• La série Cap Krapool se dévoilera au Cartoon Forum

    L’équipe du studio Slam Créations nous annonce que son projet de série originale Cap Krapool a été sélectionnée pour le Cartoon Forum 2025, le marché européen de la coproduction et diffusion de séries animées. De quoi présenter le projet à des partenaires potentiels pour le concrétiser. Slam Créations nous donne quelques détails : la série […]
    La série Cap Krapool se dévoilera au Cartoon Forum L’équipe du studio Slam Créations nous annonce que son projet de série originale Cap Krapool a été sélectionnée pour le Cartoon Forum 2025, le marché européen de la coproduction et diffusion de séries animées. De quoi présenter le projet à des partenaires potentiels pour le concrétiser. Slam Créations nous donne quelques détails : la série […]
    La série Cap Krapool se dévoilera au Cartoon Forum
    L’équipe du studio Slam Créations nous annonce que son projet de série originale Cap Krapool a été sélectionnée pour le Cartoon Forum 2025, le marché européen de la coproduction et diffusion de séries animées. De quoi présenter le projet à des
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  • BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • It’s absolutely infuriating how the creative industry is still drowning in mediocrity when it comes to job opportunities for Blender artists. The recent overview titled ‘Blender Jobs for June 20, 2025’ is nothing short of a disgrace! What are we doing here? Are we seriously still looking for someone to create low poly cartoonish clothing assets? This is 2025, people! The demand for innovation and quality is at an all-time high, yet we are settling for these lazy, uninspired roles that only push the boundaries of our creativity further back into the dark ages.

    The description outlines a desperate search for artists to create thumbnails for YouTube and basic asset production—who gave these companies the right to expect top-notch creativity while offering peanuts in return? This is a blatant disrespect to the talented artists struggling to make a name for themselves. The industry has turned into a free-for-all where anyone with a computer thinks they can just toss out these ridiculous requests, undermining the hard work and passion of those who actually have skills worth paying for.

    “Stealth Startup” and “Pizza Party Productions”? Really? Is this some kind of joke? These names scream lack of professionalism and vision. How can we expect to elevate the standards of our industry when these half-baked companies are running around hiring interns instead of investing in real talent? It’s ludicrous! What’s next? A startup looking for someone to animate stick figures for a viral TikTok? Come on!

    Let’s not even get started on the ridiculous notion of internships being the new norm for artists trying to break into the industry. The term “3D Artist Intern” is a euphemism for “overworked and underpaid.” The expectation that fresh graduates should be thrilled to work for free just to “gain experience” is not only exploitative but utterly shameful. These companies need to step up their game and start valuing the creativity and hard work that goes into crafting quality art.

    Every time I scroll through these job postings, I feel my blood boil. Are we going to continue to allow this cycle of mediocrity to persist? It’s time for artists to take a stand and demand better. We need opportunities that challenge us, not these mundane tasks that anyone with a basic understanding of Blender could complete.

    We deserve to work in an environment that fosters creativity, innovation, and respect for our craft. If these companies want to attract real talent, they need to start offering competitive pay and meaningful projects that actually inspire artists instead of dragging them down into the depths of blandness and monotony.

    Wake up, industry! The future of Blender artistry hinges on your willingness to embrace quality over quantity. Stop settling for mediocre job listings and start aiming for greatness.

    #BlenderJobs #3DArtist #CreativityMatters #ArtIndustry #DemandBetter
    It’s absolutely infuriating how the creative industry is still drowning in mediocrity when it comes to job opportunities for Blender artists. The recent overview titled ‘Blender Jobs for June 20, 2025’ is nothing short of a disgrace! What are we doing here? Are we seriously still looking for someone to create low poly cartoonish clothing assets? This is 2025, people! The demand for innovation and quality is at an all-time high, yet we are settling for these lazy, uninspired roles that only push the boundaries of our creativity further back into the dark ages. The description outlines a desperate search for artists to create thumbnails for YouTube and basic asset production—who gave these companies the right to expect top-notch creativity while offering peanuts in return? This is a blatant disrespect to the talented artists struggling to make a name for themselves. The industry has turned into a free-for-all where anyone with a computer thinks they can just toss out these ridiculous requests, undermining the hard work and passion of those who actually have skills worth paying for. “Stealth Startup” and “Pizza Party Productions”? Really? Is this some kind of joke? These names scream lack of professionalism and vision. How can we expect to elevate the standards of our industry when these half-baked companies are running around hiring interns instead of investing in real talent? It’s ludicrous! What’s next? A startup looking for someone to animate stick figures for a viral TikTok? Come on! Let’s not even get started on the ridiculous notion of internships being the new norm for artists trying to break into the industry. The term “3D Artist Intern” is a euphemism for “overworked and underpaid.” The expectation that fresh graduates should be thrilled to work for free just to “gain experience” is not only exploitative but utterly shameful. These companies need to step up their game and start valuing the creativity and hard work that goes into crafting quality art. Every time I scroll through these job postings, I feel my blood boil. Are we going to continue to allow this cycle of mediocrity to persist? It’s time for artists to take a stand and demand better. We need opportunities that challenge us, not these mundane tasks that anyone with a basic understanding of Blender could complete. We deserve to work in an environment that fosters creativity, innovation, and respect for our craft. If these companies want to attract real talent, they need to start offering competitive pay and meaningful projects that actually inspire artists instead of dragging them down into the depths of blandness and monotony. Wake up, industry! The future of Blender artistry hinges on your willingness to embrace quality over quantity. Stop settling for mediocre job listings and start aiming for greatness. #BlenderJobs #3DArtist #CreativityMatters #ArtIndustry #DemandBetter
    Blender Jobs for June 20, 2025
    Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: Looking for someone to create some low poly cartoonish clothing asset for my character I'm looking for an artist to make me a Thumbnail for YouTube Vert
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  • mascots, virtual avatars, digital age, modern mascots, branding, technology, virtual reality, identity crisis, marketing, social media

    In the ever-evolving digital landscape, one might wonder: what happened to our beloved mascots? Remember the days when a simple cartoon character could represent an entire brand? Now, we’ve gone from cheerful voices and playful animations to ultra-realistic avatars that practically breathe and blink. Welcome to the world of modern mascots—where reality blurs wit...
    mascots, virtual avatars, digital age, modern mascots, branding, technology, virtual reality, identity crisis, marketing, social media In the ever-evolving digital landscape, one might wonder: what happened to our beloved mascots? Remember the days when a simple cartoon character could represent an entire brand? Now, we’ve gone from cheerful voices and playful animations to ultra-realistic avatars that practically breathe and blink. Welcome to the world of modern mascots—where reality blurs wit...
    ### Mascots and Virtual Avatars in the Digital Age: A New Breed of Characters
    mascots, virtual avatars, digital age, modern mascots, branding, technology, virtual reality, identity crisis, marketing, social media In the ever-evolving digital landscape, one might wonder: what happened to our beloved mascots? Remember the days when a simple cartoon character could represent an entire brand? Now, we’ve gone from cheerful voices and playful animations to ultra-realistic...
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  • My unexpected Pride icon: Link from the Zelda games, a non-binary hero who helped me work out who I was

    Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys; overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest.
    #unexpected #pride #icon #link #zelda
    My unexpected Pride icon: Link from the Zelda games, a non-binary hero who helped me work out who I was
    Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys; overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest. #unexpected #pride #icon #link #zelda
    WWW.THEGUARDIAN.COM
    My unexpected Pride icon: Link from the Zelda games, a non-binary hero who helped me work out who I was
    Growing up steeped in the aggressive gender stereotypes of the 1990s was a real trip for most queer millennials, but I think gamers had it especially hard. Almost all video game characters were hypermasculine military men, unrealistically curvaceous fantasy women wearing barely enough armour to cover their nipples, or cartoon animals. Most of these characters catered exclusively to straight teenage boys (or, I guess, furries); overt queer representation in games was pretty much nonexistent until the mid 2010s. Before that, we had to take what we could get. And what I had was Link, from The Legend of Zelda.Link. Composite: Guardian Design; Zuma Press/AlamyLink is a boy, but he didn’t really look like one. He wore a green tunic and a serious expression under a mop of blond hair. He is the adventurous, mostly silent hero of the Zelda games, unassuming and often vulnerable, but also resourceful, daring and handy with a sword. In most of the early Zelda games, he is a kid of about 10, but even when he grew into a teenager in 1998’s Ocarina of Time on the Nintendo 64, he didn’t become a furious lump of muscle. He stayed androgynous, in his tunic and tights. As a kid, I would dress up like him for Halloween, carefully centre-parting my blond fringe. Link may officially be a boy, but for me he has always been a non-binary icon.As time has gone on and game graphics have evolved, Link has stayed somewhat gender-ambiguous. Gay guys and gender-fluid types alike appreciate his ageless twink energy. And given the total lack of thought that most game developers gave to players who weren’t straight and male, I felt vindicated when I found out that this was intentional. In 2016, the Zelda series’ producer Eiji Aonuma told Time magazine that the development team had experimented a little with Link’s gender presentation over the years, but that he felt that the character’s androgyny was part of who he was.“[Even] back during the Ocarina of Time days, I wanted Link to be gender neutral,” he said. “I wanted the player to think: ‘Maybe Link is a boy or a girl.’ If you saw Link as a guy, he’d have more of a feminine touch. Or vice versa … I’ve always thought that for either female or male players, I wanted them to be able to relate to Link.”As it turns out, Link appeals perhaps most of all to those of us somewhere in between. In 2023, the tech blog io9 spoke to many transgender and non-binary people who saw something of themselves in Link: he has acquired a reputation as an egg-cracker, a fictional character who prompts a realisation about your own gender identity.Despite their outdated reputation as a pursuit for adolescent boys, video games have always been playgrounds for gender experimentation and expression. There are legions of trans, non-binary and gender non-conforming people who first started exploring their identity with customisable game characters in World of Warcraft, or gender-swapping themselves in The Sims – the digital equivalent of dressing up. Video games are the closest you can come to stepping into a new body for a bit and seeing how it feels.It is no surprise to me that a lot of queer people are drawn to video games. A 2024 survey by GLAAD found that 17% of gamers identify as LGBTQ+, a huge number compared with the general population. It may be because people who play games skew younger – 40 and below – but I also think it’s because gender is all about play. What fun it is to mess with the rules, subvert people’s expectations and create your own character. It is as empowering as any world-saving quest.
