Researchers from the Department of Mechanical Engineering at Virginia Tech have introduced a continuous fiber reinforcement (CFR) deposition tool designed for multi-axis 3D printing, significantly enhancing mechanical performance in composite structures. Led by Kieran D. Beaumont, Joseph R. Kubalak, and Christopher B. Williams, and published in Springer Nature Link, the study demonstrates an 820% improvement in maximum load capacity compared to conventional planar short carbon fiber (SCF) 3D printing methods. This tool integrates three key functions: reliable fiber cutting and re-feeding, in situ fiber volume fraction control, and a slender collision volume to support complex multi-axis toolpaths. The newly developed deposition tool addresses critical challenges in CFR additive manufacturing. It is capable of cutting and re-feeding continuous fibers during travel movements, a function required to create complex geometries without material tearing or print failure. In situ control of fiber volume fraction is also achieved by adjusting the polymer extrusion rate. A slender geometry minimizes collisions between the tool and the printed part during multi-axis movements. The researchers designed the tool to co-extrude a thermoplastic polymer matrix with a continuous carbon fiber (CCF) towpreg. This approach allowed reliable fiber re-feeding after each cut and enabled printing with variable fiber content within a single part. The tool’s slender collision volume supports increased range of motion for the robotic arm used in the experiments, allowing alignment of fibers with three-dimensional load paths in complex structures. The six Degree-of-Freedom Robotic Arm printing a multi-axis geometry from a CFR polymer composite. Photo via Springer Nature Link. Mechanical Testing Confirms Load-Bearing Improvements Mechanical tests evaluated the impact of continuous fiber reinforcement on polylactic acid (PLA) parts. In tensile tests, samples reinforced with continuous carbon fibers achieved a tensile strength of 190.76 MPa and a tensile modulus of 9.98 GPa in the fiber direction. These values compare to 60.31 MPa and 3.01 GPa for neat PLA, and 56.92 MPa and 4.30 GPa for parts containing short carbon fibers. Additional tests assessed intra-layer and inter-layer performance, revealing that the continuous fiber–reinforced material had reduced mechanical properties in these orientations. Compared to neat PLA, intra-layer tensile strength and modulus dropped by 66% and 63%, respectively, and inter-layer strength and modulus decreased by 86% and 60%. Researchers printed curved tensile bar geometries using three methods to evaluate performance in parts with three-dimensional load paths: planar short carbon fiber–reinforced PLA, multi-axis short fiber–reinforced samples, and multi-axis continuous fiber–reinforced composites. The multi-axis short fiber–reinforced parts showed a 41.6% increase in maximum load compared to their planar counterparts. Meanwhile, multi-axis continuous fiber–reinforced parts absorbed loads 8.2 times higher than the planar short fiber–reinforced specimens. Scanning electron microscopy (SEM) images of fracture surfaces revealed fiber pull-out and limited fiber-matrix bonding, particularly in samples with continuous fibers. Schematic illustration of common continuous fiber reinforcement–material extrusion (CFR-MEX) modalities: in situ impregnation, towpreg extrusion, and co-extrusion with towpreg. Photo via Springer Nature Link. To verify the tool’s fiber cutting and re-feeding capability, the researchers printed a 100 × 150 × 3 mm rectangular plaque that required 426 cutting and re-feeding operations across six layers. The deposition tool achieved a 100% success rate, demonstrating reliable cutting and re-feeding without fiber clogging. This reliability is critical for manufacturing complex structures that require frequent travel movements between deposition paths. In situ fiber volume fraction control was validated through printing a rectangular prism sample with varying polymer feed rates, road widths, and layer heights. The fiber volume fractions achieved in different sections of the part were 6.51%, 8.00%, and 9.86%, as measured by cross-sectional microscopy and image analysis. Although lower than some literature reports, the researchers attributed this to the specific combination of tool geometry, polymer-fiber interaction time, and print speed. The tool uses Anisoprint’s CCF towpreg, a pre-impregnated continuous carbon fiber product with a fiber volume fraction of 57% and a diameter of 0.35 mm. 3DXTECH’s black PLA and SCF-PLA filaments were selected to ensure consistent matrix properties and avoid the influence of pigment variations on mechanical testing. The experiments were conducted using an ABB IRB 4600–40/2.55 robotic arm equipped with a tool changer for switching between the CFR-MEX deposition tool and a standard MEX tool with an elongated nozzle for planar prints. Deposition Tool CAD and Assembly. Photo via Springer Nature Link. Context Within Existing Research and Future Directions Continuous fiber reinforcement in additive manufacturing has previously demonstrated significant improvements in part performance, with some studies reporting tensile strengths of up to 650 MPa for PLA composites reinforced with continuous carbon fibers. However, traditional three-axis printing methods restrict fiber orientation to planar directions, limiting these gains to within the XY-plane. Multi-axis 3D printing approaches have demonstrated improved load-bearing capacity in short-fiber reinforced parts. For example, multi-axis printed samples have shown failure loads several times higher than planar-printed counterparts in pressure cap and curved geometry applications. Virginia Tech’s tool integrates multiple functionalities that previous tools in literature could not achieve simultaneously. It combines a polymer feeder based on a dual drive extruder, a fiber cutter and re-feeder assembly, and a co-extrusion hotend with adjustable interaction time for fiber-polymer bonding. A needle-like geometry and external pneumatic cooling pipes reduce the risk of collision with the printed part during multi-axis reorientation. Measured collision volume angles were 56.2° for the full tool and 41.6° for the hotend assembly. Load-extension performance graphs for curved tensile bars. Photo via Springer Nature Link. Despite these advances, the researchers identified challenges related to weak bonding between the fiber and the polymer matrix. SEM images showed limited impregnation of the polymer into the fiber towpreg, with the fiber-matrix interface remaining a key area for future work. The study highlights that optimizing fiber tow sizing and improving the fiber-polymer interaction time during printing could enhance inter-layer and intra-layer performance. The results also suggest that advanced toolpath planning algorithms could further leverage the tool’s ability to align fiber deposition along three-dimensional load paths, improving mechanical performance in functional parts. The publication in Springer Nature Link documents the full design, validation experiments, and mechanical characterization of the CFR-MEX tool. The work adds to a growing body of research on multi-axis additive manufacturing, particularly in combining continuous fiber reinforcement with complex geometries. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Featured photo shows the six Degree-of-Freedom Robotic Arm printing a multi-axis geometry. Photo via Springer Nature Link. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle (4 per cent), the curves long (1.5km in radius) and the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion (from 2×2 to 2×3 to 2×4 lanes), and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested US$2.8 billion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles (EVs). Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics (to the point that many service economies could not produce their own personal protective equipment in the midst of a pandemic), the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share

