Gigantamax Cinderace is making its Gigantamax debut in Pokémon Go, and as usual with these types of Pokémon, it’ll be tough to take down. Cinderace will specifically be around during the weekend portion of the “Instrumental Wonders” event, from June 7 at 6 a.m. until June 8 at 9 p.m. in your local time. Below we list Gigantamax Cinderace’s best counters and weaknesses in Pokémon Go, as well as general battle tips for the big bunny. Gigantamax Cinderace weaknesses Cinderace is a pure fire-type, so you can use ground-, rock-, or water-type moves to take it down effectively. That said, it’ll be resistant against bug-, steel-, fire-, grass-, ice-, and fairy-type moves, so don’t use those unless they’re just fast moves to help charge the max meter. Gigantamax Cinderace best counters Try to bring at least one of these attackers: Gigantamax Kingler with Metal Claw (G-Max Foam Burst) Dynamax Inteleon with Water Gun (Max Geyser) Dynamax Excadrill with Mud Shot (Max Quake) Gigantamax/Dynamax Blastoise with Water Gun (G-Max Cannonade/Max Geyser) The only thing really iffy about the above is Inteleon. If you don’t already have a Dynamax Inteleon, do not bother building one now (unless you’re sitting on tons of Sobble Candy), as Gigantamax Inteleon will be showing up literally next. For defenders/tanks, bring one or two of the following: Dynamax Blissey with Pound Dynamax Zapdos with Thunder Shock Dynamax/Gigantamax Blastoise with Water Gun Dynamax/Gigantamax Charizard with Dragon Breath These guys’ job is just to soak up the damage from Cinderace while generating as much energy as possible with their fast attacks. These counters are pretty straightforward, though note that the Zapdos is kind of just there to withstand the damage if the Cinderace you’re going against knows Focus Blast, as that could possibly give your Blissey a tough time. Consider just bringing the strongest Dynamax or Gigantamax Pokémon you have. If you have a maxed out Gigantamax Gengar and your Dynamax Excadrill isn’t leveled (and you don’t have the means to power it up), just bring your Gengar. General Gigantamax Cinderace tips If you’ve been struggling in Max Battles, here’s some general tips to survive — and make sure you’re an asset to your team. Gigantamax battles involve way more strategy than the usual rampant tapping that you do in raids, so make sure to know what you’re doing before jumping in. Make sure you have enough players. High-efficiency groups with maxed out investments can take down the Cinderace with fewer people, but practically, if you don’t have hundreds of spare candy and even more Stardust laying around, this isn’t going to be an option for you. Make sure you have as many people as possible to ensure that you get your soccer bunny. Don’t sleep on Max Spirit and Max Guard. Teams work best when there’s a variety of moves, not just maxed-out attacks. Each player should bring Pokémon with the defensive and healing moves unlocked as well. Max Guard will focus single-target damage towards you and reduce the damage taken; Max Spirit will heal the whole party. These moves are really important to make sure your damage-dealers can keep dishing. Remember to swap to super effective moves when it’s time to Dynamax. For Dynamax Pokémon, their max moves are determined by whatever type their fast move is. This means if you have a Darmanitan with Fire Fang, it will know Max Flare. A Gengar with Lick will know Max Phantasm. Take advantage of this and make sure to swap to a Pokémon that will deal super effective damage to your target before Dynamaxing, if you can. Focus on your fast moves. You want to spam your fast moves to build up that Dynamax meter and often times, using your charge move is actually a DPS loss when compared to the damage you could be doing with your max move will be. Spam those attacks! Level up a few ‘mons, but you don’t have to go too hard. Depending on your group size, you absolutely do not need to max out all your Dynamax Pokémon to level 40-50. While this will make it easier on the rest of your group, if this isn’t an investment you can make, you don’t have to stress about it. Power things up as high as you can afford to, but don’t fret if you don’t have a maxed out Pokémon. All of that said, make sure to come as prepared as you can be. This is a team effort and there’s a chance that a full group of four can still fail. Do not just bring your unleveled Dynamax Wooloo expecting a free ride to a powerful Pokémon. (After all, if everyone does that, then you certainly won’t clear the battle.) Again, you don’t have to completely max out your Pokémon, but it will be better for everyone involved if you bring something helpful to the table. There’s no shiny Cinderace this time around! Scorbunny’s shiny has not been added to the game yet (and it likely won’t be until it gets its own Community Day), so if you’re looking to shiny hunt Gigantamax Cinderace… you’ll have to wait until next time.

Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop [on Tiny Desk],” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artists [to help] breathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “[Our] audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Update 1.2.18 was huge for The First Descendant. It added the fanbase’s favourite new feature, jiggle physics, and it also added a new party finder system for public matchmaking. Because of it being newly introduced, Nexon have been “inspecting abusive gaming behavior” from between May 23rd to May 29th. The results of this crackdown on the TFD community have been revealed, and over 2,000 The First Descendant players have received penalties while over 50 players have received permanent bans. The First Descendant “Crackdown on Abusive Users” results Below are the results of Nexon’s “Crackdown on Abusive Users” following the release of the new public matchmaking system added on May 22nd. The results of this crackdown are from between May 23rd to the 29th: Creation, distribution, or use of unauthorized programs – Permanent game ban (36 users) Actions have been taken for creating, distributing, or using unauthorized programs Exploitation of all processes related to the Open Store – Permanent game ban (18 users) Actions were taken because of unfair gains by exploitation on store payment process. Detection of Unusual Gameplay Activity – **30-day restriction on game access (5 users) Unusual gameplay activity was detected, and actions have been taken in accordance with our operational policy. 3-day separate matchmaking penalty (2205 users) Notes The outcome of the crackdown on abusive users includes enforcement actions taken based on Descendant’s reports and monitoring. If you would like to vindicate yourself in relation to a claim on the exploitation of the Open Store’s payment process, please visit our official website > Customer Service > 1:1 Support and make your inquiry. If you would like to vindicate yourself in relation to a claim on the exploitation of the payment process through chargebacks, please contact the platform store where you made the payment. For more The First Descendant, we have a guide to the best skills and loadout for Viessa, along with the best skills, gear, and mods for the hugely popular Bunny. We also have a guide for Freyna along with fundamental tips for beginners. The First Descendant Platform(s): PC, PlayStation 4, PlayStation 5, Xbox Series S, Xbox Series X Genre(s): Action, Adventure, RPG 5 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

Influencer Strategy Specialist is a strategic and mission-critical role at Bunny Agency LLC. You will be responsible for maximizing creator virality, engagement, and brand loyalty through strategic planning, visual storytelling, and social media optimization, acting as a creative strategist and cross-functional collaborator while overseeing Instagram performance, creative direction, and marketing growth initiatives. This is not just a creative support role; it's a growth-driving leadership position where you will directly impact creator success, audience retention, and revenue growth. You will work closely with the Talent, Content, Growth, and Marketing teams to ensure every creator reaches their full potential while aligned with brand excellence.Key Responsibilities1. Creator Growth & Virality StrategyBuild tailored growth strategies to elevate individual creators across digital platforms.Audit content performance and develop virality roadmaps based on platform trends and analytics.Key Deliverables: Increase average creator reach by 40% YoY; double engagement rates for top-tier creators.2. Concept Development & Mood Board CreationIdeate and develop high-concept marketing campaigns and creative direction for influencers.Create and present visually driven mood boards that align with audience psychology and brand goals.Key Deliverables: Launch 10+ campaign-ready concepts per quarter; improve creator branding consistency by 80%.3. Instagram Strategy & Team OversightOwn and execute Instagram growth plans for both creators and internal brand presence.Lead a team of content managers, designers, and editors to deliver on high-impact Instagram initiatives.Key Deliverables: Grow followers by 100K quarterly across creator roster; maintain a 4%+ engagement rate.4. Loyalty & Audience Retention SystemsImplement strategy frameworks that build deeper fan connection and long-term creator community.Leverage CRM tools, DMs, stories, polls, and unique UGC to drive two-way loyalty.Key Deliverables: Improve audience retention metrics by 30%; design scalable fan-interaction loops.5. Cross-Team Strategy AlignmentAct as the bridge between content, marketing, and analytics to ensure strategy coherence.Regularly update leadership with insights and proposals that drive revenue through creator performance.Key Deliverables: Submit bi-weekly insights reports; increase campaign conversion rates by 25% across collaborations.RequirementsBachelor’s degree in Marketing, Digital Media, Communications, or a related field.4+ years experience in influencer marketing, digital growth strategy, or brand content strategy.Proven portfolio of viral campaigns and successful creator-led marketing initiatives.Deep knowledge of Instagram growth tactics, viral psychology, audience metrics, and creator monetization.Experience leading small teams and coordinating with design, content, and analytics departments.Proficiency in tools like Canva, Adobe Creative Suite, Notion, Meta Business Suite, and social analytics platforms.5 Benefits That Come with This JobAbove market salary and attractive incentives.We ensure that you grow both personally and professionally. Your growth is the team's number one priority.Flexible Time Off Policy & Company-wide Holidays.Work autonomously and own your projects.Sport Club Membership: We cover the cost of your gym, sports club, yoga, or any fitness activity up to 4 times a week, capped at $50 per month.Bunnycations: Enjoy Team and Creator Events at dream destinations. 🐰Personal AttributesStrategic thinker with the ability to navigate ambiguityExcellent communication and interpersonal skillsHigh emotional intelligence and conflict resolution skillsResults-oriented with the ability to drive measurable impactStrong integrity and alignment with company core valuesResults/OutcomesCreator virality rate increased by 3x across portfolioInstagram engagement rate maintained at 4%+ for creatorsMood boards and creative strategies deliver 10+ branded campaigns/quarterClient/creator retention improved by 25% through loyalty and feedback systemsCompany Values#1 – Tough LoveHave the self-awareness to accurately perceive and communicate hard truths that improve others and self, the courage to do so, and the humility to accept them—even when it hurts. Nothing great can be built without feedback.#2 – Competitive GreatnessBe at your best when your best is needed. Embrace the challenge. Drive improvement, see the bigger picture, and build long-term excellence.#3 – Unimpeachable CharacterBe the kind of person with whom others are proud to associate. Align your thoughts, words, and actions with goals that matter.SummarySalary: €4,500–€6,000/month (based on experience)On-Track-Earnings (OTE): €70,000–€85,000/year with bonuses tied to creator KPIsPlace: Remote (Global)How to ApplySubmit your application via https://forms.gle/YgBDfQxxVgAFNjhu7 with your resume and a cover letter detailing why you're a perfect fit for this role at Bunny Agency LLC.Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote Sales and Marketing JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

Rick and Morty remains a staggering work of chaotic creativity. Previewing a handful of episodes from season 8, which premieres Sunday, May 25 with a Matrix-themed story inspired by phone charger theft, I still had that brain-melty “How do they think of this stuff?” feeling from when the show premiered more than a decade ago. The characters aren’t all the same as they were back in 2013 (voice actors aside): Morty has an edge from being around the galactic block a few hundred times, and Rick, while still a maniac, seems to carry the weight of cloning his daughter Beth that one time.  But the sheer amount of wackadoo sci-fi comedy that creator Dan Harmon, showrunner Scott Marder, and their team of writers pack into each half-hour hasn’t lost the awe. This season, that includes everything from a body-horror spin on the Easter Bunny to a “spiritual sequel” (Harmon’s words) to season 3’s beloved Citadel episode “The Ricklantis Mixup.” So where does writing yet another season of Rick and Morty begin? And what does a new season need to accomplish at this point? Polygon talked to Harmon and Marder, who wrote seasons 8, 9, and 10 all in one go, about the tall-order task of reapproaching the Adult Swim series with so much madcap history behind them. Polygon: Where do you even start writing a new episode, when your show can zip in any fantastical direction, or go completely ham on its own mythology? Scott Marder: You might be surprised that we never start off a season with “What’s the canon we owe?” That’s the heavy lifting, and not necessarily how we want to start a season off. There are always people on staff that are hyper-aware of where we are in that central arc that’s going across the whole series, but it’s like any writers room — people are coming in with ideas they’re excited about. You can just see it on their faces. You can feel their energy and just spit it out, and people just start firing off things they’re excited about. We don’t try to have any rules or any setup. Sometimes there are seasons where we owe something from the previous season. In season 8, we didn’t, and that was luxurious. Dan Harmon: I always reference the Dexter season where they tried to save the revelation that a Fight Club was happening for the end, and after the first episode, all of Reddit had decoded it. I marked that moment as sort of “We are now in post-payoff TV.” As TV writers, we have to use what the audience doesn’t have, which is a TV writers room. That isn’t 10 people sitting around planning a funhouse, because they’re not going to plan as good a funhouse as a million people can plan for free by crowdsourcing.  But we can mix chocolate with giant machines that people can’t afford and don’t have in their kitchen. We can use resources and things to make something that’s delicious to watch. So that becomes the obligation when we sit down for seasons. We never go, “What’s going to be the big payoff? What’s going to be the big old twist? What are we going to reveal?” I think that that’s a non-starter for the modern audience. You just have to hope that the thing that ends up making headlines is a “How is it still good?” kind of thing — that’s the only narrative you can blow people’s minds with. Even if “lore” isn’t the genesis of a new season, Rick & Morty still exists in an interesting middle ground between episodic and serialized storytelling. Do you need the show to have one or the other when you want a season to have impact? Harmon: It’s less episodic than Hercules or Xena. It’s not Small Wonder or something where canon would defeat their own purpose. But it is way more episodic than Yellowjackets — I walked in on Cody [Heller, Harmon’s partner] watching season 2 of [Yellowjackets], and literally there wasn’t a single line of dialogue that made sense to me, and that was how she liked it. They were all talking about whatever happened in season 1.  Referencing The Pitt, I think is the new perfect example of how you can’t shake your cane at serialization. In a post-streaming marketplace, The Pitt represents a new opportunity for old showrunners, new viewers to do things you couldn’t do before, that you can now do with serialization, and issuing the time-slot-driven narrative model. Our show needs to be Doctor Who or Deep Space Nine. It comes from a tradition of, you need to be able to eat one piece of chocolate out of the box, but the characters need to, more so than a Saved by the Bell character, grow and change and have things about them that get revealed over time that don’t then get retconned. Marder: Ideally, the show’s evergreen, generally episodic. But we’re keeping an eye on serialized stuff, moments across each season that keep everyone engaged. I know people care about all that stuff. I think all of that combined makes for a perfect Rick and Morty season. How reactive is writing a new season of Rick and Morty? Does season 8 feel very 2025 to you, or is the goal timelessness? Harmon: The show has seen such a turbulent decade, and one of the cultural things that has happened is, TV is now always being watched by the entire planet. So people often ask “Is there anything that you’re afraid to do or can’t do?” The answer to that is “No.” But then at the same time, I don’t think the show has an edge that it needs to push, or would profit from pushing. It’s almost the opposite, in that the difficult thing is figuring out how to keep Rick from being Flanderized as a character that was a nihilist 10 years ago, where across an epoch of culture and TV, Rick was simply the guy saying, “By the way, God doesn’t exist” and having a cash register “Cha-ching!” from him saying that.  How do you keep House from not becoming pathetic on the 10th season of House if House has made people go, “I trust House because he’s such a crab-ass and he doesn’t care about your feelings when he diagnoses you!” I mean, you need to very delicately cultivate a House. So if you do care about the character, and value its outside perspective, it needs to be delicately changed to balance a changing ecosystem.  What a weird rambling answer to that question. But yeah, with Rick, it’s now like, “What if you’re kind of post-achievement? What if your nihilism isn’t going to pay the rent, as far as emotional relationships?” It’s not going to blow anyone’s mind, least of all his own. Where does that leave him? A new set of challenges. He’s still cynical, he’s still a nihilist. He’s still self-loathing, and filled with self-damage. Those things are wired into him. And yet he’s also acknowledged that other people are arbitrarily important to him. And so I guess we start there — that’s the only thing we can do to challenge ourselves.  Marder: I would say, just yes-anding Harmon, that’s sort of the light arc that runs through the season. Just kind of Rick living in a “retirement state.” What does he do now that this vendetta is over? He’s dealing with the family now, dealing with the Beths. That’s some of the stuff that we touch on lightly through it.  Which characters were you excited to see grow this season? Marder: I don’t think anyone had an agenda. It just kind of happened that we ended up finding a really neat Beth arc once Beth got split in two. It made her a way more intriguing character. One part of you literally gets to live the road less traveled, and this season really explores whether either of them are leading a happier life. Rick has to deal with being at the root of all that.  When we stumble onto something like a Jerry episode, like the Easter [one], that’s a treat, or Summer and the phone charger. She’s such an awesome character. It’s cool to see how she and Morty are evolving and becoming better at being the sidekick and handling themselves. It was cool watching her become a powerful CEO, then step back into her old life. We are very lucky that we’ve got a strong cast.  Are there any concepts in season 8 you’ve tried to get in the show for years and only now found a way? Harmon: My frustrating answer to that question is that the answer to that question is one that happens in season 9! [A thing] I’ve actually been wanting to do in television or in movies forever, and we figured out how to do it.  There are definitely things in every episode, but it’s hard to tell which ones. We have a shoebox of “Oh, this idea can’t be done now,” but it’s like a cow’s digestive system. Ideas for seasons just keep getting passed down. Marder: There are a few that are magnetic that we can’t crack, and that we kind of leave on the board, hoping that maybe a new guy will come in and see it comedically. I feel like every season, a new person will come in and see that we have “time loop” up on the board, and they’ll crack their knuckles and be like, “I’m going to break the time loop.” And then we all spend three days trying to break “time loop.” Then it goes back on the board, and we’re reminded why we don’t do time loops.  Harmon: That is so funny. That is the reality, and it’s funny how mythical it is. It’s like an island on a pre-Columbian map in a ship’s galley, and some new deckhand comes in going, “What’s the Galapagos?” And we’re like, “Yarr, you little piece of shit, sit down and I’ll tell you a tale!” And they’ll either be successfully warned off, or they’ll go, “I’m going to take it.” Marder: It’s always like, “I can’t remember why that one made it back on the board… I can’t remember why we couldn’t crack it…” And then three days later, you’re like, “I remember why we couldn’t crack it.” Now an eager young writer is seasoned and grizzled. “It was a mistake to go to the time loop.”

Start SlideshowStart SlideshowDisney has enchanted us for decades with its resplendent animation and fantastical stories of princesses, wicked witches, and fire-breathing dragons, but music has always been its most indelible sprinkle of pixie dust. There are songs that move us, make us dance, and help us understand the characters that have already been so lovingly drawn. With over 350 songs in the Disney canon, it’s nearly impossible to narrow them down, but we’ve chosen the 23 in honor of the year 1923, when Walt Disney founded the company. These songs are the most magical and remind us why Disney has endured for over a century.Previous SlideNext Slide2 / 25List slides23. “Whistle While You Work” from Snow White and the Seven DwarfsList slides23. “Whistle While You Work” from Snow White and the Seven DwarfsWhistle While You Work - Snow White and the Seven Dwarfs Larry Morey and Frank Churchill’s merry tune about finding the joy in the most mundane of chores is quite simple, with only nine lines, yet incredibly catchy. Adriana Caselotti’s warbling, baby voice is fitting for this old-fashioned, operetta-style number and the entire sequence that features the big-eyed, adorable forest creatures helping her out. The squirrels sweep the dust with their tails, and the raccoons wash dirty clothes in a nearby watering hole to every sprightly beat. It’s difficult not to be beguiled by this little ditty, and you’ll find yourself humming it the next time you do your spring cleaning. Previous SlideNext Slide3 / 25List slides22. “The Family Madrigal” from EncantoList slides22. “The Family Madrigal” from EncantoStephanie Beatriz, Olga Merediz, Encanto - Cast - The Family Madrigal (From “Encanto”) Lin-Manuel Miranda’s fingerprints are all over modern Disney soundtracks. He is a master at crafting clever, fast-paced, and genre-blending earworms. The biggest ones to emerge from Encanto are “We Don’t Talk About Bruno” and “Surface Pressure,” where he blends classic Broadway stylings with punchier salsa and reggaeton genres. “The Family Madrigal” may not have reached the same level of pop culture infamy as the other songs in this film, but it’s a clever and economical way to introduce the Madrigal family and their powers. Stephanie Beatriz’s bubbly voice as Mirabel suits the song’s bouncy rhythm perfectly, while the Colombian folk instruments such as an accordion, caja vallenata, and guacharaca match the colorful energy of the magical town the Madrigals call home. Previous SlideNext Slide4 / 25List slides21.“Dig a Little Deeper” from Princess and the FrogList slides21.“Dig a Little Deeper” from Princess and the FrogDig a Little Deeper (From “The Princess and the Frog”/Sing-Along) Randy Newman’s toe-tapping blend of big-band swing and gospel choir refrains perfectly captures the vibrant soul of the New Orleans setting. The feisty Jennifer Lewis leads “Dig a Little Deeper” as Mama Odie, backed by the rousing Pinnacle Gospel Choir. The song’s brassy rhythms help Tiana let loose and Naveen to realize that he’s in love with her. The lessons Mama Odie imparts through the lyrics are wise and grounded: it doesn’t matter what you have or where you come from—that doesn’t define who you are. True fulfillment doesn’t come from material wealth, status, or outward appearances—it comes from understanding what you really want on the inside. The song crescendos with Anika Noni Rose’s powerful belt and the soulful shouts of Mama Odie’s bright flamingo chorus. Previous SlideNext Slide5 / 25List slides20. “I See the Light” from TangledList slides20. “I See the Light” from Tangled“I SEE THE LIGHT” | Tangled | Disney Animated HD The dreamy melody of “I See the Light” begins with a soft guitar. Glenn Slater and Alan Menken’s composition is fairly simple, allowing the glittering visuals to take center stage. The song takes place during the lighting ceremony that Rapunzel has yearned to visit after observing it from her tower for 18 years. Flynn and Rapunzel float on a gondola, surrounded by over 45,000 glowing lanterns floating in the air, dotting the sky and reflecting off the water that surrounds them. The characters sing the verses separately in their heads before their emotions burst, then they harmonize the chorus loudly, compelled by their realization that they’re in love. It’s a unique and touching way of framing a Disney love song. Previous SlideNext Slide6 / 25List slides19. “Friend Like Me” from AladdinList slides19. “Friend Like Me” from AladdinAladdin - Friend Like Me (HD 1080p) Howard Ashman’s playful lyrics and Alan Menken’s up-tempo, syncopated, vaudevillian song was the perfect musical playground for Robin Williams to fill with the zany impressions and quirky voices he was renowned for. A trumpet warbles in between one of the clever lyrics, sights and sounds so jam-packed with hilarity that you can barely stop to catch your breath. Robin Williams was so adept at improvisation that he had nearly an entire day’s worth of material. The animation is just as bonkers as his vocal performance, where Genie morphs into countless creatures—from a train whistle to a maître d’, a boxing trainer, a bunny, and a dragon. The Broadway-style showstopper culminates with a kick line under bright spotlights with monkeys, elephants, and dancing girls in crop tops and harem pants. “Friend Like Me” is a shining showcase for one of our finest comedic talents, the great Robin Williams. Previous SlideNext Slide7 / 25List slides18. “Baby Mine” from DumboList slides18. “Baby Mine” from DumboDisney’s “Dumbo” - Baby MineSongwriters Frank Churchill and Ned Washington are responsible for childhood traumas everywhere with “Baby Mine,” which takes place when Dumbo’s mother has been jailed as a “mad elephant” for fiercely protecting her son against his bullies. She reaches her trunk through the bars to cradle Dumbo to the soft, slumbering melody accompanied by haunting strings. Betty Noyes’ has that rich, rounded tone found in vintage singing, and it conveys Mrs. Jumbo’s maternal strength. The images of all the animals—zebras, tigers, monkeys, and even the underwater hippos—nestled in the love of their mothers, except for poor Dumbo, set against the song’s soothing orchestra, is absolutely heart wrenching. “Baby Mine” is the kind of song that inspires dreams of being comforted and cared for by a loving parental figure.Previous SlideNext Slide8 / 25List slides17. ”Once Upon a Dream” from Sleeping BeautyList slides17. ”Once Upon a Dream” from Sleeping BeautyOnce Upon A Dream | Sleeping Beauty Lyric Video | DISNEY SING-ALONGS Jack Lawrence and Sammy Fain craft a solo-turned-duet with a woozy, mysterious quality that perfectly complements the story of Sleeping Beauty. Mary Costa has such an elegant and operatic voice, with rich tones that make her sound far more mature than a 16-year-old girl. She’s soon joined by the strong, handsome voice of Prince Phillip, who appears unexpectedly in the forest. Their romance unfolds quickly, twirling together in the woods, surrounded by beautiful medieval-inspired, Gothic-Renaissance style visuals. The lilting orchestration and the grand choral ensemble add to the old-world mystique. The lyrics—of knowing someone before you truly know them, of seeing them in your dreams—add a tinge of mysterious excitement and mystical fate to their romance. Previous SlideNext Slide9 / 25List slides16. “Hellfire” from The Hunchback of Notre DameList slides16. “Hellfire” from The Hunchback of Notre DameHellfire - The Hunchback of Notre Dame (1996) Alan Menken and Stephen Schwartz crafted one of Disney’s darkest songs. It’s hard to imagine Disney taking this type of creative risk again. “Hellfire” is sung by a corrupt priest consumed by lust for the Romani woman Esmeralda. The deep-voiced Tony Jay plays the dishonorable Frollo, who paints himself as a virtuous man—even though he killed Quasimodo’s mother and nearly killed Quasimodo. A true Catholic would have helped them. Today, Disney would never dare to show that authority figures—especially religious ones—can often be wrong and hypocritical, if not outright evil. This is one of the most provocative villain songs, in which Frollo essentially confesses his horniness. He sings of being enraptured by Esmeralda’s smoldering eyes and raven hair—a desire that burns and threatens to turn him to sin. “Hellfire” also has a spooky quality in its use of Latin and the intense religious choir that looms over Frollo in judgment, cloaked in red with faces like empty black holes. It’s a haunting song of operatic grandeur, with notes that flare and fade like the flames dancing in front of him. Previous SlideNext Slide10 / 25List slides15. “A Dream is a Wish Your Heart Makes” from CinderellaList slides15. “A Dream is a Wish Your Heart Makes” from CinderellaA Dream Is a Wish Your Heart Makes (from Cinderella) Sung with silky warmth and a shimmering, ethereal vibrato by Ilene Woods as Cinderella, “A Dream is a Wish Your Heart Makes” is soft and soothing, yet carries an undercurrent of quiet determination. She sings to her loyal companions—adorable flocks of birds and mice—who wear the tiny outfits she’s lovingly made for them. They join in during a break of the song that is more playful and buoyant while she prepares for another grueling day of chores, yet she stays positive by believing her dreams will come true. “A Dream is a Wish Your Heart Makes” has become a marketing anthem for the studio—used in various ads to evoke nostalgia, magic, and the promise that dreams really do come true, with Disney theme parks as the place where that magic can happen. Previous SlideNext Slide11 / 25List slides14. Hawaiian Roller Coaster Ride from Lilo & StitchList slides14. Hawaiian Roller Coaster Ride from Lilo & StitchHawaiian Roller Coaster Ride (From “Lilo & Stitch”) The rich voice of Mark Kealiʻi Hoʻomalu and the cheerful Kamehameha Schools Children’s Chorus come together for a song that is as sweet and breezy as a summer’s day. “Hawaiian Roller Coaster Ride” takes place during a touching moment of family bonding as Lilo, Nani, and David go surfing, gliding through the waves with ease. Stitch has been naughty, so he feels a little shy about enjoying the day with them, but he slowly begins to warm up to what it feels like to have a family. We see the adorable progression as the little thrill-seeker ends up riding the waves too. The song’s instrumentation—featuring ukulele, traditional Hawaiian fingerstyle guitar, and steel guitar—evokes the ocean waves and open skies, giving it that relaxed, beachy vibe. Both the animation and the song itself honors the film’s beautiful Hawaiian setting. Previous SlideNext Slide12 / 25List slides13. “I’ll Make a Man Out of You” from MulanList slides13. “I’ll Make a Man Out of You” from MulanMulan | I’ll Make a Man Out of You | Disney Junior UK “Let’s get down to business, to defeat the Huns” Donny Osmond sings in his perfectly crisp voice. The rousing number “I’ll Make a Man Out of You” by Matthew Wilder and David Zippel is the pump-up song for a training montage. It starts out comical as we see Mulan and her clumsy friends attempt to become the ideal Chinese soldier. The catchy chorus uses evocative nature metaphors for the type of strength and calm that Mulan needs to find, and the deep-voiced punctuation “Be a man!” at the end of each line adds to the hype. When Donny Osmond belts “Time is racing towards us, ‘till the Huns arrive,” you feel a thrilling rush of urgency and swell with courage. The final chorus plays against no instrumentation, the manly voices of the soldiers booming, allowing you to focus on Mulan and her friends now kicking ass. Previous SlideNext Slide13 / 25List slides12. “A Whole New World” from AladdinList slides12. “A Whole New World” from AladdinAladdin - A Whole New World (HD 1080p) Brad Kane’s voice carries an excited, breathy quality that draws you in as he whisks Jasmine away on a magic carpet ride. He sounds bright and earnest as he describes the shining, shimmering, and splendid world that Jasmine has never seen and he’s eager to show her. Lea Salonga, who is a Broadway legend in her own right, has an angelic innocence as Jasmine. Their voices come together in perfect harmony for this sweeping duet. “A Whole New World” is one of Disney’s most romantic love songs, with a melody that flutters and glides like the magic carpet itself. Written by Alan Menken and Tim Rice, the orchestration has lush strings that propel the adventurous animated sequence where they soar through the clouds, pass the Sphinx, and touch down near a group of horses. Previous SlideNext Slide14 / 25List slides11. “Strangers Like Me” from TarzanList slides11. “Strangers Like Me” from TarzanStrangers Like Me (1080p Full HD) - Tarzan (1999)Opening with a pulsing drum track, Strangers Like Me evokes the spinning wheels in Tarzan’s mind as he learns more about what lies beyond the jungle. The montage is gorgeously animated, featuring old-fashioned ink illustrations that Tarzan looks at through a magic lantern. He sees the city of London, a giant castle, the Sphinx, and even outer space for the first time. This flood of information drives the song’s urgent pace.The filmmakers craft the entire animated sequence as a response to the lyrics, as Tarzan watches Jane (“Every gesture, every move that she makes / Makes me feel like never before”) or shows off a pocket of the rainforest filled with parrots (“Come with me now to see my world / Where there’s beauty beyond your dreams”). Phil Collins’ bright voice captures Tarzan’s wonderment, especially in the soaring chorus, where Tarzan expresses his desire to learn more about strangers like him. You feel his hunger for the great, wide world in the song’s pounding, tribal drumbeats. Previous SlideNext Slide15 / 25List slides10. “I Won’t Say I’m in Love” from HerculesList slides10. “I Won’t Say I’m in Love” from HerculesHercules (1997) │ I Won’t Say (I’m In Love) [DPU HD 4K] The story of the ancient Greek hero Hercules has such a unique musical style, with lyricist David Zippel and composer Alan Menken blending doo-wop, Motown, and gospel soul. The muses serve as a literal Greek chorus, commenting on the action with their sassy perspective. In “I Won’t Say I’m in Love,” Megara’s velvet-voiced, sarcastic Susan Egan stands apart from other Disney heroines, who often sing fluttering arias about dreaming of a prince. Instead, Megara resists her feelings because she’s been burned too many times before, creating a comical juxtaposition with the Muses, who cheekily insist that she’s in love. They tease her with “Check the grin, you’re in love.” It’s a playful and flirtatious song that celebrates an unconventional Disney princess and musical choices. Previous SlideNext Slide16 / 25List slides9. “How Far I’ll Go” from MoanaList slides9. “How Far I’ll Go” from MoanaAuli’i Cravalho - How Far I’ll Go (from Moana/Official Video) Ever since their introduction in The Little Mermaid, Broadway-style “I Want” songs have become a hallmark of Disney princess films. They are passionate solos that reveal what each heroine desires most in the world. Whatever her heart longs for becomes the emotional engine driving the story forward. In “How Far I’ll Go,” composed by Lin-Manuel Miranda, Moana is torn between her dream of exploring what’s beyond her remote island and her duty to her family. She’s genuinely torn, even wondering if she’s wrong to yearn for what lies beyond the horizon. Auli’i Cravalho’s pure, heartfelt voice captures all the wistfulness and uncertainty of growing up. The melody swells and crashes gently like ocean tides, mirroring the push and pull of Moana’s inner conflict. Previous SlideNext Slide17 / 25List slides8. “Be Our Guest” from Beauty and the BeastList slides8. “Be Our Guest” from Beauty and the BeastBeauty and the Beast - Be Our Guest (HD) Music Video Broadway royalty Jerry Orbach helms this showstopper with music by Alan Menken and lyrics by Howard Ashman. The suave candlestick Lumière uses the number to lure Belle out of her bedroom, and show that the enchanted castle is more friendly and exciting than spooky and depressing. “Be Our Guest” has clever, fast-paced lyrics sung in a classic “patter song” style which then explodes in a lively, French can-can finale. The living castle objects just want to serve and make someone happy again, offering Belle elaborate meals and dazzling entertainment. Everything is on the plate for Belle, from soup du jour, hot hors d’oeuvres, beef ragout, cheese soufflé, and of course, the grey stuff. What’s just as exciting about the number as its giddy music is the animation, with spoons swimming in punch bowls like a Busby Berkeley number, prismatic spotlights, sumptuous, brightly-colored cakes, a glowing chandelier, and