purchased for $5 million The authenticity of Paul Gauguin's 1903 self-portrait has long been the subject of debate. Public domain via Wikimedia Commons According to naval records, Paul Gauguin’s eyes were brown. In early self-portraits, the French artist painted himself with a crooked nose, and he scrawled a signature and date in the corners. Why, then, does Gauguin’s last self-portrait have blue eyes, a squat nose and no signature or date? According to Fabrice Fourmanoir, an art dealer and amateur art sleuth, these aesthetic oddities are just the most obvious evidence that the 1903 self-portrait housed at the Kunstmuseum Basel in Switzerland was not the work of Gauguin. Fourmanoir alleges that the work was instead painted by Gauguin’s friend Ky-Dong Nguyen Van Cam in the 1910s, years after the artist’s death in 1903. After that, he says it was passed off as a real Gauguin and eventually bequeathed to the Kunstmuseum Basel in 1945. So far, the Kunstmuseum has been willing to check Fourmanoir’s claims. It announced that it will conduct X-ray, infrared and ultraviolet scans to help determine the provenance of the painting. “We take this matter very seriously, but these analyses will take some time,” a spokesperson for the Kunstmuseum tells Artnet’s Jo Lawson-Tancred. Results are not expected until June or July. A Gauguin self-portrait from 1888 Public domain via Wikimedia Commons The painting’s official origin story begins on the island of Hiva Oa in French Polynesia in 1903. Gauguin’s health was declining. Although in February of that year, he wrote to a friend explaining that he had “hardly touched a brush for three months,” he somehow found the motivation to make one last self-portrait, per the Art Newspaper’s Martin Bailey. On the morning of May 8, he died, likely of a heart attack. His poor health is evident in the self-portrait. His face is grim, lacking the exuberance and devil-may-care attitude visible in earlier paintings. Henri Loyrette, a former director of the Musée d’Orsay and the Louvre in Paris, once described it as “a portrait of eternity,” akin to the Fayum funerary portraits of ancient Egypt, according to the Art Newspaper. But Fourmanoir doesn’t believe this story. He claims that after Gauguin befriended Ky-Dong, who was exiled from his native Vietnam for anti-colonial activities, he taught him to paint. After Gauguin’s death, Ky-Dong painted the portrait of his deceased friend and teacher based on a black-and-white photograph, which goes some way in explaining the discrepancy in eye color and nose shape. Fourmanoir’s principal source is Ky-Dong’s son, whom he met in Papeete, the capital of Tahiti, in the 1980s. “We had long conversations about Gauguin and his father, Ky-Dong. He told me his father had said that he had painted the portrait of Gauguin,” says Fourmanoir, per the Art Newspaper. The portrait surfaced in 1923 in the possession of Louis Grélet, a Swiss liquor merchant and photographer who knew Gauguin. Fourmanoir alleges that Grélet knew the painting was not a real Gauguin but passed it off as authentic with the help of Jean-Louis Ormond, the nephew of painter John Singer Sargent. They put the work up for auction at Sotheby’s in London and split the earnings. Paul Gauguin around 1891 Public domain via Wikimedia Commons Fourmanoir’s allegations aren’t without precedent. In the late 1920s, the portrait hung at the Kunsthalle Basel, an art gallery in Switzerland, where records described it as a “presumed self-portrait,” according to Le Quotidien de l’Art’s Jade Pillaudin. “The hypothesis that the work is not a Gauguin was already expressed in the first documents that we attained on the subject,” Eva Reifert, a curator at the Kunstmuseum, tells Le Quotidien de l’Art. “Admittedly, we also see documented expert opinion that the work is undoubtedly authentic, but with the new information shared by Fabrice Fourmanoir, there is a chance to study this question again.” Fourmanoir, after all, has a knack for spotting fakes. In 2020, he claimed that a rare sandalwood sculpture attributed to Gauguin was a forgery. The Getty Museum in Los Angeles, which had purchased it for a reported $5 million, later reattributed the piece. While the results of the analyses will help determine the truth of Fourmanoir’s claims, one other possibility remains: The portrait could be a collaborative work by both Gauguin and Ky-Dong. In the 1960s, Bengt Danielsson, a Swedish anthropologist and the author of Gauguin in the South Seas, recalled a story that Grélet once told him, per the Art Newspaper: One day, Ky-Dong was in Gauguin’s studio and began painting the artist’s portrait, Danielsson wrote. “Without a word, Gauguin picked up a mirror and, thrusting his friend aside, took the brush and finished the portrait himself.” Get the latest stories in your inbox every weekday.

For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring. FRIEZE NEW YORK Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable. Jeff Koons at Gagosian Gallery Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian Jeff Koons. Hulk (Tubas), 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk (Tubas), 2004-2018” (above) includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. Read more about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram. Jeff Koons. Hulk (Tubas), 2004-2018. Photo: David Behringer   Lorna Simpson at Hauser & Wirth Gallery Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture. Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang   TEFAF Art Fair TEFAF (The European Fine Art Foundation) occupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own. View of art fair from above with visitors and booths.   George Condo at Gladstone Gallery The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction. Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen George Condo. Untitled (NYC 38th St.), 1986. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen George Condo. Untitled, 1985. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen   Yeesookyung at Massimo De Carlo Gallery One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung. So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery (below). Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable. Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo   INDEPENDENT Art Fair INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft. Maximilian Schubert at Off Paradise Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real painting (also created by the artist) and painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires. Maximilian Schubert, Untitled (Over New York), 2024. Photo: Marc Tatti Maximilian Schubert, Untitled 2025, Photo:  Marc Tatti Maximilian Schubert, Untitled 2025 (detail)   Terran Last Gun at Diane Rosenstein Gallery This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paper (most over 100 years old) with the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nation (Blackfeet) of Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage. Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer   NADA ART FAIR The NADA Art Fair (New Art Dealers Alliance) was hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world. Jaime Pitarch at Spencer Brownstone Gallery Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself. Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery   Alexandria Tarver at Et al. Gallery The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time. Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there! FRIEZE NEW YORK TEFAF NEW YORK INDEPENDENT NADA 

GamesBeat unveiled the winners of its eight annual Visionary Awards during the 2025 GamesBeat Summit event in Los Angeles. The Visionary Award winner is Entertainment Software Rating Board (ESRB) president Patricia Vance, and the Up-and-Comer winner is Strange Scaffold studio head Xalavier Nelson Jr. GamesBeat editorial director Dean…Read More

All images courtesy of Constance Jaeggi, shared with permission Constance Jaeggi Illuminates the Resilient Women of the Charrería in ‘Escaramuza, the Poetics of Home’ May 20, 2025 PhotographySocial Issues Kate Mothes Growing up in Switzerland, Constance Jaeggi’s journey from a suburban area of central Europe to the rural grasslands of Texas was guided by what she describes as an “unexplainable fascination” with horses. She moved to the U.S. to pursue a competitive riding career and attend university, eventually becoming a rancher and essentially revolving her entire life around the gentle giants. “Throughout college, I was spending all my weekends and free time on horseback,” Jaeggi tells Colossal. Over time, she was drawn to exploring horse culture through visual means, picking up a camera and documenting the animals, people, and landscapes around her. “I was curious about the age-old human-horse relationship and how that impacts humans’ relationship with horses today,” she adds. “Photography was a way to lean into that curiosity and express myself differently.” While attending rodeos and traveling throughout the western community, Jaeggi became acquainted with the custom of escaramuza. It’s the only female event of the Mexican national sport charrería, and the activity combines equestrian and livestock competitions like roping and working with cattle. Escaramuza, which translates to “skirmish,” was inspired by the women soldiers, or soldaderas, of the Mexican Revolution in the early 20th century and contemporary narratives like “La Adelita.” Teams traditionally consist of 16 women, with eight competing at a time for a maximum of eight minutes. Carrying out elaborately choreographed dances in vibrant, traditional, handmade Mexican dresses, escaramuzas ride sidesaddle and are judged on their synchronicity, precision, garments, and elegance. “When the Cowgirl Museum in Fort Worth, Texas, approached me about creating a photo exhibition on the escaramuza tradition, I knew very little about it other than the beauty of the dresses and elegant performance aspect of it,” Jaeggi says. “As I started researching, I was captivated by the history of the tradition, the gender dynamics within charrería, how those are evolving, and the stories of the contemporary riders I spoke to.” The oral histories of the women she met form the foundation for Jaeggi’s ongoing series, Escaramuza, the Poetics of Home, which is on view now at the Poetry Foundation in Chicago. “I wasn’t initially sure how, but I knew I needed to bring their voices back into the work somehow,” the artist says. Jaeggi chronicled teams in Illinois, Colorado, Texas, Washington, Idaho, Georgia, California, Oregon, Iowa, and Arizona, interviewing riders as she went. During the journey, she met two poets, ire’ne lara silva and Angelina Sáenz, whose poems accompany the images and take inspiration from the women’s stories. “Poetry felt like a good way to really emphasize some of the strong themes that came out of my conversations with the riders, and Angelina and ire’ne were in a good position to understand and relate to the cultural background of these women,” Jaeggi says. Escaramuza, the Poetics of Home centers portraits of Mexican-American women in full regalia, highlighting colorful, coordinated dresses and their iconic wide-brimmed sombreros. Jaeggi portrays empowered, strong, and resilient individuals who balance numerous responsibilities. “A lot of the women I met are full time students or have full time jobs—sometimes multiple jobs—and are raising children,” Jaeggi says. The sport is also dangerous. Competitors perform intense and complicated maneuvers, criss-crossing one another at high speed, which riding side-saddle makes even more challenging because the person only has control of one side of the horse. “There is a narrative around immigration and the role it plays in the development of the sport in the U.S.,” Jaeggi says, sharing that as she spoke to these women, learning about their work and lives, many shared experiences of “not feeling Mexican enough when traveling to Mexico but not feeling American enough at home either.” And as a gendered event governed by strict charrería rules, many experience frustration at the rigidity of the dress code they’re required to adhere to, which is not the case for male charros. Exacaramuza, the Poetics of Home continues in Chicago through August 23. Find more on Jaeggi’s website and Instagram. Previous articleNext article