ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

ZDNET's key takeaways The Eufy E28 robot vacuum, mop, and spot cleaner combination is available for $999.The mop performs better than more expensive flagships, and the water tank system doubles as a portable spot cleaner with a self-cleaning hose.Unplugging the spot cleaner also unplugs the charging station, and the spot cleaner requires you to brush it to scrub. more buying choices The Eufy E28 Omni robot vacuum and mop just hit its lowest price ever at $850, a total of $450 off with an on-page Amazon coupon.Robot vacuum manufacturers are constantly trying to outdo one another. One company develops a detachable cordless vacuum for the robot's dock, and the next makes the robot's dustbin a detachable cordless vacuum. Now, Eufy is upping the ante with the first robot vacuum to also have a detachable spot cleaner for carpet and upholstery. Also: Finally, I found a robot and handheld vacuum combo that's ideal for apartment dwellersThe Eufy Omni E28 is a robot vacuum and mop with a portable spot cleaner for carpets and upholstery. You can run your robot vacuum as you would any other, but you can also pick up the top with a built-in retractable handle and do some deep cleaning on carpets, rugs, or upholstery. I've been testing this robot vacuum over the past couple of weeks, and I'm happy to report on its performance.  details View at Amazon Essentially, the deep cleaner you carry is the Omni station's clean and dirty water tank, so it's where the robot autonomously sources clean water for its mop when it's at the dock. The deep cleaner has a handle for spot-cleaning with a hose, so you can set it down near where you want to clean and plug it in without holding it as you clean. Aside from detachable cordless vacuums, a mop roller system is another big thing for robot vacuums; many makers, including SwitchBot, Yeedi, and Ecovacs, are moving away from detachable rotating mop pads and using mop rollers instead. Eufy's also done this before with the flagship S1 Pro.  Maria Diaz/ZDNETThe Omni E28 also has a mop roller, which looks similar to the S1 Pro but not identical. The Eufy Omni S1 Pro is unequivocally the best mopping robot vacuum I've ever tested, so I was excited to test the new Omni E28, which features a very similar system. Thankfully, the Omni E28 didn't disappoint. The large mop roller covers the length of the vacuum's width and leaves no streaks behind during mopping. Streaky floors are one of my biggest pet peeves when testing robot vacuum and mop combinations, and they're a more common occurrence than I'd like. Also: My favorite indoor security camera has no subscription fees and is on sale right nowEufy is also launching an E25 robot vacuum, which features the same HydroJet self-cleaning mop system as the E28. The robot's mop roller is continuously scraped clean as it spins, and it keeps clean and dirty water in separate tanks within its body, so it only mops with clean water. The mop also exerts more downward pressure to ensure deep cleaning than the S1 Pro, with 1.5kg (3.3 lbs) instead of 1kg.  Maria Diaz/ZDNETHowever, continuously spraying the roller with clean water inside the robot keeps it moist. Scraping off the dirt and wringing out the dirty water as the roller spins ensures your floors are clean instead of streaky or filmy. The Eufy Omni E28, like the S1 Pro, is the closest thing to a manual mopping result you can get from a robot vacuum and mop. Also: I love a vacuum and mop to clean dry and wet messes, especially when it's on saleThe E28 and E25 robot vacuums have 20,000Pa of suction power and anti-tangle technology, including a DuoSpiral double roller brush to remove pet hair and avoid entanglements. The robots are self-emptying robot vacuums with a self-washing mop roller. The only difference is the portable spot cleaner, which only the E28 has. The Eufy Omni E28 robot vacuum and mop has dual brush rollers and a roller mop. Maria Diaz/ZDNETThe spot cleaner proved to be very effective. It's heavy, like most spot cleaners when full of water, but it has a retractable handle on top that makes it easy to carry around. You also don't have to press any buttons or move anything to release it; just unplug it, pull the retractable handle, and go. I didn't like that the spot cleaner powers the base station, so if you take it somewhere else in your home to clean, the robot's charging station is left without power until you return it. This is fine for quick cleanups, but it can be annoying when a forgetful house member takes the spot cleaner upstairs and leaves it in a room for two days after they're done (totally not me). Also: This simple Amazon tablet became one of my biggest smart home upgrades yet (and it's on sale)The spot cleaner has a self-cleaning hose attached, but no other attachments. The hose ends in a static brush head that sprays clean water, which you use to clean messes on soft surfaces, like carpets, rugs, and upholstery. Since it isn't motorized, you must manually brush the rug or fabric with the brush head to scrub it clean. Once you're done, you just have to press a button along one end of the brush head to make the spot cleaner cycle clean water through the hose without spilling, cleaning the hose for you.  