There has been a new update to the ongoing Stratasys v. Bambu Lab patent infringement lawsuit.  Both parties have agreed to consolidate the lead and member cases (2:24-CV-00644-JRG and 2:24-CV-00645-JRG) into a single case under Case No. 2:25-cv-00465-JRG.  Industrial 3D printing OEM Stratasys filed the request late last month. According to an official court document, Shenzhen-based Bambu Lab did not oppose the motion. Stratasys argued that this non-opposition amounted to the defendants waiving their right to challenge the request under U.S. patent law 35 U.S.C. § 299(a). On June 2, the U.S. District Court for the Eastern District of Texas, Marshall Division, ordered Bambu Lab to confirm in writing whether it agreed to the proposed case consolidation. The court took this step out of an “abundance of caution” to ensure both parties consented to the procedure before moving forward. Bambu Lab submitted its response on June 12, agreeing to the consolidation. The company, along with co-defendants Shenzhen Tuozhu Technology Co., Ltd., Shanghai Lunkuo Technology Co., Ltd., and Tuozhu Technology Limited, waived its rights under 35 U.S.C. § 299(a). The court will now decide whether to merge the cases. This followed U.S. District Judge Rodney Gilstrap’s decision last month to deny Bambu Lab’s motion to dismiss the lawsuits.  The Chinese desktop 3D printer manufacturer filed the motion in February 2025, arguing the cases were invalid because its US-based subsidiary, Bambu Lab USA, was not named in the original litigation. However, it agreed that the lawsuit could continue in the Austin division of the Western District of Texas, where a parallel case was filed last year.  Judge Gilstrap denied the motion, ruling that the cases properly target the named defendants. He concluded that Bambu Lab USA isn’t essential to the dispute, and that any misnaming should be addressed in summary judgment, not dismissal.        A Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry. Another twist in the Stratasys v. Bambu Lab lawsuit  Stratasys filed the two lawsuits against Bambu Lab in the Eastern District of Texas, Marshall Division, in August 2024. The company claims that Bambu Lab’s X1C, X1E, P1S, P1P, A1, and A1 mini 3D printers violate ten of its patents. These patents cover common 3D printing features, including purge towers, heated build plates, tool head force detection, and networking capabilities. Stratasys has requested a jury trial. It is seeking a ruling that Bambu Lab infringed its patents, along with financial damages and an injunction to stop Bambu from selling the allegedly infringing 3D printers. Last October, Stratasys dropped charges against two of the originally named defendants in the dispute. Court documents showed that Beijing Tiertime Technology Co., Ltd. and Beijing Yinhua Laser Rapid Prototyping and Mould Technology Co., Ltd were removed. Both defendants represent the company Tiertime, China’s first 3D printer manufacturer. The District Court accepted the dismissal, with all claims dropped without prejudice. It’s unclear why Stratasys named Beijing-based Tiertime as a defendant in the first place, given the lack of an obvious connection to Bambu Lab.  Tiertime and Stratasys have a history of legal disputes over patent issues. In 2013, Stratasys sued Afinia, Tiertime’s U.S. distributor and partner, for patent infringement. Afinia responded by suing uCRobotics, the Chinese distributor of MakerBot 3D printers, also alleging patent violations. Stratasys acquired MakerBot in June 2013. The company later merged with Ultimaker in 2022. In February 2025, Bambu Lab filed a motion to dismiss the original lawsuits. The company argued that Stratasys’ claims, focused on the sale, importation, and distribution of 3D printers in the United States, do not apply to the Shenzhen-based parent company. Bambu Lab contended that the allegations concern its American subsidiary, Bambu Lab USA, which was not named in the complaint filed in the Eastern District of Texas. Bambu Lab filed a motion to dismiss, claiming the case is invalid under Federal Rule of Civil Procedure 19. It argued that any party considered a “primary participant” in the allegations must be included as a defendant.    The court denied the motion on May 29, 2025. In the ruling, Judge Gilstrap explained that Stratasys’ allegations focus on the actions of the named defendants, not Bambu Lab USA. As a result, the official court document called Bambu Lab’s argument “unavailing.” Additionally, the Judge stated that, since Bambu Lab USA and Bambu Lab are both owned by Shenzhen Tuozhu, “the interest of these two entities align,” meaning the original cases are valid.   In the official court document, Judge Gilstrap emphasized that Stratasys can win or lose the lawsuits based solely on the actions of the current defendants, regardless of Bambu Lab USA’s involvement. He added that any potential risk to Bambu Lab USA’s business is too vague or hypothetical to justify making it a required party. Finally, the court noted that even if Stratasys named the wrong defendant, this does not justify dismissal under Rule 12(b)(7). Instead, the judge stated it would be more appropriate for the defendants to raise that argument in a motion for summary judgment. The Bambu Lab X1C 3D printer. Image via Bambu Lab. 3D printing patent battles  The 3D printing industry has seen its fair share of patent infringement disputes over recent months. In May 2025, 3D printer hotend developer Slice Engineering reached an agreement with Creality over a patent non-infringement lawsuit.  The Chinese 3D printer OEM filed the lawsuit in July 2024 in the U.S. District Court for the Northern District of Florida, Gainesville Division. The company claimed that Slice Engineering had falsely accused it of infringing two hotend patents, U.S. Patent Nos. 10,875,244 and 11,660,810. These cover mechanical and thermal features of Slice’s Mosquito 3D printer hotend. Creality requested a jury trial and sought a ruling confirming it had not infringed either patent. Court documents show that Slice Engineering filed a countersuit in December 2024. The Gainesville-based company maintained that Creaility “has infringed and continues to infringe” on both patents. In the filing, the company also denied allegations that it had harassed Creality’s partners, distributors, and customers, and claimed that Creality had refused to negotiate a resolution.   The Creality v. Slice Engineering lawsuit has since been dropped following a mutual resolution. Court documents show that both parties have permanently dismissed all claims and counterclaims, agreeing to cover their own legal fees and costs.  In other news, large-format resin 3D printer manufacturer Intrepid Automation sued 3D Systems over alleged patent infringement. The lawsuit, filed in February 2025, accused 3D Systems of using patented technology in its PSLA 270 industrial resin 3D printer. The filing called the PSLA 270 a “blatant knock off” of Intrepid’s DLP multi-projection “Range” 3D printer.   San Diego-based Intrepid Automation called this alleged infringement the “latest chapter of 3DS’s brazen, anticompetitive scheme to drive a smaller competitor with more advanced technology out of the marketplace.” The lawsuit also accused 3D Systems of corporate espionage, claiming one of its employees stole confidential trade secrets that were later used to develop the PSLA 270 printer. 3D Systems denied the allegations and filed a motion to dismiss the case. The company called the lawsuit “a desperate attempt” by Intrepid to distract from its own alleged theft of 3D Systems’ trade secrets. Who won the 2024 3D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows a Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry.

The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.

Crowdfunding a game you like is a common practice, but be careful with where you send your money. Zarya is an upcoming cozy narrative simulator telling the story of a rural driver in a post-Soviet setting, clearly inspired by Disco Elysium. Developed by SBSR, it needs support like any other game, but the creators don't ask for money online, so if you've seen their game on Indiegogo, be aware that this is a scam.One of the game's developers, Anton Surkov, went to Reddit to warn potential players about this fake page, saying that SBSR didn't create it and never planned to run a crowdfunding campaign. "Someone just stole our game name, visuals, and text, and started collecting money under our name. It’s not just upsetting – it’s terrifying."The worst part is that they might have never learned about it if not for emails offering “advice” and “coaching” to improve crowdfunding results that they started receiving after the page's launch.SBSR has already contacted Indiegogo but hasn't received a reply yet. "We’re just three people working late nights on something we care about. Watching someone try to exploit that… it sucks. But we’re not giving up."If you're interested in Zarya, wishlist it on Steam and find all the relevant information there, not on some crowdfunding site. Here is some information about the game so you can decide if this is something you'd like to play when it gets released.SBSR"Immerse yourself in the life of Vasily, a local driver striving to breathe new life into his village. Assist the villagers, transport packages, tow cars. Do everything within your power! Deliver cargo across endless fields, country roads, and overgrown paths. Upgrade your vehicle, turning it into an indefatigable iron steed."SBSRYou'll get to talk to people living far from civilization and see their views on the world. "Grill kebabs with the guys in the garages, go fishing with Petrovich, take the harvest to the market, tow cars, and try not to end up in a pit, as the last time a tractor was seen in the village was 30 years ago."There are plenty of "authentic post-Soviet clichés" and the warm atmosphere of the good old days.SBSRSign in for a playtest and join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more.