Next week, the former president of “Grant Theft Auto” maker Rockstar North launches his first title since leaving the Take-Two Interactive-owned video game developer and opening his own studio, Build A Rocket Boy: the AAA narrative-driven action-adventure thriller “MindsEye.” Published by IOI Partners, the team behind the “Hitman” franchise, the Unreal Engine 5-built game will debut June 10 across PlayStation 5, Xbox Series X and S, and on PC via Steam and Epic Games Store with a $59.99 price tag for the standard edition. Related Stories Set in the near-futuristic city of Redrock, “MindsEye” puts players into the role of Jacob Diaz, a former soldier haunted by fragmented memories from his mysterious MindsEye neural implant, as he uncovers a conspiracy involving rogue AI, corporate greed, an unchecked military, and a threat so sinister that it endangers the very survival of humanity. Popular on Variety But the base story isn’t the biggest draw for “MindsEye,” which includes Build A Rocket Boy’s proprietary Game Creation System, that enables players to, well, “craft anything in their minds eye.” Per the studio, “Players can craft their own experiences using all of the ‘MindsEye’ assets, creating everything from custom missions to entirely new scenarios within the game’s expansive, richly detailed world. Whether you’re designing a high-speed chase through Redrock’s bustling cityscapes or a stealth mission in its industrial outskirts, it is designed to be intuitive and easy to use, ensuring that players of all skill levels can bring their imagination to life.” Benzies’ Edinburgh-based Build A Rocket Boy has promised “fresh premium content” will rollout monthly for the game, including regular releases of new missions, challenges and game assets. While “MindsEye” is the first title from Benzies since he launched BARB after leaving Rockstar in 2016 (Benzies was the lead “Grand Theft Auto” developer across the third through fifth games in the franchise, as well as “Grand Theft Auto Online,” and was in a legal battle with parent company Take Two over unpaid royalties from 2016 until 2019), it’s just step one in the prolific producer’s plan to shake up the gaming industry. “At Build A Rocket Boy, our vision goes far beyond a single title,” Benzies told Variety. “‘MindsEye’ is the first episode and central story around which ever-expanding interconnected episodes will span. We’re already working on future episodes, which will introduce alternate realities while maintaining it’s core themes of hope, redemption, and the intrigue of civilizations past and future, drawing from the lore and multiverse concepts.” See Variety‘s full interview with Benzies below, including the inevitable comparisons that will be drawn between “MindsEye” and the aesthetic of the “GTA” franchise, and his hopes for Rockstar Games’ highly anticipated and much-delayed “GTA 6.” Where did the concept for “MindsEye” come from? I pull a lot of inspiration from the real world. Watching the actions of humans – their foibles and their virtues. Watching the advancement of technology and how we adapt, or indeed, do not adapt. We’ve been moving to an automated world for many years now, and the impact on humans, especially with recent advancements in AI, which serves as good fodder for a story and even better for a video game. I think we all have this little nagging feeling about how humans and AI will blend together in the future—will it go smoothly, or will it turn sinister? We’re fans of all different types of media, and we’ve drawn influence from cinematic visionaries like Ridley Scott, Paul Greengrass, Christopher Nolan, and J.J. Abrams, and films like “The Bourne Identity,” “Memento,” and TV series “Lost” — they’re all exploring memory, perception, and control in their own ways. So, while we nod to those influences here and there, we wanted to build something that feels fresh, grounded in today’s world, but still asking the kinds of questions that have always made this genre powerful. With your “GTA” roots, obvious comparisons are already being drawn between the style and aesthetic of that franchise and “MindsEye.” Comparisons will always be made—it’s the way human beings pigeonhole concepts. But “MindsEye” isn’t built to fit into anyone else’s box. Many games share the same core elements: cars, guns, cities, and charismatic characters, and differentiation is even tougher in today’s entertainment landscape. Streaming, social media, and on-demand binge culture have fractured attention spans, and consumer mindshare is a brutal battlefield for all IP. Our industry continues to celebrate each other’s breakthroughs, and I’m proud that our collective innovation is advancing the medium of gaming, even if our paths diverge. As an independent studio we have the freedom to break ground in experimental new ways and the challenge is balancing innovation with familiarity—too much “new” risks alienating fans, too much “same” feels stale. It’s about nailing what makes your game’s world feel alive and urgent. “MindsEye” is about consequence and connection—it’s cinematic, reactive, and meant to feel like a world you’re not just playing in, but able to create in it too. We’re excited to see what they’ve crafted with “GTA VI ,” and I can’t wait to play it as a consumer for the first time. They’re always delivering something new, unique and at a scale that very few can pull off. What does MindsEye represent in BARB’s larger vision and long-term strategy? Are you plotting this out as a multi-game franchise or your first standalone? At Build A Rocket Boy, our vision goes far beyond a single title. “MindsEye” is the first episode and central story around which ever-expanding interconnected episodes will span. We’re already working on future episodes, which will introduce alternate realities while maintaining it’s core themes of hope, redemption, and the intrigue of civilizations past and future, drawing from the lore and multiverse concepts. It’s the future of entertainment to allow active participation so players feel like they have agency and can immerse themselves in our world as they want to. We are introducing three products in one game that will revolutionize AAA-quality interactive gaming and storytelling: “MindsEye” narrative story, Play.MindsEye, and Build.MindsEye. In our tightly crafted action-noir, “MindsEye” narrative story we have rips in time accessed through portals at strategic points throughout the game – so while you play as Jacob Diaz on his personal journey, players can also explore side stories and delve deeper into the backstories of characters they encounter along the way. In this way we are delivering companion content at the same time as the anchor content, weaving a rich narrative tapestry which will continue to evolve and expand giving greater depth to characters so you understand their personality and motivations. How do digital products Play.MindsEye (formerly named Arcadia) and Build.MindsEye (formerly Everywhere) tie in to plans for “MindsEye” and what BARB wants to offer gamers? In this new era of entertainment, where streaming platforms, boom-and-bust games, and an on-demand culture dominate, we’re pushing things in a new direction—with an interface that simplifies how we consume not just games, but all forms of entertainment. Consumers are moving away from 2D browsing into fully 3D, immersive experiences. Put simply, we’re shifting from passive interaction to active participation. As with all new products, things evolve. Arcadia was originally envisioned as our creation platform, but as we continued developing “MindsEye” and building out BARB’s ecosystem, it naturally grew into something more focused— Play.MindsEye and Build.MindsEye. Play delivers cinematic, high-intensity gameplay with missions and maps that constantly evolve. Build gives players intuitive tools to create their own content—no technical skills required, just imagination and intent. For BARB to fully realize our vision, we had to beta test our creation system with a community of builders in real-time and started with Everywhere while we were in stealth mode developing MindsEye. How did you settle on IOI as publishing partner? We’ve always found the way IOI handled the “Hitman” franchise interesting. They are one of the few publishers that have taken their single-player IP and increased their player count and amplified their community culture over time. From a technology point of view, their one executable approach for all of their content is very smart, and we always planned to have a similar approach, which encouraged us to join forces. This interview has been edited and condensed.