These pictures were taken three minutes apart. The left (before) shows yogurt stains on an ottoman. I sprayed a liquid spot cleaner and went over it with the brush and water; the results are on the right (after). Maria Diaz/ZDNETThere's no separate detergent tank for the spot cleaner, though you could add some detergent directly into the clean water tank. I recommend using just water in the clean water tank and spraying your preferred carpet or upholstery cleaning solution directly on the stains to pre-treat them. You can then scrub the mess clean with the Eufy E28 brush and rinse out the detergent. ZDNET's buying adviceThe Eufy Omni E28 is designed to solve a big problem for many US customers: the need for regular floor cleanings and the ability to quickly clean up messes on soft surfaces in a single device. This device isn't meant to replace your existing carpet cleaner, but it's perfect for consumers who may need a spot cleaner and are also in the market for one of the best robot vacuum and mops available.Also: Spring cleaning takes me no time with my favorite smart home devicesI'm not a fan of fully carpeted living spaces, but my home has carpeted bedrooms, one of which we use as our TV room. With three young kids who have movie nights and play time in that TV room, its carpet unfortunately sees a lot of spills. I was in the market for a spot cleaner for a while, but decided to buy a full carpet cleaner instead, which I use to clean our carpets at least once every quarter.  The E28 cleaned up the soy sauce stains comparably to the larger carpet cleaner. Maria Diaz/ZDNETBut there are always little messes in between -- whether it's spilled ketchup on the carpet, a muddy shoeprint on the entryway rug, or yogurt on the fabric ottoman. So I appreciate having the Eufy Omni E28's spot cleaner always handy. Instead of dragging out a heavy carpet cleaning machine and filling it with water to clean a 6-inch in diameter spill, I can just unplug and grab the E28, clean the mess, and return it to the dock with little work on my end. It's also priced quite well for a first-of-its-kind device with a flagship-level robot vacuum and mop. The Eufy Omni E28 robot vacuum, mop, and spot cleaning combination is now available on Eufy's website and Amazon for $1,000. The Eufy E25 robot vacuum and mop without the spot cleaner will be available in June for $900. When will this deal expire? While many sales events feature deals for a specific length of time, deals are on a limited-time basis, making them subject to expire at any time. ZDNET remains committed to finding, sharing, and updating the best offers to help you maximize your savings so you can feel as confident in your purchases as we feel in our recommendations. Our ZDNET team of experts constantly monitors the deals we feature to keep our stories up-to-date. If you missed out on this deal, don't worry -- we're always sourcing new savings opportunities at ZDNET.com. Show more Featured

Before smartphones and the often-problematic push for viral moments, there was the refreshingly simple world of the 1990s celebrity red carpet.A little grittier, more analog, sometimes blurrier, and often completely unfiltered. Less like a polished PR moment and more like snapshots from your cousin's wedding where they served pizza (unironically).The ’90s Red Carpet Was More Grit Than GlitzEdward Furlong, Natasha Lyonne, Demi Moore, and Bruce Willis on the red carpet.Getty Imagesloading...READ MORE | The New Classic Rock? 50 Songs From the ’90s That Don't SuckThe fashion? Grunge with a hint of free-spirited glam. Sometimes sexy and a little slinky, and often confusing to us now. And yet, nobody was angling for that perfect selfie with a fan, because selfies weren't a thing yet. No ring lights, no Instagram Reels, and zero influencers. Just real flashbulbs and plenty of cigarettes.The ’90s Red Carpet Was Full of Familiar Faces, Some Now GoneGetty ImagesGetty Imagesloading...SEE MORE | From Grungy to Groundbreaking: Reliving the ’90s in Iconic PhotosOf course, this look back is filled with familiar faces, many of them stirring a sense of bittersweet nostalgia. One especially moving moment shows Robin Williams proudly standing with wife Marsha and son Zach at the premiere of Father’s Day. Other glimpses of Aaron Carter, Chris Farley, Gene Hackman with his wife Betsy, Val Kilmer, and Anne Heche, Matthew Perry and others serve as subtle reminders of how much has changed since then.LOOK: These '90s Red Carpet Photos Are the Ultimate ThrowbackCheck out 70 photos from '90s red carpets, where stars like Stallone, Robin Williams, and the 'Friends' cast looked way more gritty than glitzy.Gallery Credit: Stephen LenzGet our free mobile appREAD MORE: Beloved ’90s Foods That No Longer ExistLOOK: Relive the ’90s in These Iconic PhotosThese photos capture the good, the grungy, and the groundbreaking moments that defined the ’90s and left their mark on history and pop culture.Gallery Credit: Stephen LenzFiled Under: NostalgiaCategories: Galleries, Movie News, Original Features