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  • No Kings: protests in the eye of the storm

    As President Donald Trump kicked off a birthday military parade on the streets of Washington, DC, what’s estimated as roughly 2,000 events were held across the US and beyond — protesting Trump and Elon Musk’s evisceration of government services, an unprecedented crackdown by Immigration and Customs Enforcement, and countless other actions from the administration in its first five months. Held under the title “No Kings”, they’re the latest in several mass protests, following April’s Hands Off events and a wave of Tesla Takedown demonstrations in March.As The Verge’s Tina Nguyen went to downtown DC, we also sent reporters to No Kings demonstrations spanning the country, plus a “No Tyrants” event in the UK. How would they unfold after promises of “very heavy force” against protesters in the capital, after the deployment of thousands of military troops in a move a judge has bluntly called illegal, and after promises to “liberate” the city of Los Angeles from its “burdensome leadership” by local elected officials? What about the overnight killing of a Minnesota Democratic state representative and her husband, and the shooting of a Democratic state senator and his wife?The answer, at the events we attended, was fairly calmly — even against a backdrop of chaos.Downtown Los Angeles, CaliforniaAn inflatable baby Donald Trump, dressed in a diaper, hovered over throngs of people rallying outside of Los Angeles City Hall. Demonstrators outnumbered clumps of California National Guard members in fatigues posted up along sidewalks. “Go home to your families, we don’t need you in our streets,” one young person wearing a long braid down her back tells them while marching past. “Trump come catch these hands foo!” the back of her sign reads. I can’t see what the front says, but I can tell there’s an empty bag of Cheetos pasted to it.The big baby joins the march, floating through the streets of Downtown LA over demonstrators. A flatbed truck rolls ahead of it, the band — maybe LA’s own Ozomatli? — singing “We don’t like Trump” to the tune of “We Want The Funk.” Ducking inside Grand Central Market from the march, I talk to Puck and Twinkle Toes — two demonstrators in line for the public restrooms. Twinkle Toes tells me she’s part of an activist clown collective called Imp and Circumstance, wearing pink and white clown makeup and a striped pink and white bow wrapped around a loose hair bun atop her head. She’s here exercising her right to free speech, she says. Demonstrators in Los Angeles marched alongside an inflatable Donald Trump baby dressed in a diaper.“The more people that are out here, the more we know that this is not okay. That we don’t want an autocrat. We want democracy,” Puck tells me, adding that the Pride March in Hollywood last weekend was “nothing but love and sunshine” despite protests and burning driverless cars making headlines in downtown. “The news tries to make you think all of LA is rioting. It’s not.” Puck says.Back out on the streets, a young man quickly writes “Fuck ICE” on a black wall with white spray paint before a group of older demonstrators wearing floppy hats shushes him away — warning him that tagging will only attract more law enforcement.Further along, another older man with tufts of white hair sticking out under his Lakers cap walks stiffly and slowly along under the summer sun. A Mexican flag draped across his shoulders, he crosses Hope Street. A young man wearing a Nike cap makes his way over to ask if he wants water; the old man accepts a bottle and keeps walking without stopping. The march has looped around downtown, and is coming to an end back at City Hall. As I make my way to my bus stop, a line of police vehicles — sirens blasting — whizzes past me, back toward the crowd still gathering around City Hall.The Los Angeles Police Department issued a dispersal order for parts of downtown Los Angeles later in the afternoon, citing people “throwing rocks, bricks, bottles and other objects.” Law enforcement reportedly cleared crowds using gas, and the LAPD authorized the use of “less lethal” force.— Justine CalmaPortland, OregonFour different “No Kings” protests in the greater Portland area on Saturday drew massive crowds of tens of thousands across the city. Various activists, government officials, and representatives for politicians spoke at the rallies, which also featured music and live performances.Protesters of all ages came with dogs, strollers, flags, banners, and hand-made signs. At the downtown waterfront, some tourist boats appeared to still be departing, but the bike rental standwas closed for the day with a hand-lettered explanation reading “No crowns, no thrones, no kings” and “Americans against oligarchy.” Women appearing to be organizers passed out free American flags; many attendees came with their own American flags modified to fly upside down. Most protesters brought signs expressing a wide range of sentiments on the theme of “No Kings.” Some signs were surprisingly verbosewe’d all still be British”) while others were more succinct. Others opted for simple images, such as a picture of a crown crossed out, or — less frequently — a guillotine. Image: Sarah JeongThe waterfront park area was filled with people from the shoreline to the curb of the nearest street, where protesters held up signs to passing cars that honked in approval. The honking of a passing fire truck sent the crowd into an uproarious cheer. Portland is about a thousand miles from the border with Mexico, but the flag of its distant neighbor nation has emerged as protest iconography in solidarity with Los Angeles. The rainbow pride flag was flown as often as the Mexican flag. Military veterans were scattered throughout the crowd, some identifying themselves as having seen action in conflicts spanning from Vietnam to Afghanistan. Emanuel, an Air Force veteran, told me that he had turned out in defense of the constitution and due process, saying, “Nobody has any rights if one person doesn’t have any rights.” Image: Sarah JeongAnger was directed at ICE and the mass deportations all throughout the day, in signage, in chants, and in rally speeches. The previous night, about 150 people protested at a local ICE facility — coincidentally located by the Tesla dealership — a mile south of downtown, near a highway exit. The ICE facility protests, which have been continuous for some days, have been steadily building up. A couple of “No Kings” signs were present on Friday.. Demonstrators stood on the curb urging passing cars to “Honk if you hate fascists,” successfully eliciting car horns every few seconds, including some from a pristine white Tesla. Federal law enforcement in camo and helmets, their faces obscured, maced and shot at protesters with pepper balls, targeting them through the gates and sniping at them from the rooftop of the building. A handful of protesters — many wearing gas masks and respirators — formed phalanx formations in the driveway, wielding umbrellas and handmade shields. On Saturday, a speaker at one of the “No Kings” rallies advertised the occupation of the ICE facility, saying, “We’re a sanctuary city.” The crowd — replete with American flags both upside down and right side up — cheered. — Sarah JeongNew Port Richey, FloridaNearly every intersection on Pasco County’s State Road 54 looks the same: a cross-section of strip malls, each anchored by a Walmart or Target or Publix, surrounded by a mix of restaurants, nail salons, and gas stations. It’s not an environment that is particularly conducive to protests, but hundreds of people turned out in humid, 90-plus degree weather anyway. The overall size of the crowd is hard to determine, but it’s larger than I — and other attendees — anticipated, given the local demographics.New Port Richey, FL. Image: Gaby Del ValleEveryone is on the sidewalk; an organizer with a megaphone tells people to use crosswalks if they’re going to attempt to brave the six-lane highway. Two days earlier, Governor Ron DeSantis said Floridians could legally run over protesters on the street if they feel “threatened.” New Port Richey, FL. Image: Gaby Del ValleSo far, most drivers seem friendly. There are lots of supportive honks. One woman rolls down her window and thanks the protesters. “I love you! I wish I could be with you, but I have to work today!” she yells as she drives away. Not everyone is amenable. A man in a MAGA hat marches through the crowd waving a “thin green line” flag and yelling “long live the king!” as people in the crowd call him a traitor. A pickup truck drives by blasting “Ice Ice Baby,” waving another pro-law enforcement flag. The protesters have flags, too: American flags large and small, some upside down; Mexican; Ukrainian; Palestinian; Canadian; different configurations of pride and trans flags. Their signs, like their flags, illustrate their diverse reasons for attending: opposition to Trump’s “big beautiful” funding bill, DOGE’s budget cuts, and ICE arrests; support for immigrants, government workers, and Palestinians. One woman wears an inflatable chicken suit. Her friend pulls an effigy of Trump — dressed to look both like an eighteenth-century monarch, a taco, and a chicken — alongside her.New Port Richey, FL. Image: Gaby Del ValleMost of the demonstrators are on the older side, but there are people of all ages in attendance. “I thought it was going to be maybe 20 people with a couple of signs,” Abby, 24, says, adding that she’s pleasantly surprised at both the turnout and the fact that most of the protesters are of retirement age. Abe, 20, tells me this is his first protest. Holding a sign that says “ICE = GESTAPO,” he tells me he came out to support a friend who is Mexican. Three teenagers walk by with signs expressing support for immigrants: “While Trump destroys America, we built it.” “Trump: 3 felonies. My parents: 0.” As I drive away, I notice nine counter-protesters off to the side, around the corner from the main event. They wave their own flags, but the demonstrators seemingly pay them no mind.— Gaby Del ValleHistoric Filipinotown, Los AngelesWearing a camo baseball cap — “Desert Storm Veteran” emblazoned on the front — Joe Arciaga greets a crowd of about 100 people in Los Angeles’ Historic Filipinotown around 9:00AM.“Good morning everyone, are you ready for some beautiful trouble?” Arciaga says into the megaphone, an American flag bandana wrapped around his wrist. The faces of Filipino labor leaders Philip Vera Cruz and Larry Itliong, who organized farm workers alongside Cesar Chavez, peer over his shoulders from a mural that lines the length of Unidad Park where Arciaga and a group called Lakas Collective helped organize this neighborhood No Kings rally. “I’m a Desert Storm veteran, and I’m a father of three and a grandfather of three, and I want to work for a future where democracy is upheld, due process, civil rights, the preservation of the rule of law — That’s all I want. I’m not a billionaire, I’m just a regular Joe, right?”, he tells The Verge.Joe Arciaga speaks to people at a rally in Historic Filipinotown, Los Angeles. Image: Justine Calma“I am mad as hell,” he says, when I ask him about the Army 250th anniversary parade Donald Trump has organized in Washington, DC coinciding with the president’s birthday. “The guy does not deserve to be honored, he’s a draft dodger, right?” Arciaga says. He’s “livid” that the President and DOGE have fired veterans working for federal agencies and slashed VA staff.Arciaga organizes the crowd into two lines that file out of the park to stand along Beverly Blvd., one of the main drags through LA. Arciaga has deputized a handful of attendees with security or medical experience with whistles to serve as “marshals” tasked with flagging and de-escalating any potentially risky situation that might arise. Johneric Concordia, one of the co-founders of the popular The Park’s Finest barbecue joint in the neighborhood, is MCing out on Beverly Blvd. He and Arciaga direct people onto the sidewalks and off the asphalt as honking cars zip by. In between chants of “No hate! No fear! Immigrants are welcome here!” and rap songs from LA artist Bambu that Concordia plays from a speaker, Concordia hypes up the organizers. “Who’s cool? Joe’s cool?” He spits into the microphone connected to his speaker. “Who’s streets? Our streets!” the crowd cheers. An hour later, a man sitting at a red light in a black Prius rolls down his window. “Go home!” he yells from the intersection. “Take your Mexican flag and go home!”The crowd mostly ignores him. One attendee on the corner holds up his “No Kings” sign to the Prius without turning his head to look at him. A few minutes later, a jogger in a blue t-shirt raises his fist as he passes the crowd. “Fuck yeah guys,” he says to cheers.By 10AM, the neighborhood event is coming to a close. Demonstrators start to trickle away, some fanning out to other rallies planned across LA today. Concordia is heading out too, microphone and speaker still in hand, “If you’re headed to downtown, watch out for suspicious crew cuts!” — Justine CalmaSan Francisco, California1/10Most of the crowd trickled out after 2pm, which was the scheduled end time of the protest, but hundreds stayed in the area. Image: Vjeran PavicLondon, UKLondon’s protest was a little different than most: it was almost entirely bereft of “No Kings” signs, thanks to the fact that about two miles away much larger crowds were gathered to celebrate the official birthday of one King Charles III. “We don’t have anything against King Charles,” Alyssa, a member of organizers Indivisible London, told me. And so, “out of respect for our host country as immigrants,” they instead set up shop in front of the US embassy with a tweaked message: “No kings, no crowns” became “no tyrants, no clowns.” London, UK. Image: Dominic PrestonOf the hundreds gathered, not everyone got the memo, with a few painted signs decrying kings and crowns regardless, and one brave Brit brandishing a bit of cardboard with a simple message: “Our king is better than yours!”London, UK. Image: Dominic PrestonStill, most of the crowd were on board, with red noses, clown suits, and Pennywise masks dotted throughout, plus costumes ranging from tacos to Roman emperors. “I think tyrants is the better word, and that’s why I dressed up as Caesar, because he was the original,” says Anna, a Long Island native who’s lived in London for three years. “Nobody likes a tyrant. Nobody. And they don’t do well, historically, but they destroy a lot.”For 90 minutes or so the crowd — predominantly American, judging by the accents around me — leaned into the circus theme. Speakers shared the stage with performers, from a comic singalong of anti-Trump protest songs to a protracted pantomime in which a woman in a banana costume exhorted the crowd to pelt a Donald Trump impersonator with fresh peels. London, UK. Image: Dominic PrestonDuring a break in festivities, Alyssa told the crowd, “The most threatening sound to an oligarch is laughter.”— Dominic PrestonProspect Park, Brooklyn, New YorkThe No Kings protest at Brooklyn’s Grand Army Plaza was a calmer affair. Instead of gathering under the picturesque memorial arch, protesters were largely sequestered to a corner right outside Prospect Park, with some streets blocked off by police. The weekly farmers market was in full swing, meaning people cradling bundles of rhubarb were swerving in and out of protest signs that read things like, “Hating Donald Trump is Brat” and “Is it time to get out the pitch forks?” Like during the Hands Off protest in April, New York got rain on Saturday.Prospect Park, Brooklyn. Image: Mia SatoThe area where protesters were gathered made it difficult to count the crowd, but there were hundreds — perhaps a few thousand — people that streamed in and out. At one point, some protesters began marching down the street alongside Prospect Park, while others stayed at Grand Army Plaza to chant, cheer, and hold signs up at oncoming vehicles. With its proximity to the public library, the park, and densely populated neighborhoods, the massive intersection is a high-foot traffic area. Cars blared their horns as they passed, American flags waving in the chilly afternoon breeze.Jane, a Brooklyn resident who stood on the curb opposite the protesters, said she isn’t typically someone who comes out to actions like this: before the No Kings event, she had only ever been to one protest, the Women’s March.Prospect Park, Brooklyn. Image: Mia Sato“I’m deeply concerned about our country,” Jane said, pausing as a long stream of trucks and cars honked continuously in support of the protesters in the background. “I think Trump is behaving as an authoritarian. We’ve seen in Russia, in Hungary, in Hong Kong, that the slide from freedom to not freedom is very fast and very quick if people do not make their voices heard,” Jane said. “I’m concerned that that’s what’s happening in the United States.” Jane also cited cuts to Medicaid and funding for academic research as well as tariffs as being “unacceptable.”Prospect Park, Brooklyn. Image: Mia SatoThe event was peaceful — there were lots of kids present — and people were in good spirits despite the rain. Protest signs ran the gamut from general anti-Trump slogansto New York City-specific causes like “Andrew Cuomo can’t read”. One sign read, “Fix your hearts or die,” an iconic line from the late director, David Lynch’s, Twin Peaks: The Return. And of course, amid nationwide immigration raids that have been escalated by the involvement of the federal government, ICE was top of mind: one sign simply read, “Melt ICE,” and another protester held a large “NO ICE IN NYC” sign. Though it was smaller and more contained than other events, the protest didn’t lack conviction: attendees of all ages stood in the cold rain, chanting and blowing into vuvuzela, banging the lids of pots and pans. At one point a man stood on the median on the street, leading the group in chants of “No justice, no peace.” Cars laid on the horn as they drove by.— Mia SatoAkron, OhioIt’s been raining pretty hard the last few days in Akron, OH, so much that I didn’t think there’d be a large turnout for our chapter of the No Kings protest. But I was emphatically proven wrong as the crowds I saw dwarfed the Tesla Takedown protests last month. Officially, the protest was to take place in front of the John F. Seiberling Federal Building on Main Street in Downtown Akron. But the concentration of people spilled over from that small space down Main Street and up Market Street. All told, though there were no official counts, I estimate somewhere between 500 to 900 people in this blue enclave in Northeast Ohio.The mood was exuberant, buoyed by supporters who honked their horns as they passed. The chorus of horns was nonstop, and when a sanitation truck honked as it went by, cheers got louder. The chants the crowds were singing took on a local flare. Ohio is the home of the Ohio State Buckeyes and anywhere you go, shout “O-H” and you’ll invariably get an “I-O” response. The crowds used that convention to make their own chant, “OH-IO, Donald Trump has got to go.”There was no police presence here and the crowd was very good at policing itself. Ostensibly out of concern for the incidents where people have rammed their cars into protestor crowds, the people here have taken up crossing guard duties, aiding folks who wish to cross Main or Market Streets. Toward the end of my time at the protest, I saw an older gentleman wearing Kent State gear and holding a sign that read, “Remember another time the National Guard was called in?” His sign featured a drawing of the famous photo from the event in which four Kent State students during a protest of the Vietnam War were killed by National Guard troops. I caught up with him to ask him some questions and he told me his name was Chuck Ayers, a professional cartoonist, and was present at the shooting. Akron, OH. Image: Ash Parrish“When I saw the National Guard in front of the federal building in LA,” he told me, “It was just another flashback.”He did not tell me this at the time, but Ayers is a nationally recognized cartoonist, noted for co-creating the comic strip Crankshaft. He’s lived in Ohio his entire life and of course, drew that sign himself. As he was telling me about how seeing news of the National Guard being deployed in LA, I could see him strain to hold back his emotions. He said it still hurts to see this 55 years later, but that he was heartened to see so many people standing here in community and solidarity. He also said that given his pain and trauma he almost didn’t come. When I asked why he showed up when it so obviously causes him pain he said simply, “Because I have to.”— Ash ParrishOneonta, New YorkOn a northward drive to Oneonta — population roughly 15,000, the largest city in New York’s mainly rural Otsego County — one of the most prominent landmarks is a sprawling barn splashed in huge, painted block letters with TRUMP 2024.It’s Trump country, but not uniformly Trumpy country, as evidenced by what I estimated as a hundreds-strong crowd gathered in a field just below Main Street that came together with a friendly county-fair atmosphere. Kids sat on their parents’ shoulders; American flags fluttered next to signs with slogans like SHADE NEVER MADE ANYONE LESS GAY, and attendees grumbled persistently about the event’s feeble sound system, set up on the bed of a pickup truck. It was the kind of conspicuously patriotic, far-from-urban protest that the Trump administration has all but insisted doesn’t exist.Image: Adi RobertsonBeyond a general condemnation of Trump, protest signs repped the same issues being denounced across the country. The wars in Gaza and Ukraine made an appearance, as did Elon Musk and Tesla. A couple of people called out funding cuts for organizations like NPR, one neatly lettered sign reminded us that WEATHER FORECASTING SAVES LIVES, another warned “Keep your nasty little hands off Social Security,” and a lot — unsurprisingly, given the past week’s events — attacked mass deportations and ICE. An attendee who identified himself as Bill, standing behind a placard that blocked most of him from sight, laid out his anger at the administration’s gutting of the Environmental Protection Agency. “I think if it was not for protests, there would be no change,” he told me.The event itself, supported by a coalition including the local chapter of Indivisible, highlighted topics like reproductive justice and LGBTQ rights alongside issues for groups often stereotyped as Republican blocs — there was a speech about Department of Veterans Affairs cuts and a representative from the local Office for the Aging. Rules for a march around the modest downtown were laid out: no blocking pedestrians or vehicles, and for the sake of families doing weekend shopping, watch the language. “Fuck!” one person yelled indistinctly from the audience. “No, no,” the event’s emcee chided gently. The philosophy, as she put it, was one of persuasion. “We want to build the resistance, not make people angry at us.”Image: Adi RobertsonBut even in a place that will almost certainly never see a National Guard deployment or the ire of a Truth Social post, the Trump administration’s brutal deportation program had just hit close to home. Only hours before the protest commenced, ICE agents were recorded handcuffing a man and removing him in an unmarked black car — detaining what was reportedly a legal resident seeking asylum from Venezuela. The mayor of Oneonta, Mark Drnek, relayed the news to the crowd. “ICE! We see you!” boomed Drnek from the truckbed. “We recognize you for what you are, and we understand, and we reject your vile purpose.”The crowd cheered furiously. The stars and stripes waved.- Adi RobertsonSee More: Policy
    #kings #protests #eye #storm
    No Kings: protests in the eye of the storm
    As President Donald Trump kicked off a birthday military parade on the streets of Washington, DC, what’s estimated as roughly 2,000 events were held across the US and beyond — protesting Trump and Elon Musk’s evisceration of government services, an unprecedented crackdown by Immigration and Customs Enforcement, and countless other actions from the administration in its first five months. Held under the title “No Kings”, they’re the latest in several mass protests, following April’s Hands Off events and a wave of Tesla Takedown demonstrations in March.As The Verge’s Tina Nguyen went to downtown DC, we also sent reporters to No Kings demonstrations spanning the country, plus a “No Tyrants” event in the UK. How would they unfold after promises of “very heavy force” against protesters in the capital, after the deployment of thousands of military troops in a move a judge has bluntly called illegal, and after promises to “liberate” the city of Los Angeles from its “burdensome leadership” by local elected officials? What about the overnight killing of a Minnesota Democratic state representative and her husband, and the shooting of a Democratic state senator and his wife?The answer, at the events we attended, was fairly calmly — even against a backdrop of chaos.Downtown Los Angeles, CaliforniaAn inflatable baby Donald Trump, dressed in a diaper, hovered over throngs of people rallying outside of Los Angeles City Hall. Demonstrators outnumbered clumps of California National Guard members in fatigues posted up along sidewalks. “Go home to your families, we don’t need you in our streets,” one young person wearing a long braid down her back tells them while marching past. “Trump come catch these hands foo!” the back of her sign reads. I can’t see what the front says, but I can tell there’s an empty bag of Cheetos pasted to it.The big baby joins the march, floating through the streets of Downtown LA over demonstrators. A flatbed truck rolls ahead of it, the band — maybe LA’s own Ozomatli? — singing “We don’t like Trump” to the tune of “We Want The Funk.” Ducking inside Grand Central Market from the march, I talk to Puck and Twinkle Toes — two demonstrators in line for the public restrooms. Twinkle Toes tells me she’s part of an activist clown collective called Imp and Circumstance, wearing pink and white clown makeup and a striped pink and white bow wrapped around a loose hair bun atop her head. She’s here exercising her right to free speech, she says. Demonstrators in Los Angeles marched alongside an inflatable Donald Trump baby dressed in a diaper.“The more people that are out here, the more we know that this is not okay. That we don’t want an autocrat. We want democracy,” Puck tells me, adding that the Pride March in Hollywood last weekend was “nothing but love and sunshine” despite protests and burning driverless cars making headlines in downtown. “The news tries to make you think all of LA is rioting. It’s not.” Puck says.Back out on the streets, a young man quickly writes “Fuck ICE” on a black wall with white spray paint before a group of older demonstrators wearing floppy hats shushes him away — warning him that tagging will only attract more law enforcement.Further along, another older man with tufts of white hair sticking out under his Lakers cap walks stiffly and slowly along under the summer sun. A Mexican flag draped across his shoulders, he crosses Hope Street. A young man wearing a Nike cap makes his way over to ask if he wants water; the old man accepts a bottle and keeps walking without stopping. The march has looped around downtown, and is coming to an end back at City Hall. As I make my way to my bus stop, a line of police vehicles — sirens blasting — whizzes past me, back toward the crowd still gathering around City Hall.The Los Angeles Police Department issued a dispersal order for parts of downtown Los Angeles later in the afternoon, citing people “throwing rocks, bricks, bottles and other objects.” Law enforcement reportedly cleared crowds using gas, and the LAPD authorized the use of “less lethal” force.— Justine CalmaPortland, OregonFour different “No Kings” protests in the greater Portland area on Saturday drew massive crowds of tens of thousands across the city. Various activists, government officials, and representatives for politicians spoke at the rallies, which also featured music and live performances.Protesters of all ages came with dogs, strollers, flags, banners, and hand-made signs. At the downtown waterfront, some tourist boats appeared to still be departing, but the bike rental standwas closed for the day with a hand-lettered explanation reading “No crowns, no thrones, no kings” and “Americans against oligarchy.” Women appearing to be organizers passed out free American flags; many attendees came with their own American flags modified to fly upside down. Most protesters brought signs expressing a wide range of sentiments on the theme of “No Kings.” Some signs were surprisingly verbosewe’d all still be British”) while others were more succinct. Others opted for simple images, such as a picture of a crown crossed out, or — less frequently — a guillotine. Image: Sarah JeongThe waterfront park area was filled with people from the shoreline to the curb of the nearest street, where protesters held up signs to passing cars that honked in approval. The honking of a passing fire truck sent the crowd into an uproarious cheer. Portland is about a thousand miles from the border with Mexico, but the flag of its distant neighbor nation has emerged as protest iconography in solidarity with Los Angeles. The rainbow pride flag was flown as often as the Mexican flag. Military veterans were scattered throughout the crowd, some identifying themselves as having seen action in conflicts spanning from Vietnam to Afghanistan. Emanuel, an Air Force veteran, told me that he had turned out in defense of the constitution and due process, saying, “Nobody has any rights if one person doesn’t have any rights.” Image: Sarah JeongAnger was directed at ICE and the mass deportations all throughout the day, in signage, in chants, and in rally speeches. The previous night, about 150 people protested at a local ICE facility — coincidentally located by the Tesla dealership — a mile south of downtown, near a highway exit. The ICE facility protests, which have been continuous for some days, have been steadily building up. A couple of “No Kings” signs were present on Friday.. Demonstrators stood on the curb urging passing cars to “Honk if you hate fascists,” successfully eliciting car horns every few seconds, including some from a pristine white Tesla. Federal law enforcement in camo and helmets, their faces obscured, maced and shot at protesters with pepper balls, targeting them through the gates and sniping at them from the rooftop of the building. A handful of protesters — many wearing gas masks and respirators — formed phalanx formations in the driveway, wielding umbrellas and handmade shields. On Saturday, a speaker at one of the “No Kings” rallies advertised the occupation of the ICE facility, saying, “We’re a sanctuary city.” The crowd — replete with American flags both upside down and right side up — cheered. — Sarah JeongNew Port Richey, FloridaNearly every intersection on Pasco County’s State Road 54 looks the same: a cross-section of strip malls, each anchored by a Walmart or Target or Publix, surrounded by a mix of restaurants, nail salons, and gas stations. It’s not an environment that is particularly conducive to protests, but hundreds of people turned out in humid, 90-plus degree weather anyway. The overall size of the crowd is hard to determine, but it’s larger than I — and other attendees — anticipated, given the local demographics.New Port Richey, FL. Image: Gaby Del ValleEveryone is on the sidewalk; an organizer with a megaphone tells people to use crosswalks if they’re going to attempt to brave the six-lane highway. Two days earlier, Governor Ron DeSantis said Floridians could legally run over protesters on the street if they feel “threatened.” New Port Richey, FL. Image: Gaby Del ValleSo far, most drivers seem friendly. There are lots of supportive honks. One woman rolls down her window and thanks the protesters. “I love you! I wish I could be with you, but I have to work today!” she yells as she drives away. Not everyone is amenable. A man in a MAGA hat marches through the crowd waving a “thin green line” flag and yelling “long live the king!” as people in the crowd call him a traitor. A pickup truck drives by blasting “Ice Ice Baby,” waving another pro-law enforcement flag. The protesters have flags, too: American flags large and small, some upside down; Mexican; Ukrainian; Palestinian; Canadian; different configurations of pride and trans flags. Their signs, like their flags, illustrate their diverse reasons for attending: opposition to Trump’s “big beautiful” funding bill, DOGE’s budget cuts, and ICE arrests; support for immigrants, government workers, and Palestinians. One woman wears an inflatable chicken suit. Her friend pulls an effigy of Trump — dressed to look both like an eighteenth-century monarch, a taco, and a chicken — alongside her.New Port Richey, FL. Image: Gaby Del ValleMost of the demonstrators are on the older side, but there are people of all ages in attendance. “I thought it was going to be maybe 20 people with a couple of signs,” Abby, 24, says, adding that she’s pleasantly surprised at both the turnout and the fact that most of the protesters are of retirement age. Abe, 20, tells me this is his first protest. Holding a sign that says “ICE = GESTAPO,” he tells me he came out to support a friend who is Mexican. Three teenagers walk by with signs expressing support for immigrants: “While Trump destroys America, we built it.” “Trump: 3 felonies. My parents: 0.” As I drive away, I notice nine counter-protesters off to the side, around the corner from the main event. They wave their own flags, but the demonstrators seemingly pay them no mind.— Gaby Del ValleHistoric Filipinotown, Los AngelesWearing a camo baseball cap — “Desert Storm Veteran” emblazoned on the front — Joe Arciaga greets a crowd of about 100 people in Los Angeles’ Historic Filipinotown around 9:00AM.“Good morning everyone, are you ready for some beautiful trouble?” Arciaga says into the megaphone, an American flag bandana wrapped around his wrist. The faces of Filipino labor leaders Philip Vera Cruz and Larry Itliong, who organized farm workers alongside Cesar Chavez, peer over his shoulders from a mural that lines the length of Unidad Park where Arciaga and a group called Lakas Collective helped organize this neighborhood No Kings rally. “I’m a Desert Storm veteran, and I’m a father of three and a grandfather of three, and I want to work for a future where democracy is upheld, due process, civil rights, the preservation of the rule of law — That’s all I want. I’m not a billionaire, I’m just a regular Joe, right?”, he tells The Verge.Joe Arciaga speaks to people at a rally in Historic Filipinotown, Los Angeles. Image: Justine Calma“I am mad as hell,” he says, when I ask him about the Army 250th anniversary parade Donald Trump has organized in Washington, DC coinciding with the president’s birthday. “The guy does not deserve to be honored, he’s a draft dodger, right?” Arciaga says. He’s “livid” that the President and DOGE have fired veterans working for federal agencies and slashed VA staff.Arciaga organizes the crowd into two lines that file out of the park to stand along Beverly Blvd., one of the main drags through LA. Arciaga has deputized a handful of attendees with security or medical experience with whistles to serve as “marshals” tasked with flagging and de-escalating any potentially risky situation that might arise. Johneric Concordia, one of the co-founders of the popular The Park’s Finest barbecue joint in the neighborhood, is MCing out on Beverly Blvd. He and Arciaga direct people onto the sidewalks and off the asphalt as honking cars zip by. In between chants of “No hate! No fear! Immigrants are welcome here!” and rap songs from LA artist Bambu that Concordia plays from a speaker, Concordia hypes up the organizers. “Who’s cool? Joe’s cool?” He spits into the microphone connected to his speaker. “Who’s streets? Our streets!” the crowd cheers. An hour later, a man sitting at a red light in a black Prius rolls down his window. “Go home!” he yells from the intersection. “Take your Mexican flag and go home!”The crowd mostly ignores him. One attendee on the corner holds up his “No Kings” sign to the Prius without turning his head to look at him. A few minutes later, a jogger in a blue t-shirt raises his fist as he passes the crowd. “Fuck yeah guys,” he says to cheers.By 10AM, the neighborhood event is coming to a close. Demonstrators start to trickle away, some fanning out to other rallies planned across LA today. Concordia is heading out too, microphone and speaker still in hand, “If you’re headed to downtown, watch out for suspicious crew cuts!” — Justine CalmaSan Francisco, California1/10Most of the crowd trickled out after 2pm, which was the scheduled end time of the protest, but hundreds stayed in the area. Image: Vjeran PavicLondon, UKLondon’s protest was a little different than most: it was almost entirely bereft of “No Kings” signs, thanks to the fact that about two miles away much larger crowds were gathered to celebrate the official birthday of one King Charles III. “We don’t have anything against King Charles,” Alyssa, a member of organizers Indivisible London, told me. And so, “out of respect for our host country as immigrants,” they instead set up shop in front of the US embassy with a tweaked message: “No kings, no crowns” became “no tyrants, no clowns.” London, UK. Image: Dominic PrestonOf the hundreds gathered, not everyone got the memo, with a few painted signs decrying kings and crowns regardless, and one brave Brit brandishing a bit of cardboard with a simple message: “Our king is better than yours!”London, UK. Image: Dominic PrestonStill, most of the crowd were on board, with red noses, clown suits, and Pennywise masks dotted throughout, plus costumes ranging from tacos to Roman emperors. “I think tyrants is the better word, and that’s why I dressed up as Caesar, because he was the original,” says Anna, a Long Island native who’s lived in London for three years. “Nobody likes a tyrant. Nobody. And they don’t do well, historically, but they destroy a lot.”For 90 minutes or so the crowd — predominantly American, judging by the accents around me — leaned into the circus theme. Speakers shared the stage with performers, from a comic singalong of anti-Trump protest songs to a protracted pantomime in which a woman in a banana costume exhorted the crowd to pelt a Donald Trump impersonator with fresh peels. London, UK. Image: Dominic PrestonDuring a break in festivities, Alyssa told the crowd, “The most threatening sound to an oligarch is laughter.”— Dominic PrestonProspect Park, Brooklyn, New YorkThe No Kings protest at Brooklyn’s Grand Army Plaza was a calmer affair. Instead of gathering under the picturesque memorial arch, protesters were largely sequestered to a corner right outside Prospect Park, with some streets blocked off by police. The weekly farmers market was in full swing, meaning people cradling bundles of rhubarb were swerving in and out of protest signs that read things like, “Hating Donald Trump is Brat” and “Is it time to get out the pitch forks?” Like during the Hands Off protest in April, New York got rain on Saturday.Prospect Park, Brooklyn. Image: Mia SatoThe area where protesters were gathered made it difficult to count the crowd, but there were hundreds — perhaps a few thousand — people that streamed in and out. At one point, some protesters began marching down the street alongside Prospect Park, while others stayed at Grand Army Plaza to chant, cheer, and hold signs up at oncoming vehicles. With its proximity to the public library, the park, and densely populated neighborhoods, the massive intersection is a high-foot traffic area. Cars blared their horns as they passed, American flags waving in the chilly afternoon breeze.Jane, a Brooklyn resident who stood on the curb opposite the protesters, said she isn’t typically someone who comes out to actions like this: before the No Kings event, she had only ever been to one protest, the Women’s March.Prospect Park, Brooklyn. Image: Mia Sato“I’m deeply concerned about our country,” Jane said, pausing as a long stream of trucks and cars honked continuously in support of the protesters in the background. “I think Trump is behaving as an authoritarian. We’ve seen in Russia, in Hungary, in Hong Kong, that the slide from freedom to not freedom is very fast and very quick if people do not make their voices heard,” Jane said. “I’m concerned that that’s what’s happening in the United States.” Jane also cited cuts to Medicaid and funding for academic research as well as tariffs as being “unacceptable.”Prospect Park, Brooklyn. Image: Mia SatoThe event was peaceful — there were lots of kids present — and people were in good spirits despite the rain. Protest signs ran the gamut from general anti-Trump slogansto New York City-specific causes like “Andrew Cuomo can’t read”. One sign read, “Fix your hearts or die,” an iconic line from the late director, David Lynch’s, Twin Peaks: The Return. And of course, amid nationwide immigration raids that have been escalated by the involvement of the federal government, ICE was top of mind: one sign simply read, “Melt ICE,” and another protester held a large “NO ICE IN NYC” sign. Though it was smaller and more contained than other events, the protest didn’t lack conviction: attendees of all ages stood in the cold rain, chanting and blowing into vuvuzela, banging the lids of pots and pans. At one point a man stood on the median on the street, leading the group in chants of “No justice, no peace.” Cars laid on the horn as they drove by.— Mia SatoAkron, OhioIt’s been raining pretty hard the last few days in Akron, OH, so much that I didn’t think there’d be a large turnout for our chapter of the No Kings protest. But I was emphatically proven wrong as the crowds I saw dwarfed the Tesla Takedown protests last month. Officially, the protest was to take place in front of the John F. Seiberling Federal Building on Main Street in Downtown Akron. But the concentration of people spilled over from that small space down Main Street and up Market Street. All told, though there were no official counts, I estimate somewhere between 500 to 900 people in this blue enclave in Northeast Ohio.The mood was exuberant, buoyed by supporters who honked their horns as they passed. The chorus of horns was nonstop, and when a sanitation truck honked as it went by, cheers got louder. The chants the crowds were singing took on a local flare. Ohio is the home of the Ohio State Buckeyes and anywhere you go, shout “O-H” and you’ll invariably get an “I-O” response. The crowds used that convention to make their own chant, “OH-IO, Donald Trump has got to go.”There was no police presence here and the crowd was very good at policing itself. Ostensibly out of concern for the incidents where people have rammed their cars into protestor crowds, the people here have taken up crossing guard duties, aiding folks who wish to cross Main or Market Streets. Toward the end of my time at the protest, I saw an older gentleman wearing Kent State gear and holding a sign that read, “Remember another time the National Guard was called in?” His sign featured a drawing of the famous photo from the event in which four Kent State students during a protest of the Vietnam War were killed by National Guard troops. I caught up with him to ask him some questions and he told me his name was Chuck Ayers, a professional cartoonist, and was present at the shooting. Akron, OH. Image: Ash Parrish“When I saw the National Guard in front of the federal building in LA,” he told me, “It was just another flashback.”He did not tell me this at the time, but Ayers is a nationally recognized cartoonist, noted for co-creating the comic strip Crankshaft. He’s lived in Ohio his entire life and of course, drew that sign himself. As he was telling me about how seeing news of the National Guard being deployed in LA, I could see him strain to hold back his emotions. He said it still hurts to see this 55 years later, but that he was heartened to see so many people standing here in community and solidarity. He also said that given his pain and trauma he almost didn’t come. When I asked why he showed up when it so obviously causes him pain he said simply, “Because I have to.”— Ash ParrishOneonta, New YorkOn a northward drive to Oneonta — population roughly 15,000, the largest city in New York’s mainly rural Otsego County — one of the most prominent landmarks is a sprawling barn splashed in huge, painted block letters with TRUMP 2024.It’s Trump country, but not uniformly Trumpy country, as evidenced by what I estimated as a hundreds-strong crowd gathered in a field just below Main Street that came together with a friendly county-fair atmosphere. Kids sat on their parents’ shoulders; American flags fluttered next to signs with slogans like SHADE NEVER MADE ANYONE LESS GAY, and attendees grumbled persistently about the event’s feeble sound system, set up on the bed of a pickup truck. It was the kind of conspicuously patriotic, far-from-urban protest that the Trump administration has all but insisted doesn’t exist.Image: Adi RobertsonBeyond a general condemnation of Trump, protest signs repped the same issues being denounced across the country. The wars in Gaza and Ukraine made an appearance, as did Elon Musk and Tesla. A couple of people called out funding cuts for organizations like NPR, one neatly lettered sign reminded us that WEATHER FORECASTING SAVES LIVES, another warned “Keep your nasty little hands off Social Security,” and a lot — unsurprisingly, given the past week’s events — attacked mass deportations and ICE. An attendee who identified himself as Bill, standing behind a placard that blocked most of him from sight, laid out his anger at the administration’s gutting of the Environmental Protection Agency. “I think if it was not for protests, there would be no change,” he told me.The event itself, supported by a coalition including the local chapter of Indivisible, highlighted topics like reproductive justice and LGBTQ rights alongside issues for groups often stereotyped as Republican blocs — there was a speech about Department of Veterans Affairs cuts and a representative from the local Office for the Aging. Rules for a march around the modest downtown were laid out: no blocking pedestrians or vehicles, and for the sake of families doing weekend shopping, watch the language. “Fuck!” one person yelled indistinctly from the audience. “No, no,” the event’s emcee chided gently. The philosophy, as she put it, was one of persuasion. “We want to build the resistance, not make people angry at us.”Image: Adi RobertsonBut even in a place that will almost certainly never see a National Guard deployment or the ire of a Truth Social post, the Trump administration’s brutal deportation program had just hit close to home. Only hours before the protest commenced, ICE agents were recorded handcuffing a man and removing him in an unmarked black car — detaining what was reportedly a legal resident seeking asylum from Venezuela. The mayor of Oneonta, Mark Drnek, relayed the news to the crowd. “ICE! We see you!” boomed Drnek from the truckbed. “We recognize you for what you are, and we understand, and we reject your vile purpose.”The crowd cheered furiously. The stars and stripes waved.- Adi RobertsonSee More: Policy #kings #protests #eye #storm
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    No Kings: protests in the eye of the storm
    As President Donald Trump kicked off a birthday military parade on the streets of Washington, DC, what’s estimated as roughly 2,000 events were held across the US and beyond — protesting Trump and Elon Musk’s evisceration of government services, an unprecedented crackdown by Immigration and Customs Enforcement (ICE), and countless other actions from the administration in its first five months. Held under the title “No Kings” (with, as you’ll see, one conspicuous exception), they’re the latest in several mass protests, following April’s Hands Off events and a wave of Tesla Takedown demonstrations in March.As The Verge’s Tina Nguyen went to downtown DC, we also sent reporters to No Kings demonstrations spanning the country, plus a “No Tyrants” event in the UK. How would they unfold after promises of “very heavy force” against protesters in the capital, after the deployment of thousands of military troops in a move a judge has bluntly called illegal, and after promises to “liberate” the city of Los Angeles from its “burdensome leadership” by local elected officials? What about the overnight killing of a Minnesota Democratic state representative and her husband, and the shooting of a Democratic state senator and his wife?The answer, at the events we attended, was fairly calmly — even against a backdrop of chaos.Downtown Los Angeles, CaliforniaAn inflatable baby Donald Trump, dressed in a diaper, hovered over throngs of people rallying outside of Los Angeles City Hall. Demonstrators outnumbered clumps of California National Guard members in fatigues posted up along sidewalks. “Go home to your families, we don’t need you in our streets,” one young person wearing a long braid down her back tells them while marching past. “Trump come catch these hands foo!” the back of her sign reads. I can’t see what the front says, but I can tell there’s an empty bag of Cheetos pasted to it.The big baby joins the march, floating through the streets of Downtown LA over demonstrators. A flatbed truck rolls ahead of it, the band — maybe LA’s own Ozomatli? — singing “We don’t like Trump” to the tune of “We Want The Funk.” Ducking inside Grand Central Market from the march, I talk to Puck and Twinkle Toes — two demonstrators in line for the public restrooms. Twinkle Toes tells me she’s part of an activist clown collective called Imp and Circumstance, wearing pink and white clown makeup and a striped pink and white bow wrapped around a loose hair bun atop her head. She’s here exercising her right to free speech, she says. Demonstrators in Los Angeles marched alongside an inflatable Donald Trump baby dressed in a diaper.“The more people that are out here, the more we know that this is not okay. That we don’t want an autocrat. We want democracy,” Puck tells me, adding that the Pride March in Hollywood last weekend was “nothing but love and sunshine” despite protests and burning driverless cars making headlines in downtown. “The news tries to make you think all of LA is rioting. It’s not.” Puck says.Back out on the streets, a young man quickly writes “Fuck ICE” on a black wall with white spray paint before a group of older demonstrators wearing floppy hats shushes him away — warning him that tagging will only attract more law enforcement.Further along, another older man with tufts of white hair sticking out under his Lakers cap walks stiffly and slowly along under the summer sun. A Mexican flag draped across his shoulders, he crosses Hope Street. A young man wearing a Nike cap makes his way over to ask if he wants water; the old man accepts a bottle and keeps walking without stopping. The march has looped around downtown, and is coming to an end back at City Hall. As I make my way to my bus stop, a line of police vehicles — sirens blasting — whizzes past me, back toward the crowd still gathering around City Hall.The Los Angeles Police Department issued a dispersal order for parts of downtown Los Angeles later in the afternoon, citing people “throwing rocks, bricks, bottles and other objects.” Law enforcement reportedly cleared crowds using gas, and the LAPD authorized the use of “less lethal” force.— Justine CalmaPortland, OregonFour different “No Kings” protests in the greater Portland area on Saturday drew massive crowds of tens of thousands across the city. Various activists, government officials, and representatives for politicians spoke at the rallies, which also featured music and live performances. (One advertised free drag shows.) Protesters of all ages came with dogs, strollers, flags, banners, and hand-made signs. At the downtown waterfront, some tourist boats appeared to still be departing, but the bike rental stand (which also sells ice cream) was closed for the day with a hand-lettered explanation reading “No crowns, no thrones, no kings” and “Americans against oligarchy.” Women appearing to be organizers passed out free American flags; many attendees came with their own American flags modified to fly upside down. Most protesters brought signs expressing a wide range of sentiments on the theme of “No Kings.” Some signs were surprisingly verbose (“If the founders wanted a unitary executive (a king) we’d all still be British”) while others were more succinct (“Sic semper tyrannis”). Others opted for simple images, such as a picture of a crown crossed out, or — less frequently — a guillotine. Image: Sarah JeongThe waterfront park area was filled with people from the shoreline to the curb of the nearest street, where protesters held up signs to passing cars that honked in approval. The honking of a passing fire truck sent the crowd into an uproarious cheer. Portland is about a thousand miles from the border with Mexico, but the flag of its distant neighbor nation has emerged as protest iconography in solidarity with Los Angeles. The rainbow pride flag was flown as often as the Mexican flag. Military veterans were scattered throughout the crowd, some identifying themselves as having seen action in conflicts spanning from Vietnam to Afghanistan. Emanuel, an Air Force veteran, told me that he had turned out in defense of the constitution and due process, saying, “Nobody has any rights if one person doesn’t have any rights.” Image: Sarah JeongAnger was directed at ICE and the mass deportations all throughout the day, in signage, in chants, and in rally speeches. The previous night, about 150 people protested at a local ICE facility — coincidentally located by the Tesla dealership — a mile south of downtown, near a highway exit. The ICE facility protests, which have been continuous for some days, have been steadily building up. A couple of “No Kings” signs were present on Friday. (The following day, a handful of “Chinga la migra” signs would show up at the “No Kings” protests). Demonstrators stood on the curb urging passing cars to “Honk if you hate fascists,” successfully eliciting car horns every few seconds, including some from a pristine white Tesla. Federal law enforcement in camo and helmets, their faces obscured, maced and shot at protesters with pepper balls, targeting them through the gates and sniping at them from the rooftop of the building. A handful of protesters — many wearing gas masks and respirators — formed phalanx formations in the driveway, wielding umbrellas and handmade shields. On Saturday, a speaker at one of the “No Kings” rallies advertised the occupation of the ICE facility, saying, “We’re a sanctuary city.” The crowd — replete with American flags both upside down and right side up — cheered. — Sarah JeongNew Port Richey, FloridaNearly every intersection on Pasco County’s State Road 54 looks the same: a cross-section of strip malls, each anchored by a Walmart or Target or Publix, surrounded by a mix of restaurants, nail salons, and gas stations. It’s not an environment that is particularly conducive to protests, but hundreds of people turned out in humid, 90-plus degree weather anyway. The overall size of the crowd is hard to determine, but it’s larger than I — and other attendees — anticipated, given the local demographics. (Trump won 61 percent of the vote in Pasco County in 2024.) New Port Richey, FL. Image: Gaby Del ValleEveryone is on the sidewalk; an organizer with a megaphone tells people to use crosswalks if they’re going to attempt to brave the six-lane highway. Two days earlier, Governor Ron DeSantis said Floridians could legally run over protesters on the street if they feel “threatened.” New Port Richey, FL. Image: Gaby Del ValleSo far, most drivers seem friendly. There are lots of supportive honks. One woman rolls down her window and thanks the protesters. “I love you! I wish I could be with you, but I have to work today!” she yells as she drives away. Not everyone is amenable. A man in a MAGA hat marches through the crowd waving a “thin green line” flag and yelling “long live the king!” as people in the crowd call him a traitor. A pickup truck drives by blasting “Ice Ice Baby,” waving another pro-law enforcement flag. The protesters have flags, too: American flags large and small, some upside down; Mexican; Ukrainian; Palestinian; Canadian; different configurations of pride and trans flags. Their signs, like their flags, illustrate their diverse reasons for attending: opposition to Trump’s “big beautiful” funding bill, DOGE’s budget cuts, and ICE arrests; support for immigrants, government workers, and Palestinians. One woman wears an inflatable chicken suit. Her friend pulls an effigy of Trump — dressed to look both like an eighteenth-century monarch, a taco, and a chicken — alongside her.New Port Richey, FL. Image: Gaby Del ValleMost of the demonstrators are on the older side, but there are people of all ages in attendance. “I thought it was going to be maybe 20 people with a couple of signs,” Abby, 24, says, adding that she’s pleasantly surprised at both the turnout and the fact that most of the protesters are of retirement age. Abe, 20, tells me this is his first protest. Holding a sign that says “ICE = GESTAPO,” he tells me he came out to support a friend who is Mexican. Three teenagers walk by with signs expressing support for immigrants: “While Trump destroys America, we built it.” “Trump: 3 felonies. My parents: 0.” As I drive away, I notice nine counter-protesters off to the side, around the corner from the main event. They wave their own flags, but the demonstrators seemingly pay them no mind.— Gaby Del ValleHistoric Filipinotown, Los AngelesWearing a camo baseball cap — “Desert Storm Veteran” emblazoned on the front — Joe Arciaga greets a crowd of about 100 people in Los Angeles’ Historic Filipinotown around 9:00AM.“Good morning everyone, are you ready for some beautiful trouble?” Arciaga says into the megaphone, an American flag bandana wrapped around his wrist. The faces of Filipino labor leaders Philip Vera Cruz and Larry Itliong, who organized farm workers alongside Cesar Chavez, peer over his shoulders from a mural that lines the length of Unidad Park where Arciaga and a group called Lakas Collective helped organize this neighborhood No Kings rally. “I’m a Desert Storm veteran, and I’m a father of three and a grandfather of three, and I want to work for a future where democracy is upheld, due process, civil rights, the preservation of the rule of law — That’s all I want. I’m not a billionaire, I’m just a regular Joe, right?”, he tells The Verge.Joe Arciaga speaks to people at a rally in Historic Filipinotown, Los Angeles. Image: Justine Calma“I am mad as hell,” he says, when I ask him about the Army 250th anniversary parade Donald Trump has organized in Washington, DC coinciding with the president’s birthday. “The guy does not deserve to be honored, he’s a draft dodger, right?” Arciaga says. He’s “livid” that the President and DOGE have fired veterans working for federal agencies and slashed VA staff.Arciaga organizes the crowd into two lines that file out of the park to stand along Beverly Blvd., one of the main drags through LA. Arciaga has deputized a handful of attendees with security or medical experience with whistles to serve as “marshals” tasked with flagging and de-escalating any potentially risky situation that might arise. Johneric Concordia, one of the co-founders of the popular The Park’s Finest barbecue joint in the neighborhood, is MCing out on Beverly Blvd. He and Arciaga direct people onto the sidewalks and off the asphalt as honking cars zip by. In between chants of “No hate! No fear! Immigrants are welcome here!” and rap songs from LA artist Bambu that Concordia plays from a speaker, Concordia hypes up the organizers. “Who’s cool? Joe’s cool?” He spits into the microphone connected to his speaker. “Who’s streets? Our streets!” the crowd cheers. An hour later, a man sitting at a red light in a black Prius rolls down his window. “Go home!” he yells from the intersection. “Take your Mexican flag and go home!”The crowd mostly ignores him. One attendee on the corner holds up his “No Kings” sign to the Prius without turning his head to look at him. A few minutes later, a jogger in a blue t-shirt raises his fist as he passes the crowd. “Fuck yeah guys,” he says to cheers.By 10AM, the neighborhood event is coming to a close. Demonstrators start to trickle away, some fanning out to other rallies planned across LA today. Concordia is heading out too, microphone and speaker still in hand, “If you’re headed to downtown, watch out for suspicious crew cuts!” — Justine CalmaSan Francisco, California1/10Most of the crowd trickled out after 2pm, which was the scheduled end time of the protest, but hundreds stayed in the area. Image: Vjeran PavicLondon, UKLondon’s protest was a little different than most: it was almost entirely bereft of “No Kings” signs, thanks to the fact that about two miles away much larger crowds were gathered to celebrate the official birthday of one King Charles III. “We don’t have anything against King Charles,” Alyssa, a member of organizers Indivisible London, told me. And so, “out of respect for our host country as immigrants,” they instead set up shop in front of the US embassy with a tweaked message: “No kings, no crowns” became “no tyrants, no clowns.” London, UK. Image: Dominic PrestonOf the hundreds gathered, not everyone got the memo, with a few painted signs decrying kings and crowns regardless, and one brave Brit brandishing a bit of cardboard with a simple message: “Our king is better than yours!”London, UK. Image: Dominic PrestonStill, most of the crowd were on board, with red noses, clown suits, and Pennywise masks dotted throughout, plus costumes ranging from tacos to Roman emperors. “I think tyrants is the better word, and that’s why I dressed up as Caesar, because he was the original,” says Anna, a Long Island native who’s lived in London for three years. “Nobody likes a tyrant. Nobody. And they don’t do well, historically, but they destroy a lot.”For 90 minutes or so the crowd — predominantly American, judging by the accents around me — leaned into the circus theme. Speakers shared the stage with performers, from a comic singalong of anti-Trump protest songs to a protracted pantomime in which a woman in a banana costume exhorted the crowd to pelt a Donald Trump impersonator with fresh peels. London, UK. Image: Dominic PrestonDuring a break in festivities, Alyssa told the crowd, “The most threatening sound to an oligarch is laughter.”— Dominic PrestonProspect Park, Brooklyn, New YorkThe No Kings protest at Brooklyn’s Grand Army Plaza was a calmer affair. Instead of gathering under the picturesque memorial arch, protesters were largely sequestered to a corner right outside Prospect Park, with some streets blocked off by police. The weekly farmers market was in full swing, meaning people cradling bundles of rhubarb were swerving in and out of protest signs that read things like, “Hating Donald Trump is Brat” and “Is it time to get out the pitch forks?” Like during the Hands Off protest in April, New York got rain on Saturday.Prospect Park, Brooklyn. Image: Mia SatoThe area where protesters were gathered made it difficult to count the crowd, but there were hundreds — perhaps a few thousand — people that streamed in and out. At one point, some protesters began marching down the street alongside Prospect Park, while others stayed at Grand Army Plaza to chant, cheer, and hold signs up at oncoming vehicles. With its proximity to the public library, the park, and densely populated neighborhoods, the massive intersection is a high-foot traffic area. Cars blared their horns as they passed, American flags waving in the chilly afternoon breeze.Jane, a Brooklyn resident who stood on the curb opposite the protesters, said she isn’t typically someone who comes out to actions like this: before the No Kings event, she had only ever been to one protest, the Women’s March. (Jane asked that The Verge use her first name only.) Prospect Park, Brooklyn. Image: Mia Sato“I’m deeply concerned about our country,” Jane said, pausing as a long stream of trucks and cars honked continuously in support of the protesters in the background. “I think Trump is behaving as an authoritarian. We’ve seen in Russia, in Hungary, in Hong Kong, that the slide from freedom to not freedom is very fast and very quick if people do not make their voices heard,” Jane said. “I’m concerned that that’s what’s happening in the United States.” Jane also cited cuts to Medicaid and funding for academic research as well as tariffs as being “unacceptable.”Prospect Park, Brooklyn. Image: Mia SatoThe event was peaceful — there were lots of kids present — and people were in good spirits despite the rain. Protest signs ran the gamut from general anti-Trump slogans (“I trust light tampons more than this administration”) to New York City-specific causes like “Andrew Cuomo can’t read” (there is a contenious mayoral election this month). One sign read, “Fix your hearts or die,” an iconic line from the late director, David Lynch’s, Twin Peaks: The Return. And of course, amid nationwide immigration raids that have been escalated by the involvement of the federal government, ICE was top of mind: one sign simply read, “Melt ICE,” and another protester held a large “NO ICE IN NYC” sign. Though it was smaller and more contained than other events, the protest didn’t lack conviction: attendees of all ages stood in the cold rain, chanting and blowing into vuvuzela, banging the lids of pots and pans. At one point a man stood on the median on the street, leading the group in chants of “No justice, no peace.” Cars laid on the horn as they drove by.— Mia SatoAkron, OhioIt’s been raining pretty hard the last few days in Akron, OH, so much that I didn’t think there’d be a large turnout for our chapter of the No Kings protest. But I was emphatically proven wrong as the crowds I saw dwarfed the Tesla Takedown protests last month. Officially, the protest was to take place in front of the John F. Seiberling Federal Building on Main Street in Downtown Akron. But the concentration of people spilled over from that small space down Main Street and up Market Street. All told, though there were no official counts, I estimate somewhere between 500 to 900 people in this blue enclave in Northeast Ohio.The mood was exuberant, buoyed by supporters who honked their horns as they passed. The chorus of horns was nonstop, and when a sanitation truck honked as it went by, cheers got louder. The chants the crowds were singing took on a local flare. Ohio is the home of the Ohio State Buckeyes and anywhere you go, shout “O-H” and you’ll invariably get an “I-O” response. The crowds used that convention to make their own chant, “OH-IO, Donald Trump has got to go.”There was no police presence here and the crowd was very good at policing itself. Ostensibly out of concern for the incidents where people have rammed their cars into protestor crowds, the people here have taken up crossing guard duties, aiding folks who wish to cross Main or Market Streets. Toward the end of my time at the protest, I saw an older gentleman wearing Kent State gear and holding a sign that read, “Remember another time the National Guard was called in?” His sign featured a drawing of the famous photo from the event in which four Kent State students during a protest of the Vietnam War were killed by National Guard troops. I caught up with him to ask him some questions and he told me his name was Chuck Ayers, a professional cartoonist, and was present at the shooting. Akron, OH. Image: Ash Parrish“When I saw the National Guard in front of the federal building in LA,” he told me, “It was just another flashback.”He did not tell me this at the time, but Ayers is a nationally recognized cartoonist, noted for co-creating the comic strip Crankshaft. He’s lived in Ohio his entire life and of course, drew that sign himself. As he was telling me about how seeing news of the National Guard being deployed in LA, I could see him strain to hold back his emotions. He said it still hurts to see this 55 years later, but that he was heartened to see so many people standing here in community and solidarity. He also said that given his pain and trauma he almost didn’t come. When I asked why he showed up when it so obviously causes him pain he said simply, “Because I have to.”— Ash ParrishOneonta, New YorkOn a northward drive to Oneonta — population roughly 15,000, the largest city in New York’s mainly rural Otsego County — one of the most prominent landmarks is a sprawling barn splashed in huge, painted block letters with TRUMP 2024. (The final digits have been faithfully updated every election since 2016.) It’s Trump country, but not uniformly Trumpy country, as evidenced by what I estimated as a hundreds-strong crowd gathered in a field just below Main Street that came together with a friendly county-fair atmosphere. Kids sat on their parents’ shoulders; American flags fluttered next to signs with slogans like SHADE NEVER MADE ANYONE LESS GAY, and attendees grumbled persistently about the event’s feeble sound system, set up on the bed of a pickup truck. It was the kind of conspicuously patriotic, far-from-urban protest that the Trump administration has all but insisted doesn’t exist.Image: Adi RobertsonBeyond a general condemnation of Trump, protest signs repped the same issues being denounced across the country. The wars in Gaza and Ukraine made an appearance, as did Elon Musk and Tesla. A couple of people called out funding cuts for organizations like NPR, one neatly lettered sign reminded us that WEATHER FORECASTING SAVES LIVES, another warned “Keep your nasty little hands off Social Security,” and a lot — unsurprisingly, given the past week’s events — attacked mass deportations and ICE. An attendee who identified himself as Bill, standing behind a placard that blocked most of him from sight, laid out his anger at the administration’s gutting of the Environmental Protection Agency. “I think if it was not for protests, there would be no change,” he told me.The event itself, supported by a coalition including the local chapter of Indivisible, highlighted topics like reproductive justice and LGBTQ rights alongside issues for groups often stereotyped as Republican blocs — there was a speech about Department of Veterans Affairs cuts and a representative from the local Office for the Aging (whose words were mostly lost to the sound system’s whims). Rules for a march around the modest downtown were laid out: no blocking pedestrians or vehicles, and for the sake of families doing weekend shopping, watch the language. “Fuck!” one person yelled indistinctly from the audience. “No, no,” the event’s emcee chided gently. The philosophy, as she put it, was one of persuasion. “We want to build the resistance, not make people angry at us.”Image: Adi RobertsonBut even in a place that will almost certainly never see a National Guard deployment or the ire of a Truth Social post, the Trump administration’s brutal deportation program had just hit close to home. Only hours before the protest commenced, ICE agents were recorded handcuffing a man and removing him in an unmarked black car — detaining what was reportedly a legal resident seeking asylum from Venezuela. The mayor of Oneonta, Mark Drnek, relayed the news to the crowd. “ICE! We see you!” boomed Drnek from the truckbed. “We recognize you for what you are, and we understand, and we reject your vile purpose.”The crowd cheered furiously. The stars and stripes waved.- Adi RobertsonSee More: Policy
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