Nichols Canyon cuts through the south side of the Hollywood Hills, stretching from Hollywood Boulevard in the south up to Mulholland Drive in the north. Made famous by David Hockney, whose 1980 painting of the canyon sold for just over $41M in 2020, the area remains a thriving artist's community. What better place for Elle Decor A-List designer Oliver Furth to build a "creative cottage" for his partner, The Culture Creative founder Sean Yashar?Furth and Yashar, who've been together 14 years, met in the industry and purchased their home 7 years ago. When the lot next door—a pines-filled acre with a tiny house on it—came up for sale, the couple jumped at the chance to buy. "Anyone else would've torn it down and built something bigger," says Furth. "We replaced the windows and redid the kitchen and bathrooms, but we leaned into its size." Now drenched in Yashar's signature "eau de nil" pastel tones, the cottage embraces the character of its original 1940s structure while serving as a cutting-edge space for creativity.Kort HavensIn the sitting room, a Philippe Starck chrome side table from the original Royalton Hotel, from 1988, holds a place of pride with a group of Peter Shire and Ron Arad vintage chairs and a Rachel Shillander pyramidal lamp. Art includes greats of LA’s past and present: a Laddie John Dill mixed media, a Sam Falls tapestry, a Tom Holland metal relief, and a Strauss Bourque-LaFrance painting."All of my work is really portraiture." —Oliver Furth"My clients are all muses to me," says Yashar, who provides consulting services for designers. "I have to be a good listener and understand who the client is and how they connect to decorative arts history, so I spend a lot of time researching. How else can I be an authority?"To that end, the space is designed to provide a moment to reflect and the fodder to rev into high gear in equal measures; to facilitate rest as much as the chance to recharge. Following in the footsteps of Albert Hadley and Tony Duquette (who once declared malachite a neutral), Furth color-drenched the space in a mint green. "That color is the envelope—that's what I call it," says Furth. "We kept it very tight by lacquering the floors, the walls, and the ceiling in that color. Even the cabinetry and the appliances are in that mint. It allows us to have this object-driven interior space by unifying everything with color."Kort HavensA vintage Joe D’Urso for Knoll desk, Sam Maloof desk chair, Christopher Prinz stool and felt-clad speaker by Studio AHEAD create a sleek composition under an Ingo Mauer chandelier in the office. Art includes a triptych of photographs by David Benjamin Sherry, and framed magazine ads from Yashar’s parents’ furniture store, Moda Italia, from 1990.The seafoam hue unites not only the interior, but also decades of decorative history: Yashar found that the architect Paul Williams, who worked in LA in the 1940's and 50's, used a similar shade in many projects. "There's a lot of history and narrative within this color that maybe not everyone will be able to know, but hopefully everyone can feel," says Yashar. Clocking in at roughly 1,000-square-feet, the interior is now a mixture of millennial aesthetics, showcasing Yashar's love for design culture icons like Mario Buatta and Saul Bass. The entry sets the tone with its metal-and-glass Dutch door. A mixed-use meeting room offers a blend of contrasts, from Buatta-inspired shades in a Dickies-esque khaki twill to antique Chippendale chairs juxtaposed with 1990s Marc Newson tables. "All of my work is really portraiture," says Furth, "so this was an opportunity to help create this sort of portrait of Sean and his business." "Sometimes things just resonate...you just know when it's right." —Sean YasharThe sitting room features iconic design pieces, including a worn black leather sofa from the 1980s and a Philippe Starck table from the Royalton Hotel. Peter Shire and Ron Arad chairs are paired with conceptual furniture inspired by Dan Friedman. The kitchen celebrates postwar and ’80s influences with Smeg appliances and works by Soft Baroque and Patrick Nagel, grounded by a custom table from Studio MUKA. "A lot of people know me for my interest in eighties and nineties design culture," says Yashar. "But when I think eighties or nineties, I don't think of one thing. I don't want to choose. So I want to have Joe D'Urso high-tech track lighting, and I want it against these Mario Buatta-style balloon shades. I like that duality."Outside, a Persian-inspired courtyard nods to Yashar's heritage while offering dining and lounging areas that showcase rare 1980s furniture, including a Peter Lane ceramic table and one-off mint-colored Richard Schultz seating. The courtyard’s natural and faux vine murals create a satirical trompe-l’oeil effect, celebrating real-versus-virtual artistry. "I think we're both big believers in feeling," says Yashar. "Sometimes things just resonate. You can't really put your finger on it, but you just know that it's right."Sean SantiagoDeputy EditorSean Santiago is ELLE Decor's Deputy Editor, covering news, trends and talents in interior design, hospitality and travel, culture, and luxury shopping. Since starting his career at an interior design firm in 2011, he has gone on to cover the industry for Vogue, Architectural Digest, Sight Unseen, PIN-UP and Domino. He is the author of The Lonny Home (Weldon Owens, 2018), has produced scripted social content for brands including West Elm and Streeteasy, and is sometimes recognized on the street for his Instagram Reels series, #DanceToDecor

Unlike the other big streamers, Tubi only has a handful of original shows, most of them imports (their original movie selection is much larger). That's not to say it's a wasteland for TV addicts: The streamer might actually have too many shows, a vast and sometimes wild catalog that spans decades. As the likes of Netflix and HBO Max have slimmed down their catalogues, Tubi is growing, offering a mix of established hits, underrated gems, and more obscure offerings. For the sheer breadth of material on offer, it has become the first place I look for anything outside the current zeitgeist—like the following 18 shows, an entirely non-comprehensive sampling of what Tubi has to offer, crossing genres and decades.Gossip Girl (2007 – 2012) Occasionally referred to as the greatest teen drama of all time (certainly this side of 90210), Gossip Girl was a buzzy ratings champ for the CW back in the day, with its juicy, often scandalous storylines that veered so often into intentional satire that it was hard to ever get mad at the ridiculousness of any of it. Set among a group of well-heeled students on Manhattan's Upper East Side, its characters find their private lives being chronicled by the title’s mysterious master of gossip—so think of it as a proto-Bridgerton. You can stream Gossip Girl here.Babylon 5 (1993 – 1998, five seasons) J. Michael Straczynski’s wildly ambitious sci-fi epic was way ahead of its time, with a planned (more or less) five season story arc set on the titular space station. Babylon 5 is a remote outpost that becomes the last best hope for peace in the face of conflicting human and alien agendas—even more so after an ancient threat is awakened. With increasingly complex storylines that expanded over its run, this was a stab at prestige TV before that was a thing, and it still holds up (dated CGI effects notwithstanding. You can stream Babylon 5 here.Empire (2015 – 2020) Hip hop mogul and Empire Entertainment CEO Lucious Lyon (Terrence Howard) is dying, having been diagnosed with ALS at a young age. He wasn't planning to have to hand off his company so early, but nevertheless finds himself preparing his three very different sons (Trai Byers, Jussie Smollett, and Bryshere Y. Gray) to take the keys to the kingdom—by pitting them against one other. Into this already Shakespearean setup steps Lucious' ex-wife Cookie (Taraji P. Henson), just released from prison and harboring her own plans for Lucious's empire. You can stream Empire here. Mr. Robot (2015 – 2019) Social anxiety disorder, clinical depression, and dissociative identity disorder make up the potent blend of neurodivergences challenging Elliot Alderson (Rami Malek), a genius senior cybersecurity engineer at Allsafe Cybersecurity. In season one, he's recruited by an anarchist who goes by the moniker Mr. Robot (Christian Slater) to encrypt all the financial data of a global mega-conglomerate, thereby erasing massive