An artist's illustration of an unlucky massive star approaching a supermassive black hole. Credit: University of Hawai'i Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. At any given time across the universe, massive cosmic bodies are releasing incomprehensible amounts of energy. Stars burn like celestial nuclear fusion reactors, quasars emit thousands of times the luminosity of the Milky Way galaxy, and asteroids slam into planets. But all of these pale in comparison to a new class of events discovered by researchers at the University of Hawai’i’s Institute for Astronomy (IfA). According to their findings published June 4 in the journal Science Advances, it’s time to classify the universe’s most energetic explosions as extreme nuclear transients–or ENTs. ENTs are as devastating as they are rare. They only occur when a massive star at least three times heavier than the sun drifts too close to a supermassive black hole. The colliding forces subsequently obliterate the star, sending out plumes of energy across huge swaths of space. Similar events known as tidal disruption events (TDEs) are known to occur on a (comparatively) smaller scale, and have been documented for over a decade. But ENTs are something else entirely. “ENTs are different beasts,” study lead author and astronomer Jason Hinkle explained in an accompanying statement. “Not only are ENTs far brighter than normal tidal disruption events, but they remain luminous for years, far surpassing the energy output of even the brightest known supernova explosions.” Hinkle was first tipped off to ENTs while looking into transients—longlasting flares that spew energy from a galaxy’s center. Two particularly strange examples captured by the European Space Agency’s Gaia mission caught his eye. The pair of events brightened over a much longer timeframe than previously documented transients, but lacked some of their usual characteristics. “Gaia doesn’t tell you what a transient is, just that something changed in brightness,” Hinkle said. “But when I saw these smooth, long-lived flares from the centers of distant galaxies, I knew we were looking at something unusual.” Hinkle soon reached out to observatory teams around the world for what would become a multiyear project to understand these anomalies. In the process, a third suspect was detected by the Zwicky Transient Facility at the Palomar Observatory in San Diego. After months of analysis, Hinkle and collaborators realized they were witnessing something unprecedented. An infrared echo tells us that a dusty torus surrounds the central black hole and newly-formed accretion disk. Credit: University of Hawai’i The ENTs analyzed by astronomers displayed smoother, longer lasting flares that pointed towards something very particular—a supermassive black hole accreting a giant, wayward star. This contrasts with a more standard black hole that typically acquires its material and energy unpredictably, resulting in irregular brightness fluctuations. The energy and luminosity of an ENT boggles the mind. The most powerful ENT documented in Hinkle’s study, Gaia18cdj, generated 25 times more energy than the most powerful known supernovae. For reference, a standard supernova puts out as much energy in a single year as the sun does across its entire 10 billion year lifespan. Gaia18cdj, meanwhile, manages to give off 100 suns’ worth of energy over just 12 months. The implications of ENTs and their massive energy surges go far beyond their impressive energy outputs. Astronomers believe they contribute to some of the most pivotal events in the cosmos. “These ENTs don’t just mark the dramatic end of a massive star’s life. They illuminate the processes responsible for growing the largest black holes in the universe,” said Hinkle. From here on Earth, ENTs can also help researchers as they continue studying massive, distant black holes. “Because they’re so bright, we can see them across vast cosmic distances—and in astronomy, looking far away means looking back in time,” explained study co-author and astronomer Benjamin Shappee. “By observing these prolonged flares, we gain insights into black hole growth when the universe was half its current age… forming stars and feeding their supermassive black holes 10 times more vigorously than they do today.” There’s a catch for astronomers, however. While supernovae are relatively well-documented, ENTs are estimated to occur at least 10 million times less often. This means that further study requires consistent monitoring of the cosmos backed by the support of international governments, astronomical associations, and the public.

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

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

Air travel is such a common part of modern life that it’s easy to forget all the miraculous technology and communication infrastructure required to do it safely. But recent crashes, including near Washington, DC, and in San Diego — not to mention multiple near misses — have left many fliers wondering: Is it still safe to fly?That concern is particularly acute at Newark Liberty International Airport in New Jersey, which has recently experienced several frightening incidents and near misses in as radio and radar systems have gone dark. This has left an under-staffed and overworked group of air traffic controllers to manage a system moving at a frenetic pace with no room for error.Andrew Tangel, an aviation reporter for the Wall Street Journal, recently spoke to Jonathan Stewart, a Newark air traffic controller. In early May, Stewart experienced a brief loss of the systems showing him the locations of the many planes was directing. When the systems came back online, he realized there’d almost been a major crash.According to Tangel, Stewart “sent off a fiery memo to his managers, complaining about how he was put in that situation, which he felt he was being set up for failure.” Stewart now is taking trauma leave because of the stresses of the job. After many delayed flights, United Airlines just announced that it will move some of its flights to nearby John F. Kennedy International Airport. To understand how we arrived at our current aviation crisis, Today, Explained co-host Sean Rameswaram spoke with Darryl Campbell, an aviation safety writer for The Verge.Below is an excerpt of their conversation, edited for length and clarity. There’s much more in the full episode, so listen to Today, Explained wherever you get your podcasts, including Apple Podcasts, Pandora, and Spotify. You recently wrote about all these issues with flying for The Verge — and your take was that this isn’t just a Newark, New Jersey, problem. It’s systemic. Why?You’ve probably seen some of the news articles about it, and it’s really only in the last couple months because everybody’s been paying attention to aviation safety that people are really saying, Oh my gosh!Newark airport is losing the ability to see airplanes. They’re losing radar for minutes at a time, and that’s not something you want to hear when you have airplanes flying towards each other at 300 miles an hour. So it is rightfully very concerning. But the thing is, what’s been happening at Newark has actually been happening for almost a decade and a half in fits and starts. It’ll get really bad, and then it’ll get better again. Now we’re seeing a combination of air traffic control problems; we’re seeing a combination of infrastructure problems, and they’ve got a runway that’s entirely shut down. And the way that I think about it is, while Newark is its own special case today, all of the problems that it’s facing, other than the runway, are problems that every single airport in the entire country is going to be facing over the next five to 10 years, and so we’re really getting a preview of what’s going to happen if we don’t see some drastic change in the way that the air traffic control system is maintained.We heard about some of these issues after the crash at DCA outside Washington. What exactly is going on with air traffic controllers?The first problem is just one of staff retention and training. On the one hand, the air traffic control system and the people who work there are a pretty dedicated bunch, but it takes a long time to get to the point where you’re actually entrusted with airplanes. It can be up to four years of training from the moment that you decide, Okay, I want to be an air traffic controller. Couple that with the fact that these are government employees and like many other agencies, they haven’t really gotten the cost-of-living increases to keep pace with the actual cost of living, especially in places like the New York and New Jersey area, where it’s just gone up way faster than in the rest of the country.This is bad at Newark, but you say it promises to get bad everywhere else too. The cost of living is still outpacing the replacement level at a lot of these air traffic control centers. And the washout rate is pretty high. We’ve seen the average staffing level at a lot of American airports get down below 85, 80 percent, which is really where the FAA wants it to be, and it’s getting worse over time. At Newark in particular, it’s down to about 58 percent as of the first quarter of this year. This is an emergency level of staffing at a baseline. And then on top of that, you have — in order to keep the airplanes going — people working mandatory overtime, mandatory six-days-a-week shifts, and that’s accelerating that burnout that naturally happens. There’s a lot of compression and a lot of bad things happening independently, but all at the same time in that kind of labor system that’s really making it difficult to both hire and retain qualified air traffic controllers.These sound like very fixable problems, Darryl. Are we trying to fix them? I know former reality TV star and Fox News correspondent — and transportation secretary, in this day and age — Sean Duffy has been out to Newark. He said this: “What we are going to do when we get the money. We have the plan. We actually have to build a brand new state-of-the-art, air traffic control system.”To his credit, they have announced some improvements on it. They’ve announced a lot of new funding for the FAA. They’ve announced an acceleration of hiring, but it’s just a short-term fix. To put it in context, the FAA’s budget usually allocates about $1.7 billion in maintenance fees every year. And so they’ve announced a couple billion more dollars, but their backlog already is $5.2 billion in maintenance. And these are things like replacing outdated systems, replacing buildings that are housing some of these radars, things that you really need to just get the system to where it should be operating today, let alone get ahead of the maintenance things that are going to happen over the next couple of years. It’s really this fight between the FAA and Congress to say, We’re going to do a lot today to fix these problems.And it works for a little while, but then three years down the road, the same problems are still occurring. You got that one-time shot of new money, but then the government cuts back again and again and again. And then you’re just putting out one fire, but not addressing the root cause of why there’s all this dry powder everywhere.People are canceling their flights into or out of Newark, but there are also all these smaller accidents we’re seeing, most recently in San Diego, where six people were killed when a Cessna crashed.How should people be feeling about that?There’s really no silver bullet and all the choices are not great to actively bad at baseline. Number one is you get the government to pay what it actually costs to run the air traffic control system. That empirically has not happened for decades, so I don’t know that we’re going to get to do it, especially under this administration, which is focused on cutting costs.The second thing is to pass on fees to fliers themselves. And it’s just like the conversation that Walmart’s having with tariffs — they don’t want to do it. When they try to pass it on to the customer, President Trump yells at them, and it’s just not a great situation. The third option is to reduce the number of flights in the sky. Part of this is that airlines are competing to have the most flights, the most convenient schedules, the most options. That’s led to this logjam at places like Newark, where you really have these constraints on it. Right before all of this stuff happens, Newark was serving about 80 airplanes an hour, so 80 landings and takeoffs. Today, the FAA’s actually started to admit restrictions on it, and now it’s closer to 56 flights an hour, and that’s probably the level that it can actually handle and not have these issues where you have planes in danger.But no airline wants to hear, Hey, you have to cut your flight schedule. We saw that with United: Their CEO was saying that the air traffic controllers who took trauma leave had “walked off the job,” which seemed to suggest that he didn’t think they should be taking trauma leave because you have to have more planes coming in. That’s a competitive disadvantage for him, but you also have to balance safety. It’s difficult to understand. It costs a lot of money to fix. This is your textbook “why governments fail” case study and it’s not really reassuring that in 24 hours I’m going to be in the middle of it again, trying to fly out of Newark.See More: