News Earth Small earthquakes can have a big impact on the movements of major faults The little quakes can disrupt the growth of slow-slip events along megathrust faults Megathrust faults can generate some of Earth’s largest quakes. One example is the 2011 Tohoku earthquake, which rocked Japan and fomented a tsunami that devastated coastal areas, as shown. These same faults can also release immense amounts of seismic energy over days or weeks in harmless slow-slip events. enase/Getty Images By Nikk Ogasa 15 hours ago Seismic symphonies of minor earthquakes may affect grand movements on major faults. Small and distant earthquakes can disrupt the growth of slow-slip events — gradual fault movements that can release tremendous amounts of energy at gentle tempos, a new analysis of seismic data suggests. Reported in the May 16 Science Advances, the research shows that the more frequently small earthquakes occur near a fault’s slow-slip zone, the less synchronized the slipping becomes. Megathrust faults — massive fractures where one tectonic plate pushes under another — are notorious for hatching Earth’s most devastating temblors. These same faults can also slide steadily for days or weeks in slow-slip events while emitting faint vibrations called tectonic tremor. First identified around two decades ago, these softly humming events can shift stress on faults and may influence the timing of large, destructive earthquakes. But it’s not clear why these enigmatic events can grow for hundreds of kilometers along some faults while remaining restricted to small parts of others. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday. #small #earthquakes #can #have #big

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

In Rancho Palos Verde, California, the disassembled Wayfarers Chapel designed by Lloyd Wright, the son of Frank Lloyd Wright, has been stored away since last July, following damage from landslides. A potential site for the ecclesiastical structure has been found. The proposed site would expand the footprint of the serene property and protect its structures from further damage caused by land movement.  In the 1970s, a landslide at the site destroyed the chapel’s visitor center, and the geologic movement was inactive for a while. However, in the past few years activity began accelerating at an unprecedented rate. In February 2024, the Wayfarers Chapel announced that it would close its doors due to land movement in the area. The shuttering left a displaced congregation and devastated brides in its wake, but there was still hope of a return. Then, in May 2024, it was announced that the only way to maintain the structure was to disassemble it. Land movement had caused glass panels to shatter, the metal framing to warp, and cracks to form in the concrete. Though leadership initially wanted to rebuild on site, the worsening conditions proved this was no longer a viable option. In July 2024, with the help of Architectural Resources Group, the church was meticulously disassembled with each part numbered and labeled. Many of the irreplaceable materials used to construct the original chapel were salvaged. The pieces have since been kept in storage, waiting to be rebuilt.  The chapel was disassembled and stored for preservation.The chapel’s new site must carry similar characteristics to the old one to uphold its National Historic Landmark designation. The prospective site, Battery Barnes, shares the original site’s coastal views of the Pacific, while situating the reassembled chapel outside the Portuguese Bend. Built in 1943 as part of the U.S. Army’s coastal fortification plan, the Battery Barnes’s connection to World War II could also be highlighted throughout the use of the land.  The glass chapel will be reconstructed using the salvaged original materials.Wayfarers Chapel also plans to take advantage of the expanded footprint of the proposed site. During an episode of “RPV City Talk,” the chapel’s communications director Stephanie Cartozian shared that the organization hopes to rebuild the chapel along with the lost visitor center, as well as constructing a museum, archival center, and restaurant. The campus would also see the addition of public restrooms for hikers, expanding on its community accessibility.   Currently, Wayfarers Chapel is fundraising to cover the rebuild, with part of the funds going toward securing the site. Unlike wildfires, earthquakes, or flooding, landslides are not considered disasters in the State of California. Thus, along with fundraising efforts, local lobbying efforts are being made to add landslides to the list of covered emergencies, which could create a path to governmental assistance. #wayfarers #chapel #designed #frank #lloyd

We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.OvercompensatingComedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come. Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarcoand Rish ShahYou can stream Overcompensating here. ÉtoileAmy Sherman-Palladino and David Palladinoare back on TV and back in the dance worldwith this series about two world-renowned ballet companiesthat decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan, director of the Metropolitan Ballet, and Geneviève Lavigne, director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaireto pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.FalloutA shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre. The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLeanemerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.DeadlochBoth an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its manyimitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of PowerAll the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfootwith a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.ReacherGetting high marks for his portrayal of the Lee Childs’ characteris Alan Ritchson, playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley, who's getting her own spin-off. You can stream Reacher here. The BondsmanIt's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of