One stock recently impacted by a whirlwind of volatility is Block—the fintech powerhouse behind Square, Cash App, Tidal Music, and more. The company’s COO and CFO, Amrita Ahuja, shares how her team is using new AI tools to find opportunity amid disruption and reach customers left behind by traditional financial systems. Ahuja also shares lessons from the video game industry and discusses Gen Z’s surprising approach to money management.   This is an abridged transcript of an interview from Rapid Response, hosted by Robert Safian, former editor-in-chief of Fast Company. From the team behind the Masters of Scale podcast, Rapid Response features candid conversations with today’s top business leaders navigating real-time challenges. Subscribe to Rapid Response wherever you get your podcasts to ensure you never miss an episode. As a leader, when you’re looking at all of this volatility—the tariffs, consumer sentiment’s been unclear, the stock market’s been all over the place. You guys had a huge one-day drop in early May, and it quickly bounced back. How do you make sense of all these external factors? Yeah, our focus is on what we can control. And ultimately, the thing that we are laser-focused on for our business is product velocity. How quickly can we start small with something, launch something for our customers, and then test and iterate and learn so that ultimately, that something that we’ve launched scales into an important product? I’ll give you an example. Cash App Borrow, which is a product where our customers can get access to a line of credit, often $100, $200, that bridges them from paycheck to paycheck. We know so many Americans are living paycheck to paycheck. That’s a product that we launched about three years ago and have now scaled to serve 9 million actives with $15 billion in credit supply to our customers in a span of a couple short years. The more we can be out testing and launching product at a pace, the more we know we are ultimately delivering value to our customers, and the right things will happen from a stock perspective. Block is a financial services provider. You have Square, the point-of-sale system; the digital wallet Cash App, which you mentioned, which competes with Venmo and Robinhood; and a bunch of others. Then you’ve got the buy-now, pay-later leader Afterpay. You chair Square Financial Services, which is Block’s chartered bank. But you’ve said that in the fintech world, Block is only a little bit fin—that comparatively, it’s more tech. Can you explain what you mean by that? What we think is unique about us is our ability as a technology company to completely change innovation in the space, such that we can help solve systemic issues across credit, payments, commerce, and banking. What that means ultimately is we use technologies like AI and machine learning and data science, and we use these technologies in a unique way, in a way that’s different from a traditional bank. We are able to underwrite those who are often frankly forgotten by the traditional financial ecosystems. Our Square Loans product has almost triple the rate of women-owned businesses that we underwrite. Fifty-eight percent of our loans go to women-owned businesses versus 20% for the industry average. For that Cash App Borrow product I was talking about, 70% of those actives, the 9 million actives that we underwrote, fell below 580 as a FICO score. That’s considered a poor FICO score, and yet 97% of repayments are made on time. And this is because we have unique access to data and these technology and tools which can help us uniquely underwrite this often forgotten customer base. Yeah. I mean, credit—sometimes it’s been blamed for financial excesses. But access to credit is also, as you say, an advantage that’s not available to everyone. Do you have a philosophy between those poles—between risk and opportunity? Or is what you’re saying is that the tech you have allows you to avoid that risk? That’s right. Let’s start with how do the current systems work? It works using inferior data, frankly. It’s more limited data. It’s outdated. Sometimes it’s inaccurate. And it ignores things like someone’s cash flows, the stability of your income, your savings rate, how money moves through your accounts, or how you use alternative forms of credit—like buy now, pay later, which we have in our ecosystem through Afterpay. We have a lot of these signals for our 57 million monthly actives on the Cash App side and for the 4 million small businesses on the Square side, and those, frankly, billions of transaction data points that we have on any given day paired with new technologies. And we intend to continue to be on the forefront of AI, machine learning, and data science to be able to empower more people into the economy. The combination of the superior data and the technologies is what we believe ultimately helps expand access. You have a financial background, but not in the financial services industry. Before Block, you were a video game developer at Activision. Are financial businesses and video games similar? Are there things that are similar about them? There are. There actually are some things that are similar, I will say. There are many things that are unique to each industry. Each industry is incredibly complex. You find that when big technology companies try to do gaming. They’ve taken over the world in many different ways, but they can’t always crack the nut on putting out a great game. Similarly, some of the largest technology companies have dabbled in fintech but haven’t been able to go as deep, so they’re both very nuanced and complex industries. I would say another similarity is that design really matters. Industrial design, the design of products, the interface of products, is absolutely mission-critical to a great game, and it’s absolutely mission-critical to the simplicity and accessibility of our products, be it on Square or Cash App. And then maybe the third thing that I would say is that when I was in gaming, at least the business models were rapidly changing from an intermediary distribution mechanism, like releasing a game once and then selling it through a retailer, to an always-on, direct-to-consumer connection. And similarly with banking, people don’t want to bank from 9 to 5, six days a week. They want 24/7 access to their money and the ability to, again, grow their financial livelihood, move their money around seamlessly. So, some similarities are there in that shift to an intermediary model or a slower model to an always-on, direct-to-consumer connection. Part of your target audience or your target customer base at Block are Gen Z folks. Did you learn things at Activision about Gen Z that has been useful? Are there things that businesses misunderstand about younger generations still? What we’ve learned is that Gen Z, millennial customers, aren’t going to do things the way their parents did. Some of our stats show that 63% of Gen Z customers have moved away from traditional credit cards, and over 80% are skeptical of them. Which means they’re not using a credit card to manage expenses; they’re using a debit card, but then layering on on a transaction-by-transaction basis. Or again, using tools like buy now, pay later, or Cash App Borrow, the means in which they’re managing their consistent cash flows. So that’s an example of how things are changing, and you’ve got to get up to speed with how the next generation of customers expects to manage their money.

Outdated coding practices and memory-unsafe languages like C are putting software, including cryptographic libraries, at risk. Fortunately, memory-safe languages like Rust, along with formal verification tools, are now mature enough to be used at scale, helping prevent issues like crashes, data corruption, flawed implementation, and side-channel attacks. To address these vulnerabilities and improve memory safety, we’re rewriting SymCrypt (opens in new tab)—Microsoft’s open-source cryptographic library—in Rust. We’re also incorporating formal verification methods. SymCrypt is used in Windows, Azure Linux, Xbox, and other platforms. Currently, SymCrypt is primarily written in cross-platform C, with limited use of hardware-specific optimizations through intrinsics (compiler-provided low-level functions) and assembly language (direct processor instructions). It provides a wide range of algorithms, including AES-GCM, SHA, ECDSA, and the more recent post-quantum algorithms ML-KEM and ML-DSA.  Formal verification will confirm that implementations behave as intended and don’t deviate from algorithm specifications, critical for preventing attacks. We’ll also analyze compiled code to detect side-channel leaks caused by timing or hardware-level behavior. Proving Rust program properties with Aeneas Program verification is the process of proving that a piece of code will always satisfy a given property, no matter the input. Rust’s type system profoundly improves the prospects for program verification by providing strong ownership guarantees, by construction, using a discipline known as “aliasing xor mutability”. For example, reasoning about C code often requires proving that two non-const pointers are live and non-overlapping, a property that can depend on external client code. In contrast, Rust’s type system guarantees this property for any two mutably borrowed references. As a result, new tools have emerged specifically for verifying Rust code. We chose Aeneas (opens in new tab) because it helps provide a clean separation between code and proofs. Developed by Microsoft Azure Research in partnership with Inria, the French National Institute for Research in Digital Science and Technology, Aeneas connects to proof assistants like Lean (opens in new tab), allowing us to draw on a large body of mathematical proofs—especially valuable given the mathematical nature of cryptographic algorithms—and benefit from Lean’s active user community. Compiling Rust to C supports backward compatibility   We recognize that switching to Rust isn’t feasible for all use cases, so we’ll continue to support, extend, and certify C-based APIs as long as users need them. Users won’t see any changes, as Rust runs underneath the existing C APIs. Some users compile our C code directly and may rely on specific toolchains or compiler features that complicate the adoption of Rust code. To address this, we will use Eurydice (opens in new tab), a Rust-to-C compiler developed by Microsoft Azure Research, to replace handwritten C code with C generated from formally verified Rust. Eurydice (opens in new tab) compiles directly from Rust’s MIR intermediate language, and the resulting C code will be checked into the SymCrypt repository alongside the original Rust source code. As more users adopt Rust, we’ll continue supporting this compilation path for those who build SymCrypt from source code but aren’t ready to use the Rust compiler. In the long term, we hope to transition users to either use precompiled SymCrypt binaries (via C or Rust APIs), or compile from source code in Rust, at which point the Rust-to-C compilation path will no longer be needed. Microsoft research podcast Ideas: AI and democracy with Madeleine Daepp and Robert Osazuwa Ness As the “biggest election year in history” comes to an end, researchers Madeleine Daepp and Robert Osazuwa Ness and Democracy Forward GM Ginny Badanes discuss AI’s impact on democracy, including the tech’s use in Taiwan and India. Listen now Opens in a new tab Timing analysis with Revizor  Even software that has been verified for functional correctness can remain vulnerable to low-level security threats, such as side channels caused by timing leaks or speculative execution. These threats operate at the hardware level and can leak private information, such as memory load addresses, branch targets, or division operands, even when the source code is provably correct.  To address this, we’re extending Revizor (opens in new tab), a tool developed by Microsoft Azure Research, to more effectively analyze SymCrypt binaries. Revizor models microarchitectural leakage and uses fuzzing techniques to systematically uncover instructions that may expose private information through known hardware-level effects.   Earlier cryptographic libraries relied on constant-time programming to avoid operations on secret data. However, recent research has shown that this alone is insufficient with today’s CPUs, where every new optimization may open a new side channel.  By analyzing binary code for specific compilers and platforms, our extended Revizor tool enables deeper scrutiny of vulnerabilities that aren’t visible in the source code. Verified Rust implementations begin with ML-KEM This long-term effort is in alignment with the Microsoft Secure Future Initiative and brings together experts across Microsoft, building on decades of Microsoft Research investment in program verification and security tooling. A preliminary version of ML-KEM in Rust is now available on the preview feature/verifiedcrypto (opens in new tab) branch of the SymCrypt repository. We encourage users to try the Rust build and share feedback (opens in new tab). Looking ahead, we plan to support direct use of the same cryptographic library in Rust without requiring C bindings.  Over the coming months, we plan to rewrite, verify, and ship several algorithms in Rust as part of SymCrypt. As our investment in Rust deepens, we expect to gain new insights into how to best leverage the language for high-assurance cryptographic implementations with low-level optimizations.  As performance is key to scalability and sustainability, we’re holding new implementations to a high bar using our benchmarking tools to match or exceed existing systems. Looking forward  This is a pivotal moment for high-assurance software. Microsoft’s investment in Rust and formal verification presents a rare opportunity to advance one of our key libraries. We’re excited to scale this work and ultimately deliver an industrial-grade, Rust-based, FIPS-certified cryptographic library. Opens in a new tab

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

So, you’ve braved the pre-order sites, or maybe you’ve just gotten lucky while waiting in line—either way, you’ve got yourself a Nintendo Switch 2. Congratulations! But before you start gaming, there are a few things you’ll need to keep in mind while setting up your console. Nintendo is known for being user friendly, but also a bit particular. Case in point: You can only do a full transfer of your Switch 1 data to your Switch 2 during setup, and if you miss this opportunity, you’ll have to reset your device to try again, or manually copy over your games and save data piece-by-piece later on.Luckily, I’ve got your back. Read on for a quick guide on how to set up your Nintendo Switch 2, and the three other features you should set up before you start playing.How to start setting up a Nintendo Switch 2For the most part, setting up a new Switch 2 out of the box is straightforward, but you’ll still want to pay close attention to each step before moving on, especially when it comes to transferring console data.First, remove your Switch 2 and your joy-con controllers from their packaging. Then, plug your joy-cons into their respective slots (they’ll attach magnetically, so it’s much simpler than on the first Switch). If you don’t know which joy-con goes where, the one with red highlights goes to the right of the screen, and the one with blue highlights goes to the left.Next, plug your Switch into power using the included charging brick and cable, and power it on. On the screens that follow, select your language and region, then read and accept the end-user license agreement. Credit: Michelle Ehrhardt You’ll see a screen to connect to the internet and download the console’s day-one system update. This technically isn’t mandatory, and skipping it (with the X button on the right joy-con) will instead take you to time zone settings. However, most features will be locked down, including backward compatibility, until you download it, so I recommend doing it during setup if possible. If you do skip this step, you can access the update later under Settings > System > System Update.Once you’re connected to the internet and you’ve started downloading the update, you’ll be able to continue setup while it downloads. Now, you’ll pick your time zone and click through a couple of tutorial pages. These will instruct you about portable and TV play, tell you how to use the kickstand and extra USB-C port, and walk you through detaching your joy-con from the console (press in the button on the back of the joy-con, underneath the trigger, and pull). You can also click through an optional tutorial on connecting your Switch 2 to a TV, if you like, after which you’ll get quick guides on using the included joy-con grip accessory and the joy-con wrist straps.If your console hasn’t finished updating, it’ll finish that now, and then take you to your first big decision: do you want to transfer your Switch 1 data to your Switch 2?Transferring Switch 1 data to the Switch 2During Switch 2 setup, Nintendo will allow you to transfer your Switch 1 data to your Switch 2, but there are a few caveats.You’ll know you’re ready for this once your system update is downloaded and you’re on a screen that says “To Nintendo Switch Console Owners,” above a graphic of someone holding a Switch 1 and Switch 2. Next to the graphic, you’ll see two buttons: Begin System Transfer, Don’t Transfer Data, plus a third button below that explains the process to you, but leaves out a few key details.Before you make your decision, the most important thing to remember is this: There are actually two ways to transfer data from the Switch 1 to the Switch 2, and despite what you might have read elsewhere, locally transferring your Switch 1 data to the Switch 2 during setup will not factory reset your original Switch. Unless you’ve taken extra steps beforehand, this is the option Nintendo’s setup process will recommend to you, so most users don’t need to be scared about accidentally erasing their original consoles. Credit: Michelle Ehrhardt If you stick with a local transfer, it will simply copy over your data to your Switch 2, so that it exists on both systems. There are a few specific cases where some data will get removed from your original device as it makes its way over to your new one, but for the most part, you’ll be able to keep using your original device as usual after the transfer, and there are ways to get that data back later on (I’ll get into that). Just know that save data for specific games, as well as some free-to-play games, may have been deleted from your Switch 1 and moved over to your Switch 2. Don’t worry— Nintendo will warn you about which software will be affected during the transfer process. Additionally, screenshots and video captures stored on a microSD card attached to the Switch 1 will need to be moved over manually later on.How to transfer your Switch 1 data locallyWith that in mind, if you want to transfer your data locally, which is what most people should do, click the Begin System Transfer button and follow the instructions—this involves signing into your Nintendo account, keeping your original Switch powered on and in close proximity to the Switch 2, and activating the transfer on your original Switch under Settings > System Settings > System Transfer to Nintendo Switch 2.How to transfer your Switch 1 data using Nintendo's serversThe confusion about factory resets comes from this data transfer option, which involves using the Nintendo servers. This will factory reset your Switch, and is best if you plan to sell it anyway, or if you expect to be away from your original Switch during Switch 2 setup and don’t mind setting up your original console from scratch when you get back to it. To start this kind of transfer, power on your original Switch, navigate to the System Transfer page mentioned above, then select I don’t have a Nintendo Switch 2 yet. Take note of the Download Deadline for later. Conveniently, that does point to one upside to this method: you can start it before you even have a Switch 2 in hand.Now, click Next, then Upload Data, then OK, followed by another OK. Click Start Initialization to begin factory resetting your original Switch. From here, your original Switch will revert to how it was before you bought it, and you’ll need to move over to your Switch 2, click Begin System Transfer, and sign into your Nintendo account. If the system detects that you have transfer data to download from the cloud, it’ll walk you through the process. Note, however, that if you don’t download your transfer data before the deadline you jotted down earlier, you’ll lose access to it.If you want to skip the data transfer process...If you’d rather not transfer your data, that’s also fine, but you won’t have an opportunity to do so later, and will instead need to move games and save data over manually. Click the Don’t Transfer Data button, then Continue to move to the next step.Adding a user and parental controlsWith system transfers out of the way, you’re through the hardest part of setting up your new console. Now, you’ll be prompted to add a user to the system. Here, you can sign in with your Nintendo Account to get access to your Switch Online subscription and your collection of downloadable games, or create a local user profile. After that, you can add more users as you like, or you can save that for later (simply navigate to System Settings > User > Add User).Next up, parental controls. Like with additional users, you can set these up later under System Settings > Parental Controls, but there’s no harm to setting them up now as well. To do so, click Set Parental Controls.  Credit: Michelle Ehrhardt You’ll have a few options. Most of these will prompt you to use Nintendo’s Parental Controls app, but you can also click the X button on the right-hand joy-con to set up limited parental controls directly on the console. Doing so will allow you to select from a number of presets that will block access to certain games and communication features, but not much else. Using the app, meanwhile, will let you set a daily play time limit, bedtime settings, restrictions on the new GameChat feature, and see reports on play time and games played. It also doesn’t require a Switch Online subscription, so it’s worth using if you have a smart device.To set up parental controls using the app, first download it for either iOS or Android using the information on the screen, then click the “If You’ve Already Downloaded the App” button. Enter the registration code from your app into your Switch 2 system, then follow the instructions in the app to finish setup. Which buttons you’ll need to click will depend on the controls you’d like to activate, as well as for which users and systems, but it’s fairly straightforward.MicroSD card limitationsJust a couple more screens. First, a quick warning about microSD cards. Unlike the Switch 1, the Switch 2 is only compatible with microSD Express cards, which are faster, but options for them are also a bit more limited—in other words, there’s a good chance you won’t be able to use the same microSD card from your Switch 1 on your Switch 2. To use a microSD card on Switch 2, it’ll need either of the two logos shown in the image below. A bit of a bummer, but at least a microSD card is optional (it’ll help you store more games, but the included storage on the Switch 2 is more generous than on the Switch 1). Credit: Michelle Ehrhardt Oh, and like on the Switch 1, the microSD slot is hidden under the kickstand, in case you’re having trouble finding it.Virtual Game CardsYou’re technically through setup at this point, but there are still a few features you’ll probably want to configure before you start gaming. The most obvious of these is Virtual Game Cards, Nintendo’s new system for managing games purchased digitally.Essentially, like the name implies, these work similarly to physical game cards, but over the internet. This means that, unlike with your Steam library, you can only load a game to one console at a time. "Loading" is Nintendo specific term, but for the most part, it just means your game is downloaded and ready to play."(Technically, you can still play the same game on two separate consoles at the same time, even if it isn't loaded on one, but doing so is a bit obtuse—click through here for more details.)To access your Virtual Game Cards, click the Virtual Game Card icon in the bottom row on your Switch 2’s home screen—it’ll look like a game cartridge. From here, if you’ve signed into your Nintendo account, you’ll see all your digital purchases and will be able to download and play them from here. If you haven’t signed into your Nintendo Account, you’ll have the option to do so. Credit: Michelle Ehrhardt Now, you’ll have a few options. First, if a game isn’t loaded onto your original Switch, you can simply download it to your Switch 2 by clicking Load to This Console. If the console isn’t set as your primary device (likely the case if you didn’t do a transfer), you might see a warning if you try to open a game, depending on how up-to-date your original Switch's software is. If your original Switch doesn't have the Virtual Game Cards update yet, you can click the If You Don’t Have That Console button to download your game anyway. It will simply cease being playable on the other console while you use it on this one, although that’s always the case when moving a Virtual Game Card between systems. Otherwise, you might need to link your two systems by bringing them close together and following the instructions on screen before you can load a Virtual Game Card on your new device. If you're not able to do this, like if you've gotten rid of your original Switch while it's still set as your primary device, you can remove your old Switch from your account by deregistering it. After deregistering your old console, you can set your Switch 2 as your new primary device by connecting it to the eShop. If you're able to link your old console to your new one, this won’t be necessary for simply accessing your library, but it will extend any Nintendo Online benefits to all users on your new primary device, rather than the one associated with your Nintendo Account. Credit: Michelle Ehrhardt Alternatively, if you've managed to link your devices, you can use the device that currently has your Virtual Game Card (i.e. your Switch 1) on it to load it to your new one (i.e. your Switch 2). Simply open your games, click Load to Another Console, and follow the instructions on screen. This will have the same effect as the Load to This Console Button. Also, if you'd like to be able to continue playing a game on a device even after moving its Virtual Game Card to another device, you can enable Use Online License under System Settings > User Settings > Online License Settings to do just that. You'll need to be connected to the internet for this to work, whereas you can play a Virtual Game Card offline, but it's better than nothing. Plus, this enables that workaround from earlier in this section that allows you to play the same game on both devices at once.How to lend a Virtual Game Card to someone elseYou’ll also notice that you can lend a Virtual Game Card to members of a “Family Group.” To do this, you’ll first need to set up a Family Group online. On Nintendo’s website, log into your Nintendo Account, then click the Family Group tab on the left hand side of your account page. Here, you can invite members to join your Family Group via email, or create a Family Group account for your child. Note that if you have a Nintendo Switch online Family Plan subscription, members of your Family Group will be able to use its benefits (for up to eight accounts), although accounts that are part of your family group can also still use their individual subscriptions.With a Family Group set up, on the Virtual Game Card page, click the game you’d like to lend out, then Lend to a Family Group Member. Next, bring your Switch 2 in close proximity with that Family Group Member’s device—this needs to be done in person.Finally, click Select a User to Lend to. You can lend up to three games to three different accounts at once, and borrowers will be able to play these games for 14 days. During that time, you won’t be able to play the Game Card, and the borrower won’t get access to your save data while borrowing. However, they will keep their own save data for their next borrowing period, or if they choose to buy the game themselves. There are no limits to how often you can lend out a game, and you can re-lend games immediately upon the borrowing period expiring. Also, while you’ll need to lend out your games in person, they’ll return to you remotely.Transferring save dataEven if you didn’t transfer your Switch 1 data to your Switch 2 during setup, you can still access its save data on your new device. You have a couple of options here.First, the free option. On your original Switch, go to System Settings > Data Management > Transfer Your Save Data. Click Send Data to Another Console, then pick the user whose saves you want to send to your Switch 2. Pick the saves you want to send over, then click OK. Note that these saves will be deleted from your original console once moved over.Next, with your Switch 2 in close proximity to your Switch 1 (this also needs to be done in person), navigate to System Settings > Data Management > Transfer Your Save Data. Click Receive Save Data. To move data from your Switch 2 to your Switch 1, simply perform these steps in reverse.Second, the paid option. If you have a Nintendo Switch Online membership, you can also use cloud saves to move save data between devices. By default, these are enabled automatically and will keep both of your systems up to date with the most recent saves. However, you can also manually download cloud saves either from a game’s software menu (press + or - while hovering over it on the Switch home screen) or from System Settings > Data Management > Save Data Cloud. You can also disable automatic save data download from here, if you like.Lock your home screen behind a passcodeFinally, you can lock your Switch 2 with a PIN for some added security, kind of like a cell phone. To set this up, simply go to Settings > System > Console Lock. Click OK, then follow the instructions on the screen that pops up to enter your PIN.There’s plenty more to dive into with the Switch 2, which I’ll cover over the following week. For now, though, this should be enough to get you started. Happy gaming!

June 5, 20253 min readNew Hires Will Still Leave the NWS Dangerously Understaffed, Meteorologists SayNearly 600 employees left the National Weather Service or were fired in recent months. Meteorologists say 125 expected new hires will still leave the agency dangerously understaffedBy Chelsea Harvey & E&E News A tornado struck communities in Somerset and London, Ky., on May 16, 2025, leaving 19 dead and more injured. Michael Swensen/Getty ImagesCLIMATEWIRE | New hiring efforts at the National Weather Service won’t be enough to overcome staffing shortages and potential risks to human lives this summer, meteorologists warned Wednesday at a panel hosted by Democratic Washington Sen. Maria Cantwell.NOAA will hire around 125 new employees at the NWS, the agency said in an announcement first reported Monday by CNN. But nearly 600 employees have departed the NWS over the last few months, after the Trump administration fired probationary federal employees and offered buyouts and early retirements.That means the new hires will account for less than 25 percent of the total losses.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.“A quarter of the staff are not going to do the job when, let’s just say, both hurricane and fire risks are increasing,” Cantwell said during Wednesday’s panel. “[The Trump administration’s] approach in response to this has been a flimsy Band-Aid over a very massive cut.”Cantwell added that the National Hurricane Center is not fully staffed, as NOAA officials suggested last month when announcing their predictions for the upcoming Atlantic hurricane season outlook. The NHC has at least five vacancies, she said, representing meteorologists and technicians who help build forecasts for tropical cyclones in both the Atlantic and Pacific oceans.Meanwhile, NOAA is predicting above-average activity in the Atlantic this hurricane season. Updated fire maps also suggest that nearly all of Cantwell’s home state of Washington, along with Oregon and large swaths of California, will experience an above-average risk of wildfires by August.Kim Doster, NOAA’s director of communications, did not immediately respond to a request for comment on NOAA’s staffing shortages or the NHC’s vacancies.Three meteorologists speaking on the panel echoed Cantwell’s concerns, suggesting that staffing shortages at weather offices across the country risk forecasting errors and breakdowns in communication between meteorologists and emergency managers.At least eight local weather offices across the country are currently so short-staffed that they can no longer cover their overnight shifts, said Brian LaMarre, a former meteorologist-in-charge at the NWS office in Tampa Bay, Florida. Some of these offices may have to rely on “mutual aid,” or borrowed staff, from other NWS locations to cover their shifts during extreme weather events.But Cantwell and other panelists expressed concern that staff-sharing across the NWS could erode the accuracy of forecasts and warnings for local communities.Cantwell pointed to the meteorologists that specialize in fire weather forecasts. NOAA typically deploys those experts to provide forecasts and recommendations to firefighters on the ground when wildfires strike.“If you think you're gonna substitute somebody that’s gonna be somewhere else — I don’t know where, some other part of the state or some other state — and you think you're gonna give them accurate weather information? It just doesn't work that way,” she said.Washington state-based broadcast meteorologist Jeff Renner echoed her concerns.“The meteorologists that respond to [wildfires] have very specific training and very specific experience that can’t be easily duplicated, particularly from those outside the area,” he said.Meanwhile, LaMarre’s former position in Tampa is vacant, and around 30 other offices across the country are also operating without a permanent meteorologist-in-charge.“That person is the main point of contact when it comes to briefing elected officials, emergency management directors, state governors, city mayors, parish officials,” LaMarre said. “They are the individual that’s gonna be implementing any new change that is needed for hurricane season, blizzards, wildfires, inland flooding.”The NWS suffered from staffing shortages prior to the Trump administration. But LaMarre said he never saw such widespread vacancies, including offices unable to operate overnight, in his 30 years at the agency.He emphasized that NWS meteorologists will do whatever it takes to ensure accurate forecasts when extreme weather strikes. But too many gaps at local offices mean that some services will inevitably suffer, LaMarre added.“Whenever you look at an office that is short-staffed, that means a piece of that larger puzzle is taken away,” he said. “That means some outreach might not be able to occur. Some trainings might not be able to occur. Some briefings to officials might not be able to occur.”Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals.

The transformation of Hangzhou’s old steelworks into a park is a tribute to China’s industrial past in a city of the future The congressional hearing about Chinese AI engine DeepSeek held in the US this April has propelled Hangzhou, the heart of China’s new digital economy, to the headlines. With companies such as DeepSeek, Unitree and Alibaba – whose payment app allowed me to get on the metro without needing to buy a ticket – headquartered in Hangzhou, China’s future in AI, robotics and automation is emanating from this city. Getting off the metro in the suburban area of Gongshu, the sun was shining on an old steelworks, overgrown with vines and flowers now that it is being transformed by Jiakun Architects and TLS Landscape Architecture into the Grand Canal Steelworks Park. The unfolding trade war might help to accelerate China’s journey into an automated future, leaving the world of factories behind, yet this new public space shows an impulse to commemorate the country’s economic history, and the forces that have shaped its contemporary built environment. Starting in Hangzhou and travelling more than 1,700km to Beijing, the Grand Canal is an engineering project built 2,500 years ago to connect the different regions of eastern China. The country’s geography means rivers flow from west to east: from higher elevations, culminating in the Himalayas, to the basin that is the country’s eastern seaboard. Historically, it was difficult to transport goods from mercantile centres in the south, including Hangzhou and Suzhou, to the political centre in Beijing up north. As a civil engineering project, the Grand Canal rivals the Great Wall, but if the Great Wall aims to protect China from the outside, the Grand Canal articulates Chinese commerce from the inside. The historic waterway has been an important conduit of economic and cultural exchange, enabling the movement of people and goods such as grain, silk, wine, salt and gravel across the country. It became a UNESCO World Heritage site in 2014. The state‑owned enterprise collective was founded, and the physical facility of Hangzhou steelworks built, in the 1950s during the Great Leap Forward, when China strove for self‑sufficiency, and wended its way through the country’s economic trajectory: first the economic chaos of the 1960s, then the reforms and opening up in the 1980s. Steel remains an important industry today in China, home to more than half of the world’s production, but the listing of the Grand Canal enabled city leaders to move production to a new site and decommission the Hangzhou steelworks. External mandates, including entry into the World Trade Organization, the Beijing Olympics and UNESCO listings, have been instrumentalised in the country to pursue a range of internal interests, particularly economical and real estate ones.  In 2016, the factory was shut down in 150 days, in what the company describes as a ‘heroic’ effort, and the site attracted tourists of industrial ruins. In the competition brief, Hangzhou planners asked for ‘as much of the existing blast furnaces and buildings’ as possible to be preserved. When I arrived in China in 2008, Chinese cities were notorious for heritage demolition, but today urban planners and architects increasingly work to preserve historical buildings. Just like several industrial sites in Beijing and Shanghai have been transformed into major public and cultural spaces in the past decade, in the Yangtze River Delta – of which Hangzhou is a major hub – several industrial sites along the Grand Canal’s course are being given a new lease of life. Today, the three blast furnaces of Hangzhou steelworks remain, with the silhouettes of their smokestacks easily recognisable from a distance. The project preserves as much as possible of the aesthetics of a steel mill with none of the danger or dust, ready to welcome instead new community facilities and cultural programmes in a vast and restored piece of landscape. Situated in a former working‑class district that has been gentrifying and welcoming young families, the new park is becoming a popular venue for music festivals, flower viewing in springtime and year‑round picnics – when I visited, parents were teaching their children to ride a bicycle, and students from Zhejiang University, about a kilometre from the park, were having lunch on the grass. New programmes accommodated in the old coke oven and steel mills will include a series of exhibition halls and spaces welcoming a wide range of cultural and artistic workshops as well as events – the project’s first phase has just completed but tenant organisations have not yet moved in, and works are ongoing to the north of the park. On the day of my visit, a student art exhibition was on display near one of the furnaces, with works made from detritus from the site, including old packing containers. The rehabilitated buildings also provide a range of commercial units, where cafés, restaurants, shops, a bookshop, ice cream shop and a gym have already opened their doors to visitors.  Several structures were deemed structurally unsafe and required demolition, such as the old iron casting building. The architects proposed to partially reconstruct it on its original footprint; the much more open structure, built with reclaimed bricks, now houses a semi‑outdoor garden. Material choices evoke the site’s industrial past: weathered steel, exposed concrete and large expanses of glazing dominate the landscape. The widespread use of red, including in an elevated walkway that traverses the park – at times vaguely reminiscent of a Japanese torii gate in the space below – gives a warm and reassuring earthiness to the otherwise industrial colour palette. Elements selected by the designers underwent sanitisation and detoxification before being reused. The landscaping includes old machinery parts and boulders; recuperated steel panels are for instance inlaid into the paving while pipes for pouring molten steel have been turned into a fountain. The train tracks that once transported material continue to run through the site, providing paths in between the new patches of vegetation, planted with local grasses as well as Japanese maples, camphors and persimmon trees. As Jiawen Chen from TLS describes it, the aesthetic feels ‘wild, but not weedy or abandoned’. The landscape architects’ inspiration came from the site itself after the steelworks’ closure, she explains, once vegetation had begun to reclaim it. Contaminated soil was replaced with clean local soil – at a depth between 0.5 and 1.5 metres, in line with Chinese regulations. The removed soil was sent to specialised facilities for purification, while severely contaminated layers were sealed with concrete. TLS proposed phytoremediation (using plants to detoxify soil) in selected areas of the site ‘as a symbolic and educational gesture’, Chen explains, but ‘the client preferred to be cautious’. From the eastern end of the park, hiking trails lead to the mountain and its Buddhist temples. The old steel mill’s grounds fade seamlessly into the hills. Standing in what it is still a construction site, a sign suggests there will soon be a rowing centre here.  While Jiakun Architects and TLS have prioritised making the site palatable as a public space, the project also brings to life a history that many are likely to have forgotten. Throughout, the park incorporates different elements of China’s economic history, including the life of the Grand Canal and the industrial era. There is, for example, a Maoist steelworker painted on the mural of one of the cafés, as well as historical photographs and drawings of the steelworks peppering the site, framed and hung on the walls. The ambition might be in part to pay homage to steelworkers, but it is hard to imagine them visiting. Gongshu, like the other suburbs of Hangzhou, has seen rapid increases in its property prices.  The steelworks were built during the Maoist era, a time of ‘battling with earth, battling with heaven, battling with humanity’, to borrow Mao’s own words. Ordinary people melted down pots and pans to surpass the UK in steel production, and industry was seen as a sharp break from a traditional Chinese way of life, in which humans aspire to live in harmony with their environment. The priorities of the government today are more conservative, seeking to create a garden city to attract engineers and their families. Hangzhou has long represented the balmy and sophisticated life of China’s south, a land of rice and fish. To the west of the city, not far from the old steelworks, are the ecologically protected Xixi wetlands, and Hangzhou’s urban planning exemplifies the Chinese principle of 天人合一, or nature and humankind as one.  Today, Hangzhou is only 45 minutes from Shanghai by high‑speed train. The two cities feel like extensions of one another, an urban region of 100 million people. The creation of the Grand Canal Steelworks Park reflects the move away from heavy industry that Chinese cities such as Hangzhou are currently making, shifting towards a supposedly cleaner knowledge‑driven economy. Yet the preservation of the steelworks epitomises the sentimental attitude towards the site’s history and acts as a reminder that today’s middle classes are the children of yesterday’s steelworkers, drinking coffee and playing with their own children in grassy lawns next to shuttered blast furnaces.  The park’s second phase is already nearing completion, and the competition for the nearby Grand Canal Museum was won by Herzog & de Meuron in 2020 – the building is under construction, and should open at the end of this year. It is a district rich in history, but the city is resolutely turned towards the future.  2025-06-02 Reuben J Brown Share AR May 2025CircularityBuy Now