We’ve seen aircraft based on “helicopter” seeds (technically samara seeds, which include those of maples and elms) before, but this recent design from researchers at the Singapore University of Technology …read more

Publisher Nexon appears to be trying to lay the blame with TikTok The post <i>The First Descendant’</i>s Awful AI TikTok Ads Somehow Aren’t As Bad As The Excuses appeared first on Kotaku.

Eighty years after the dropping of the first atomic bomb, Hiroshima’s survivors and their descendants describe how health problems and stigma have echoed down the generations.

ActuGaming.net Descenders Next vous invite à dévaler les pistes dès maintenant sur les consoles Xbox et sur PC Descenders Next a eu droit à un faux départ dans la mesure où le jeu […] L'article Descenders Next vous invite à dévaler les pistes

show some love for the losers Delightfully irreverent Underdogs isn’t your parents’ nature docuseries Ryan Reynolds narrates NatGeo's new series highlighting nature's much less cool and majestic creatures Jennifer Ouellette – Jun 15, 2025 3:11 pm | 5 The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Narrator Ryan Reynolds celebrates nature's outcasts in the new NatGeo docuseries Underdogs. Most of us have seen a nature documentary or two (or three) at some point in our lives, so it's a familiar format: sweeping majestic footage of impressively regal animals accompanied by reverently high-toned narration (preferably with a tony British accent). Underdogs, a new docuseries from National Geographic, takes a decidedly different and unconventional approach. Narrated by with hilarious irreverence by Ryan Reynolds, the five-part series highlights nature's less cool and majestic creatures: the outcasts and benchwarmers, more noteworthy for their "unconventional hygiene choices" and "unsavory courtship rituals." It's like The Suicide Squad or Thunderbolts*, except these creatures actually exist. Per the official premise, "Underdogs features a range of never-before-filmed scenes, including the first time a film crew has ever entered a special cave in New Zealand—a huge cavern that glows brighter than a bachelor pad under a black light thanks to the glowing butts of millions of mucus-coated grubs. All over the world, overlooked superstars like this are out there 24/7, giving it maximum effort and keeping the natural world in working order for all those showboating polar bears, sharks and gorillas." It's rated PG-13 thanks to the odd bit of scatalogical humor and shots of Nature Sexy Time Each of the five episodes is built around a specific genre. "Superheroes" highlights the surprising superpowers of the honey badger, pistol shrimp, and the invisible glass frog, among others, augmented with comic book graphics; "Sexy Beasts" focuses on bizarre mating habits and follows the format of a romantic advice column; "Terrible Parents" highlights nature's worst practices, following the outline of a parenting guide; "Total Grossout" is exactly what it sounds like; and "The Unusual Suspects" is a heist tale, documenting the supposed efforts of a macaque to put together the ultimate team of masters of deception and disguise (an inside man, a decoy, a fall guy, etc.).  Green Day even wrote and recorded a special theme song for the opening credits. Co-creators Mark Linfield and Vanessa Berlowitz of Wildstar Films are longtime producers of award-winning wildlife films, most notably Frozen Planet, Planet Earth and David Attenborough's Life of Mammals—you know, the kind of prestige nature documentaries that have become a mainstay for National Geographic and the BBC, among others. They're justly proud of that work, but this time around the duo wanted to try something different. Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A fireworm is hit by a cavitation bubble shot from the claw of a pistol shrimp defending its home. National Geographic/Hugh Miller As it grows and molts, the mad hatterpillar stacks old head casings on top of its head. Scientists think it is used as a decoy against would-be predators and parasites, and when needed, it can also be used as a weapon. National Geographic/Katherine Hannaford Worst parents ever? A young barnacle goose chick prepares t make the 800-foot jump from its nest to the ground. National Geographic An adult pearlfish reverses into a sea cucumber's butt to hide. National Geographic A vulture sticks its head inside an elephant carcass to eat. National Geographic A manatee releases flatulence while swimming to lose the buoyancy build up of gas inside its stomach, and descend down the water column. National Geographic/Karl Davies "There is a sense after awhile that you're playing the same animals to the same people, and the shows are starting to look the same and so is your audience," Linfield told Ars. "We thought, okay, how can we do something absolutely the opposite? We've gone through our careers collecting stories of these weird and crazy creatures that don't end up in the script because they're not big or sexy and they live under a rock. But they often have the best life histories and the craziest superpowers." Case in point: the velvet worm featured in the "Superheroes" episode, which creeps up on unsuspecting prey before squirting disgusting slime all over their food. (It's a handy defense mechanism, too, against predators like the wolf spider.) Once Linfield and Berlowitz decided to focus on nature's underdogs and to take a more humorous approach, Ryan Reynolds became their top choice for a narrator—the anti-Richard Attenborough. As luck would have it, the pair shared an agent with the mega-star. So even though they thought there was no way Reynolds would agree to the project, they put together a sizzle reel, complete with a "fake Canadian Ryan Reynolds sound-alike" doing the narration. Reynolds was on set when he received the reel, and loved it so much he recoded his own narration for the footage and sent it back. "From that moment he was in," said Linfield, and Wildstar Films worked closely with Reynolds and his company to develop the final series. "We've never worked that way on a series before, a joint collaboration from day one," Berlowitz admitted. But it worked: the end result strikes the perfect balance between scientific revelation and accurate natural history, and an edgy comic tone. That tone is quintessential Reynolds, and while he did mostly follow the script (which his team helped write), Linfield and Berlowitz admit there was also a fair amount of improvisation—not all of it PG-13.  "What we hadn't appreciated is that he's an incredible improv performer," said Berlowitz. "He can't help himself. He gets into character and starts riffing off [the footage]. There are some takes that we definitely couldn't use, that potentially would fit a slightly more Hulu audience."  Some of the ad-libs made it into the final episodes, however—like Reynolds describing an Aye-Aye as "if fear and panic had a baby and rolled it in dog hair"—even though it meant going back and doing a bit of recutting to get the new lines to fit. Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A male hippo sprays his feces at another male who is threatening to take over his patch. National Geographic A male proboscis monkey flaunts his large nose. The noses of these males are used to amplify their calls in the vast forest. National Geographic Dream girl: A blood-soaked female hyena looks across the African savanna. National Geographic A male bowerbird presents one of the finest items in his collection to a female in his bower. National Geographic The male nursery web spider presents his nuptial gift to the female. National Geographic Cue the Barry White mood music: Two leopard slugs suspend themselves on a rope of mucus as they entwine their bodies to mate with one another. National Geographic Despite their years of collective experience, Linfield and Berlowitz were initially skeptical when the crew told them about the pearl fish, which hides from predators in a sea cucumber's butt (along with many other species). "It had never been filmed so we said, 'You're going to have to prove it to us,'" said Berlowitz. "They came back with this fantastic, hilarious sequence of a pearl fish reverse parking [in a sea cucumber's anus)." The film crew experienced a few heart-pounding moments, most notably while filming the cliffside nests of barnacle geese for the "Terrible Parents" episode. A melting glacier caused a watery avalanche while the crew was filming the geese, and they had to quickly grab a few shots and run to safety. Less dramatic: cinematographer Tom Beldam had his smartphone stolen by a long-tailed macaque mere minutes after he finished capturing the animal on film. If all goes well and Underdogs finds its target audience, we may even get a follow-up. "We are slightly plowing new territory but the science is as true as it's ever been and the stories are good. That aspect of the natural history is still there," said Linfield. "I think what we really hope for is that people who don't normally watch natural history will watch it. If people have as much fun watching it as we had making it, then the metrics should be good enough for another season." Verdict: Underdogs is positively addictive; I binged all five episodes in a single day. (For his part, Reynolds said in a statement that he was thrilled to "finally watch a project of ours with my children. Technically they saw Deadpool and Wolverine but I don't think they absorbed much while covering their eyes and ears and screaming for two hours.") Underdogs premieres June 15, 2025, at 9 PM/8 PM Central on National Geographic (simulcast on ABC) and will be available for streaming on Disney+ and Hulu the following day.  You should watch it, if only to get that second season. Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments

The nightmare was real, the situation was not.Revenge of the Savage Planet, an adventure spread across a number of distant — and quite savage! — planets, invites nonlinear exploration. To complete its missions and discover all of its secrets, you must leap into an unknown where the otherworldly flora, fauna, and even the inorganic material are primed to kill you. So, shortly after assembling an underwater scooter that allowed my robot sidekick to whisk me through the depths of alien oceans, I descended into a series of caverns under the Zenithian Rift to see what was going on down there. The specters of death I encountered below weren’t even designed to haunt me.In Raccoon Logic’s sequel to Journey to the Savage Planet, players are tasked with scanning every object in every nook and cranny to assemble an exhaustive log of materials located on each planet. At first, the task is a walk in the (overgrown killer) park: find a tree, scan a tree. Find a slobbering beastie, scan a slobbering beastie. But a counter on the map charting your scannables becomes the most daunting subtask — can I really find every single micro scannable? I found myself longing after completing the core missions. To really 100% this, there was even more reason to venture into the most uninviting spaces, including a dark underwater cave on Zenithian Rift that absolutely did not look like it contained any scannable items. But I couldn’t not go in there.It took about two seconds for me to realize… I had made a horrible mistake. While the cave was easily accessible from the water, there were no enemy or collectible breadcrumbs to suggest this was a place the folks at Raccoon Logic intended for me to. I was lured in by curiosity, but the joy of discovery in Revenge of the Savage Planet got the best of me. Now I was stuck. I had stumbled into a graphical anomaly, an in-game black hole that had an entrance but no apparent exit. In Revenge of the Savage Planet, you can’t beam back to starting locations on the fly or off yourself in order to respawn from your last save. In a clever but likely divisive design choice, the game forces you to navigate to transporters spread across the worlds in order to beam off to your next desired location, which forces traversal and new encounters. But it meant that while bumbling around in the dark, hoping to find a way out of my watery grave, I couldn’t simply die and move on. I was actually trapped, and in a scenario I haven’t experienced in quite some time, feeling IRL like I was actually trapped.I already don’t do well with underwater levels out of an intense fear of drowning. Luckily for me, most games will throw me the lifeline of a visual countdown to illustrate oxygen levels, ensuring (1) I surface in time and (2) I don’t hyperventilate over the stress of surfacing in time. Revenge of the Savage Planet doesn’t need that because there’s no punishment for enjoying the waters; you’re already in a spacesuit and the challenges you encounter via underwater scooter require a bunch of time-intensive back and forth. Doing it all on limited air would simply not be fun. But that meant, stuck in this tight underwater cave, I would never die. I was in limbo. Or maybe I was in hell.I spent far too long searching for a route out. Streaks of light bled in from a theoretical escape that I could never reach — any time I thought I was close, I bumped into a new rock and found myself jetting in the opposite direction. Not since I watched The Rescue, the riveting-yet-terrifying documentary about the team of divers who squeezed through cave passageways to free 12 trapped Thai soccer players, had my apparent claustrophobia had its way with my nerves. I can’t quite explain why I pushed myself over the edge to find an in-game solution to this unintentional challenge, except to say that I really wanted to do a good job at Revenge of the Savage Planet.Most glitches are considered errors by programmers, annoyances by players, and occasionally shortcuts for the speedrunner crowd. Revenge of the Savage Planet’s death cave might fall into the first two categories, but it’s a harrowing experience I ultimately appreciated, a unique screw up that could only happen in a game. I have never felt truly trapped in a film, despite the best efforts of 3D stereoscopic effects and 4DX rumble seats. After finally rebooting Revenge of the Savage Planet, I had to give myself a few minutes to let my heart rate die down before I grabbed the controller. But I got right back to it. Sure, this was a glitch, but in a game where exploration is everything, leaping into a true unknown — one that the creators of the game clearly didn’t intend me to find — was its own form of success.Revenge of the Savage Planet is currently available for PC, Playstation, and Xbox, and it’s currently on Game Pass.See More:

June 5, 20254 min readThe Trump-Musk Fight Could Have Huge Consequences for U.S. Space ProgramsA vitriolic war of words between President Donald Trump and SpaceX CEO Elon Musk could have profound repercussions for the nation’s civil and military space programsBy Lee Billings edited by Dean VisserElon Musk (left) and President Donald Trump (right) seemed to be on good terms during a press briefing in the Oval Office at the White House on May 30, 2025, but the event proved to be the calm before a social media storm. Kevin Dietsch/Getty ImagesFor several hours yesterday, an explosively escalating social media confrontation between arguably the world’s richest man, Elon Musk, and the world’s most powerful, President Donald Trump, shook U.S. spaceflight to its core.The pair had been bosom-buddy allies ever since Musk’s fateful endorsement of Trump last