If you’re in the homebuying market, you’ve probably come to realize that the grass is always greener in the listing description—both literally and figuratively. Real estate agents sometimes get creative with Photoshop edits on listing photos, often brightening up the grass and editing out unsightly objects, like a neighbor’s clunker car or wires cluttering a bedroom. They also use some descriptive language that can be, well, deceptive. Adjectives like cozy and charming may evoke good feelings in potential buyers, but they’re high on the list of frequently used adjectives that probably don’t mean what you think they do. Photos and descriptions give you a teaser, but nothing beats an in-person tour for catching any potential sneaky details. Still, there are certain phrases to keep an eye out for as you're browsing for your next dream home online. Below, we're rounding up 10 common words or phrases often found in real estate listings should raise red flags, according to real estate pros. Related Stories“Charming”DreamPictures//Getty ImagesOr, similarly, unique. “Often, this means the property has some quirks that might not appeal to everyone,” real estate expert Yawar Charlie, director of the luxury estates division at Aaron Kirman Group, says. “It could be anything from a funky floor plan to unconventional finishes.” Think about resale value and whether any of these quirks might be a dealbreaker for future buyers, should you choose to sell“Cozy”Cozy is most likely a code word for lacking square footage, Charlie says. “When they call it cozy, they’re hinting that it might be a bit cramped,” he says. “Check for square footage and layout specifics.”“Home Being Sold As Is”"As is" is perhaps one of the biggest red flags in real estate. “It often signals that the property may have significant issues the seller is trying to offload,” says Nikki Bernstein, a global real estate advisor with Engel & Völkers Scottsdale.According to Bernstein, an "as is" condition indicates that the seller is likely emotionally detached and unwilling to negotiate on price or concessions. It also suggests they may be withholding information, indicating there could be hidden problems waiting to be uncovered during inspection, she says. “As is might as well be a warning: ‘Buyer beware,’” Bernstein says. “Fixer Upper”Mableen//Getty ImagesIf you’ve got a design-build background or are looking for homes that are worth renovating, a property advertised as a fixer-upper might make for a fun challenge. But this phrase usually means the property has seen better days and needs some TLC, which is not what most buyers are looking for. Charlie's advice? Bring a contractor or a handyman to the home inspection with you. “You’re not just checking for cosmetic issues; you want to get the lowdown on structural problems, electrical updates, and plumbing repairs,” Charlie says. “A fixer-upper can quickly turn into a money pit.”If you choose to pursue a home that needs a fair amount of love, make sure you’ve got the right loan, Virginia Realtor and real estate broker Michelle Brown cautions. For example, a FHA 203K loan lets buyers roll home improvement costs into their mortgage.“Investors’ Dream”This phrase typically signals the property is in poor condition but priced low for potential profit through renovations or redevelopment, Brown says. This is another instance where you’ll want to have a contractor with you to get a full picture of all the repairs that may be needed.“Make This Home Your Own”This phrase signals the home is likely outdated and in need of cosmetic updates at the very least, New Jersey Realtor Larry Devardo says. Listings that advertise “potential” or say “home has endless possibilities” are also indicators that repairs and updates are needed, he says. “Great Bones”DreamPictures//Getty ImagesOn the upside, “great bones” means the home is structurally sound with strong infrastructure, Maryland Realtor Ellie Hitt says. On the downside, it likely needs a lot of cosmetic updates to bring it up to date with modern conveniences and aesthetics.“Needs TLC”Often, when a home requires cosmetic work, “TLC” is noted, indicating the property needs someone who is willing to put in a little bit of elbow grease, agent Karen Kostiw of Coldwell Banker Warburg says. You may be thinking of new carpet, updated cabinets, and a few other touch-ups, but in some cases, TLC could actually mean the property requires a gut renovation.“Motivated Seller”Translation: The seller is eager to sell, possibly due to financial issues, a pending foreclosure, or a property that has been on the market for a while, says Jeffrey Borham, owner of Tampa Bay, Florida Team Borham. “This could be an opportunity for negotiation,” he adds. “However, investigate why the seller is motivated; there could be hidden issues that have deterred other buyers.”Similarly, “priced to sell” could mean a whole host of things, ranging from the property needs some work or the seller wants to start a bidding war, New York City Broker Sean Adu-Gyamfi of Coldwell Banker Warburg says.“Hot Listing”Some agents advertise “hot listings” on the MLS to create urgency, even if there are no other offers, Misty Spittler, a licensed public insurance adjuster and certified roof inspector, says. Don’t feel pressured, though. She recently had a client bid $20,000 over asking on a listing advertised as hot. Spittler’s inspection found $30,000 of necessary repairs, so the client was able to renegotiate.Follow House Beautiful on Instagram and TikTok.

June 3, 20258 min readWhite House Budget Plan Would Devastate U.S. Space ScienceScientists are rallying to reverse ruinous proposed cuts to both NASA and the National Science FoundationBy Nadia Drake edited by Lee BillingsFog shrouds the iconic Vehicle Assembly Building at NASA’s Kennedy Space Center in Florida in this photograph from February 25, 2025. Gregg Newton/AFP via GettyLate last week the Trump Administration released its detailed budget request for fiscal year 2026 —a request that, if enacted, would be the equivalent of carpet-bombing the national scientific enterprise.“This is a profound, generational threat to scientific leadership in the United States,” says Casey Dreier, chief of space policy at the Planetary Society, a science advocacy group. “If implemented, it would fundamentally undermine and potentially devastate the most unique capabilities that the U.S. has built up over a half-century.”The Trump administration’s proposal, which still needs to be approved by Congress, is sure to ignite fierce resistance from scientists and senators alike. Among other agencies, the budget deals staggering blows to NASA and the National Science Foundation (NSF), which together fund the majority of U.S. research in astronomy, astrophysics, planetary science, heliophysics and Earth science —all space-related sciences that have typically mustered hearty bipartisan support.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.The NSF supports ground-based astronomy, including such facilities as the Nobel Prize–winning gravitational-wave detectors of the Laser Interferometer Gravitational-Wave Observatory (LIGO), globe-spanning arrays of radio telescopes, and cutting-edge observatories that stretch from Hawaii to the South Pole. The agency faces a lethal 57 percent reduction to its $9-billion budget, with deep cuts to every program except those in President Trump’s priority areas, which include artificial intelligence and quantum information science. NASA, which funds space-based observatories, faces a 25 percent reduction, dropping the agency’s $24.9-billion budget to $18.8 billion. The proposal beefs up efforts to send humans to the moon and to Mars, but the agency’s Science Mission Directorate —home to Mars rovers, the Voyager interstellar probes, the James Webb Space Telescope (JWST), the Hubble Space Telescope, and much more —is looking at a nearly 50 percent reduction, with dozens of missions canceled, turned off or operating on a starvation diet.“It’s an end-game scenario for science at NASA,” says Joel Parriott, director of external affairs and public policy at the American Astronomical Society. “It’s not just the facilities. You’re punching a generation-size hole, maybe a multigenerational hole, in the scientific and technical workforce. You don’t just Cryovac these people and pull them out when the money comes back. People are going to move on.”Adding to the chaos, on Saturday President Trump announced that billionaire entrepreneur and private astronaut Jared Isaacman was no longer his pick for NASA administrator—just days before the Senate was set to confirm Isaacman’s nomination. Initial reports—which have now been disputed—explained the president’s decision as stemming from his discovery that Isaacman recently donated money to Democratic candidates. Regardless of the true reason, the decision leaves both NASA and the NSF, whose director abruptly resigned in April, with respective placeholder “acting” leaders at the top. That leadership vacuum significantly weakens the agencies’ ability to fight the proposed budget cuts and advocate for themselves. “What’s more inefficient than a rudderless agency without an empowered leadership?” Dreier asks.Actions versus WordsDuring his second administration, President Trump has repeatedly celebrated U.S. leadership in space. When he nominated Isaacman last December, Trump noted “NASA’s mission of discovery and inspiration” and looked to a future of “groundbreaking achievements in space science, technology and exploration.” More recently, while celebrating Hubble’s 35th anniversary in April, Trump called the telescope “a symbol of America’s unmatched exploratory might” and declared that NASA would “continue to lead the way in fueling the pursuit of space discovery and exploration.” The administration’s budgetary actions speak louder than Trump’s words, however. Instead of ushering in a new golden age of space exploration—or even setting up the U.S. to stay atop the podium—the president’s budget “narrows down what the cosmos is to moon and Mars and pretty much nothing else,” Dreier says. “And the cosmos is a lot bigger, and there’s a lot more to learn out there.”Dreier notes that when corrected for inflation, the overall NASA budget would be the lowest it’s been since 1961. But in April of that year, the Soviet Union launched the first human into orbit, igniting a space race that swelled NASA’s budget and led to the Apollo program putting American astronauts on the moon. Today China’s rapidprogress and enormous ambitions in space would make the moment ripe for a 21st-century version of this competition, with the U.S. generously funding its own efforts to maintain pole position. Instead the White House’s budget would do the exact opposite.“The seesaw is sort of unbalanced,” says Tony Beasley, director of the NSF-funded National Radio Astronomy Observatory (NRAO). “On the one side, we’re saying, ‘Well, China’s kicking our ass, and we need to do something about that.’ But then we’re not going to give any money to anything that might actually do that.”How NASA will achieve a crewed return to the moon and send astronauts to Mars—goals that the agency now considers part of “winning the second space race”—while also maintaining its leadership in science is unclear.“This is Russ Vought’s budget,” Dreier says, referring to the director of the White House’s Office of Management and Budget (OMB), an unelected bureaucrat who has been notorious for his efforts to reshape the U.S. government by weaponizing federal funding. “This isn’t even Trump’s budget. Trump’s budget would be good for space. This one undermines the president’s own claims and ambitions when it comes to space.”“Low Expectations” at the High FrontierRumors began swirling about the demise of NASA science in April, when a leaked OMB document described some of the proposed cuts and cancellations. Those included both the beleaguered, bloated Mars Sample Return (MSR) program and the on-time, on-budget Nancy Grace Roman Space Telescope, the next astrophysics flagship mission.The top-line numbers in the more fleshed-out proposal are consistent with that document, and MSR would still be canceled. But Roman would be granted a stay of execution: rather than being zeroed out, it would be put on life support.“It’s a reprieve from outright termination, but it’s still a cut for functionally no reason,” Dreier says. “In some ways, [the budget] is slightly better than I was expecting. But I had very low expectations.”In the proposal, many of the deepest cuts would be made to NASA science, which would sink from $7.3 billion to $3.9 billion. Earth science missions focused on carbon monitoring and climate change, as well as programs aimed at education and workforce diversity, would be effectively erased by the cuts. But a slew of high-profile planetary science projects would suffer, too, with cancellations proposed for two future Venus missions, the Juno mission that is currently surveilling Jupiter, the New Horizons mission that flew by Pluto and two Mars orbiters. (The Dragonfly mission to Saturn’s moon Titan would survive, as would the flagship Europa Clipper spacecraft, which launched last October.) NASA’s international partnerships in planetary science fare poorly, too, as the budget rescinds the agency’s involvement with multiple European-led projects, including a Venus mission and Mars rover.The proposal is even worse for NASA astrophysics—the study of our cosmic home—which “really takes it to the chin,” Dreier says, with a roughly $1-billion drop to just $523 million. In the president’s proposal, only three big astrophysics missions would survive: the soon-to-launch Roman and the already-operational Hubble and JWST. The rest of NASA’s active astrophysics missions, which include the Chandra X-ray Observatory, the Fermi Gamma-Ray Space Telescope and the Transiting Exoplanet Survey Satellite (TESS), would be severely pared back or zeroed out. Additionally, the budget would nix NASA’s contributions to large European missions, such as a future space-based gravitational-wave observatory.“This is the most powerful fleet of missions in the history of the study of astrophysics from space,” says John O’Meara, chief scientist at the W. M. Keck Observatory in Hawaii and co-chair of a recent senior review panel that evaluated NASA’s astrophysics missions. The report found that each reviewed mission “continues to be capable of producing important, impactful science.” This fleet, O’Meara adds, is more than the sum of its parts, with much of its power emerging from synergies among multiple telescopes that study the cosmos in many different types, or wavelengths, of light.By hollowing out NASA’s science to ruthlessly focus on crewed missions, the White House budget might be charitably viewed as seeking to rekindle a heroic age of spaceflight—with China’s burgeoning space program as the new archrival. But even for these supposedly high-priority initiatives, the proposed funding levels appear too anemic and meager to give the U.S. any competitive edge. For example, the budget directs about $1 billion to new technology investments to support crewed Mars missions while conservative estimates have projected that such voyages would cost hundreds of billions of dollars more.“It cedes U.S. leadership in space science at a time when other nations, particularly China, are increasing their ambitions,” Dreier says. “It completely flies in the face of the president’s own stated goals for American leadership in space.”Undermining the FoundationThe NSF’s situation, which one senior space scientist predicted would be “diabolical” when the NASA numbers leaked back in April, is also unsurprisingly dire. Unlike NASA, which is focused on space science and exploration, the NSF’s programs span the sweep of scientific disciplines, meaning that even small, isolated cuts—let alone the enormous ones that the budget has proposed—can have shockingly large effects on certain research domains.