amounts of debt (hey, real-life hackers, maybe take some notes?). The show starts strong and gets better across its increasingly labyrinthian four seasons—utterly preposterous while also feeling realistic in its technical detail. You can stream Mr. Robot here. Boarders (2024 - , two seasons) This British import feels a bit like a latter-day Skins, with a talented cast of young stars-in-waiting (including leads Josh Tedeku and Jodie Campbell) and a scholastic setting. At the (fictional) prestigious boarding school St. Gilbert’s, five Black teens are newly attending, having earned scholarships, but their integration into the existing cliques is less than smooth. The blend of coming-of-age drama with a willingness to take the piss when it comes to the whole rich private school thing makes this Tubi original a good time. You can stream Boarders here.Big Mood (2024 – , renewed for a second season) Another UK import and Tubi original (at least stateside), Big Mood stars Nicola Coughlan (Bridgerton) and Lydia West (It's a Sin) as a couple of besties in East London, living their best millennial thirtysomething lives. Well, kind of: Maggie's dealing with bipolar disorder, and unclear on whether she wants to continue with her medication as she sets out to write a play, while Lydia is doing her very best running a tanking dive bar inherited from her father. It's both a cute dramedy and an impressively frank exploration of the challenges of living with mental illness. You can stream Big Mood here. Vicious (2013 – 2016, two seasons) The old-school sitcom formula has never been executed quite this bitchily, with the inspired pairing of Ian McKellen and Derek Jacobi as Freddie Thornhill and Stuart Bixby, a couple of nearly 50 years who’ve developed a love-hate relationship. This cast, which includes Frances de la Tour and Game of Thrones’ Ian Rheon, is unbeatable, and the one-liners are hilariously nasty. You can stream Vicious here.The Haves and the Have Nots (2013 – 2021, eight seasons) Tyler Perry's old-school primetime soap was the show that practically built OWN; it was the then-new network's first scripted show, and an immediate breakout. It follows three families: The wealthy Harringtons and the Cryers are wealthy movers in Atlanta, Georgia, while the Young family is overseen by single mom Hanna, who's both a maid for the Cryers and confidante to the family matriarch. There's juicy tension galore between the three families, in no small part because of class differences, but also because they're all equally screwed. You can stream The Haves and the Have Nots here. Spartacus (2010 – 2013) Doing Ridley Scott’s Gladiator one better in terms of both narrative complexity and in hot shirtless gay arena action, Spartacus starts off as pure spectacle and grows into a juicy, high-gloss soap opera by series' end. Buoyed by performances from leads Andy Whitfield (who tragically passed away during the series' original run), Manu Bennett, John Hannah, and Lucy Lawless, it’s sword-and-sandals done right. A follow-up series is in development over at Starz, so it's a good time to catch up. You can stream Spartacus here. Broadchurch (2013 – 2017) Creator Chris Chibnall's dark crime drama didn't invent its particular sub-genre (whatever you call the one where two troubled homicide detectives butt heads in a gloomy town), but it did popularize it to the point that we've been inundated with countless imitators of wide-ranging quality. With the great pairing of Olivia Colman and David Tennant (joined by yet another Doctor Who Doctor, Jodie Whittaker), Broadchurch still stands alongside the best of its kind. You can stream Broadchurch here.Doctor Who (1963 – 1989, 26 seasons) Speaking of Doctor Who, even if you're current with the modern incarnation (if I can use "modern" for a show that started airing in 2005), you've got a lot of timey-wimey adventures to enjoy. Tubi has the entirity of the surviving 26-season original run, going all the way back to 1963 and the story of a mysterious old man living in a junkyard with his granddaughter. Seven doctors is enough to keep anyone busy for a while. Tubi has the show broken out by Doctor, but, if you want to start from the beginning you can stream The First Doctor here. Haven (2010 – 2015) Tubi is a haven for small gems like this, a five-season Stephen King adaptation originally produced by SyFy. Emily Rose stars as Audrey Parker, and FBI Special Agent sent to the small town of Haven, Maine on a routine case who gets drawn into “The Troubles," a series of harmful supernatural events that have recurred throughout the town’s history. A supernatural-case-of-the-week format gives way to a bigger mystery when Audrey comes to learn that this isn’t her first time in Haven, nor the first time she’s encountered the Troubles. You can stream Haven here.Scandal (2012 – 2018, seven seasons) Shonda Rhimes was already a powerhouse producer and screenwriter with several successful seasons of Grey's Anatomy under her belt when Scandal debuted, but its blend of political thrills and sexy, soapy drama is what solidified her brand, and her spot atop of the modern TV landscape. Kerry Washington stars as Olivia Pope, head of the DC-based crisis management firm Olivia Pope & Associates (OPA), who is the person to call when you've got a PR disaster to fix. If you want to get a sense of the stakes involved, consider that Tony Goldwyn costars as Fitzgerald Grant III, president of the United States, and also Olivia's lover. You can stream Scandal here. Buffy the Vampire Slayer (1997 – 2003) With word that Sarah Michelle Gellar (and company?) are returning to the wreckage of Sunnydale for a Hulu reboot, it’s probably not a bad time to visit (or revisit, or re-revisit) this seven-season teen vampire hunter saga. While the pacing might feel a little slow, and the effects a little janky, its blend of high school (and then college) angst, kick-ass monster fights, and genuinely laugh-out-loud comedy holds up. You can stream Buffy here.Heartland (2007 – , 18 seasons) If there’s a stereotype that middle-American viewers won’t watch foreign fare, this show puts the lie to it—at least when it comes to imports from Alberta (tariff-free!). Based on a popular book series from Linda Chapman and Beth Chambers (writing under the name Lauren Brooke), the show follows the lives of a family of horse ranchers in western Canada, led by sisters Amy and Lou (Amber Marshall and Michelle Morgan). Tubi currently has only the first 15 seasons of the drama, which has recently been renewed for a 19th. That’s Law & Order-level longevity, people. You can stream Heartland here.Highlander (1992 – 1998, six seasons) An classic of '90s-era syndicated action/adventure, Highlander stars Adrian Paul as the title hero, taking over from Christopher Lambert in the film series. Duncan MacLeod is an immortal warrior living in the modern(-ish) day, hunted by others of his own kind, whose goal is singular: to chop off Duncan's head in order to steal his power. Episodes typically involve some sort of flashback to an earlier era in Duncan's life where we first encounter the threat he'll face in the modern day. There's at least one good sword fight in every episode, and I can't imagine what more you'd want out of a series. Bonus: It carries over the films' kick-ass Queen theme song. You can stream Highlander here. Z Nation (2014 - 2019) The Walking Dead made prestige television out of the zombie apocalypse, but this SyFy channel original is all about zombies as a campy, gory good time.  Things kick off with a soldier who’s been tasked with transporting a package across country. The package in question is actually a human being, the survivor of a zombie bite who might be able to help create a vaccine (take note, The Last of Us fans). This one comes from the schlock-masters at The Asylum, purveyors of infamous B-movies like Sharknado, which should tell you all you need to know about the tone. You can stream Z Nation here.Columbo (1968 – 2003, 16 seasons) Peter Falk's sublimely rumpled detective practically invented the style that Peacock's Poker Face has recently revived: a crime (usually a murder) is committed, the viewers know whodunnit, and Columbo has to solve it. Early on in any given episode, we get to watch the crime being committed, though we don't always know the motive. The challenge isn't to figure out the culprit, but to discover exactly how TV's greatest detective is going to solve the case. You can stream Columbo here.

Hi, friends! Welcome to Installer No. 85, your guide to the best and Verge-iest stuff in the world. (If you’re new here, welcome, sorry in advance that this week is a tiny bit politics-y, and also you can read all the old editions at the Installer homepage.) This week, I’ve been reading about Sean Evans and music fraud and ayahuasca, playing with the new Obsidian Bases feature, obsessing over every Cliche” more times than I’m proud of, installing some Elgato Key Lights to improve my WFH camera look, digging the latest beta of Artifacts, and downloading every podcast I can find because I have 20 hours of driving to do this weekend.I also have for you a very funny new movie about tech CEOs, a new place to WhatsApp, a great new accessory for your phone, a helpful crypto politics explainer, and much more. Short week this week, but still lots going on. Let’s do it.(As always, the best part of Installer is your ideas and tips. What are you reading / playing / watching / listening to / shopping for / doing with a Raspberry Pi this week? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, tell them to subscribe here. And if you haven’t subscribed, you should! You’ll get every issue for free, a day early, in your inbox.)The DropMountainhead. I mean, is there a more me-coded pitch than “Succession vibes, but about tech bros?” It’s about a bunch of (pretty recognizable) billionaires who more or less run the world and are also more or less ruining it. You’ll either find this hilarious, way too close to home, or both. WhatsApp for iPad. I will never, ever understand why Meta hates building iPad apps. But it finally launched the most important one! The app itself is extremely fine and exactly what you’d think it would be, but whatever. It exists! DO INSTAGRAM NEXT.Post Games.Polygon, all about video games. It’s only a couple episodes deep, but so far I love the format: it’s really smart and extremely thoughtful, but it’s also very silly in spots. Big fan.The Popsockets Kick-Out Grip. I am a longtime, die-hard Popsockets user and evangelist, and the new model fixes my one gripe with the thing by working as both a landscape and portrait kickstand. $40 is highway robbery for a phone holder, but this is exactly the thing I wanted.“Dance with Sabrina.” A new, real-time competitive rhythm game inside of Fortnite, in which you try to do well enough to earn the right to actually help create the show itself. Super fun concept, though all these games are better with pads, guitars, or really anything but a normal controller.Lazy 2.0. Lazy is a stealthy but fascinating note-taking tool, and it does an unusually good job of integrating with files and apps. The new version is very AI-forward, basically bringing a personalized chatbot and all your notes to your whole computer. Neat!Elden Ring Nightreign. A multiplayer-heavy spinoff of the game that I cannot get my gamer friends to shut up about, even years after it came out. I’ve seen a few people call the game a bit small and repetitive, but next to Elden Ring I suppose most things are.The Tapo DL100 Smart Deadbolt Door Lock. A $70 door lock with, as far as I can tell, every feature I want in a smart lock: a keypad, physical keys, super long battery life, and lots of assistant integrations. It does look… huge? But it’s pretty bland-looking, which is a good thing.Implosion: The Titanic Sub Disaster. One of a few Titan-related documentaries coming this summer, meant to try and explain what led to the awful events of a couple years ago. I haven’t seen this one yet, but the reviews are solid — and the story seems even sadder and more infuriating than we thought.“The growing scandal of $TRUMP.” I love a good Zeke Faux take on crypto, whether it’s a book or a Search Engine episode. This interview with Ezra Klein is a great explainer of how the Trump family got so into crypto and how it’s being used to move money in deeply confusing and clearly corrupt ways. Cameron Faulkner isn’t technically new to The Verge, he’s just newly back at The Verge. In addition to being a commerce editor on our team, he also wrote one of the deepest dives into webcams you’ll ever find, plays a lot of games, has more thoughts about monitors than any reasonable person should, and is extremely my kind of person. Since he’s now so very back, I asked Cam to share his homescreen with us, as I always try to do with new people here. Here it is, plus some info on the apps he uses and why:The phone: Pixel 9 Pro.The wallpaper: It’s an “Emoji Workshop” creation, which is a feature that’s built into Android 14 and more recent updates. It mashes together emoji into the patterns and colors of your choosing. I picked this one because I like sushi, and I love melon / coral color tones.The apps: Google Keep, Settings, Clock, Phone, Chrome, Pocket Casts, Messages, Spotify.I haven’t downloaded a new app in ages. What’s shown on my homescreen has been there, unmoved, for longer than I can remember. I have digital light switches, a to-do list with the great (but paid) Stuff widget, a simple Google Fit widget to show me how much I moved today, and a couple Google Photos widgets of my lovely wife and son. I could probably function just fine if every app shuffled its location on my homescreen, except for the bottom row. That’s set in stone, never to be fiddled with.I also asked Cameron to share a few things he’s into right now. Here’s what he sent back:Righteous Gemstones on HBO Max. It’s a much smarter comedy than I had assumed (but it’s still dumb in the best ways), and I’m delighted to have four seasons to catch up on. I’m really digging Clair Obscur: Expedition 33, which achieves the feat of breakneck pacing (the game equivalent of a page-turner) and a style that rivals Persona 5, which is high praise. I have accrued well over a dozen Switch 2 accessories, and I’m excited to put them to the test once I get a console on launch day.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now, as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“The Devil’s Plan. This Netflix original South Korean reality show locks 14 contestants in a windowless living space that’s part mansion, part prison, part room escape, and challenges them to eliminate each other in a series of complicated tabletop games. (If this sounds familiar, it’s a spiritual successor to the beloved series The Genius from the mid-2010s.)” — Travis“If you’re a fan of Drive to Survive, I’m happy to report that the latest season of Netflix’s series on NASCAR is finally good, and a reasonable substitute for that show once you’ve finished it.” — Christopher“I switched to a Pixel 9 Pro XL and Pixel Watch 3 from an iPhone and Apple Watch about 6 months ago and found Open Bubbles, an open source alternative to BlueBubbles that does need a Mac but doesn’t need that Mac to remain on, You just need a one-time hardware identifier from it, then it gives you full iMessage, Find My, FaceTime, and iCloud shared albums on Android and Windows using an email address. So long as you can get your contacts to iMessage your email instead of your number, it works great.” — Tim“Playing Mario Kart 8 Deluxe for the last time before Mario Kart World arrives next week and takes over my life!” — Ravi“With Pocket being killed off I’ve started using my RSS reader — which is Inoreader — instead as a suitable replacement. I only switched over to Pocket after Omnivore shut down.” — James“I just got a Boox Go 10.3 for my birthday and love it. The lack of front lighting is the biggest downfall. It is also only on Android 12 so I cannot load a corporate profile. It feels good to write on just, almost as good as my cheaper fountain pen and paper. It is helping me organize multiple notebooks and scraps of paper.” — Sean“Giving Tweek a bit of a go, and for a lightweight weekly planner it’s beautiful. I also currently use Motion for project management of personal tasks and when I was doing my Master’s. I really like the Gantt view to map out long term personal and study projects. (I also got a student discount for Motion, but it’s still expensive.)” — Astrid“Might I suggest Elle Griffin’s work at The Elysian? How she’s thinking through speculative futures and a cooperative media system is fascinating.” — Zach“GeForce Now on Steam Deck!” — SteveSigning offOne of the reasons I like making this newsletter with all of you is that it’s a weekly reminder that, hey, actually, there’s a lot of awesome people doing awesome stuff out there on the internet. I spend a lot of my time talking to people who say AI is going to change everything, and we’re all going to just AI ourselves into oblivion and be thrilled about it — a theory I increasingly think is both wrong and horrifying.And then this week I read a blog post from the great Dan Sinker, who called this moment “the Who Cares Era, where completely disposable things are shoddily produced for people to mostly ignore.” You should read the whole thing, but here’s a bit I really loved:“Using extraordinary amounts of resources, it has the ability to create something good enough, a squint-and-it-looks-right simulacrum of normality. If you don’t care, it’s miraculous. If you do, the illusion falls apart pretty quickly. The fact that the userbase for AI chatbots has exploded exponentially demonstrates that good enough is, in fact, good enough for most people. Because most people don’t care.”I don’t think this describes everything and everyone, and neither does Sinker, but I do think it’s more true than it should be. And I increasingly think our job, maybe our method of rebellion, is to be people who care, who have taste, who like and share and look for good things, who read and watch and look at those things on purpose instead of just staring slackjawed at whatever slop is placed between the ads they hope we won’t really notice. I think there are a lot of fascinating ways that AI can be useful, but we can’t let it train us to accept slop just because it’s there. Sorry, this got more existential than I anticipated. But I’ve been thinking about it a lot, and I’m going to try and point Installer even more at the stuff that matters, made by people who care. I hope you’ll hold me to that.See you next week!See More:

A US Air Force F-16 fighter jet takes off from an airbase in Germany. Photo by Boris Roessler/picture alliance via Getty Images 2025-05-31T12:20:02Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? A Russian company said it paid 12 soldiers a combined $195,000 for shooting down an F-16 jet. Fores said it presented the soldiers the cash at a ceremony near the Russia-Ukraine border on Thursday. Kyiv had long coveted the US-made F-16. It received its first of the jets in 2024. A Russian oil company said it had awarded a total of 15 million rubles (around $195,000) to Russian soldiers who it credited with downing the first US-made F-16 fighter jet in Ukraine.In a press release, Fores, a fracking parts manufacturer, said it had presented 12 servicemen with the cash at a ceremony near the Russia-Ukraine border on Thursday."Fores fulfilled its earlier promise and paid 15 million rubles to Russian servicemen for destroying the first F-16 fighter jet in the special operation zone," the company said.The firm announced the bounty system in 2023, promising cash rewards for soldiers who destroyed certain Western-supplied military equipment.The company said it had so far paid out just over 52 million rubles (around $670,000) for the destruction of the F-16 and an unspecified number of Leopard 2 and Abrams tanks.Ukrainian President Volodymyr Zelenskyy had long coveted the F-16 as he sought to bolster Ukraine's air defenses, and Kyiv received its first delivery of the jet in the summer of 2024. Ukraine's forces have so far lost at least three F-16s in combat, with the General Staff confirming the first loss in August last year.The F-16 has nevertheless seemingly proved a hit over the battlefield.Gen. Christopher G. Cavoli, the US's top general in Europe, told a Senate Armed Services Committee in April that F-16s were flying "every day" in Ukraine and that they had been successful in both air defense and offensive operations."They've defeated a large number of cruise missile threats, and they've delivered an awful lot of offensive attacks as well," he said, adding: "Specifically, bombing attacks in the east."

May 29, 20255 min readSpaceX’s Starbase Is Officially a City. Some Neighbors Aren’t ThrilledStarbase, SpaceX’s launch site turned company town in South Texas, faces local opposition from residents outside the city limitsBy Paola Rosa-Aquino edited by Lee BillingsSpaceX rockets stand near the end of a neighborhood street in the company’s Starbase launch complex in this photograph from October 2021. Starbase was officially incorporated as a city of Cameron County, Texas in May 2025. Mark Felix/Bloomberg via Getty ImagesBefore SpaceX’s Starship lost control and exploded over the Indian Ocean during its ninth test flight, the 400-foot-tall megarocket blasted off from Texas’s newest city.Starbase, situated on 1.5 square miles of the Lone Star State’s southernmost tip in the Rio Grande Valley, is mostly made up of SpaceX employees living on company-owned property and abuts a habitat for endangered wildlife, as well as a public beach.Starbase serves as the main testing and launch location for Starship, SpaceX’s planned fully reusable spacecraft, which is meant to revolutionize human and uncrewed space travel with its gargantuan payload capacity and rapid-fire flight cadence. If Starship’s development proceeds as planned, the megarocket could soon be ferrying crew and cargo alike to multiple otherworldly destinations—such as the lunar surface, for NASA’s Artemis program, and Mars, in fulfillment of SpaceX founder Elon Musk’s long-stated dream. But nearby residents worry about less glamorous local effects, fearing that a town built around the space company could continue SpaceX’s alleged pattern of polluting the area and blocking access to the nearby beach and other open public spaces.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.“SpaceX has already proven itself to be an extremely bad neighbor,” says Christopher Basaldú, an anthropologist and environmentalist and co-founder of the South Texas Environmental Justice Network, who lives in nearby Brownsville, Tex. SpaceX did not immediately respond to a request for comment.Long before it was Starbase, the area’s beaches, tidal flats and wetlands were of great significance to the Indigenous Carrizo/Comecrudo people (or Esto’k Gna in their own language). Many of them still live nearby as members of the modern-day Carrizo/Comecrudo Tribe of Texas. Today the area is largely Latino and among the poorest in the country. Musk’s space company began buying up property there in 2012; ever since company housing and rocket-related infrastructure have steadily sprouted.“We’ve grown quite a bit just in the last couple of years. It’s a couple hundred employees [and] their families, living amongst actual rockets,” said Daniel Huot, a SpaceX communications manager, during a company livestream before Tuesday’s Starship test flight.Huot added that the move to incorporate what was formerly Boca Chica Village as Starbase will help the company “scale more quickly [to] try to build out the best community possible for all the people that are building the future of humanity’s place in space.”Even before SpaceX began launching rockets at the site, neighbors complained about potential environmental woes stemming from the company’s operations. In a 2018 press conference, Musk dismissed such concerns, saying “We’ve got a lot of land with no one around, and so if [a rocket] blows up, it’s cool.”The first launch of the 40-story-tall Starship vehicle in April 2023 didn’t entirely proceed as planned—it blew up the concrete launch pad and left a literal crater behind. Particulate debris, as well as concrete and steel shrapnel from the botched launch, scattered far and wide across the surrounding landscape, igniting fires and slamming into protected habitats and public beaches. Ash, dust and sand grains hurled aloft by this first Starship flight test rained down as far out as Port Isabel, Tex., about five miles from the launch site.Local environmentalists have also sounded the alarm on how the company’s activities at Starbase could increase chemical and sonic pollution that puts migratory birds and other vulnerable endangered species in the area at greater risk.Despite these brewing tensions, Starbase was incorporated in early May, making it the first new city in Cameron County, Texas, in 30 years.Only people who live in the immediate area—almost all of them SpaceX employees—were eligible to vote for the new city. Residents voted 212 for and six against. The city’s mayor and commissioners—all current or former SpaceX employees—ran unopposed. “Now [SpaceX has] stolen away not only a neighborhood but the land around it, which had been basically environmentally untouched areas,” says Basaldú, who is a member of the Carrizo/Comecrudo Tribe.Starbase’s boundaries snake along State Highway 4, which provides the only access to both Starbase and the open-to-the-public Boca Chica Beach. A bill pending in the Texas Legislature would shift control over weekday closures of the beach and nearby roadways from the county commissioners to Starbase city leaders now that Starbase is a municipality under law.“As a community, we were there first,” says Suquiery Santillana, a resident of nearby Brownsville, Tex., who has visited Boca Chica Beach since childhood. “I’m almost 50, and now my grandkids are going.” Her family’s trips to the isolated shoreline now include wide-eyed roadside spectators from all across the country who want to catch a glimpse of the SpaceX launch site. While Santillana is happy that SpaceX has brought jobs to the area, she would like the company to communicate more about upcoming closures and launch plans with locals.Members of the Carrizo/Comecrudo Tribe also trace their creation story to this once-pristine beach. The intermittent access restrictions imposed by SpaceX’s launches, some tribe members say, limit them from freely participating in traditions such as fishing and tribal ceremonies that have been taking place on their ancestral land for thousands of years.Activity at the site could soon ramp up even more. On May 22 the Federal Aviation Administration (FAA) announced it had granted approval for SpaceX to increase the annual number of Starbase launches from five to 25. Eventually, Starship flights from the site could far exceed that because the vehicle is designed for very fast turnaround times and an unprecedentedly high launch cadence. Starship’s sheer size, coupled with more frequent launches, could balloon Starbase’s overall environmental footprint while also essentially shutting down Highway 4 for much of the year. The FAA did not immediately respond to a request for comment.For now, Starbase is poised to continue its rapid development and expansion, with plans in the works for more housing, offices and rocket launch facilities. Jim Chapman of the local environmental justice nonprofit Save RGV (Rio Grande Valley) worries that Starbase’s incorporation could allow SpaceX to skirt important regulatory hurdles. “[SpaceX has] fewer layers of bureaucracy that [it has] to go through and get approval from,” he says. “But on the other hand, I haven’t really seen the county denying [it] anything.”As SpaceX vies to fly ever more powerful rockets in pursuit of Musk’s interplanetary aspirations, local residents also fear that the company’s launch activity and its proximity to new natural gas projects could pose grave threats to Rio Grande Valley communities. One such project currently under construction is less than six miles from the launch site—too close for comfort, some critics say, given the possibility of volatile explosions sparked by showers of fiery rocket debris.If Musk’s latest projections are to be trusted (he often overpromises and underdelivers on meeting ambitious rocketry deadlines), additional Starship test flights will blast off from Starbase every few weeks for the rest of the summer. Time will tell if the company will be mindful of those who live next door.

May 30, 2025Ravie LakshmananBrowser Security / Malware A new malware campaign is distributing a novel Rust-based information stealer dubbed EDDIESTEALER using the popular ClickFix social engineering tactic initiated via fake CAPTCHA verification pages. "This campaign leverages deceptive CAPTCHA verification pages that trick users into executing a malicious PowerShell script, which ultimately deploys the infostealer, harvesting sensitive data such as credentials, browser information, and cryptocurrency wallet details," Elastic Security Labs researcher Jia Yu Chan said in an analysis. The attack chains begin with threat actors compromising legitimate websites with malicious JavaScript payloads that serve bogus CAPTCHA check pages, which prompt site visitors to "prove you are not [a] robot" by following a three-step process, a prevalent tactic called ClickFix. This involves instructing the potential victim to open the Windows Run dialog prompt, paste an already copied command into the "verification window" (i.e., the Run dialog), and press enter. This effectively causes the obfuscated PowerShell command to be executed, resulting in the retrieval of a next-stage payload from an external server ("llll[.]fit"). The JavaScript payload ("gverify.js") is subsequently saved to the victim's Downloads folder and executed using cscript in a hidden window. The main goal of the intermediate script is to fetch the EDDIESTEALER binary from the same remote server and store it in the Downloads folder with a pseudorandom 12-character file name. Written in Rust, EDDIESTEALER is a commodity stealer malware that can gather system metadata, receive tasks from a command-and-control (C2) server, and siphon data of interest from the infected host. The exfiltration targets include cryptocurrency wallets, web browsers, password managers, FTP clients, and messaging apps. "These targets are subject to change as they are configurable by the C2 operator," Elastic explained. "EDDIESTEALER then reads the targeted files using standard kernel32.dll functions like CreateFileW, GetFileSizeEx, ReadFile, and CloseHandle." The collected host information is encrypted and transmitted to the C2 server in a separate HTTP POST request after the completion of each task. Besides incorporating string encryption, the malware employs a custom WinAPI lookup mechanism for resolving API calls and creates a mutex to ensure that only one version is running at any given time. It also incorporates checks to determine if it's being executed in a sandboxed environment, and if so, deletes itself from disk. "Based on a similar self-deletion technique observed in Latrodectus, EDDIESTEALER is capable of deleting itself through NTFS Alternate Data Streams renaming, to bypass file locks," Elastic noted. Another noteworthy feature built into the stealer is its ability to bypass Chromium's app-bound encryption to gain access to unencrypted sensitive data, such as cookies. This is accomplished by including a Rust implementation of ChromeKatz, an open-source tool that can dump cookies and credentials from the memory of Chromium-based browsers. The Rust version of ChromeKatz also incorporates changes to handle scenarios where the targeted Chromium browser is not running. In such cases, it spawns a new browser instance using the command-line arguments "--window-position=-3000,-3000 https://google.com," effectively positioning the new window far off-screen and making its invisible to the user. In opening the browser, the objective is to enable the malware to read the memory associated with the network service child process of Chrome that's identified by the "-utility-sub-type=network.mojom.NetworkService" flag and ultimately extract the credentials. Elastic said it also identified updated versions of the malware with features to harvest running processes, GPU information, number of CPU cores, CPU name, and CPU vendor. In addition, the new variants tweak the C2 communication pattern by preemptively sending the host information to the server before receiving the task configuration. That's not all. The encryption key used for client-to-server communication is hard-coded into the binary, as opposed to retrieving it dynamically from the server. Furthermore, the stealer has been found to launch a new Chrome process with the --remote-debugging-port=<port_num> flag to enable DevTools Protocol over a local WebSocket interface so as to interact with the browser in a headless manner, without requiring any user interaction. "This adoption of Rust in malware development reflects a growing trend among threat actors seeking to leverage modern language features for enhanced stealth, stability, and resilience against traditional analysis workflows and threat detection engines," the company said. The disclosure comes as c/side revealed details of a ClickFix campaign that targets multiple platforms, such as Apple macOS, Android, and iOS, using techniques like browser-based redirections, fake UI prompts, and drive-by download techniques. The attack chain starts with an obfuscated JavaScript hosted on a website, that when visited from macOS, initiates a series of redirections to a page that guides victims to launch Terminal and run a shell script, which leads to the download of a stealer malware that has been flagged on VirusTotal as the Atomic macOS Stealer (AMOS). However, the same campaign has been configured to initiate a drive-by download scheme when visiting the web page from an Android, iOS, or Windows device, leading to the deployment of another trojan malware. The disclosures coincide with the emergence of new stealer malware families like Katz Stealer and AppleProcessHub Stealer targeting Windows and macOS respectively, and are capable of harvesting a wide range of information from infected hosts, according to Nextron and Kandji. Katz Stealer, like EDDIESTEALER, is engineered to circumvent Chrome's app-bound encryption, but in a different way by employing DLL injection to obtain the encryption key without administrator privileges and use it to decrypt encrypted cookies and passwords from Chromium-based browsers. "Attackers conceal malicious JavaScript in gzip files, which, when opened, trigger the download of a PowerShell script," Nextron said. "This script retrieves a .NET-based loader payload, which injects the stealer into a legitimate process. Once active, it exfiltrates stolen data to the command and control server." AppleProcessHub Stealer, on the other hand, is designed to exfiltrate user files including bash history, zsh history, GitHub configurations, SSH information, and iCloud Keychain. Attack sequences distributing the malware entail the use of a Mach-O binary that downloads a second-stage bash stealer script from the server "appleprocesshub[.]com" and runs it, the results of which are then exfiltrated back to the C2 server. Details of the malware were first shared by the MalwareHunterTeam on May 15, 2025, and by MacPaw's Moonlock Lab last week. "This is an example of a Mach-O written in Objective-C which communicates with a command and control server to execute scripts," Kandji researcher Christopher Lopez said. Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE    

Earlier this month, the father of a wealthy cryptocurrency entrepreneur was abducted in Paris while walking his dog. The attackers, wearing balaclavas, forced him into a van, later severing one of his fingers and sending a video of the mutilation to his son alongside a demand for millions of euros in ransom. The incident joined a growing list of violent crimes in France linked to crypto wealth. Victims have included a prominent entrepreneur and his wife who were held hostage, a man doused in petrol, and a child targeted in an attempted abduction. As fear spreads within France’s crypto community, some industry figures are accusing the EU’s landmark digital asset regulations of exposing holders to greater risk. Their concerns centre on the transparency requirements, which could make it easier to track down crypto owners. However, other insiders argue that the EU rules make a convenient scapegoat. Stanislas Barthélemi, president of the French crypto lobbying group ADAN, told the New York Times this week that the rules may inadvertently have put holders in danger. By creating a traceable digital footprint, he said, criminals could potentially monitor blockchain activity to identify wealthy targets. Register Now Alexandre Stachchenko, director of strategy at French crypto exchange Paymium, echoed the concern. He said the industry “wants to be discrete and anonymous,” but EU law “tells us it’s criminal.” Yet others in the industry dispute the claim that the EU’s regulations have played a role in the surge in attacks. ‘Strategic deflection’ Marit Rødevand, CEO & co-founder of Norwegian anti-money laundering firm Strise, said there was “little evidence” of a connection between the union’s rules and crypto kidnappings.  “While it is easy for champions of crypto to postulate that the increased physical attacks on those operating in the space are a product of regulations, this is both reductive and a strategic deflection away from legitimate security concerns,” she said. According to Rødevand, it is just as likely that information about potential targets was accessed through hacks, social media exposure, or publicity. Many crypto entrepreneurs are also prominent influencers.  Christopher Whitehouse, a crypto expert and solicitor at London-based law firm RPC, also made no connection. Instead, he said those holding high amounts of cryptocurrency were “obvious targets.” “The recent surge in crypto-motivated kidnappings in France is alarming but not surprising,” Whitehouse told TNW.  He noted that cryptocurrencies have several features that make them attractive for ransom. They can be transferred instantly, are difficult to trace if moved by sophisticated criminals, and lack the safeguards of traditional bank accounts. Traditional currency, in contrast, can be tracked via serial numbers.  Exploiting human vulnerability The recent violence in France, while brutal, is also not anything new. According to data compiled by crypto security advocate Jameson Lopp, over 200 physical attacks against Bitcoin and cryptocurrency holders have been reported since 2014. Some have been fatal.   Matt Green, head of blockchain technology disputes at London law firm Lawrence Stephens, contends that the violence boils down to criminals exploiting the weakest link in the crypto chain: people.    “The only thing stopping criminals [from] gaining access is human error or force, so kidnapping aims to break down the integrity of that human-led security,” he told TNW. To protect themselves, some high-wealth crypto holders have beefed up their personal security, including hiring bodyguards.  Green suggests another layer of protection: multisignature wallets, a type of crypto wallet that requires multiple users to perform certain tasks, such as making transfers.  Just as some shops display signs saying no cash is kept on premises, crypto holders would do well to make it clear that a single individual cannot access funds, Green said. Story by Siôn Geschwindt Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehic (show all) Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehicles, he's happiest sourcing a scoop, investigating the impact of emerging technologies, and even putting them to the test. He has five years of journalism experience and holds a dual degree in media and environmental science from the University of Cape Town, South Africa. When he's not writing, you can probably find Siôn out hiking, surfing, playing the drums or catering to his moderate caffeine addiction. You can contact him at: sion.geschwindt [at] protonmail [dot] com Get the TNW newsletter Get the most important tech news in your inbox each week.