This is a spoiler-free preview of the first five episodes of season three. Star Trek: Strange New Worlds ended its second season with arguably the single strongest run of any streaming-era Trek. The show was made with such confidence in all departments that if there were flaws, you weren’t interested in looking for them. Since then, it’s gone from being the best modern Trek, to being the only modern Trek. Unfortunately, at the moment it needs to be the standard bearer for the show, it’s become noticeably weaker and less consistent.  As usual, I’ve seen the first five episodes, but can’t reveal specifics about what I’ve seen. I can say plenty of the things that made Strange New Worlds the best modern-day live-action Trek remain in place. It’s a show that’s happy for you to spend time with its characters as they hang out, and almost all of them are deeply charming. This is, after all, a show that uses as motif the image of the crew in Pike’s quarters as the captain cooks for his crew. Its format, with standalone adventures blended with serialized character drama, means it can offer something new every week. Think back to the first season, when “Memento Mori,” a tense action thriller with the Gorn, was immediately followed by “Spock Amock,” a goofy, starbase-set body-swap romantic comedy of manners centered around Spock. Strange New Worlds is the first Trek in a long while to realize audiences don’t just want a ceaseless slog of stern-faced, angry grimdark. And if they want that, they can go watch Picard and Section 31. Marni Grossman/Paramount+ But, as much as those things are SNW’s greatest strength, it’s a delicate balance to ensure the series doesn’t lurch too far either way. And, it pains me to say this, the show spends the first five episodes of its third season going too far in both directions (although, mercifully, not at the same time). No specifics, but one episode I’m sure was on the same writers room whiteboard wishlist as last season’s musical episode. What was clearly intended as a chance for everyone to get out of their usual roles and have fun falls flat. Because the episode can never get past the sense it’s too delighted in its own silliness to properly function. Marni Grossman/Paramount+ At the other end of the scale, we get sprints toward the eye-gouging grimdark that blighted those other series. Sure, the series has gone to dark places before, but previously with more of a sense of deftness, rather than just going for the viscerally-upsetting gore. A cynic might suggest that, as Paramount’s other Trek projects ended, franchise-overseer Alex Kurtzman — who has pushed the franchise into “grittier” territory whenever he can — had more time to spend in the SNW writers’ room. Much as I’ve enjoyed the series’ soapier elements, the continuing plotlines take up an ever bigger part of each episode’s runtime so far. Consequently, the story of the week gets less service, making them feel weaker and less coherent. One episode pivots two thirds of the way in to act as a low-key sequel to an episode from season two. But since we’ve only got ten minutes left, it feels thrown in as an afterthought, or to resolve a thread the creative team felt they were obliged to deal with (they didn’t). In fact, this and the recently-finished run of Doctor Who suffered from the same problem that blights so many streaming-era shows, which is the limited episode order. Rather than producing TV on the scale broadcast networks were able to — yearly runs of 22-, 24- or 26 episodes, a lot of (expensive) genre shows get less than half that. The result is that each episode has to be More Important Than The Last One in a way that’s exhausting for a viewer. But Strange New Worlds can’t solve all the economic issues with the streaming model on its own. My hope is that, much like in its first season, the weaker episodes are all in its front half to soften us up for the moments of quality that followed toward its conclusion. ASIDE: Shortly before publication, Paramount announced Strange New Worlds would end in its fifth season, which would be cut from ten episodes to six. It's not surprising — given the equally-brilliant Lower Decks was also axed after passing the same milestone — but it is disappointing. My only hope is that the series doesn't spend that final run awkwardly killing off the series' young ensemble one by one in order to replace them with the entire original series' roster as to make it "line up." Please, let them be their own things. This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/star-trek-strange-new-worlds-third-season-falls-short-of-its-second-020030139.html?src=rss

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

“When We Cease To Understand The World (Grothendieck’s Ghost)”(2025), oil and oil pastel on linen, 180 x 160 centimeters. All images courtesy of Damian Griffiths and BEERS London, shared with permission Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits June 4, 2025 Art Grace Ebert A new body of work by Andrew Salgado (previously) unfurls from a central premise: we are the books we read. The artist, who works between London and New Brunswick, Canada, is literarily insatiable and considers every unread tome an opportunity of “infinite possibility.” At BEERS London, Salgado’s Self-Portrait as a Stack of Books presents a series of paintings that open like chapters and together, build a larger narrative. “My Year Of Rest And Relaxation” directly references Ottessa Moshfegh’s bleary novel of the same name and depicts a young protagonist inert and detached. There’s also “Véra (Please Come Over, You’re Always Welcome),” which portrays a resolute Véra Nabokov writing what might be one of her since destroyed letters. “Véra (Please Come Over, You’re Always Welcome)” (2025), oil and oil pastel on linen, 76 x 61 centimeters Salgado is continually interested in citation and the ways that memories and experiences layer atop and mold one another. Many of the authors he’s drawn to—Virgina Woolf, Jorge Luis Borges, and Margaret Atwood among them— “are influenced by art. By music and painting. They write about it all the time. The word is ekphrasis,” he adds. “Nabokov lists over 150 paintings in his collected works. So why shouldn’t the inverse also be true?” Intuitive marks of oil paint and pastel characterize Salgado’s works and seem to build up over time. Irregular stripes and circles add greater depth and dimension to patches of color delineating a dress or facial feature, leaving each scene with a certain indeterminacy. Allowing for interpretation and an array of personal references is essential to the artist’s thinking: “It’s ready for the taking. And whatever you take from it—from the books, or the paintings, or the ideas within—it’s all right. It’s all correct. There are no wrong answers,” he says. Self-Portrait as a Stack of Books is on view through June 28. Find more on Salgado’s website and Instagram. “My Year Of Rest And Relaxation” (2025), oil and oil pastel on linen, 90 x 100 centimeters “St. Augustine’s Confessions” (2025), oil and oil pastel on linen, 160 x 125 centimeters “Hotel Du Lac” (2025), oil and oil pastel on linen, 152 x 117 centimeters “Meditations” (Sayings, Speeches, Notes) (2025), oil and oil pastel on linen, 150 x 120 centimeters “The Last Evening On Earth” (2025), oil and oil pastel on linen, 125 x 100 centimeters “Beware of Pity” (2025), oil and oil pastel on linen, 80 x 75 centimeters “The Aleph & Other Stories” (2025), oil and oil pastel on linen, 216 x 164 centimeters Next article

June 3, 20255 min readAre We Ready for Death in Space?NASA has quietly taken steps to prepare for a death in space. We need to ask how nations will deal with this inevitability now, as more people start traveling off the planetBy Peter Cummings edited by Lee Billings SciePro/Science Photo Library/Getty ImagesIn 2012 NASA stealthily slipped a morgue into orbit.No press release. No fanfare. Just a sealed, soft-sided pouch tucked in a cargo shipment to the International Space Station (ISS) alongside freeze-dried meals and scientific gear. Officially, it was called the Human Remains Containment Unit (HRCU). To the untrained eye it looked like a shipping bag for frozen cargo. But to NASA it marked something far more sobering: a major advance in preparing for death beyond Earth.As a kid, I obsessed over how astronauts went to the bathroom in zero gravity. Now, decades later, as a forensic pathologist and a perennial applicant to NASA’s astronaut corps, I find myself fixated on a darker, more haunting question:On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.What would happen if an astronaut died out there? Would they be brought home, or would they be left behind? If they expired on some other world, would that be their final resting place? If they passed away on a spacecraft or space station, would their remains be cast off into orbit—or sent on an escape-velocity voyage to the interstellar void?NASA, it turns out, has begun working out most of these answers. And none too soon. Because the question itself is no longer if someone will die in space—but when.A Graying CorpsNo astronaut has ever died of natural causes off-world. In 1971 the three-man crew of the Soviet Soyuz 11 mission asphyxiated in space when their spacecraft depressurized shortly before its automated atmospheric reentry—but their deaths were only discovered once the spacecraft landed on Earth. Similarly, every U.S. spaceflight fatality to date has occurred within Earth’s atmosphere—under gravity, oxygen and a clear national jurisdiction. That matters, because it means every spaceflight mortality has played out in familiar territory.But planned missions are getting longer, with destinations beyond low-Earth orbit. And NASA’s astronaut corps is getting older. The average age now hovers around 50—an age bracket where natural death becomes statistically relevant, even for clean-living fitness buffs. Death in space is no longer a thought experiment. It’s a probability curve—and NASA knows it.In response, the agency is making subtle but decisive moves. The most recent astronaut selection cycle was extended—not only to boost intake but also to attract younger crew members capable of handling future long-duration missions.NASA’s Space MorgueIf someone were to die aboard the ISS today, their body would be placed in the HRCU, which would then be sealed and secured in a nonpressurized area to await eventual return to Earth.The HRCU itself is a modified version of a military-grade body bag designed to store human remains in hazardous environments. It integrates with refrigeration systems already aboard the ISS to slow decomposition and includes odor-control filters and moisture-absorbent linings, as well as reversed zippers for respectful access at the head. There are straps to secure the body in a seat for return, and patches for name tags and national flags.Cadaver tests conducted in 2019 at Sam Houston State University have proved the system durable. Some versions held for over 40 days before decomposition breached the barrier. NASA even drop-tested the bag from 19 feet to simulate a hard landing.But it’s never been used in space. And since no one yet knows how a body decomposes in true microgravity (or, for that matter, on the moon), no one can really say whether the HRCU would preserve tissue well enough for a forensic autopsy.This is a troubling knowledge gap, because in space, a death isn’t just a tragic loss—it’s also a vital data point. Was an astronaut’s demise from a fluke of their physiology, or an unavoidable stroke of cosmic bad luck—or was it instead a consequence of flaws in a space habitat’s myriad systems that might be found and fixed? Future lives may depend on understanding what went wrong, via a proper postmortem investigation.But there’s no medical examiner in orbit. So NASA trains its crews in something called the In-Mission Forensic Sample Collection protocol. The space agency’s astronauts may avoid talking about it, but they all have it memorized: Document everything, ideally with real-time guidance from NASA flight surgeons. Photograph the body. Collect blood and vitreous fluid, as well as hair and tissue samples. Only then can the remains be stowed in the HRCU.NASA has also prepared for death outside the station—on spacewalks, the moon or deep space missions. If a crew member perishes in vacuum but their remains are retrieved, the body is wrapped in a specially designed space shroud.The goal isn’t just a technical matter of preventing contamination. It’s psychological, too, as a way of preserving dignity. Of all the “firsts” any space agency hopes to achieve, the first-ever human corpse drifting into frame on a satellite feed is not among them.If a burial must occur—in lunar regolith or by jettisoning into solar orbit—the body will be dutifully tracked and cataloged, treated forevermore as a hallowed artifact of space history.Such gestures are also of relevance to NASA’s plans for off-world mourning; grief and memorial protocols are now part of official crew training. If a death occurs, surviving astronauts are tasked with holding a simple ceremony to honor the fallen—then to move on with their mission.Uncharted RealmsSo far we’ve only covered the “easy” questions. NASA and others are still grappling with harder ones.Consider the issue of authority over a death and mortal remains. On the ISS, it’s simple: the deceased astronaut’s home country retains jurisdiction. But that clarity fades as destinations grow more distant and the voyages more diverse: What really happens on space-agency missions to the moon, or to Mars? How might rules change for commercial or multinational spaceflights—or, for that matter, the private space stations and interplanetary settlements that are envisioned by Elon Musk, Jeff Bezos and other tech multibillionaires?NASA and its partners have started drafting frameworks, like the Artemis Accords—agreements signed by more than 50 nations to govern behavior in space. But even those don’t address many intimate details of death.What happens, for instance, if foul play is suspected?The Outer Space Treaty, a legal document drafted in 1967 under the United Nations that is humanity’s foundational set of rules for orbit and beyond, doesn’t say.Of course, not everything can be planned for in advance. And NASA has done an extraordinary job of keeping astronauts in orbit alive. But as more people venture into space, and as the frontier stretches to longer voyages and farther destinations, it becomes a statistical certainty that sooner or later someone won’t come home.When that happens, it won’t just be a tragedy. It will be a test. A test of our systems, our ethics and our ability to adapt to a new dimension of mortality. To some, NASA’s preparations for astronautical death may seem merely morbid, even silly—but that couldn’t be further from the truth.Space won’t care of course, whenever it claims more lives. But we will. And rising to that grim occasion with reverence, rigor and grace will define not just policy out in the great beyond—but what it means to be human there, too.

How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in CitiesSave this picture!Boise, United States. Image via Wikipedia user: Fæ. License under CC0 1.0. Image Author: Alden SkeieFrom greenhouse gas emissions and air pollution to deforestation, one of the leading contributors to global warming today is emissions from the transportation sector. Exploring its origins and evolution, as well as the major challenges it faces, the development of electric mobility in urban environments represents a global transition that requires a coordinated mix of policies and actions to achieve cleaner and more sustainable transportation systems. Designing safe and comfortable infrastructure for walking and cycling, promoting public transit and shared mobility, and designing more efficient streets that include electric vehicles, among other actions, are part of a growing worldwide effort to reduce carbon emissions.Although electric vehicles were invented before gasoline and diesel cars in the first half of the 19th century, they have undergone significant technological advances over the past 20 years, reducing their costs and their environmental impact, and increasing their utility. Around 1834, Thomas Davenport developed the first battery-powered electric vehicle, building a small train on a circular track and inventing the first direct current (DC) electric motor. Although there were numerous innovations in the years that followed, battery limitations were a major obstacle. The zinc consumption of a battery was four times more expensive than the coal consumption of a steam engine, so at that time it competed with the electric motor. Save this picture!By 1898, the first commercially available electric vehicles were operating in London and New York. As Francisco Martín Moreno explains in "Vehículos eléctricos. Historia, estado actual y retos futuros", in the early 1900s, several electric car models emerged, primarily accessible to wealthy consumers and designed for short distances. In contrast, the early gasoline-powered cars introduced in the 1920s were noisy, emitted strong gasoline odors, and were hard to drive due to complex gear systems. However, large quantities of oil were discovered between 1920 and 1930, making gasoline-powered cars cheaper in Texas and other US states. Highways began to be built connecting cities, allowing gasoline-powered vehicles to travel from one city to another, something beyond the reach of electric vehicles due to their short range. Mass production techniques like Henry Ford's assembly line further reduced costs, making gas-powered cars affordable to the middle class. Related Article Gas Stations and Electric Cars: How Do They Change Cities Save this picture!By the late 1920s, gasoline vehicles had overtaken electric vehicles, and electric car production largely ceased in the 1930s. However, as a result of the oil crisis in the 1970s and the Gulf War in the 1990s, along with the emergence of climate change as a priority, there was a renewed interest in electric cars. This resurgence led to new models of electric vehicles—from small cars to buses and even trucks. The energy crisis led to an increase in gasoline prices, and society in advanced countries began to become aware of the effects of greenhouse gas emissions from oil combustion, the greenhouse effect, and climate change. Concern about greenhouse gas emissions and climate change increased as oil prices rose, and society began to recognize and become more aware of the impact of the current transportation model on cities and the urgency of finding more environmentally friendly transportation alternatives.Save this picture!Save this picture!In developed countries during the 20th century, the growth of cities was largely due to private car use, allowing citizens to travel miles and miles daily from home to work. Suburban expansion shifted the cost of commuting to individuals. Some residential areas are developing far from the city center and industrial zones, where a large proportion of the population relies on cars. In 2010, the global population was around 7 billion, and it's expected to reach 10 billion by 2050. The number of vehicles, meanwhile, is projected to grow from 75 million in 2010 to 2.5 billion by 2050. Will there be enough fossil fuels to power this massive fleet? What will be the future of gas stations?Save this picture!To meet the goals of the Paris Climate Agreement and reduce growing air pollution, low- and middle-income countries should join the global transition to zero-emission electric transport. According to data from the International Energy Agency and the European Alternative Fuels Observatory, China led the world in 2024 with over 7 million electric vehicles (including cars and buses) in operation—an increase of over 3 million in just one year. The U.S. ranked second, followed by Germany, which leads in Europe with about 1.3 million EVs. The UK and France round out the top five.Save this picture!To support this transition, the United Nations Environment Programme (UNEP) has launched a global initiative alongside private sector partners, academic institutions, and financial organizations, helping low- and middle-income countries shift to electric mobility. In Latin America, transportation accounts for around one-third of CO₂ emissions. In Africa, Asia, and parts of Latin America, motorcycles and three-wheelers are essential for daily mobility, often covering over 100 km per day. However, these vehicles usually rely on outdated technologies, making them highly polluting and inefficient. Electrifying two- and three-wheelers presents a significant opportunity to reduce both greenhouse gas emissions and air pollution. UNEP is assisting 17 countries in creating national strategies and running pilot projects to introduce these electric vehicles in regions like Africa, Southeast Asia, and Latin America.Save this picture!Given the rapid urbanization in many low- and middle-income countries, mass public transport remains a cornerstone of urban mobility. Cities across Africa, Asia, and Latin America are investing in better transportation systems, including high-capacity bus corridors and Bus Rapid Transit (BRT) systems. Yet, with the average bus lifespan exceeding 12 years, it's essential to avoid locking cities into outdated technologies. Developing policies to support and incentivize the adoption of zero-emission vehicles is essential to achieving the electrification of public transport. The European Commission proposes promoting investment initiatives in charging infrastructure and emissions trading, to be implemented starting in 2026, by putting a carbon price on fossil-fuel vehicles. This measure seeks to boost the use of electric vehicles and the transformation of transport systems. Now, how could charging infrastructure be developed to support a potential massive growth in the electric vehicle fleet? What upgrades and innovations are needed to handle this future demand? What would happen if all transportation suddenly depended on the power grid?Save this picture!Save this picture!The UN emphasizes that using public transportation is critical to curbing climate change. Electrifying buses and trains could cut greenhouse gas emissions by up to two-thirds per passenger per kilometer compared to private vehicles. Still, private cars hold the greatest potential for emission reduction. In 2018, light-duty vehicles were responsible for nearly half of all transport emissions—including those from rail, sea, and air travel. Several major carmakers have announced ambitious plans to release new EV models in the next five years.Save this picture!According to a study by the McKinsey Center for Future Mobility (2019), roughly 60% of global car trips are under 8 kilometers, making them ideal for micromobility solutions. Electromicromobility refers to small, lightweight, and low-speed electric transportation options for short distances, such as electric skateboards, scooters, bikes, mopeds, and quadricycles. From a user perspective, electric vehicles still face hurdles like high costs, limited range, and long charging times. However, their broader societal benefits—particularly emissions reductions—are significant. Therefore, local and national governments are encouraged to implement supportive policies, such as vehicle purchase subsidies, tax breaks, free charging stations, parking benefits, access to city centers, and special electricity rates for nighttime charging, etc.Save this picture!Save this picture!Ultimately, we should ask: What lies ahead for modern transportation? How could new forms of natural, artificial, and collective intelligence be integrated into the design of today's transportation systems to improve resilience to environmental and growth challenges? What partnerships between countries, industries, and organizations are needed to ensure a sustainable and innovative supply of key materials? What will happen to used EV batteries and electronic components? Will be electric mobility in cities the only way to reduce carbon emissions?This article is part of the ArchDaily Topics: What Is Future Intelligence?, proudly presented by Gendo, an AI co-pilot for Architects. Our mission at Gendo is to help architects produce concept images 100X faster by focusing on the core of the design process. We have built a cutting edge AI tool in collaboration with architects from some of the most renowned firms such as Zaha Hadid, KPF and David Chipperfield.Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Agustina Iñiguez. "How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in Cities" 03 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030500/how-will-transportation-work-in-the-future-a-look-at-the-rise-of-electric-mobility-in-cities&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Like many countries, the Netherlands currently faces a housing crunch. Unlike many countries, the Dutch have a history of working with water to build out their environment. This ambitious Spoorweghaven Floating Community, a proposal for Rotterdam, thus aims to float affordable housing in an underutilized canal.The proposal was designed by Maritime Architecture Studio (MAST), a Copenhagen-based architecture firm that specializes in floating construction. It calls for a multitude of buildings housing more than a hundred low-cost apartments, as well as commercial and recreational space. "The Spoorweghaven floating community would connect to the city's already expansive bicycle infrastructure and also create new possibilities for transportation by boat. Public pathways would link the two sides of the harbour and allow bicycle access directly to the apartment buildings and to public bicycle parking facilities at each access bridge to the community. Recreational boat moorings are also provided between floating buildings and a continuous `blue ribbon´ around the community allows access from the city centre directly to the apartment buildings and public spaces." "Floating public walkways and green spaces provide new flexible spaces for residents in the new apartments and the surrounding area. Rooftop terraces and roof gardens also provide more private outdoor spaces for residents at the same time as preserving the view from surrounding apartments." "In order to improve the water quality in the harbour MAST worked with Scottish company Biomatrix to incorporate over 900m2 of floating reed beds around the perimeter of the site. Reedbeds like these have been installed in cities across Europe where they have been effective at reducing nutrients in water and providing habitat for waterbirds and fish." "The floating buildings would be constructed off site from CLT and towed into the dock for a short installation period. This would mean minimal impact on the community and a more efficient build process in a working dock outside of the city centre. It also permits the buildings to be repurposed on another site at the duration of a long term lease. This opportunity, to move buildings rather than demolish them when they cease to make financial sense in a given location, could dramatically increase the life span of floating buildings and give them a significant edge in sustainability over traditional apartment buildings." "These floating communities could also provide a far more sustainable alternative to large land reclamation projects which are underway around the globe." The proposal has received the support of Rotterdam officials, though no date for breaking ground—er, water—has yet been announced. That may change as pressure increases: The Netherlands has set a target of building one million new homes by 2030, and the country is famously short of land to build them on.