“Across the different parts of the NSF, the programs that are upvoted are the president’s strategic initiatives, but then everything else gets hit,” Beasley says.Several large-scale NSF-funded projects would escape more or less intact. Among these are the panoramic Vera C. Rubin Observatory, scheduled to unveil its first science images later this month, and the Atacama Large Millimeter/submillimeter Array (ALMA) radio telescope. The budget also moves the Giant Magellan Telescope, which would boast starlight-gathering mirrors totaling more than 25 meters across, into a final design phase. All three of those facilities take advantage of Chile’s pristine dark skies. Other large NSF-funded projects that would survive include the proposed Next Generation Very Large Array of radio telescopes in New Mexico and several facilities at the South Pole, such as the IceCube Neutrino Observatory.If this budget is enacted, however, NSF officials anticipate only funding a measly 7 percent of research proposals overall rather than 25 percent; the number of graduate research fellowships awarded would be cleaved in half, and postdoctoral fellowships in the physical sciences would drop to zero. NRAO’s Green Bank Observatory — home to the largest steerable single-dish radio telescope on the planet — would likely shut down. So would other, smaller observatories in Arizona and Chile. The Thirty Meter Telescope, a humongous, perennially embattled project with no clear site selection, would be canceled. And the budget proposes closing one of the two gravitational-wave detectors used by the LIGO collaboration—whose observations of colliding black holes earned the 2017 Nobel Prize in Physics—even though both detectors need to be online for LIGO’s experiment to work. Even factoring in other operational detectors, such as Virgo in Europe and the Kamioka Gravitational Wave Detector (KAGRA) in Japan, shutting down half of LIGO would leave a gaping blind spot in humanity’s gravitational-wave view of the heavens.“The consequences of this budget are that key scientific priorities, on the ground and in space, will take at least a decade longer—or not be realized at all,” O’Meara says. “The universe is telling its story at all wavelengths. It doesn’t care what you build, but if you want to hear that story, you must build many things.”Dreier, Parriott and others are anticipating fierce battles on Capitol Hill. And already both Democratic and Republican legislators have issued statement signaling that they won’t support the budget request as is. “This sick joke of a budget is a nonstarter,” said Representative Zoe Lofgren of California, ranking member of the House Committee on Science, Space, and Technology, in a recent statement. And in an earlier statement, Senator Susan Collins of Maine, chair of the powerful Senate Committee on Appropriations, cautioned that “the President’s Budget Request is simply one step in the annual budget process.”The Trump administration has “thrown a huge punch here, and there will be a certain back-reaction, and we’ll end up in the middle somewhere,” Beasley says. “The mistake you can make right now is to assume that this represents finalized decisions and the future—because it doesn’t.”

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”

Thrustmaster T598 + Hypercar Wheel review: a great value PC/PS5 sim racing wheel and pedals built on novel tech Direct axial drive impresses, despite limited software and a firmly mid stock wheel. Image credit: Digital Foundry Review by Will Judd Deputy Editor, Digital Foundry Published on June 1, 2025 We've seen an explosion in the number of affordable direct drive (DD) racing wheels over the past couple of years, with Fanatec and Moza offering increasingly inexpensive options that still deliver the precise, quick and long-lasting force feedback that cheaper gear- or belt-driven wheels can't match. Now, Thrustmaster is intruding on that territory with the T598, a PlayStation/PC direct drive wheel, wheel base and pedals that costs just £449/$499. That's on a similar level to the PC-only £459/$599 Moza R5 bundle and the €399/$569 Fanatec CSL DD bundle, so how does the newcomer compare? And what's changed from the more expensive T818 we reviewed before? We've been testing the T598 - and the fancy upgraded HyperCar wheel that's available as an upgrade option - for weeks to find out. Our full review follows, so read on - or check out the quick links below to jump to what you're most interested in. To see this content please enable targeting cookies. Thrustmaster T598 wheel base review: direct axial drive vs traditional direct drive Interestingly, the T598 arguably comes with a more advanced DD motor than the more expensive T818 does. It uses a "direct axial drive" versus the standard "direct radial drive", where the magnets are aligned parallel to the wheel shaft rather than perpendicular (see the diagram below). This ought to allow for more efficient torque generation, producing less waste heat, minimising precision-sapping magnetic interference and requiring less copper to produce. It also means the T598 can "overshoot" to deliver more than its rated 5nm of constant torque for short periods. However, this design also requires a physically taller yet slimmer enclosure (measuring 210x210x120mm), potentially blocking the view forward and requiring a different bolt pattern to attach the base to your desk or sim racing cockpit - both of which are slight annoyances with the T598. (You do get an angle bracket to allow for wider and potentially more compatible holes for your cockpit... but this makes the tall wheel base even taller. Table clamps are also included.) Interestingly, you can also feel a slight vibration and hear a quiet crackling noise emanating from the T598 base while idle - something I haven't heard or felt with other direct drive motors and is reportedly inherent to this design. There's a lot going on inside this wheel base - including some genuine innovation. | Image credit: Thrustmaster/Digital Foundry Thrustmaster has written a pair of white papers to explain why their take on direct drive ("axial flux") is better than what came before ("radial flux"). Image credit: Thrustmaster In terms of the force feedback itself, Thrustmaster have achieved something quite special here. In some titles with a good force feedback