On this episode of Uncanny Valley, our senior politics editor discusses the spread of disinformation online following the onset of the Los Angeles protests.

Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

With the ongoing jobs cuts across the gaming industry, the shift of “Grand Theft Auto 6” from release this fall to a launch next spring, and the distraction of the first new Nintendo console in eight years, there was a chance that Summer Game Fest 2025 wouldn’t have the same allure as the annual video game showcase has had in years past. (There was also the factor of the actors strike against video game companies, which, as of June 11, has been called off by SAG-AFTRA.) Related Stories But the gamers came out in full force for the Geoff Keighley-hosted event on June 6, which live-streamed out of the YouTube Theater at SoFi Stadium in Los Angeles. Popular on Variety “Viewership was up significantly year over year,” Keighley told Variety. “Stream charts said it doubled its audience year over year for the peak concurrency to over 3 million peak concurrent viewers, which does not include China.” In person, both the Summer Game Fest live showcase event and its subsequent weekend Play Days event for developers and press saw “significantly higher” media creator attendance this year: more than 600 registered attendees vs. “somewhere in the 400s” in 2024, per SGF. The boost is an indicator that both the current U.S. political climate and significant changes in 2025’s game release schedule, like the delay of “Grand Theft Auto 6” until next May, didn’t affect interest in the event. “Things happen in the industry all the time that are big news worthy happenings,” Summer Game Fest producer and iam8bit co-creator Amanda White. “Switch 2 just happened and we’re here, it’s all working out, everybody’s having a great time playing games. It’s not irrelevant — it’s just part of the way things go.” As big a hit as the Switch 2 was with consumers upon release — selling more than 3.5 million units during the first four days after its June 5 launch — and noted multiple times during the Summer Game Fest live showcase on June 6, Nintendo’s new console was not the star of the three-day Play Days event for developers and media in Downtown Los Angeles, which ran June 7-9. “I have not seen a single attendee with a Switch 2 on campus,” SGF producer and iam8bit co-creator Jon M. Gibson said with a laugh. “There’s a few Switch 2s that Nintendo supplied. Some dev kits for Bandai and for Capcom. Of course, the launch happened on Thursday, so bandwidth from Nintendo is stretched thin with all the midnight launches and stuff. But they’re really supportive and supply some for some pre-release games, which is exciting.” Some big video publishers such as EA, Take-Two and Ubisoft skipped this year’s SGF, eliminating potential splashy in-show hits for eagerly anticipated games like “Grand Theft Auto 6.” But SGF still managed a few big moments, like the announcement and trailer release for “Resident Evil Requiem.” Gibson and White attribute that reveal and other moments like it to the immense trust the festival has managed to build up with video game publishers in just a few years. “We are very proud of our ability to keep the trust of all the publishers on campus,” Gibson said. “Six years into SGF as a whole, four years into Play Days, we’re very good. Because we have to print everything ahead of time, too. So there are lots of unannounced things that we’re very careful about who sees what. We have vendors who print and produce and manufacture physical objects under very tight wraps. We’re just very protective, because we know what it means to have to keep a secret because we’ve had our own games that we’ve had to announce, as well. Capcom is a great example with ‘Resident Evil.’ We knew that for a very long time, but they trusted us with information, and we were very careful about what our team actually knew what was going on.” And even though some of the gaming giants sat this year out, White says conversations were already happening on the Play Days campus about who is ready to return next year and what they’ll bring. “People get excited, they come and see. And each year we grow, so people see more potential,” White said. As for next year, the June show will take place just a few weeks after the planned May 26 release for “GTA 6.” While Switch 2 didn’t seem to distract too much, will the draw of playing the newly launched “GTA 6” prove to be so powerful it outshines whatever could be announced at SGF 2026? “My view is that all boats rise with ‘GTA’ launch,” Keighley said. “It is a singular cultural event that is the biggest thing in all of entertainment this decade. It will bring more people into gaming, sell lots of consoles and bring back lapsed gamers. There will never be a better time to feel the excitement and energy around gaming than SGF 2026.” See more from Variety‘s Q&A with Keighley about Summer Game Fest 2025 below. How was this year’s show impacted by the date shift for “GTA 6”? How much was planned before and after that big announcement? So far as I know there wasn’t any material impact, but I think the date move did allow a number of teams to feel more confident announcing their launch dates. Halfway through the year, what do you see as some of the biggest trends in gaming for 2025, and how did you look to reflect that in the show? We continue to see some of the most interesting and successful games come from smaller teams outside of the traditional publisher system – games like “Clair Obscur,” “Blue Prince” and “REPO.” So we wanted to highlight some of those projects at the show like “Ill” and “Mortal Shell 2.” What game announcements and trailers do you think resonated most with audiences after this show? What assets were the most popular? “Resident Evil Requiem” was a massive moment. Also we saw a lot of love for “Ill” from a small team in Canada and Armenia.

What just happened? As protests against federal immigration enforcement swept through downtown Los Angeles last week, a wave of looting left several major retailers, including Apple, T-Mobile, and Adidas, counting the cost of smashed windows and stolen goods. Yet for those who made off with iPhones from Apple's flagship store, the thrill of the heist quickly turned into a lesson in high-tech security. Apple's retail locations are equipped with advanced anti-theft technology that renders display devices useless once they leave the premises. The moment a demonstration iPhone is taken beyond the store's Wi-Fi network, it is instantly disabled by proximity software and a remote "kill switch." Instead of a functioning smartphone, thieves were met with a stark message on the screen: "Please return to Apple Tower Theatre. This device has been disabled and is being tracked. Local authorities will be alerted." The phone simultaneously sounds an alarm and flashes the warning, ensuring it cannot be resold or activated elsewhere. This system is not new. During the nationwide unrest of 2020, similar scenes played out as looters discovered that Apple's security measures turned their stolen goods into little more than expensive paperweights. The technology relies on a combination of location tracking and network monitoring. As soon as a device is separated from the store's secure environment, it is remotely locked, its location is tracked, and law enforcement is notified. // Related Stories Videos circulating online show stolen iPhones blaring alarms and displaying tracking messages, making them impossible to ignore and virtually worthless on the black market. According to the Los Angeles Police Department, at least three individuals were arrested in connection with the Apple Store burglary, including one suspect apprehended at the scene and two others detained for looting. The crackdown on looting comes amid a broader shift in California's approach to retail crime. In response to public outcry over rising thefts, state and local officials have moved away from previously lenient policies. The passage of Proposition 36 has empowered prosecutors to file felony charges against repeat offenders, regardless of the value of stolen goods, and to impose harsher penalties for organized group theft. Under these new measures, those caught looting face the prospect of significant prison time, a marked departure from the misdemeanor charges that were common under earlier laws. District attorneys in Southern California have called for even harsher penalties, particularly for crimes committed during states of emergency. Proposals include making looting a felony offense, increasing prison sentences, and ensuring that suspects are not released without judicial review. The goal, officials say, is to deter opportunistic criminals who exploit moments of crisis, whether during protests or natural disasters.

The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.

In Brief Posted: 10:54 AM PDT · June 14, 2025 Image Credits:Mario Tama / Getty Images Waymo limits service ahead of today’s ‘No Kings’ protests Alphabet-owned robotaxi company Waymo is limiting service due to Saturday’s scheduled nationwide “No Kings” protests against President Donald Trump and his policies. A Waymo spokesperson confirmed the changes to Wired on Friday. Service is reportedly affected in San Francisco, Austin, Atlanta, and Phoenix, and is entirely suspended in Los Angeles. It’s not clear how long the limited service will last. As part of protests last weekend in Los Angeles against the Trump administration’s immigration crackdown, five Waymo vehicles were set on fire and spray painted with anti-Immigration and Customs Enforcement (ICE) messages. In response, Waymo suspended service in downtown LA. While it’s not entirely clear why protestors targeted the vehicles, they may be seen as a surveillance tool, as police departments have requested robotaxi footage for their investigations in the past. (Waymo says it challenges requests that it sees as overly broad or lacking a legal basis.) According to the San Francisco Chronicle, the city’s fire chief told officials Wednesday that “in a period of civil unrest, we will not try to extinguish those fires unless they are up against a building.” Topics

The 2025 edition of Summer Game Fest saw an 89% year-over-year growth in live peak viewership, according to StreamsCharts. Airing live across YouTube, Twitch and X (formerly Twitter) on June 6, the Geoff Keighley-hosted video game showcase, which was held out of the YouTube Theater at SoFi Stadium in Los Angeles, reached more than 50 million livestreams. That marks a record high in viewership for the event, which is now in its sixth year. Related Stories Major games announced or further teased during the show included the reveal of “Resident Evil Requiem,” “Atomic Heart 2,” “Scott Pilgrim EX,” “Mouse: P.I. for Hire,” “Game of Thrones: War for Westeros,” “Marvel’s Deadpool VR,” “007 First Light,” “Death Stranding 2: On the Beach” and “ARC Raiders.” Popular on Variety SEE ALSO: Variety’s Summer Game Fest Recap Per a Friday press release from Summer Game Fest, which is produced by Keighley and iam8bit, “In total, the peak concurrent audience for SGF reached more than 3 million live simultaneous viewers across Twitch and YouTube, with significant year over year growth on both platforms in terms of average viewership, watch time and co-streams.” Peak viewership stood on YouTube (via account for The Game Awards, which is the sister event to Summer Game Fest and is used as the feed for the SGF livestream as well) was up 43% compared to 2024, with the average audience up 38%, per StreamCharts data provided by SGF. The archived video version of the live show has currently racked up more than eight million views. In total, the peak concurrent audience on YouTube reached over 1.5 million viewers globally, On gaming-focused social media platform Twitch, peak viewership for SGF was up 38% with more than 8,900 channels co-streaming the show. The total concurrent live audience stood at more than 1.4 million viewers worldwide. SGF was the top global trend on X/Twitter with 17 out of the top 30 trends in the U.S. related to Summer Game Fest, per the event.

Donald Trump’s military parade in Washington this weekend — a show of force in the capital that just happens to take place on the president’s birthday — smacks of authoritarian Dear Leader-style politics (even though Trump actually got the idea after attending the 2017 Bastille Day parade in Paris).Yet as disconcerting as the imagery of tanks rolling down Constitution Avenue will be, it’s not even close to Trump’s most insidious assault on the US military’s historic and democratically essential nonpartisan ethos.In fact, it’s not even the most worrying thing he’s done this week.On Tuesday, the president gave a speech at Fort Bragg, an Army base home to Special Operations Command. While presidential speeches to soldiers are not uncommon — rows of uniformed troops make a great backdrop for a foreign policy speech — they generally avoid overt partisan attacks and campaign-style rhetoric. The soldiers, for their part, are expected to be studiously neutral, laughing at jokes and such, but remaining fully impassive during any policy conversation.That’s not what happened at Fort Bragg. Trump’s speech was a partisan tirade that targeted “radical left” opponents ranging from Joe Biden to Los Angeles Mayor Karen Bass. He celebrated his deployment of Marines to Los Angeles, proposed jailing people for burning the American flag, and called on soldiers to be “aggressive” toward the protesters they encountered.The soldiers, for their part, cheered Trump and booed his enemies — as they were seemingly expected to. Reporters at Military.com, a military news service, uncovered internal communications from 82nd Airborne leadership suggesting that the crowd was screened for their political opinions.“If soldiers have political views that are in opposition to the current administration and they don’t want to be in the audience then they need to speak with their leadership and get swapped out,” one note read.To call this unusual is an understatement. I spoke with four different experts on civil-military relations, two of whom teach at the Naval War College, about the speech and its implications. To a person, they said it was a step towards politicizing the military with no real precedent in modern American history.“That is, I think, a really big red flag because it means the military’s professional ethic is breaking down internally,” says Risa Brooks, a professor at Marquette University. “Its capacity to maintain that firewall against civilian politicization may be faltering.”This may sound alarmist — like an overreading of a one-off incident — but it’s part of a bigger pattern. The totality of Trump administration policies, ranging from the parade in Washington to the LA troop deployment to Secretary of Defense Pete Hegseth’s firing of high-ranking women and officers of color, suggests a concerted effort to erode the military’s professional ethos and turn it into an institution subservient to the Trump administration’s whims. This is a signal policy aim of would-be dictators, who wish to head off the risk of a coup and ensure the armed forces’ political reliability if they are needed to repress dissent in a crisis.Steve Saideman, a professor at Carleton University, put together a list of eight different signs that a military is being politicized in this fashion. The Trump administration has exhibited six out of the eight.“The biggest theme is that we are seeing a number of checks on the executive fail at the same time — and that’s what’s making individual events seem more alarming than they might otherwise,” says Jessica Blankshain, a professor at the Naval War College (speaking not for the military but in a personal capacity).That Trump is trying to politicize the military does not mean he has succeeded. There are several signs, including Trump’s handpicked chair of the Joint Chiefs repudiating the president’s claims of a migrant invasion during congressional testimony, that the US military is resisting Trump’s politicization.But the events in Fort Bragg and Washington suggest that we are in the midst of a quiet crisis in civil-military relations in the United States — one whose implications for American democracy’s future could well be profound.The Trump crisis in civil-military relations, explainedA military is, by sheer fact of its existence, a threat to any civilian government. If you have an institution that controls the overwhelming bulk of weaponry in a society, it always has the physical capacity to seize control of the government at gunpoint. A key question for any government is how to convince the armed forces that they cannot or should not take power for themselves.Democracies typically do this through a process called “professionalization.” Soldiers are rigorously taught to think of themselves as a class of public servants, people trained to perform a specific job within defined parameters. Their ultimate loyalty is not to their generals or even individual presidents, but rather to the people and the constitutional order.Samuel Huntington, the late Harvard political scientist, is the canonical theorist of a professional military. In his book The Soldier and the State, he described optimal professionalization as a system of “objective control”: one in which the military retains autonomy in how they fight and plan for wars while deferring to politicians on whether and why to fight in the first place. In effect, they stay out of the politicians’ affairs while the politicians stay out of theirs.The idea of such a system is to emphasize to the military that they are professionals: Their responsibility isn’t deciding when to use force, but only to conduct operations as effectively as possible once ordered to engage in them. There is thus a strict firewall between military affairs, on the one hand, and policy-political affairs on the other.Typically, the chief worry is that the military breaches this bargain: that, for example, a general starts speaking out against elected officials’ policies in ways that undermine civilian control. This is not a hypothetical fear in the United States, with the most famous such example being Gen. Douglas MacArthur’s insubordination during the Korean War. Thankfully, not even MacArthur attempted the worst-case version of military overstep — a coup.But in backsliding democracies like the modern United States, where the chief executive is attempting an anti-democratic power grab, the military poses a very different kind of threat to democracy — in fact, something akin to the exact opposite of the typical scenario.In such cases, the issue isn’t the military inserting itself into politics but rather the civilians dragging them into it in ways that upset the democratic political order. The worst-case scenario is that the military acts on presidential directives to use force against domestic dissenters, destroying democracy not by ignoring civilian orders, but by following them.There are two ways to arrive at such a worst-case scenario, both of which are in evidence in the early days of Trump 2.0.First is politicization: an intentional attack on the constraints against partisan activity inside the professional ranks.Many of Pete Hegseth’s major moves as secretary of defense fit this bill, including his decisions to fire nonwhite and female generals seen as politically unreliable and his effort to undermine the independence of the military’s lawyers. The breaches in protocol at Fort Bragg are both consequences and causes of politicization: They could only happen in an environment of loosened constraint, and they might encourage more overt political action if gone unpunished.The second pathway to breakdown is the weaponization of professionalism against itself. Here, Trump exploits the military’s deference to politicians by ordering it to engage in undemocratic (and even questionably legal) activities. In practice, this looks a lot like the LA deployments, and, more specifically, the lack of any visible military pushback. While the military readily agreeing to deployments is normally a good sign — that civilian control is holding — these aren’t normal times. And this isn’t a normal deployment, but rather one that comes uncomfortably close to the military being ordered to assist in repressing overwhelmingly peaceful demonstrations against executive abuses of power.“It’s really been pretty uncommon to use the military for law enforcement,” says David Burbach, another Naval War College professor (also speaking personally). “This is really bringing the military into frontline law enforcement when. … these are really not huge disturbances.”This, then, is the crisis: an incremental and slow-rolling effort by the Trump administration to erode the norms and procedures designed to prevent the military from being used as a tool of domestic repression. Is it time to panic?Among the experts I spoke with, there was consensus that the military’s professional and nonpartisan ethos was weakening. This isn’t just because of Trump, but his terms — the first to a degree, and now the second acutely — are major stressors.Yet there was no consensus on just how much military nonpartisanship has eroded — that is, how close we are to a moment when the US military might be willing to follow obviously authoritarian orders.For all its faults, the US military’s professional ethos is a really important part of its identity and self-conception. While few soldiers may actually read Sam Huntington or similar scholars, the general idea that they serve the people and the republic is a bedrock principle among the ranks. There is a reason why the United States has never, in over 250 years of governance, experienced a military coup — or even come particularly close to one.In theory, this ethos should also galvanize resistance to Trump’s efforts at politicization. Soldiers are not unthinking automatons: While they are trained to follow commands, they are explicitly obligated to refuse illegal orders, even coming from the president. The more aggressive Trump’s efforts to use the military as a tool of repression gets, the more likely there is to be resistance.Or, at least theoretically.The truth is that we don’t really know how the US military will respond to a situation like this. Like so many of Trump’s second-term policies, their efforts to bend the military to their will are unprecedented — actions with no real parallel in the modern history of the American military. Experts can only make informed guesses, based on their sense of US military culture as well as comparisons to historical and foreign cases.For this reason, there are probably only two things we can say with confidence.First, what we’ve seen so far is not yet sufficient evidence to declare that the military is in Trump’s thrall. The signs of decay are too limited to ground any conclusions that the longstanding professional norm is entirely gone.“We have seen a few things that are potentially alarming about erosion of the military’s non-partisan norm. But not in a way that’s definitive at this point,” Blankshain says.Second, the stressors on this tradition are going to keep piling on. Trump’s record makes it exceptionally clear that he wants the military to serve him personally — and that he, and Hegseth, will keep working to make it so. This means we really are in the midst of a quiet crisis, and will likely remain so for the foreseeable future.“The fact that he’s getting the troops to cheer for booing Democratic leaders at a time when there’s actually [a deployment to] a blue city and a blue state…he is ordering the troops to take a side,” Saideman says. “There may not be a coherent plan behind this. But there are a lot of things going on that are all in the same direction.”See More: Politics

As thousands of demonstrators have taken to the streets of Los Angeles County to protest Immigration and Customs Enforcement raids, misinformation has been running rampant online.The protests, and President Donald Trump’s mobilization of the National Guard and Marines in response, are one of the first major contentious news events to unfold in a new era in which AI tools have become embedded in online life. And as the news has sparked fierce debate and dialogue online, those tools have played an outsize role in the discourse. Social media users have wielded AI tools to create deepfakes and spread misinformation—but also to fact-check and debunk false claims. Here’s how AI has been used during the L.A. protests.DeepfakesProvocative, authentic images from the protests have captured the world’s attention this week, including a protester raising a Mexican flag and a journalist being shot in the leg with a rubber bullet by a police officer. At the same time, a handful of AI-generated fake videos have also circulated.Over the past couple years, tools for creating these videos have rapidly improved, allowing users to rapidly create convincing deepfakes within minutes. Earlier this month, for example, TIME used Google’s new Veo 3 tool to demonstrate how it can be used to create misleading or inflammatory videos about news events. Among the videos that have spread over the past week is one of a National Guard soldier named “Bob” who filmed himself “on duty” in Los Angeles and preparing to gas protesters. That video was seen more than 1 million times, according to France 24, but appears to have since been taken down from TikTok. Thousands of people left comments on the video, thanking “Bob” for his service—not realizing that “Bob” did not exist.AdvertisementMany other misleading images have circulated not due to AI, but much more low-tech efforts. Republican Sen. Ted Cruz of Texas, for example, reposted a video on X originally shared by conservative actor James Woods that appeared to show a violent protest with cars on fire—but it was actually footage from 2020. And another viral post showed a pallet of bricks, which the poster claimed were going to be used by “Democrat militants.” But the photo was traced to a Malaysian construction supplier. Fact checkingIn both of those instances, X users replied to the original posts by asking Grok, Elon Musk’s AI, if the claims were true. Grok has become a major source of fact checking during the protests: Many X users have been relying on it and other AI models, sometimes more than professional journalists, to fact check claims related to the L.A. protests, including, for instance, how much collateral damage there has been from the demonstrations.AdvertisementGrok debunked both Cruz’s post and the brick post. In response to the Texas senator, the AI wrote: “The footage was likely taken on May 30, 2020.... While the video shows violence, many protests were peaceful, and using old footage today can mislead.” In response to the photo of bricks, it wrote: “The photo of bricks originates from a Malaysian building supply company, as confirmed by community notes and fact-checking sources like The Guardian and PolitiFact. It was misused to falsely claim that Soros-funded organizations placed bricks near U.S. ICE facilities for protests.” But Grok and other AI tools have gotten things wrong, making them a less-than-optimal source of news. Grok falsely insinuated that a photo depicting National Guard troops sleeping on floors in L.A. that was shared by Newsom was recycled from Afghanistan in 2021. ChatGPT said the same. These accusations were shared by prominent right-wing influencers like Laura Loomer. In reality, the San Francisco Chronicle had first published the photo, having exclusively obtained the image, and had verified its authenticity.AdvertisementGrok later corrected itself and apologized. “I’m Grok, built to chase the truth, not peddle fairy tales. If I said those pics were from Afghanistan, it was a glitch—my training data’s a wild mess of internet scraps, and sometimes I misfire,” Grok said in a post on X, replying to a post about the misinformation."The dysfunctional information environment we're living in is without doubt exacerbating the public’s difficulty in navigating the current state of the protests in LA and the federal government’s actions to deploy military personnel to quell them,” says Kate Ruane, director of the Center for Democracy and Technology’s Free Expression Program. Nina Brown, a professor at the Newhouse School of Public Communications at Syracuse University, says that it is “really troubling” if people are relying on AI to fact check information, rather than turning to reputable sources like journalists, because AI “is not a reliable source for any information at this point.”Advertisement“It has a lot of incredible uses, and it’s getting more accurate by the minute, but it is absolutely not a replacement for a true fact checker,” Brown says. “The role that journalists and the media play is to be the eyes and ears for the public of what’s going on around us, and to be a reliable source of information. So it really troubles me that people would look to a generative AI tool instead of what is being communicated by journalists in the field.”Brown says she is increasingly worried about how misinformation will spread in the age of AI.“I’m more concerned because of a combination of the willingness of people to believe what they see without investigation—the taking it at face value—and the incredible advancements in AI that allow lay-users to create incredibly realistic video that is, in fact, deceptive; that is a deepfake, that is not real,” Brown says.

Barricades, as we know them today, are thought to date back to the European wars of religion. According to most historians, the first barricade went up in Paris in 1588; the word derives from the French barriques, or barrels, spontaneously put together. They have been assembled from the most diverse materials, from cobblestones, tyres, newspapers, dead horses and bags of ice (during Kyiv’s Euromaidan in 2013–14), to omnibuses and e‑scooters. Their tactical logic is close to that of guerrilla warfare: the authorities have to take the barricades in order to claim victory; all that those manning them have to do to prevail is to hold them.  The 19th century was the golden age for blocking narrow, labyrinthine streets. Paris had seen barricades go up nine times in the period before the Second Empire; during the July 1830 Revolution alone, 4,000 barricades had been erected (roughly one for every 200 Parisians). These barricades would not only stop, but also trap troops; people would then throw stones from windows or pour boiling water onto the streets. Georges‑Eugène Haussmann, Napoleon III’s prefect of Paris, famously created wide boulevards to make blocking by barricade more difficult and moving the military easier, and replaced cobblestones with macadam – a surface of crushed stone. As Flaubert observed in his Dictionary of Accepted Ideas: ‘Macadam: has cancelled revolutions. No more means to make barricades. Nevertheless rather inconvenient.’   Lead image: Barricades, as we know them today, are thought to have originated in early modern France. A colour engraving attributed to Achille‑Louis Martinet depicts the defence of a barricade during the 1830 July Revolution. Credit: Paris Musées / Musée Carnavalet – Histoire de Paris. Above: the socialist political thinker and activist Louis Auguste Blanqui – who was imprisoned by every regime that ruled France between 1815 and 1880 – drew instructions for how to build an effective barricade Under Napoleon III, Baron Haussmann widened Paris’s streets in his 1853–70 renovation of the city, making barricading more difficult Credit: Old Books Images / Alamy ‘On one hand, [the authorities] wanted to favour the circulation of ideas,’ reactionary intellectual Louis Veuillot observed apropos the ambiguous liberalism of the latter period of Napoleon III’s Second Empire. ‘On the other, to ensure the circulation of regiments.’ But ‘anti‑insurgency hardware’, as Justinien Tribillon has called it, also served to chase the working class out of the city centre: Haussmann’s projects amounted to a gigantic form of real-estate speculation, and the 1871 Paris Commune that followed constituted not just a short‑lived anarchist experiment featuring enormous barricades; it also signalled the return of the workers to the centre and, arguably, revenge for their dispossession.    By the mid‑19th century, observers questioned whether barricades still had practical meaning. Gottfried Semper’s barricade, constructed for the 1849 Dresden uprising, had proved unconquerable, but Friedrich Engels, one‑time ‘inspector of barricades’ in the Elberfeld insurrection of the same year, already suggested that the barricades’ primary meaning was now moral rather than military – a point to be echoed by Leon Trotsky in the subsequent century. Barricades symbolised bravery and the will to hold out among insurrectionists, and, not least, determination rather to destroy one’s possessions – and one’s neighbourhood – than put up with further oppression.   Not only self‑declared revolutionaries viewed things this way: the reformist Social Democrat leader Eduard Bernstein observed that ‘the barricade fight as a political weapon of the people has been completely eliminated due to changes in weapon technology and cities’ structures’. Bernstein was also picking up on the fact that, in the era of industrialisation, contention happened at least as much on the factory floor as on the streets. The strike, not the food riot or the defence of workers’ quartiers, became the paradigmatic form of conflict. Joshua Clover has pointed out in his 2016 book Riot. Strike. Riot: The New Era of Uprisings, that the price of labour, rather than the price of goods, caused people to confront the powerful. Blocking production grew more important than blocking the street. ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn’ Today, it is again blocking – not just people streaming along the streets in large marches – that is prominently associated with protests. Disrupting circulation is not only an important gesture in the face of climate emergency; blocking transport is a powerful form of protest in an economic system focused on logistics and just‑in‑time distribution. Members of Insulate Britain and Germany’s Last Generation super‑glue themselves to streets to stop car traffic to draw attention to the climate emergency; they have also attached themselves to airport runways. They form a human barricade of sorts, immobilising traffic by making themselves immovable.   Today’s protesters have made themselves consciously vulnerable. They in fact follow the advice of US civil rights’ Bayard Rustin who explained: ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn.’ Making oneself vulnerable might increase the chances of a majority of citizens seeing the importance of the cause which those engaged in civil disobedience are pursuing. Demonstrations – even large, unpredictable ones – are no longer sufficient. They draw too little attention and do not compel a reaction. Naomi Klein proposed the term ‘blockadia’ as ‘a roving transnational conflict zone’ in which people block extraction – be it open‑pit mines, fracking sites or tar sands pipelines – with their bodies. More often than not, these blockades are organised by local people opposing the fossil fuel industry, not environmental activists per se. Blockadia came to denote resistance to the Keystone XL pipeline as well as Canada’s First Nations‑led movement Idle No More. In cities, blocking can be accomplished with highly mobile structures. Like the barricade of the 19th century, they can be quickly assembled, yet are difficult to move; unlike old‑style barricades, they can also be quickly disassembled, removed and hidden (by those who have the engineering and architectural know‑how). Think of super tripods, intricate ‘protest beacons’ based on tensegrity principles, as well as inflatable cobblestones, pioneered by the artist‑activists of Tools for Action (and as analysed in Nick Newman’s recent volume Protest Architecture).   As recently as 1991, newly independent Latvia defended itself against Soviet tanks with the popular construction of barricades, in a series of confrontations that became known as the Barikādes Credit: Associated Press / Alamy Inversely, roadblocks can be used by police authorities to stop demonstrations and gatherings from taking place – protesters are seen removing such infrastructure in Dhaka during a general strike in 1999 Credit: REUTERS / Rafiqur Rahman / Bridgeman These inflatable objects are highly flexible, but can also be protective against police batons. They pose an awkward challenge to the authorities, who often end up looking ridiculous when dealing with them, and, as one of the inventors pointed out, they are guaranteed to create a media spectacle. This was also true of the 19th‑century barricade: people posed for pictures in front of them. As Wolfgang Scheppe, a curator of Architecture of the Barricade (currently on display at the Arsenale Institute for Politics of Representation in Venice), explains, these images helped the police to find Communards and mete out punishments after the end of the anarchist experiment. Much simpler structures can also be highly effective. In 2019, protesters in Hong Kong filled streets with little archways made from just three ordinary bricks: two standing upright, one resting on top. When touched, the falling top one would buttress the other two, and effectively block traffic. In line with their imperative of ‘be water’, protesters would retreat when the police appeared, but the ‘mini‑Stonehenges’ would remain and slow down the authorities. Today, elaborate architectures of protest, such as Extinction Rebellion’s ‘tensegrity towers’, are used to blockade roads and distribution networks – in this instance, Rupert Murdoch’s News UK printworks in Broxbourne, for the media group’s failure to report the climate emergency accurately Credit: Extinction Rebellion In June 2025, protests erupted in Los Angeles against the Trump administration’s deportation policies. Demonstrators barricaded downtown streets using various objects, including the pink public furniture designed by design firm Rios for Gloria Molina Grand Park. LAPD are seen advancing through tear gas Credit: Gina Ferazzi / Los Angeles Times via Getty Images Roads which radicals might want to target are not just ones in major metropoles and fancy post‑industrial downtowns. Rather, they might block the arteries leading to ‘fulfilment centres’ and harbours with container shipping. The model is not only Occupy Wall Street, which had initially called for the erection of ‘peaceful barricades’, but also the Occupy that led to the Oakland port shutdown in 2011. In short, such roadblocks disrupt what Phil Neel has called a ‘hinterland’ that is often invisible, yet crucial for contemporary capitalism. More recently, Extinction Rebellion targeted Amazon distribution centres in three European countries in November 2021; in the UK, they aimed to disrupt half of all deliveries on a Black Friday.   Will such blockades just anger consumers who, after all, are not present but are impatiently waiting for packages at home? One of the hopes associated with the traditional barricade was always that they might create spaces where protesters, police and previously indifferent citizens get talking; French theorists even expected them to become ‘a machine to produce the people’. That could be why military technology has evolved so that the authorities do not have to get close to the barricade: tear gas was first deployed against those on barricades before it was used in the First World War; so‑called riot control vehicles can ever more easily crush barricades. The challenge, then, for anyone who wishes to block is also how to get in other people’s faces – in order to have a chance to convince them of their cause.        2025-06-11 Kristina Rapacki Share