PowerAll the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfootwith a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The ExpanseA pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. SmithOne-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinatingon missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good OmensMichael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. MaiselMrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladinoabout the title’s Midge Maisel, a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The BoysThere’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less, Wee Hughieis recruited by the title agency. Led by Billy Butcher, the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off. An animated miniseriescame out in 2022. The Man in the High CastleFrom a novel by Philip K. Dick, The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of TimeAn effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred, a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s HourJessica Rainejoins Peter Capaldifor a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped CrusaderI know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s. With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret LevelThis is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of variousvideo games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. CrossJames Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge, and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. FleabagFleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title characterin the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series, and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here. #best #shows #prime #video

The Trump administration’s recent decision to bar international students from attending Harvard University was less a policy decision than an act of war. The White House had hoped its opening salvo against the nation’s oldest university would yield the kind of immediate capitulation offered by Columbia University. When Harvard chose to fight back instead, Trump decided to hit the university where it hurts most. The administration’s actions are illegal and were immediately stayed by a federal judge. But that won’t prevent real harm to students and higher learning. While Harvard has a famously selective undergraduate college, most of the university’s students are in graduate or professional school, and more than a third of those older students arrive from other countries. Overall, more than a quarter of Harvard’s 25,000 students come from outside the United States, a percentage that has steadily grown over time. The proportion of Harvard’s international students has increased 38 percent since 2006. Even if the courts continue to block this move, it will be difficult for anyone to study there knowing they might be deported or imprisoned by a hostile regime — even if they’re the future queen of Belgium. And an exodus of international students will end up harming universities far beyond Harvard, as well as American research and innovation itself. The question looming over higher education is whether the international student ban is merely the next escalation of the Trump administration’s apocalyptic campaign against a handful of elite institutions— or the beginning of a broader attempt to apply “America First” protectionist principles to one the nation’s most valuable and successful export goods: higher learning. The rapid growth of international college students in the 21st century represents exactly the kind of global cooperation the isolationists in the White House would love to destroy. International students helped buoy American universities after the Great RecessionIn recent decades, international enrollment has shaped, and in some places transformed, higher learning across the country. According to the State Department, the number of annual F-1 student visas issued to international students nearly tripled from 216,000 in 2003 to 644,000 in 2015. And while many nations sent more students to America during that time, the story of international college enrollment over the last two decades has been dominated by a single country: the People’s Republic of China. In 1997, roughly 12,000 F-1 visas were issued to Chinese students; this was only a third of the number issued to the two biggest student senders that year, South Korea and Japan. Chinese enrollment started to accelerate in the early aughts and then exploded: 114,000 by 2010; 190,000 in 2012; and a peak of 274,000 in 2015. The change was driven by profound social and economic shifts within China. Mao Zedong’s Cultural Revolution essentially shut down university enrollment for a decade. When it ended in 1976, there was a huge backlog of college students who graduated in the 1980s into the economic liberalization of Deng Xiaoping. Many of them prospered and had children — often only one — who came of age in the early 2000s. Attending an American university was a status marker and an opportunity to become a global citizen. At the same time, many colleges were newly hungry for international enrollment. The Great Recession savaged college finances. State governments slashed funding for public universities while families had less money to pay tuition at private colleges. Public universities offer lower prices to state residents and private schools typically discount their sticker-price tuition by more than 50 percent through grants and scholarships. But those rules only apply to Americans. Recruiting so-called full-pay international students became a key strategy for shoring up the bottom line. Colleges weren’t always judicious in managing the influx of students from overseas. Purdue University enrolled so many Chinese students so quickly that in 2013 one of them noted that a main benefit of traveling 7,000 miles to West Lafayette, Indiana, was improving his language skills — by talking to students from other regions of China. That same year, an administrator at a second-tier private college in Philadelphia told me that the college tried to keep enrollment from any one country below a certain threshold “or else we’d have to build them a student center or something.” While federal law prohibits colleges from paying recruiters based on the number of students they sign up, this, too, only applies within American borders. International students sometimes pay middlemen large sums to help them navigate the huge and varied global college landscape. While many are legitimate, some are prone to falsehoods and fraud. At the same time, colleges also used the new influx of students to expand course offerings, build strong connections overseas, and diversify their academic communities. One of the great educational benefits of going to college is learning among people from different experiences and backgrounds. There has likely never been a better place to do that than an American college campus in the 21st century. The most talented international students helped drive American economic productivity and research supremacy to new heights. F-1 visas declined sharply in 2016, in part because of an administrative change that allowed Chinese students to receive five-year visas instead of reapplying every year. But the market itself was also shifting. The Chinese government invested enormous sums to build the capacity of its own national research universities, giving students better options to stay home. Geopolitical tensions were growing, and American voters chose to elect a rabidly xenophobic president in Donald Trump. Covid radically depressed international enrollment in 2020, but even after the recovery, Chinese F-1 visas in 2023 were only a third of the 2015 peak. Colleges managed by recruiting students from other countries to take their place. India crossed 100,000 student visa for the first time in 2022. At the turn of the century, fewer than 1,000 Vietnamese students studied in America. Today, Vietnam is our fourth-largest source of international students, more than Japan, Mexico, Germany, or Brazil. Enrollment from Ghana has quintupled in the last 10 years.A catastrophe for American science and innovationIf the Trump administration expands its scorched-earth student visa strategy beyond Harvard, it won’t just be the liberal enclaves and snooty college towns that suffer. Communities across the country will feel the hurt, urban and rural, in red states and blue. Some colleges might tip into bankruptcy. Others will make fewer hires and produce fewer graduates for local employers. Even before the visa ban, the government of Norway set aside money to lure away American scholars whose research has been devastated by deep Trump administration cuts to scientific research. Other countries are sure to follow. And if international students stop coming to the US, it will be a catastrophe for American leadership in science and technology. World-class research universities are magnets for global talent. Cambridge, Massachusetts, is a worldwide center of medical breakthroughs because Harvard and its neighbor MIT attract some of the smartest people in the world, who often stay in the United States to found new companies and conduct research. The same dynamic drives technology innovation around Stanford and UC Berkeley in Silicon Valley, and in university towns nationwide. If you or a loved one benefited from a new cancer treatment, there’s a good chance the person who saved your life came to America on the kind of student visa the Trump administration is trying to destroy. Like printing the global reserve currency or having a good relationship with Canada, getting the pick of international students is one of those incredibly valuable things that Americans won’t fully appreciate until someone is stupid enough to throw it away. In 2021, JD Vance told a group of movement conservatives that “we have to honestly and aggressively attack the universities in this country.” The administration has more than made good on his word, in part because the electorate is rapidly reorganizing around education attainment, with college graduates clustering in the Democratic party and nongraduates moving to the Republican side. Trump and his minions see elite colleges and universities as enemy fortresses in the culture wars, training grounds for the opposition that must be razed and broken.Modern colleges look like the future that MAGA forces most fear. Visitors to campus today see students from scores of global communities, speaking multiple languages and practicing different cultural traditions. Places where people from other countries are welcome, and no single race, nationality, or religion reigns supreme. People like JD Vance are so terrified by this vision that they would rather destroy America’s world-leading higher education system and terrorize hundreds of thousands of people who are in this country legally and only want to learn. See More: #trump #figured #out #how #hit

Dragon Age star Alix Wilton Regan has given her personal response to the backlash faced by last year's Dragon Age: The Veilguard, and blamed the "mixed reactions" on people who "wanted to see the game fail, or wanted to seefail."The actor, who plays the Female Inquisitor in both Dragon Age: Inquisition and Dragon Age: The Veilguard, told IGN that she was "absolutely devastated" to see BioWare's latest game fail to find a larger audience, despite mostly positive review scores from critics.Speaking during a new interview discussing her many iconic video game characters to date — as well as her role in Microsoft's upcoming Perfect Dark reboot — Wilton Regan said she had loved her time as BioWare's Inquisitor, though did not believe the character would now return.Play"I feel absolutely devastated for BioWare as a studio that they got such mixed reactions to the game," Wilton Regan said of the response to The Veilguard. "I personally thought it was a really strong game. I thought it was just BioWare being more BioWare. "I also think a lot of people kind of wanted to see it fail, or wanted to seefail, either because they're just really bad people on the internet — of which there are unfortunately many, as we have discovered."At launch, The Veilguard was review-bombed online. Criticism of the game being "woke" centred on its inclusion of a non-binary companion character, and the ability for the player to choose to be transgender. On Steam, Dragon Age: The Veilguard now sits with a 'Mixed' player respose, with user-defined tags for the game describing it under "LGBTQ+" and "politics" labels."People were attacking the game before it was released," Wilton Regan continued. "It's ridiculous. How can you judge a game, a book, a film, a TV show before it's actually released? You can't. It's an idiotic stance to take."     In January, publisher EA said Dragon Age: The Veilguard had "underperformed" versus its expectations by around 50%, just days after the game's director Corrine Busche confirmed she was leaving the company. Meanwhile, other BioWare staff who worked on the game were laid off. In the same month, BioWare signalled it had released its final update for Dragon Age: The Veilguard, with no further content announced or expected."I only ever want to see the folks from BioWare thrive, because I adore them," Wilton Regan concluded. "And whatever they go on to do next I have no doubt their talents will be richly rewarded. We're really lucky we'll get more gold from them in the future."A slimmed-down BioWare is now working on Mass Effect 5, which currently does not have a release date.Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social #dragon #age #veilguard #star #039absolutely

Nature, Published online: 23 May 2025; doi:10.1038/d41586-025-01645-4Nature talks with scientists about an uncertain future as the US government lays siege to their university. #harvard #researchers #devastated #trump #team

May 23, 20255 min readNOAA Says It’s Ready for Hurricane Season, but Weather Experts Are WorriedAs hurricane season approaches, thousands of weather and disaster experts have raised concerns about NOAA and NWS budget cuts and staffing shortagesBy Chelsea Harvey & E&E News The remnants of Hurricane Helene begin to dissipate over the United States in this NOAA satellite from Sept. 27, 2024. Space Image Archive/Alamy Stock PhotoCLIMATEWIRE | The National Oceanic and Atmospheric Administration insists it’s ready for the above-average hurricane season that meteorologists expect this summer.But scientists across the country are sounding the alarm about personnel shortages and budget cuts, which they say could strain the agency’s resources and risk burnout among its staff.The tension was on display Thursday as NOAA officials announced the agency’s annual Atlantic hurricane season outlook.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.This year’s projection suggests a 60 percent chance of an above-average season, with anywhere from 13 to 19 named storms and three to five major hurricanes. That’s compared with the long term average of 14 named storms and three major hurricanes in a typical season.NOAA hosted this year’s announcement in Gretna, Louisiana, just outside New Orleans, in a nod to the upcoming 20th anniversary of Hurricane Katrina, which devastated the city in 2005. The agency has made significant strides in hurricane forecasts and warnings over the past two decades, officials said — including life-saving improvements in hurricane track and intensity predictions and new forms of modeling, radar and observation technology.“These improvements and collaborative efforts demonstrate that NOAA is now more prepared than ever for what hurricane season may bring,” said NOAA chief of staff Laura Grimm.But reporters at the briefing pushed back on that certainty, noting that recent cuts have eroded some of the agency’s observation capabilities and left dozens of local National Weather Service offices understaffed.Thousands of scientists have raised the same concerns over the past few months, as the Trump administration has reduced NOAA staff by more than 2,200 people, or around 20 percent of its former workforce. The administration also has proposed a plan to dramatically reorganize the agency and effectively eliminate its climate research operations.The National Weather Service alone has lost around 550 staff members since January, leaving the agency scrambling to fill at least 155 key job openings at regional offices around the country; some include top positions such as meteorologist-in-charge.At least 3,300 scientists have signed an open letter to Commerce Secretary Howard Lutnick, who leads the department that oversees NOAA, warning that cuts to the agency could have “dire consequences for American lives and livelihoods.”And earlier this month, five former National Weather Service directors published an open letter warning that the recent cuts mean NWS staff members face “an impossible task” when it comes to maintaining their usual level of service.Volunteers work to remove debris and mud from a flooded home on Edwards Avenue in Beacon Village neighborhood after a catastrophic flooding caused from Hurricane Helene caused the Swannanoa river to swell to record levels October 5, 2024 in Swannanoa, North Carolina.Steve Exum/Getty Images“Some forecast offices will be so short-staffed that they may be forced to go to part time services,” the letter warned. “Our worst nightmare is that weather forecast offices will be so understaffed that there will be needless loss of life.”NOAA officials sidestepped these worries at Thursday's presentation, insisting the National Hurricane Center’s headquarters is fully staffed and prepared for the upcoming season.“We had some folks go,” said National Weather Service director Ken Graham. “But we’re gonna make sure that we have everything that we have on the front lines. Every warning’s gonna go out.”It remains unclear how the agency plans to address the dozens of vacancies at local offices across the country, including some hurricane-prone areas along the East and Gulf coasts. Lawmakers have reported that NOAA managers are encouraging staff members to pursue reassignments to understaffed offices, while the former NWS directors noted that staff members have been known to sleep in their offices to avoid gaps in coverage.That scenario played out recently at a regional office in Jackson, Kentucky, that is so understaffed that it’s no longer able to regularly operate overnight. When deadly tornadoes struck the region earlier this month, meteorologists there made the decision to call all hands on deck to staff the overnight shift and ensure the quality of forecasts and warnings, CNN reported.But experts say it’s an unsustainable system, which could lead to burnout this summer when disasters like hurricanes, floods and wildfires are at their peak.“It’s not sustainable if we have multiple high-impact weather events,” said Brian LaMarre, a former meteorologist-in-charge at the National Weather Service’s Tampa Bay Area office and founder of the weather consulting service Inspire Weather. “It doesn't matter if we’re forecasting above normal or below normal, it only takes that one storm to truly make a significant impact.”Risks rise with global temperaturesMeanwhile, Atlantic hurricane seasons are expected to grow more intense as global temperatures rise.This year’s projections for an active season are partly linked to above-average ocean temperatures, which help fuel the formation of tropical cyclones. This year’s temperatures aren’t as warm as they were the past two seasons, when ocean waters broke daily records for more than a year. But they’re still warm enough to cause concern.Natural climate cycles play a part in each year’s hurricane outlook. Every few years, the planet shifts between El Niño and La Niña events, which cause temperatures in the Pacific Ocean to grow periodically warmer and cooler. These events influence weather and climate patterns around the globe, with El Niño typically associated with below-average Atlantic hurricane activity and La Niña contributing to more active seasons.This year, the planet is in a neutral phase, meaning Pacific Ocean temperatures are close to average. With no El Niño event to hinder the formation of tropical cyclones, warmer-than-average Atlantic temperatures are likely to fuel an active season.Climate change is partly to blame. Scientists warn that greenhouse gas emissions and continued global warming are gradually raising sea surface temperatures across much of the world. Studies suggest that hurricanes are intensifying faster and growing stronger as a result, leading to a greater risk of major storms striking the United States.Last year’s Atlantic hurricane season was a stark reminder of the growing dangers.Hurricane Beryl smashed records in July as the earliest Atlantic hurricane to achieve a Category 4, before eventually expanding to a Category 5. Hurricane Milton rapidly intensified into the season’s second Category 5 storm — and although it weakened to a Category 3 before making landfall, it dropped historic rainfall and spawned dozens of tornadoes along the Florida coast.And Hurricane Helene made history as an unusually large and fast-moving storm, hitting Florida as a Category 4 and barreling inland, where it carved a path of destruction through Appalachia. It became the deadliest storm to strike the mainland U.S. since Hurricane Katrina.Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals. #hurricane #season #soonnoaa #says #its

A Tasmanian devil is carried to safety by a ranger amid flooding at the Aussie Ark sanctuaryAussie Ark Conservation workers are racing to protect a precious group of Australian animals after record rainfall in New South Wales led to floods that have killed four people. Tasmanian devils, brush-tailed rock wallabies, eastern quolls, long-nosed potoroosand broad-toothed ratsare all kept fenced safely away from feral predators such as cats and foxes at the 400-hectare Aussie Ark sanctuary in Barrington Tops, New South Wales. The sanctuary’s animals are considered an insurance policy for their species, in case wild populations become extinct. Advertisement Since 2010, 500 devil joeys alone have been born there and around 50 of these have been released into a specially protected wild area. In coming years, some of these animals are expected to be released outside the sanctuary to re-establish Tasmanian devil populations on mainland Australia. But this week, a severe low-pressure weather system has hit parts of New South Wales, leading to record-breaking storms. In just a few days, well over 400 millimetres of rain fell at the sanctuary. Even though it is at the top of a mountain at an altitude of 1200 metres, the park experienced flash flooding, sweeping away fencing that excludes feral animals and threatening to drown some of the breeding animals in smaller enclosures. Tim Faulkner at Aussie Ark says many of the animals in the breeding enclosures have had to be brought into a makeshift emergency centre at the complex’s vet clinic. But the bigger problem facing the sanctuary is that around a kilometre of the 10-kilometre perimeter fence has been damaged or, in some locations, totally swept away by floodwaters. Unmissable news about our planet delivered straight to your inbox every month. Sign up to newsletter “We’ve got about a kilometre of the fence that’s impacted from corner posts down, sections washed away and pushed over and strainer wires damaged,” says Faulkner. “The electrified hot wire is completely down, so we’re lucky we don’t have any Tyrannosaurus rex testing our defences.” A fence swept over by flooding at the Aussie Ark sanctuaryAussie Ark While the fences are damaged, Faulkner’s team has been camped out around the clock, keeping watch at breached sections. So far, no native species are thought to have escaped and no feral animals have entered. “There’s water seeping, squeezing, pushing, running, pouring, flooding from every single little crack up here on the mountain, and I hate to think of all the wildlife that has also been devastated by these massive floods outside the sanctuary,” says Faulkner. Topics: #flash #floods #sweep #through #vital