implementation - Assetto Corsa, Assetto Corsa Evo and F1 23 stood out to me here - the wheel feels great, with strong force feedback and plenty of detail. If you run up on a kerb or start to lose traction, you know about it right away and can take corrective action. I also appreciated the way that turning the wheel feels perfectly smooth when turning, without any cogging - the slightly jerky sensation common to low-end and mid-range direct drive motors that corresponds to slight attraction as you pass each magnet. However, balancing this, the wheel's force feedback feels a little less consistent than others I've tested from the likes of Fanatec or Moza at a similar price point, with some games like Project Cars 3 and Forza Motorsport feeling almost bereft of force feedback by comparison. You also have that slight vibration when the wheel is stationary, which is potentially more noticeable than the cogging sensation in traditional DD designs. The overshoot is also a mixed bag - as the sudden jump in torque can feel a little artificial in some scenarios, eg when you're warming your tyres by weaving in F1 before a safety car restart. I'd say that these positives and negatives largely cancel each other out, and you're left with force feedback that is good, way better than non-DD wheels, but not noticeably better than more common radial direct drive designs. Depending on the games you play, either DD style could be preferable. It'll be interesting to see if Thrustmaster are able to tune out some of these negative characteristics through firmware updates - or simply in later products using the same technology. 1 of 7 Caption Attribution Here's how the T598 looks IRL - from the wheel base itself to the default rim, the upgraded Hypercar wheel and the included dual pedals. Click to enlarge. Apart from the novel motor, the rest of the wheel base is fairly standard - there's a small (colour!) display on the top for adjusting your settings and seeing in-game info like a rev counter, four large circular buttons buttons (L3, R3, Mode and Settings), the usual Thrustmaster quick release lock for securing your wheel rim and a small button on the back to turn the wheel base on and off. There are connection options for power, USB and connecting other components like pedals or shifters on the back too. Weirdly, there's no ability to change settings in the PC Thrustmaster Panel app - it just says this functionality is "coming soon!" - so right now you can only use it for updating firmware, testing buttons and changing between profiles. "Coming soon!" starts to become a little less believable six months after the first reviews hit. | Image credit: Digital Foundry Instead, you'll be using the built-in screen for making changes, which works well enough but doesn't provide any allowance for extra information - so you'll be sticking to the four basic pre-made profiles, referring to the manual or checking suggested setups online rather than reading built-in tool tips. You still get access to the full whack of settings here, and of course this works well for PS5/PS4 users who wouldn't expect a software experience anyway, but PC users may be disappointed to learn that there's no intuitive software interface here. I found the Boosted Media YT review of the wheelbase to offer some good insight into what settings you're likely to want to change from their default values. Thrustmaster T598 Sportcar wheel review: a workable default option The Sportcar wheel rim looks good - but a plastic construction and relatively spartan controls make it "OK" at best. The "Sportcar" wheel provided in the bundle is a little less impressive-looking than the base itself, with a plasticky feel throughout and fairly mushy buttons - though the paddles are snappy enough and feel good to use. The usual PS-style face buttons are split into two clumps up top with L2 and R2, which is a bit odd, with four individual directional buttons in the lower left, start/select/PS in the lower middle and four configuration buttons in the lower right. Those configuration buttons require extra explanation, so here we go: the P button at the top swaps between four different pages, indicated with a different colour LED, allowing the remaining three physical buttons to activate up to 12 different functions. (The Fanatec GT DD Pro, by contrast, has dedicated five-way controls for each of its four functions. This costs more to produce, but allows you to use the controls without looking down to see what coloured light is active.) There are no rotary encoders or other additional controls here, so PC players that prefer more complicated racing sims may feel a bit underserved by this clunky, cost-saving solution. The 815g wheel is at least sized reasonably, with 300mm circular shape that particularly suits drifting, rally and trucking - though all forms of driving and racing are of course possible. The rubber grips under your hands are reasonably comfortable, but you can still feel seams in various places. Overall, the wheel is possibly the weakest part of the package, but perfectly usable and acceptable for the price point. Thrustmaster Hypercar Wheel Add-On review: true luxury An incredible wheel with premium materials, excellent controls and a more specialised shape. Thrustmaster also sent over the £339/$350 Hypercar wheel rim for testing, which is an upgrade option that uses significantly better materials - leather, alcantara, aluminium and carbon - and offers a huge number of extra controls (25 buttons, including four rotary encoders and two pairs of analogue paddles). Its oval shape feels a bit more responsive for