dancing flatware. Previous SlideNext Slide18 / 25List slides7. “You’ll Be in My Heart” from TarzanList slides7. “You’ll Be in My Heart” from TarzanPhil Collins - You’ll Be in My Heart /Tarzan(ターザン)Phil Collins knocked it out of the park with the entire Tarzan soundtrack. Somehow his earthy voice, drum-infused instrumentals, and heartfelt lyrics were the perfect mix for this jungle story. Rather than a traditional Disney musical, Phil Collins acts as an omnipresent narrator, commenting on the action or voicing the character’s thoughts. “You’ll Be In My Heart” rightfully earned the Academy Award for Best Original Song. Originally written as a lullaby for his own daughter, the song starts off tender, with Phil Collins almost gently whispering against soft marimbas. Its lyrics of true love and devotion are moving, especially in the scene where Kala sings it to a baby Tarzan, who, despite being a different species, experiences a bond where love and care know no bounds. The song eventually crashes into driving drums, moving toward a bridge that sees the child fly free on their own: “When destiny calls you / You must be strong / I may not be with you / But you’ve got to hold on.” This song is touching for anyone who has ever loved someone and watched them grow, no matter what type of relationship. Previous SlideNext Slide19 / 25List slides6. “Under the Sea” from The Little MermaidList slides6. “Under the Sea” from The Little MermaidThe Little Mermaid - Under the Sea (from The Little Mermaid) (Official Video) Those solo calypso opening notes of “Under the Sea” immediately get you excited, and Samuel E. Wright delivers a rollicking underwater bash. His booming voice and vivacious energy are perfect for the overdramatic crustacean and his mission to convince Ariel that living under the sea “is the bubbles” with no troubles. “Under the Sea’ buoys the rainbow-colored montage of marine life that fills Ariel’s world—fish, dolphins, and coral reefs. The scene cleverly ties the instruments to various creatures and animation — harps echo the swirling school of fish, shells mimic steel pans, and a pair of octopuses intertwine their legs like bass lines. With its infectious Caribbean beat, Howard Ashman and Alan Menken’s song is a true banger and impossible not to love, which is why it won the 1990 Oscar for Best Original Song. Previous SlideNext Slide20 / 25List slides5. “Colors of the Wind” from PocahontasList slides5. “Colors of the Wind” from PocahontasPocahontas - Colors of the Wind (Blu-ray 1080p HD) “You think the only people who are people / Are the people who look and think like you / But if you walk the footsteps of a stranger / You’ll learn things you never knew, you never knew.” In this increasingly polarized world, that message has never been more relevant. Pocahontas is not immediately smitten with John Smith; instead, she condemns his entire culture, which prioritizes gold and hatred over acceptance and the beauty of nature. Stephen Schwartz’s lyrics paint gorgeous pictures of the American wilderness, questioning why the white men who have invaded these lands cannot appreciate the world around them — from the grinning bobcats to the sweet berries to the trees that stretch toward the sky, if only we let them grow. Alan Menken’s surrounding score is rapturous, carried by Judy Kuhn’s passionate vocals. More than just the profound lyrics, it’s the visuals that make this musical number so unforgettable — particularly John Smith and Pocahontas dancing in a pastel-colored wind. It’s no surprise that “Colors of the Wind” won an Academy Award for Best Original Song. Previous SlideNext Slide21 / 25List slides4. “When You Wish Upon a Star” from PinnochioList slides4. “When You Wish Upon a Star” from PinnochioPocahontas - Colors of the Wind (Blu-ray 1080p HD)Written by Leigh Harline and Ned Washington, “When You Wish Upon a Star” has come to define Disney itself, typically playing over the castle logo that opens every movie. The ethereal ballad is sung by Cliff Edwards as Jiminy Cricket, whose resonant yet quirky voice feels like someone sharing a story by a crackling fire. “When you wish upon a star / Makes no difference who you are / Anything your heart desires / Will come to you,” he tenderly sings over the opening credits. The gentle melody wraps you in a warm embrace of possibility. People often make fun of Disney adults, but perhaps one reason we hold on to Disney films long after growing up is that they offer hope in an increasingly grim world. This aspirational song reminds us there is more to life than the ordinary—if we just dare to imagine.Previous SlideNext Slide22 / 25List slides3. “Beauty and the Beast” from Beauty and the BeastList slides3. “Beauty and the Beast” from Beauty and the BeastBeauty and the Beast Tale As Old As Time HD As Mrs. Potts, Angela Lansbury’s warm, cheery English voice adds a rosiness to this powerful love ballad, backed by an orchestra of sumptuous strings. The lyrics aren’t the pure romanticism of past Disney love stories; there is no love at first sight here. Instead, Mrs. Potts gently reflects on how true love can take time to blossom, and how relationships sometimes require change, admitting your faults and working hard to set aside your vices and worst qualities. It’s a surprisingly mature outlook for a Disney love song. The accompanying animation is one of the most exquisite sequences in Disney history: Belle’s golden dress glides delicately across the floor as she and the Beast dance in the grand ballroom, the camera swirling to reveal the sparkling chandelier and Michelangelo-esque ceiling of painted cherubs above them. That Howard Ashman wrote this song while dying from complications of AIDS makes it all the more poignant. Previous SlideNext Slide23 / 25List slides2. “Part of Your World” from The Little MermaidList slides2. “Part of Your World” from The Little MermaidJodi Benson - Part of Your World (From “The Little Mermaid”)Before The Little Mermaid kicked off the Disney Renaissance (a period of more sophisticated storytelling and box office success) princess songs were mostly focused on their prince charmings. They had very few aspirations outside of dreaming about their prince or wishing for their prince. But the introduction of the songwriting team Alan Menken and Howard Ashman, who had worked on the off-Broadway show Little Shop of Horrors, helped develop a Disney princess that had greater ambitions. Ariel wanted to see the human world, and she would express that within a Broadway-style solo called the “I Want” song, where the protagonist sings about, well, what they want. “Part of Your World” has a flowing melody and a sweet yearning in Jodi Benson’s voice (and given a more soulful power in the live-action version from Halle Bailey). We see her comical misunderstanding of what her treasures are, all whozits and whatzits galore. “Wouldn’t I love to explore that shore up above?” her voice soars while reaching out through the top of her grotto towards the sun. In that moment, with her big eyes and aching voice, you completely understand how much the human world means to her.Previous SlideNext Slide24 / 25List slides1. “Circle of Life” from The Lion KingList slides1. “Circle of Life” from The Lion KingCarmen Twillie, Lebo M. - Circle of Life (From “The Lion King”) No Disney song is quite as epic as Elton John’s “Circle of Life.” The image of the rising sun, paired with the opening lines sung passionately in Zulu by Lebo M., without any instrumentals, immediately hooks you into this sweeping story of the African savannah. The title, “Circle of Life,” is fitting for this tale of birth, death, and everything in between. The lyrics somehow encompass everything about our big, beautiful world — how finite life is, and the experiences, both good and bad, that give us balance. There’s despair and there’s hope. There’s faith and there’s love. The lyrics are poetic and make you think about the wonder and mystery of existence. The song reaches a powerful peak at the end when the chorus rises together. It’s impossible not to get full-body chills on that final soaring note, “It’s the circle, the circle of life,” punctuated by the thunderous drumbeat, where the sight of Rafiki lifting Simba on Pride Rock cuts to black. “Circle of Life” is a beautiful song with a grand vision, especially for a film geared towards children.

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MarcosBrXD Member Aug 28, 2024 1,692 I wonder if this pursuit of this in the Halo franchise has enough demand, did fans really want Halo to become a Destiny like? Did the story (or lore) make Halo Halo or was it the Multiplayer that propelled the Series to its peak in Reach...   JigglesBunny Prophet of Truth Avenger Oct 27, 2017 36,107 Chicago 343's mismanagement and sloppy direction is what caused its downfall, and that extends far beyond their tepid live service.   Forerunner Resetufologist The Fallen Oct 30, 2017 18,793 H4 was a complete package, it just wasn't a good Halo game. Both H5 and Infinite had bare bones MP and it takes them too long to get rolling, so everyone moves on. They need a complete package at launch. It's crazy that they don't have modes from previous Halos at launch and takes them months if not years to add them.  NDA-Man Member Mar 23, 2020 3,983 Tastes changed. COD was stealing Halo's lunch even during the later Bungie days. COD 4 impacted gaming so hard everyone tried to catch up, and Activision having the staff to turn it into an annual franchise after sacrificing most of it's other projects kept it always in the covnersation. Then Hero Shooters rose, then Battle Royales. Yes, poor management and dumb decisions at 343 definitely played a role--but just as big a part is that 4v4 equal starts arena shooters are quite passe. I don't think a "Halo 3 Part 2" that ignores the fact that gaming has evolved in the near two-decades since the franchise peaked in terms of cultural cachet would do any better (Reach was not it's peak. 3 was. Hell, 5, one of the "bad" ones did better at keeping players than Reach).  Pancracio17 ▲ Legend ▲ Avenger Oct 29, 2017 21,730 JigglesBunny said: 343's mismanagement and sloppy direction is what caused its downfall, and that extends far beyond their tepid live service. Click to expand... Click to shrink... Pretty much. You could go on and on about specific problems like Infinites first year of support, the dropping of plotlines after every game, Halo 5s story, etc. But it all comes down to that.   colorboy Member Apr 5, 2025 174 The definitive death for me was Halo Infinite: - not having coop campaign - nonsense open world - no game on disc These 3 combined absolutely destroyed this series and I am so sad since I loved all 4 first entries  HockeyBird Member Oct 27, 2017 13,794 Halo 2 and 3 were already dipping their toes into the live service model with paid for map packs and post launch updates. I think it was pretty natural for Halo to keep going in that direction. I don't think Halo fans exactly dislike the live service model in theory because it means a game they like can continue to get new content for years and years. Putting aside people's opinions about the campaigns, in terms of multiplayer, the 343 games were lacking a lot of the content fans had come to expect at launch. This hurt each game's momentum out of the gate. I think many fans would say that Halo Infinite currently has a ton of content but think a lot of that should have been available at launch and not take this long to get expected features back into the game.  zoodoo Member Oct 26, 2017 14,540 Montreal MS has problems evolving their franchises. Sony on the other either retire them or completely change them (God of War). Gears has the same problem. The games are great but more of the same. They timidly try to incorporate new stuff like larger areas but the changes are not drastic enough. Halo could have had a game like Destiny or Mass Effect. Gears could have had a more horror entry. The attempts they did with boths franchises were low budget or in niche genres  wwm0nkey Member Oct 25, 2017 16,795 Forerunner said: H4 was a complete package, it just wasn't a good Halo game. Both H5 and Infinite had bare bones MP and it takes them too long to get rolling, so everyone moves on. They need a complete package at launch. It's crazy that they don't have modes from previous Halos at launch and takes them months if not years to add them. Click to expand... Click to shrink... The fact Infinite launched without Forge was possibly the dumbest thing. Like they had it, they had a Halo with great gunplay with Infinite finally but didn't have the content to support it, had they had Forge the community could have at least done some heavy lifting for awhile.   Transistor The Walnut King Administrator Oct 25, 2017 41,639 Washington, D.C. 343 caused it's downfall.   PucePikmin Member Apr 26, 2018 5,346 I don't think there's any great mystery about Halo's decline. Bungie left and the games stopped coming as often or being as good.   SoftTaur Member Oct 25, 2017 671 Halo Infinite putting armor colors on a battlepass and expecting people to just accept that was wild. Map packs have fallen out of favor for obvious reasons, and they've never found monetization that worked since.   BloodHound Member Oct 27, 2017 11,247 This forums playbook is blame everything on live service and AI. Zero critical thinking skills required.  Derbel McDillet ▲ Legend ▲ Member Nov 23, 2022 24,332 Forerunner said: H4 was a complete package, it just wasn't a good Halo game. Both H5 and Infinite had bare bones MP and it takes them too long to get rolling, so everyone moves on. They need a complete package at launch. It's crazy that they don't have modes from previous Halos at launch and takes them months if not years to add them. Click to expand... Click to shrink... I mean, it's a lot of freaking modes at this point. Halo 3 has more modes than we'll ask of any shooter except Halo.   Detective Member Oct 27, 2017 3,886 343 is the reason for the downfall from the get go.   Ascenion Prophet of Truth - One Winged Slayer Member Oct 25, 2017 13,105 Mecklenburg-Strelitz 343 was a poorly led and managed studio. It remains to be seen if Halo Studios is just more of the same but 343 just sucked at management. And Halo Infinite is a fundamental failure at understanding what a live service requires.   Stat Member Oct 25, 2017 6,360 I think the other thing is that arena shooters have really dried up. The idea of a standalone arena shooter just isn't a genre that a lot of people like too and people just expect these games with live service battle passes and seasons. Which is a shame.   chickenandrofls Member Oct 27, 2017 667 People will blame 343 but COD4 changed multiplayer tastes and Halo never recovered. Reach fell off quick compared to H3 and by the time H4 came around and tried to ape COD it just came off half ass. I love halo MP to this day but it was wild seeing my entire crew and casual gaming friends all move over to COD.  MasterYoshi Member Oct 27, 2017 12,224 I couldn't believe how quickly the plug was pulled on substantial updates to Infinite's multiplayer. There was a narrative going with cutscenes that just stopped before it had even hardly began. Halo should have moved to become something like Battlefront where you could play as virtually any infantry from the game's history. All of the Covenant races, the Flood, all sorts of UNSC ranks. That's what I believe would have been a major success at reinventing Halo's wheel.  Gavalanche Prophet of Regret Member Oct 21, 2021 25,900 I think CoD contributed more to it than anything else. Halo used to be the big multiplayer shooter on console. It revolutionised that area. And then Modern Warfare came along and ate its lunch, and bit by bit the goal shifted. Exclusivity probably didn't help either; it is not a coincidence that Halos woes and console selling woes are hand in hand; now that could be simply because Halo has that big an influence that a bad Halo means that many people buy less xboes. But it also means the potential playerbase isn't as big, especially since most Halo weren't on PC at that time. Meanwhile CoD wasn't exclusive and just grew and grew and grew.   Akira86 Member Oct 25, 2017 21,203 I was content being an all Halo and No-Call of Duty ever player, and lots of people were. They fucked up. Plain and simple. Plenty of people loved Reach(the hate was vocal and online as fuck) and just wanted a similar MP experience out of H4, but it wasn't similar. at all. People accused them of kowtowing to the COD type of game play. All they had to do was fix it in Halo 5 and release it on PC with plenty of maps and great MP. that didn't happen, Shake.  VariantX Member Oct 25, 2017 18,026 Columbia, SC SoftTaur said: Halo Infinite putting armor colors on a battlepass and expecting people to just accept that was wild. Map packs have fallen out of favor for obvious reasons, and they've never found monetization that worked since. Click to expand... Click to shrink... Spartan customization was also part of progression, whether its just getting to a certain rank, playing on certain difficulties, skulls, or doing specific tasks, you did the stuff to get the customization you wanted and it kept a part of the audience playing. If you take stuff away or put it behind a monetization scheme, then you have to replace it with something else in the hopes that would keep people coming back and they frankly didn't have any thing to replace what was lost.  Kill3r7 Member Oct 25, 2017 29,044 NDA-Man said: Tastes changed. COD was stealing Halo's lunch even during the later Bungie days. COD 4 impacted gaming so hard everyone tried to catch up, and Activision having the staff to turn it into an annual franchise after sacrificing most of it's other projects kept it always in the covnersation. Then Hero Shooters rose, then Battle Royales. Yes, poor management and dumb decisions at 343 definitely played a role--but just as big a part is that 4v4 equal starts arena shooters are quite passe. I don't think a "Halo 3 Part 2" that ignores the fact that gaming has evolved in the near two-decades since the franchise peaked in terms of cultural cachet would do any better (Reach was not it's peak. 3 was. Hell, 5, one of the "bad" ones did better at keeping players than Reach). Click to expand... Click to shrink... .  inkblot Member Mar 27, 2024 1,090 JigglesBunny said: 343's mismanagement and sloppy direction is what caused its downfall, and that extends far beyond their tepid live service. Click to expand... Click to shrink... first comment  bionic77 Member Oct 25, 2017 33,370 NDA-Man said: Tastes changed. COD was stealing Halo's lunch even during the later Bungie days. COD 4 impacted gaming so hard everyone tried to catch up, and Activision having the staff to turn it into an annual franchise after sacrificing most of it's other projects kept it always in the covnersation. Then Hero Shooters rose, then Battle Royales. Yes, poor management and dumb decisions at 343 definitely played a role--but just as big a part is that 4v4 equal starts arena shooters are quite passe. I don't think a "Halo 3 Part 2" that ignores the fact that gaming has evolved in the near two-decades since the franchise peaked in terms of cultural cachet would do any better (Reach was not it's peak. 3 was. Hell, 5, one of the "bad" ones did better at keeping players than Reach). Click to expand... Click to shrink... Thats how I remember it. COD changed the game. Even on 360 that was THE multiplayer shooter for that generation.   kowhite Member May 14, 2019 7,473 I couldn't tell you what caused the downfall of Halo. Granted I barely played 5 but I liked Infinite.   Multievolution Member Jun 5, 2018 4,179 I still maintain reach was a good game, I put a fair bit of time into it, and enjoyed its lifespan. I think what finished the series off was one part a lack of direction story wise, and one part not knowing how to keep halo both relevant and unique. To the former, I enjoyed 4's story well enough, but learning where they went next put me off ever seeing it. And to the latter, halo needs to just do what it does best, avoid trying to make it into a battle royal as an example. FPS's in general haven't been interesting to me in at least a decade.  MYeager Member Oct 30, 2017 960 I don't get the op. Four wasn't a live service title and 5 wasn't either thought it had some elements. Infinite I wouldn't consider a downfall as it's the most time I've played a Halo title ever, and 3 was my second highest. Live service or not the issue is it exists at a time where arena shooters aren't the mainstream.  NDA-Man Member Mar 23, 2020 3,983 zoodoo said: Halo could have had a game like Destiny or Mass Effect. Gears could have had a more horror entry. The attempts they did with boths franchises were low budget or in niche genres Click to expand... Click to shrink... To be blunt, I don't really buy into the idea of Halo as a universe that really supports much more than an FPS (which I guessed they could've cribbed from Destiny, but I dunno. It'd tick off the old heads who just want arena, and I don't think it'd pull folks away from destiny or their live service of choice). We as fans can get uber excited about a Halo RPG or a Flood horror game, but the vast majority of the playerbase didn't read the Nylund Books or whatever. They hear Halo and don't think of a vast and rich tapestry of a sci-fi universe, they think a shooter where you kill helium space munchkins. MasterYoshi said: I couldn't believe how quickly the plug was pulled on substantial updates to Infinite's multiplayer. There was a narrative going with cutscenes that just stopped before it had even hardly began. Click to expand... Click to shrink... Playerbase dropped off a cliff well over a year before they dropped those cutscenes (game launched late 2021, cutscenes were dropped June 2023). and nobody gave a fuck about the MP story until they axed it.  Sordid Plebeian Member Oct 26, 2017 19,835 It all comes down to 343i never knowing what to do with Halo. The only reason Infinite played it so safe is because they burned all their time chasing ideas no one wanted. Don't have much faith in Halo Studios.   T0kenAussie Member Jan 15, 2020 6,019 Halos lore was never strong in game. If you just watch the cutscenes they are clearly vehicles to get to the next level and that's about it. Halos EU especially the books did a lot of the heavy lifting that people are nostalgically remembering as Bungie lore imo I think halo has done an OK job of doing halo things. H1->3 were always reinventing the wheel and adding new things to each game. But overall I'd argue that everyone remembers the sweaty LAN weekends with your mates in the garage doing a system link on blood gulch and sidewinder over the single player story. At least that's the core halo memory I have  Caiusto Member Oct 25, 2017 6,879 No, the strategy was good, the sheer incompetence of 343i is what caused its downfall.   LilScooby77 Member Dec 11, 2019 12,280 Campaign/co op mode/multiplayer/theater/forge/custom games. Halo Reach will die as the last to launch complete.  Josh5890 I'm Your Favorite Poster's Favorite Poster The Fallen Oct 25, 2017 26,480 I've always been on the outside looking in, but it always felt like things went downhill after Bungie handed off the franchise to 343.   Bishop89 What Are Ya' Selling? Member Oct 25, 2017 42,741 Melbourne, Australia JigglesBunny said: 343's mismanagement and sloppy direction is what caused its downfall, and that extends far beyond their tepid live service. Click to expand... Click to shrink... This.   Richietto One Winged Slayer Member Oct 25, 2017 26,029 North Carolina 343 were just not ready to step into Bungies shoes. They were not at all as skilled as Bungie was. And in the case of Infinite? They released it too soon. It took a year to get 2 maps. That's insane. The game was not going to recover. They are not good at decision making.   Letters Prophet of Truth Avenger Oct 27, 2017 5,199 Portugal To me it was the chasing of all kinds of trends instead of leaning into all the things in the gameplay what made it special and unique. Counter-Strike or Street Fighter would also be irrelevant today if they had done the same.   Razgriz-Specter Member Oct 25, 2017 34,486 Detective said: 343 is the reason for the downfall from the get go. Click to expand... Click to shrink... I'd put some on Bungie even, Halo 3 was like the big climactic game... and then Reach(despite being good) comes out within 3 years Big main Halos needed a break after 3 imo Literally Halo 3... then Reach happened in 3 years then Halo 4 just 2 years after Reach then Halo 5 in 3..  Gunman Member Aug 19, 2020 2,220 Agree with the COD factor. Halo already felt old with 3.   Green Marine Member Oct 25, 2017 450 El Paso Transistor said: 343 caused it's downfall. Click to expand... Click to shrink... This. For multiplayer, they had already lost the team death match crowd to Call of Duty back in 2007. That leaves you with objective modes, where nobody communicates or plays the objectives. I think they missed an enormous opportunity not being "first to market" with a Helldivers II style persistent PvE mode (could have literally called it "Helljumpers"). Instead they've spent fifteen years getting their ass kicked by Call of Duty and Counter-Strike. As for the campaigns and story telling, this is an even bigger mess. Halo Reach through Halo 3 (including ODST) was five campaigns that told a very cohesive, if vaguely unoriginal story. It often came off as a mixture of Starhammer, Ringworld, and The Flood being a dumb ripoff of the The Many in System Shock 2, but it mostly worked. There 343i games were a mess. They had a great opportunity to break away from the events of the Bungie era, but they decided only four years could pass, because Cortana's story was super important, and couldn't be an aspect of what went on between games. Hilarious, considering this is precisely what they did with Halo Infinite. Then you have a really bad story with Halo 5 (The Covenant knew where to scan and dig for the Portal for the Ark, but had no idea a Forerunner super weapon was buried beneath the Elite home world the whole time? That could have won them the way). The Banished were supposedly welcoming of humans, until they're retreating the the same threat of using the Halo Array to kill everyone. Eight years passed since the Prophet of Regret was murdered, but none of the the other alien factions know it's insta kill for anyone not on a shield world or outside of the Milky Way on The Ark? Zero explanation as to why Atriox's own high ranking soldiers think he died. The Endless are worse than The Flood… for absolutely no reason whatsoever. And this is before getting in to AI a level design issues. They couldn't mimic what GTA IV did in 2008 with an AI driving you around? You could have chosen between a scenic route where you noticed high value targets, or skip to the destination to get back the story after. Outside of "The Road", the last four levels were horrible (more gondola rides… a level that so thoroughly seemed like firefight maps and two boss fights stitched together that you eventually got those levels in Firefight events). They should have focused on human factions resurfacing pre-Covenant conflicts. UNSC were essentially the bad guys before Harvest. The Banished could have been an actual "mercenary" force that worked for humans that paid them, rather than just being a drop in replacement for the Covenant. Just one missed opportunity after another. I still like firefight, but that's the only mode I play in Infinite multiplayer. I hope they turn things around, but I'm not optimistic.  Justin Iacobellis Member Oct 27, 2017 2,446 United States I think Call of Duty 4 and onwards were definitely a factor in Halo's demise. On console (360 and PS3), CoD was one of the only multiplayer-focused shooters that offered a virtually consistent 60 FPS experience without overtly compromising elsewhere. On top of that, the range of ways to earn XP and relatively brisk rate at which you would join a new match created a flow that was difficult to remove yourself from, similarly to the "just one more run" mentality of Tony Hawk's Pro Skater. While technical reasons prevented Halo from going beyond a 30 FPS limit for the remainder of that console generation, 343 and Bungie attempted to replicate some of the Call of Duty experience with the introductions of armor abilities, loadouts, and the like. These changes are where I personally felt the series was beginning to lose its identity. If you are going to gradually incorporate the key elements of your competitors, why would I not just continue playing those instead?  TechnoSyndro Member May 15, 2019 3,310 Their inability to actually support a live service game is why their live service game died. Halo Infinite had a ton of players at launch but they fumbled the ball immediately.   hydruxo ▲ Legend ▲ Member Oct 25, 2017 22,716 I don't think that was the problem. I think it's more so that 343 didn't have the juice to keep people interested in Halo. Bungie was just better in every way.   callamp Member Oct 27, 2017 1,641 Trends change over time and the Halo franchise was slow to adapt to that. Industry trends were already changing when Halo 3 was at its apex, with Modern Warfare changing the game. More recently we've had the shift towards battle royale (Fortnite, PUGB, Apex) and Destiny-likes. Halo is still largely operating in the same space it did 20 years ago (although Infinite's single player tried to branch out unsuccessfully). The reality is that Microsoft and 343 were too cautious with the franchise. They delivered games that were typically fine - despite some of the hyperbole that gets thrown about - and you could legitimately argue that mechanically Infinite is the best multiplayer in the franchise. But if trends have changed and gamers aren't as enamoured with arena shooters, then that's ultimately not good enough. From Halo 1 to 3, the series was the trend setter and then after that it became a follower. In an ideal world, Bungie would have kept the franchise and it would have evolved to be similar to what they created with Destiny. Perhaps they would have noted PUGB success and pivoted into the battle royale genre. But none of that happened and so year-after-year the franchise just became a little less prominent.  daegan #REFANTAZIO SWEEP Member Oct 27, 2017 3,304 For SP: Too long between games and they got way way WAY overwritten, simultaneously pulling from deep lore but not giving you reasons to care in the games themselves. 4, 5, Infinite all basically being reboots and supposed to keep going forever and then just not having a great hook to keep people playing. 5 also just being an absolute dogshit campaign that has no business being with the rest of the series, even when the plot points could be interesting. For Multi: The larger audience they chase for multiplayer has splintered and spread out across games that more focus on what each kind of player likes and I don't know how you get that back. What itch does a future Halo scratch that nothing else does and is it an itch millions of people still have who also have the free time to plunge into it?  dotpatrick Member Oct 28, 2017 400 Definitely agree with the people referencing Call of Duty. That was the big turning point and I'm not sure anything there is anything 343 could've done short of figuring out the next big turn for the competitive multiplayer shooter. By the time even Reach came out, CoD had already supplanted it as THE console shooter. I still remember when Xbox used to post how many folks were playing a particular title on Xbox Live for a given week and Call of Duty 4 would beat or be just behind Halo 3.  HockeyBird Member Oct 27, 2017 13,794 Razgriz-Specter said: I'd put some on Bungie even, Halo 3 was like the big climactic game... and then Reach(despite being good) comes out within 3 years Big main Halos needed a break after 3 imo Literally Halo 3... then Reach happened in 3 years then Halo 4 just 2 years after Reach then Halo 5 in 3.. Click to expand... Click to shrink... 3 years as the gap between Halo 1 and 2 and from 2 to 3. So Reach coming 3 years after Halo 3 isn't all that surprising. Also, as part of their agreement to split from Microsoft, they were obligated to produce two more Halo games after 3. One was Halo 3: ODST and the other was Reach. So they were fulfilling their contractual obligation to become independent and go off to create Destiny.  De Amigo Member Dec 19, 2017 550 Halo Reach was a fine enough game but it did feel like the beginning of the franchise releases going from major events to "expect another installment every couple of years no matter what". I wonder if them doing Halo 3 then taking a break until Halo 4 as like an Xbox One launch game could've kept the franchise's event status intact.   saruboss Member Jan 26, 2025 93 If i am not wrong, didn't you make the same thread with "is halo infinite now considered a failure?" a couple of months ago.   Gestault Member Oct 26, 2017 14,690 This is admittedly myopic, but from my perspective, their big public assertion about having learned the lesson from Halo 5 that they need split-screen, effectively (literally?) promising it for future games, then totally omitting it from Infinite made clear the game wasn't being planned by serious people. I say this as someone who had a blast with Infinite overall. 

What will be the song of the summer for 2025? Who else got 'em obsessed "like JENNIE?" Spotify has some ideas.The audio streamer has made some big calls annually about which songs will rule the hot season, and on Tuesday, Spotify announced its predictions for the 30 songs of the summer. SEE ALSO: Spotify’s AI DJ now takes requests Listed not by ranking but alphabetically by artist first name, the 2025 "global songs of summer predictions" include WizTheMc, bees & honey, and Tyla's summery smash "Show Me Love," Charli xcx's TikTok favourite "party 4 u," Bad Bunny's superb "NUEVAYoL," Lady Gaga's Swift-like "How Bad Do U Want Me," and Ravyn Lenae's situationship ode “Love Me Not," among many more. Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! You May Also Like Here's the list:Spotify's 2025 songs of the summer predictions“Ordinary” – Alex Warren“NUEVAYoL” – Bad Bunny“Super” by Bb trickz “Mystical Magical” – Benson Boone“All The Way” – BigXthaPlug and Bailey Zimmerman“party 4 u” – Charli xcx “My Darling” – Chella“With You” – Davido and Omah Lay“NOKIA” – Drake“YA BABA” – DYSTINCT and French Montana“Running Around” – Ely Oaks“Summer Sweat” – Hannah Cohen“like JENNIE” – JENNIE“Blue Strips” – Jessie Murph“Gnarly” – KATSEYE“How Bad Do U Want Me” – Lady Gaga“MUTT” – Leon Thomas“Dark Thoughts” – Lil Tecca“What Was That” – Lorde“Shake It To The Max (FLY) – Remix” – MOLIY, Silent Addy, Skillibeng, and Shenseea “Say My Name – Remix” – Morgan Seatree and Florence + The Machine“What I Want” – Morgan Wallen and Tate McRae “You’ll Be in My Heart – Spotify Singles” – NIKI “Love Me Not” – Ravyn Lenae“Sally, When The Wine Runs Out” – ROLE MODEL“back to friends” – sombr“No One Noticed” – The Marías“Brunette” – Tucker Wetmore“La Plena – W Sound 05” – W Sound, Beéle, and Ovy On The Drums“Show Me Love (with Tyla)” – WizTheMc, bees & honey and Tyla Of course, Spotify has a playlist of all 30 summer predictions ready to go: Related Stories What do you think? Is your own personal song of the summer on Spotify's predictions list? FWIW, my personal songs of the summer to be are Obongjayar's "Not in Surrender" and TOKiMONSTA, Anderson .Paak, Rae Khali's "On Sum," but it's not my list is it? Topics Music

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here The First Descendant update 1.2.18 is set to come out on May 22nd, and it is a big update set to introduce lots of new content. Some of this new content already previewed includes a new VIB boss named Icemaden, as well as a new Party Finder system that should greatly improve matchmaking. However, Nexon have now announced another new feature for The First Descendant update 1.2.18, and it’s something that has divided the TFD community. Nexon announces new feature for The First Descendant update 1.2.18 On the official The First Descendant X account, Nexon has announced another new feature for update 1.2.18. This feature is the ability to “peek into other loadouts”. Basically, you’ll be able to see the modules used by another player, as well as see their dye along with makeup and all other costume cosmetics. Image credit: @FirstDescendant on X While this sounds like a good idea, there is some division amongst the community. In response to the announcement on X, there are a lot of replies against the peek. There are comments worried that it will ruin build diversity, and there are simply players who would rather keep their build a secret. On Reddit, one of the concerns fans have is that other players will leave matches due to not being impressed with another player’s build. As per one comment on the TFD subreddit, the “Game’s already full of crybabies who leave if they see a ‘low tier’ desc, so their concerns are legitimate”. There are also people who don’t want their unique build of cosmetics and dyes to be copied by others. However, in favor of player inspection being added, one comment on X points out that this feature is available in other games and was supposed to be part of TFD at launch. For those against player inspection, a lot of people are simply arguing that there should be an optional toggle so players can have the choice to hide their builds. This would be the perfect middleground as it would allow player inspection for those who want it, while allowing those who don’t to not have to participate. Unfortunately, we don’t know right now if there will be a toggle for player inspection. Fortunately, we only have to wait until May 22nd to find out. For more The First Descendant, we have a guide to the best skills and loadout for Viessa, along with the best skills, gear, and mods for the hugely popular Bunny. We also have a guide for Freyna along with fundamental tips for beginners. The First Descendant Platform(s): PC, PlayStation 4, PlayStation 5, Xbox Series S, Xbox Series X Genre(s): Action, Adventure, RPG 5 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share