July—an event that helped propel Trump to an electoral victory and his second presidential term. But on May 28 Musk announced his departure from his official role overseeing the U.S. DOGE Service. And on May 31 the White House announced that it was withdrawing Trump’s nomination of Musk’s close associate Jared Isaacman to lead NASA. Musk abruptly went on the attack against the Trump administration, criticizing the budget-busting One Big Beautiful Bill Act, now navigating through Congress, as “a disgusting abomination.”Things got worse from there as the blowup descended deeper into threats and insults. On June 5 Trump suggested on his own social-media platform, Truth Social, that he could terminate U.S. government contracts with Musk’s companies, such as SpaceX and Tesla. Less than an hour later, the conflict suddenly grew more personal, with Musk taking to X, the social media platform he owns, to accuse Trump—without evidence—of being incriminated by as-yet-unreleased government documents related to the illegal activities of convicted sex offender Jeffrey Epstein.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.Musk upped the ante further in follow-up posts in which he endorsed a suggestion for impeaching Trump and, separately, declared in a now deleted post that because of the president’s threat, SpaceX “will begin decommissioning its Dragon spacecraft immediately.” (Some five hours after his decommissioning comment, tempers had apparently cooled enough for Musk to walk back the remark in another X post: “Ok, we won’t decommission Dragon.”)Dragon is a crucial workhorse of U.S. human spaceflight. It’s the main way NASA’s astronauts get to and from the International Space Station (ISS) and also a key component of a contract between NASA and SpaceX to safely deorbit the ISS in 2031. If Dragon were to be no longer be available, NASA would, in the near term, have to rely on either Russian Soyuz vehicles or on Boeing’s glitch-plagued Starliner spacecraft for its crew transport—and the space agency’s plans for deorbiting the ISS would essentially go back to the drawing board. More broadly, NASA uses SpaceX rockets to launch many of its science missions, and the company is contracted to ferry astronauts to and from the surface of the moon as part of the space agency’s Artemis III mission.Trump’s and Musk’s retaliatory tit for tat also raises the disconcerting possibility of disrupting other SpaceX-centric parts of U.S. space plans, many of which are seen as critical for national security. Thanks to its wildly successful reusable Falcon 9 and Falcon Heavy rockets, the company presently provides the vast majority of space launches for the Department of Defense. And SpaceX’s constellation of more than 7,000 Starlink communications satellites has become vitally important to war fighters in the ongoing conflict between Russia and U.S.-allied Ukraine. SpaceX is also contracted to build a massive constellation of spy satellites for the DOD and is considered a leading candidate for launching space-based interceptors envisioned as part of Trump’s “Golden Dome” missile-defense plan.Among the avalanche of reactions to the incendiary spectacle unfolding in real time, one of the most extreme was from Trump’s influential former adviser Steve Bannon, who called on the president to seize and nationalize SpaceX. And in an interview with the New York Times, Bannon, without evidence, accused Musk, a naturalized U.S. citizen, of being an “illegal alien” who “should be deported from the country immediately.”NASA, for its part, attempted to stay above the fray via a carefully worded late-afternoon statement from the space agency’s press secretary Bethany Stevens: “NASA will continue to execute upon the President’s vision for the future of space,” Stevens wrote. “We will continue to work with our industry partners to ensure the President’s objectives in space are met.”The response from the stock market was, in its own way, much less muted. SpaceX is not a publicly traded company. But Musk’s electric car company Tesla is. And it experienced a massive sell-off at the end of June 5’s trading day: Tesla’s share price fell down by 14 percent, losing the company a whopping $152 billion of its market value.Today a rumored détente phone conversation between the two men has apparently been called off, and Trump has reportedly said he now intends to sell the Tesla he purchased in March in what was then a gesture of support for Musk. But there are some signs the rift may yet heal: Musk has yet to be deported; SpaceX has not been shut down; Tesla’s stock price is surging back from its momentary heavy losses; and it seems NASA astronauts won’t be stranded on Earth or on the ISS for the time being.Even so, the entire sordid episode—and the possibility of further messy clashes between Trump and Musk unfolding in public—highlights a fundamental vulnerability at the heart of the nation’s deep reliance on SpaceX for access to space. Outsourcing huge swaths of civil and military space programs to a disruptively innovative private company effectively controlled by a single individual certainly has its rewards—but no shortage of risks, too.

Project Render. Image credit: The Bentway The Bentway has announced its summer 2025 season of programming headlined by a new public art exhibition, Sun/Shade, a dance performance atop a large sand dune, and a city-wide installation of a moving forest. From now until October 5, Sun/Shade will explore the city’s changing relationship with these natural features. The art exhibition aims to bring together a mix of artists, designers, and researchers from Toronto and beyond to deploy natural light and shadow as creative tools, to reveal how new thinking about familiar resources can improve urban life. The Gardiner offers a canvas for the new art exhibition and experimentation. Stretching over 6.5 km, the elevated highway’s canopy provides the city with its largest continuous shadow, making the area a natural haven for those seeking sun and shade. This space will provide the benefits of both elements while also serving as a gathering place for community events, public art, recreation, and lively celebrations throughout the summer. “As extreme urban heat events rise in Toronto and cities everywhere, it’s even more vital to create accessible spaces where communities can maximize access to shade and stay protected from harsh light,” said Ilana Altman, co-executive director of The Bentway. “This season of programming explores how we must adapt to our changing climate and reshape our public spaces to balance the benefits of both sun and shade. Our creative collaborators are prompting us to recognize shade as an essential public resource and embrace sunlight as a creative collaborator.” Visitors will be able to experience the world premiere of Sand Flight from Norway choreographer Ingri Fiksdal and theatre director Jonas Corell Petersen, where eight dancers and a 50-person choir will descend on a massive sand dune exploring new traditions for changing climates. Carrying on the theme is Moving Forest by Amsterdam’s NL Architects, a mobile project featuring a flock of 50 trees travelling throughout the city, will bring shade to sunbaked urban sites across the Greater Toronto Area (GTA). A key dimension of Sun/Shade explores the importance of shaded spaces for public health, anchored by a new partnership with The Bentway’s official Sun-Safety Partner, the David Cornfield Melanoma Fund. “Skin cancer is the most commonly diagnosed cancer in Canada, and the incidence of melanoma – the deadliest form of skin cancer – is rising. The best way to prevent skin cancer is to protect your skin from the sun,” said Danielle Paterson, executive director of the David Cornfield Melanoma Fund. “We are proud to partner with The Bentway on Sun/Shade, an amazing sun safety initiative that emphasizes the importance of accessible public shade in Toronto.” For more information, click here. The post Sun and shade take centre stage with The Bentway’s immersive summer program appeared first on Canadian Architect.

Silent Hill f will launch on Sept. 25, Konami revealed during Wednesday’s PlayStation State of Play. It’ll be the first new mainline Silent Hill game in over a decade and the first game in the series overall since last year’s Silent Hill 2 Remake. It follows a student, Hinako, in 1960s Japan — a first for the psychological horror series typically set in rural America — as the town she lives in is overrun with horrifying enemies only a Silent Hill game could produce. A fog descends, causing the town’s citizens to disappear. Hinako comes across what seem to be her fellow students, now turned into terrifying creatures, as she fights her way out of a school with a pipe as her weapon. She also wields a spear when approaching a shrine and the ominous figure before it, whose face is the stuff of nightmares. According to a PlayStation Blog post, Silent Hill f “will have a heavier focus on melee and be more action-oriented” than the Silent Hill 2 remake. Silent Hill f was originally announced in 2022 and is being developed by the Taiwan-based studio Neobards Entertainment with additional support from Japanese developers. Visual novel fans might want to check it out, as Silent Hill f is being written in part by Ryukishi07. The blog post describes Silent Hill f as a “standalone spinoff,” meaning series veterans and newcomers alike will have their socks scared off by it when Silent Hill f is released on PC, PlayStation 5, and Xbox Series X.