faster vehicles (like F1 cars) that require a quick change of direction, but drifting and rally doesn't feel natural. It supports the same PS4, PS5 and PC platforms as the stock option, but there are no legends printed on the buttons to help you. The difference in quality here is immediately apparent, with much better tactile feedback from the buttons and a huge number of additional controls for adjusting stuff like ERS deployment or brake bias. Each control feels well-placed, even if the T-shaped layout for the face buttons is slightly unnatural at first, and the paddles for shifting and the clutch are particularly well engineered. I also found holding the wheel a bit more comfortable thanks to that flattened out shape, the more premium materials and the absence of bumps or seams anywhere you're likely to hold. It's a huge upgrade in terms of feel and features then, as you'd hope for a wheel rim that costs nearly as much as the entire T598 kit and caboodle. As an upgrade option, I do rate it, though it perhaps makes slightly more sense for T818 owners that have already invested a bit more in the Thrusmaster ecosystem. Regardless, it was this rim that I used for the majority of my time with the T598, and the wheel base feels significantly better with the upgrade. Thrustmaster T598 Raceline pedals review: great feedback, but no clutch and no load cell upgrade offered at present Surprisingly good for two add-in pedals, in terms of feedback and flexibility. The pedals that come with the T598 are surprisingly good, with an accelerator, a brake pedal (with a choice of two different spring options) and no clutch pedal. Each pedal's spring assembly can be pushed into one of three positions to change the amount of pre-load - ie make it a bit softer or harder to press and the pedal plates can be shifted up and down. The narrow dimensions of the metal wheel plate meant that it was impossible to mount directly in the centre of the Playseat Trophy I used for testing, but the slightly off-centre installation I ended up with still worked just fine. They connect using a non-USB connection, so you can't use the pedals with other wheel bases. Using the middle distance setting and the firmer of the two springs for the brake, I found the T598 produced good results, on par or perhaps even a tad better than other metal-construction Hall Effect position sensor (ie non-load cell) pedals I've tested such as the Moza SR-P Lite and Fanatec CSL. Braking is the critical point here, as you want to be able to feel when the brake has mechanically reached its threshold and then modulate your inputs from there, and the T598 pedals do allow for this quite easily. They're also not so hard to actuate that you end up having to hard-mount them to a sim rig for good results, and the included carpet spikes are reasonably effective in keeping the pedals in place. Presumably, it ought to be possible to add on a load cell brake pedal down the line to upgrade to a proper (if slightly cramped) three pedal setup. For the F1 style driving that I prefer, the clutch pedal isn't used anyway, so it wasn't a massive issue for me - and we frequently see companies like Moza and Fanatec drop the clutch pedal on these aggessively priced bundles so Thrustmaster aren't losing ground by following suit. Thrustmaster T598 final verdict: a competitive £450 package with potential For PlayStation owners, this is an incredible value pickup that ranks among the cheapest DD options - and PC owners ought to consider it too. For £449/$499, the Thrustmaster T598 is an excellent value direct drive wheel and pedal bundle for PlayStation and PC with some relatively minor quirks. The wheel base is powerful, detailed and responsive in most games, with some advantages over traditional DD designs but also some disadvantages - notably the taller shape and a slight hum/vibration while stationary. Traditional DD designs from the likes of Fanatec and Moza can offer more reliable force feedback that works over a wider range of games, cars and tracks, while also benefitting from better PC software, but there's certainly potential for Thrustmaster to improve here. The included wheel feels a bit cheap, with a predominantly plastic design, spongey buttons and a slightly odd layout, but the full circle shape and full PS5/PS4 compatibility is most welcome. Upgrading to the HyperCar wheel provides a huge uptick in materials, tactile feedback and number of controls, though this does come at a fairly steep price of £339/$350. If you plan to use the T598 for years and have the budget for it, this is a super upgrade to aim for. The included Raceline LTE pedals are the most surprising element for me. These consist of only an accelerator and a brake with only moderate adjustability and a narrow base plate, but they feel great to use, are made from durable metal with HE sensors, and only really lose out to significantly more expensive load cell options. For an add-in for a relatively cheap DD bundle, they're a solid inclusion, and I hope Thrustmaster release a load cell brake pedal for users to upgrade to a better three-pedal setup later. Overall, it's an competitive first outing for Thrustmaster with the T598 and direct axial drive, and I'm curious to see where the company - and the tech - goes from here. With Fanatec still on the rebuild after being acquired by Corsair and Moza's offerings being hard to order online in some regions, Thrustmaster has a golden opportunity to seize a share of the mid-range and entry-level sim racing market, and the T598 is a positive start.

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri