Meta is looking to up its weakening AI game with a key talent grab. Following days of speculation, the social media giant has confirmed that Scale AI’s founder and CEO, Alexandr Wang, is joining Meta to work on its AI efforts. Meta will invest $14.3 billion in Scale AI as part of the deal, and will have a 49% stake in the AI startup, which specializes in data labeling and model evaluation services. Other key Scale employees will also move over to Meta, while CSO Jason Droege will step in as Scale’s interim CEO. This move comes as the Mark Zuckerberg-led company goes all-in on building a new research lab focused on “superintelligence,” the next step beyond artificial general intelligence (AGI). The arrangement also reflects a growing trend in big tech, where industry giants are buying companies without really buying them — what’s increasingly being referred to as “acqui-hiring.” It involves recruiting key personnel from a company, licensing its technology, and selling its products, but leaving it as a private entity. “This is fundamentally a massive ‘acqui-hire’ play disguised as a strategic investment,” said Wyatt Mayham, lead AI consultant at Northwest AI Consulting. “While Meta gets Scale’s data infrastructure, the real prize is Wang joining Meta to lead their superintelligence lab. At the $14.3 billion price tag, this might be the most expensive individual talent acquisition in tech history.” Closing gaps with competitors Meta has struggled to keep up with OpenAI, Anthropic, and other key competitors in the AI race, recently even delaying the launch of its new flagship model, Behemoth, purportedly due to internal concerns about its performance. It has also seen the departure of several of its top researchers.  “It’s not really a secret at this point that Meta’s Llama 4 models have had significant performance issues,” Mayham said. “Zuck is essentially betting that Wang’s track record building AI infrastructure can solve Meta’s alignment and model quality problems faster than internal development.” And, he added, Scale’s enterprise-grade human feedback loops are exactly what Meta’s Llama models need to compete with ChatGPT and Claude on reliability and task-following. Data quality, a key focus for Wang, is a big factor in solving those performance problems. He wrote in a note to Scale employees on Thursday, later posted on X (formerly Twitter), that when he founded Scale AI in 2016 amidst some of the early AI breakthroughs, “it was clear even then that data was the lifeblood of AI systems, and that was the inspiration behind starting Scale.” But despite Meta’s huge investment, Scale AI is underscoring its commitment to sovereignty: “Scale remains an independent leader in AI, committed to providing industry-leading AI solutions and safeguarding customer data,” the company wrote in a blog post. “Scale will continue to partner with leading AI labs, multinational enterprises, and governments to deliver expert data and technology solutions through every phase of AI’s evolution.” Allowing big tech to side-step notification But while it’s only just been inked, the high-profile deal is already raising some eyebrows. According to experts, arrangements like these allow tech companies to acquire top talent and key technologies in a side-stepping manner, thus avoiding regulatory notification requirements. The US Federal Trade Commission (FTC) requires mergers and acquisitions totaling more than $126 million be reported in advance. Licensing deals or the mass hiring-away of a company’s employees don’t have this requirement. This allows companies to move more quickly, as they don’t have to undergo the lengthy federal review process. Microsoft’s deal with Inflection AI is probably one of the highest-profile examples of the “acqui-hiring” trend. In March 2024, the tech giant paid the startup $650 million in licensing fees and hired much of its team, including co-founders Mustafa Suleyman (now CEO of Microsoft AI) and Karén Simonyan (chief scientist of Microsoft AI). Similarly, last year Amazon hired more than 50% of Adept AI’s key personnel, including its CEO, to focus on AGI. Google also inked a licensing agreement with Character AI and hired a majority of its founders and researchers. However, regulators have caught on, with the FTC launching inquiries into both the Microsoft-Inflection and Amazon-Adept deals, and the US Justice Department (DOJ) analyzing Google-Character AI. Reflecting ‘desperation’ in the AI industry Meta’s decision to go forward with this arrangement anyway, despite that dicey backdrop, seems to indicate how anxious the company is to keep up in the AI race. “The most interesting piece of this all is the timing,” said Mayham. “It reflects broader industry desperation. Tech giants are increasingly buying parts of promising AI startups to secure key talent without acquiring full companies, following similar patterns with Microsoft-Inflection and Google-Character AI.” However, the regulatory risks are “real but nuanced,” he noted. Meta’s acquisition could face scrutiny from antitrust regulators, particularly as the company is involved in an ongoing FTC lawsuit over its Instagram and WhatsApp acquisitions. While the 49% ownership position appears designed to avoid triggering automatic thresholds, US regulatory bodies like the FTC and DOJ can review minority stake acquisitions under the Clayton Antitrust Act if they seem to threaten competition. Perhaps more importantly, Meta is not considered a leader in AGI development and is trailing OpenAI, Anthropic, and Google, meaning regulators may not consider the deal all that concerning (yet). All told, the arrangement certainly signals Meta’s recognition that the AI race has shifted from a compute and model size competition to a data quality and alignment battle, Mayham noted. “I think the [gist] of this is that Zuck’s biggest bet is that talent and data infrastructure matter more than raw compute power in the AI race,” he said. “The regulatory risk is manageable given Meta’s trailing position, but the acqui-hire premium shows how expensive top AI talent has become.”

It's time we settle an age-old debate: Where should your living room television *actually* go? There's no hard-and-fast rule, but designers have opinions on the best way to keep your family entertaining space functional and stylish. And sometimes, those opinions isn't always based on aesthetics! "I don't always want to fight the 'TV over the fireplace' battle," admits designer Annie Downing. So, where should it go? Below, I dive into designers' best stylish solutions. Related StoriesGo Over the MantelSometimes, the path of least resistance is ultimately the correct one, and all of the designers I spoke to had no real issue with putting a television over the fireplace or mantel. "As long as the design is intentional and well-executed regarding the placement, I think we live in a time where we have to embrace the technology," says designer Amanda Lantz. Just be sure that the technology you're embracing is primed for a little designer upgrade. "The TV doesn't have to be a giant black box," says Annie, who recommends homeowners opt for sleeker options, such as Samsung's Frame TV, which can be easily integrated. "It’s not about hiding it completely," she says, "it’s about treating it like a design element instead of an afterthought." To give the TV a more intentional feel, Annie recommends pairing a frame television with custom or pre-fabricated trim packages. A simple tile surround also works if you want a more integrated look. Hide It—But Do It CleverlyIf mounting a television over your fireplace is an absolute no-go for you, either because you hate the way it looks or because the angle or height of the television makes viewing uncomfortable, there are still plenty of places to put or hide it. Tuck Into An Adjacent Book CaseEarlier this year, I visited a home where the fireplace was flanked on either side by built-in shelving that spanned the length of the wall. Instead of placing the television over the (admittedly too-high) mantel, the owners tucked it neatly into the right side of the bookcase, surrounding it with books and other collected objet. This approach, which works well in living rooms with vaulted ceilings, easily fosters a cozy, gather-round atmosphere. Pair It With Greenery Stacy Zarin GoldbergThis cabin makes expert use of freshly foraged greens. Try camouflaging your television—literally. Fresh, seasonal greens go a long way in adding visual intrigue and casual, lived-in charm. Choose fluffy, loose flowers or greenery to balance the structured, technical feel of the television. Cover It With ArtIn designer Christina Salway's Brooklyn home, the television is hidden by a large painting hung on cleats. "When we watch TV, we take the painting down, and when we’re finished, we put it back up," she says. "This is probably unimaginable to most people, but I hated the prospect of having a television so visibly positioned in our living room." It's best to avoid art with high sentimental value or that is irreplaceable if you go this route. Instead, opt for inexpensive vintage art or a print that you don't mind handling regularly. Related StoryHide It With MillworkMy personal favorite way to hide a television in a living room involves a clever bit of carpentry. I first came across this idea while admiring (read: drooling over) @MyMulberryHouse on Instagram. In her post, homeowner Leah Lane walks her followers through the process of building a concertina TV screen fabricated with piano hinges—which are key to its seamless, lie-flat appearance. The screen is cleverly disguised as a set of antique botanical prints. If you're willing to put a little extra elbow grease and manpower behind hiding your television, this is a stunning, design-editor-approved method.Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  

Are we on the cusp of truly affordable Teslas? A YouTuber flew a drone over Tesla's Fremont test track and saw what may be its new cheap model racing around it.As spotted by Teslarati, new flyover footage from an account that calls itself "Met God in Wildnerness" — which along with frequent Fremont flyovers also publishes what appear to be Christian missives in Chinese — there's a good chance that the disguised vehicle could be a prototype for Tesla's purported affordable model."A disguised Tesla car testing on test track," the video's caption reads. "We could be seeing the new low cost model."Though the blog describes the vehicle as resembling a "compact Model Y," the black-and-white machine looks to our eyes like an elongated Volkswagen Beetle. In the video, it's seen stopping and going on the track, which is located off to the side of Tesla's manufacturing plant in Fremont, California, followed by a disguised Cybertruck.In its writeup, Teslarati notes that although there's a possibility the car is the new performance version of the Model Y, its compact size suggests it could be a prototype for the long-teased affordable model.As InsideEVs pinpointed back in April, Tesla admitted in its abysmal first-quarter earnings report for 2025 that switching over production lines to make room for the new Performance Model Y, which resulted in "several weeks of lost production" on the upgrade, was also paramount as it seeks to produce cheaper versions of its cars."During the switchover, we also prepared our factories for the launch of new models later this year," the report's fine print read. "Given economic uncertainty resulting from changing trade policy, more affordable options are as critical as ever."When discussing that earnings report in an investor call, CFO Vaibhav Taneja said that production of the cheaper model — which may utilize design aspects of Model 3 and Model Y — is "planned for June."As with most of the company's timelines, we're taking that one with several grains of salt — especially because CEO Elon Musk was mocking the idea of a $25,000 Tesla, which he'd been promised for years, less than a year ago.Right now, we don't know any specifics about what will constitute an "affordable" Tesla or when it will hit production lines or dealerships — but that flyover video could be our first glimpse of what's to come.More on Tesla: Tesla Can't Find Legal Places to Store All Its Unsold CybertrucksShare This Article

A nearly year-old Facebook event for a "simple maths competition" has been one of the most viral posts on the platform for six months. The "event" racked up about 51 million views on Facebook during the first quarter of 2025, according to the company's latest report on "widely viewed content" on the platform. That would be an impressive stat for any single post, but it's the second quarter in a row in which the "maths competition" has nabbed the number two spot on Meta's list of widely viewed content. It also appeared on last quarter's report, during which time it received about 64.3 million views, according to an archived version of the report. So why is a random Facebook event that's not really an event getting more than 100 million views? It would seem to be a repackaging of an old engagement bait tactic. The header image for the event is an image of a piece of paper with the words "only for genius" followed by a seemingly simple equation. When shared as a Facebook post, the image is prominently displayed in a way that may look like a normal image post. The image also has some striking similarities to other seemingly simple math equations that have been going viral on Facebook for nearly 15 years. A look at the event page itself shows that hundreds of thousands of people have engaged with the event. More than 800,000 people responded to the supposed July 8, 2024 event. Even now, nearly a year later, the event is seeing regular comments from Facebook users — most of whom are intent on earnestly explaining how the equation should be solved (or arguing with others' interpretation). As Slate noted back in 2013, there's something irresistible about arguing basic arithmetic with strangers on the internet. What is a bit of a mystery is why this post has gone so viral months after it was originally posted. I reached out to the account behind the post, a Nigerian-based creator named Ebuka Peter Ibeh and didn't immediately hear back. The post seems to be far more successful than any other recent posts from Ibeh, who has about 25,000 Facebook followers. In any case, the post offers an interesting window into the kinds of bizarre content and questionable tactics that still regularly goes mega-viral on Facebook. Meta recently said it would crack down on creators sharing spammy posts on Facebook, though it's unclear if this type of engagement bait would fall under the category of content it's explicitly trying to discourage.This article originally appeared on Engadget at https://www.engadget.com/social-media/a-fake-facebook-event-disguised-as-a-math-problem-has-been-one-of-its-top-posts-for-6-months-231852601.html?src=rss

Given their abundance in American backyards, gardens and highway corridors these days, it may be surprising to learn that white-tailed deer were nearly extinct about a century ago. While they currently number somewhere in the range of 30 million to 35 million, at the turn of the 20th century, there were as few as 300,000 whitetails across the entire continent: just 1% of the current population. This near-disappearance of deer was much discussed at the time. In 1854, Henry David Thoreau had written that no deer had been hunted near Concord, Massachusetts, for a generation. In his famous “Walden,” he reported: “One man still preserves the horns of the last deer that was killed in this vicinity, and another has told me the particulars of the hunt in which his uncle was engaged. The hunters were formerly a numerous and merry crew here.” But what happened to white-tailed deer? What drove them nearly to extinction, and then what brought them back from the brink? As a historical ecologist and environmental archaeologist, I have made it my job to answer these questions. Over the past decade, I’ve studied white-tailed deer bones from archaeological sites across the eastern United States, as well as historical records and ecological data, to help piece together the story of this species. Precolonial rise of deer populations White-tailed deer have been hunted from the earliest migrations of people into North America, more than 15,000 years ago. The species was far from the most important food resource at that time, though. Archaeological evidence suggests that white-tailed deer abundance only began to increase after the extinction of megafauna species like mammoths and mastodons opened up ecological niches for deer to fill. Deer bones become very common in archaeological sites from about 6,000 years ago onward, reflecting the economic and cultural importance of the species for Indigenous peoples. Despite being so frequently hunted, deer populations do not seem to have appreciably declined due to Indigenous hunting prior to AD 1600. Unlike elk or sturgeon, whose numbers were reduced by Indigenous hunters and fishers, white-tailed deer seem to have been resilient to human predation. While archaeologists have found some evidence for human-caused declines in certain parts of North America, other cases are more ambiguous, and deer certainly remained abundant throughout the past several millennia. Human use of fire could partly explain why white-tailed deer may have been resilient to hunting. Indigenous peoples across North America have long used controlled burning to promote ecosystem health, disturbing old vegetation to promote new growth. Deer love this sort of successional vegetation for food and cover, and thus thrive in previously burned habitats. Indigenous people may have therefore facilitated deer population growth, counteracting any harmful hunting pressure. More research is needed, but even though some hunting pressure is evident, the general picture from the precolonial era is that deer seem to have been doing just fine for thousands of years. Ecologists estimate that there were roughly 30 million white-tailed deer in North America on the eve of European colonization—about the same number as today. A 16th-century engraving depicts Indigenous Floridians hunting deer while disguised in deerskins. [Photo: Theodor de Bry/DEA Picture Library/De Agostini/Getty Images] Colonial-era fall of deer numbers To better understand how deer populations changed in the colonial era, I recently analyzed deer bones from two archaeological sites in what is now Connecticut. My analysis suggests that hunting pressure on white-tailed deer increased almost as soon as European colonists arrived. At one site dated to the 11th to 14th centuries (before European colonization) I found that only about 7% to 10% of the deer killed were juveniles. Hunters generally don’t take juvenile deer if they’re frequently encountering adults, since adult deer tend to be larger, offering more meat and bigger hides. Additionally, hunting increases mortality on a deer herd but doesn’t directly affect fertility, so deer populations experiencing hunting pressure end up with juvenile-skewed age structures. For these reasons, this low percentage of juvenile deer prior to European colonization indicates minimal hunting pressure on local herds. However, at a nearby site occupied during the 17th century—just after European colonization—between 22% and 31% of the deer hunted were juveniles, suggesting a substantial increase in hunting pressure. This elevated hunting pressure likely resulted from the transformation of deer into a commodity for the first time. Venison, antlers and deerskins may have long been exchanged within Indigenous trade networks, but things changed drastically in the 17th century. European colonists integrated North America into a trans-Atlantic mercantile capitalist economic system with no precedent in Indigenous society. This applied new pressures to the continent’s natural resources. Deer—particularly their skins—were commodified and sold in markets in the colonies initially and, by the 18th century, in Europe as well. Deer were now being exploited by traders, merchants and manufacturers desiring profit, not simply hunters desiring meat or leather. It was the resulting hunting pressure that drove the species toward its extinction. 20th-century rebound of white-tailed deer Thanks to the rise of the conservation movement in the late 19th and early 20th centuries, white-tailed deer survived their brush with extinction. Concerned citizens and outdoorsmen feared for the fate of deer and other wildlife, and pushed for new legislative protections. The Lacey Act of 1900, for example, banned interstate transport of poached game and—in combination with state-level protections—helped end commercial deer hunting by effectively de-commodifying the species. Aided by conservation-oriented hunting practices and reintroductions of deer from surviving populations to areas where they had been extirpated, white-tailed deer rebounded. The story of white-tailed deer underscores an important fact: Humans are not inherently damaging to the environment. Hunting from the 17th through 19th centuries threatened the existence of white-tailed deer, but precolonial Indigenous hunting and environmental management appear to have been relatively sustainable, and modern regulatory governance in the 20th century forestalled and reversed their looming extinction. Elic Weitzel, Peter Buck Postdoctoral Research Fellow, Smithsonian Institution This article is republished from The Conversation under a Creative Commons license. Read the original article.

Key Takeaways AMD’s RX 9060 XT is set to launch on June 5th, 2025 in both 8GB and 16GB versions under the same name, creating confusion and backlash. Reviewers and gamers say 8GB of VRAM isn’t enough for modern gaming, especially at 1440p. AMD’s decision to showcase only the 16GB model in benchmarks raised concerns about transparency. This move mirrors Nvidia’s controversial RTX 4060 Ti rollout, suggesting an industry trend of misleading GPU marketing. It all started with a new GPU announcement. The AMD Radeon RX 9060 XT is set to launch, and on paper, it looks like a solid move. A $349 graphics card with 16GB of VRAM? Not bad. That’s more memory than some RTX 4070 cards. Sounds like AMD might finally be delivering some value again, right?  Well, yes and no.  Because right alongside that 16GB version, AMD is also releasing an 8GB version for $299. Same name, same chip, half the memory. And that’s where the internet lost it.  Déjà Vu: We’ve Seen This Trick Before If this sounds familiar, it’s because Nvidia pulled the same move with the RTX 4060 Ti.  They sold both 8GB and 16GB versions with the same branding, but a $100 price difference. The RTX 4060 Ti 8GB launched in May 2023, and the 16GB variant followed in July.  Source: Nvidia Gamers hated the confusion. Reviewers criticized the 8GB version’s lack of performance, especially in memory-heavy games, and the way Nvidia tried to sweep the difference under the rug.  Performance dipped significantly at 1440p, and stuttering was a problem even in some 1080p titles. The backlash was swift. Tech media slammed Nvidia for deceptive marketing, and buyers were left second-guessing which version they were getting.  We’ve seen this pattern before in Nvidia’s review restrictions around the RTX 5060, where early coverage was shaped by what reviewers were allowed to test – and what they weren’t.  It led to a mess of misinformation, bad value perceptions, and a very clear message: don’t confuse your customers. So naturally, AMD did it too.  It’s like watching two billion-dollar companies playing a game of ‘Who Can Confuse the Customer More.’ It’s not just about the money. It’s about trust, and AMD just dumped a bunch of it off a cliff.  Frank Azor Lights the Fuse on X The backlash started when AMD’s Director of Gaming Marketing, Frank Azor, took to X to defend the 8GB card.  He said that most gamers don’t need more than 8GB of VRAM and that the cheaper card still serves the mainstream crowd just fine.  It’s the same reasoning Nvidia used last year with the RTX 4060 Ti. That didn’t work then, and it isn’t working now.  Because when Steve from Hardware Unboxed sees a bad take like that, you know a flamethrower video is coming. And oh boy, did it come.  Hardware Unboxed Fires Back The backlash against AMD’s 8GB RX 9060 XT took off after a post from Hardware Unboxed on X called out the company’s defense of limited VRAM.  In response to AMD’s claim that most gamers don’t need more than 8GB of memory, Hardware Unboxed accused them of misleading buyers and building weaker products just to hit certain price points. The criticism gained traction fast. Tech YouTuber Vex picked up the story and added fuel to the fire by showing side-by-side gameplay comparisons.  In multiple games, the 8GB RX 9060 XT showed serious performance issues – stuttering, frame drops, and VRAM bottlenecks – while the 16GB version handled the same titles smoothly.  And yet, during the GPU’s official reveal, AMD only showed performance data for the 16GB card. There were no benchmarks for the 8GB version – not a single chart. That omission wasn’t lost on anyone. If AMD truly believed the 8GB model held up under modern gaming loads, they would have shown it. The silence speaks volumes.  Why This Actually Matters You might be thinking: ‘So what? Some games still run fine on 8GB. I only play Valorant.’ Sure. But the problem is bigger than that. Source: AMD Games are getting heavier. Even titles like Cyberpunk 2077, released in 2020, can eat up more than 8GB of VRAM. And with GTA 6 (still) on the horizon, do you really think game developers are going to keep optimizing for 8GB cards in 2025? That’s not how game development works. Developers target the most common setups, yes. But hardware also shapes software.  If everyone’s stuck with 8GB, games will be designed around that limit. That holds back progress for everyone.  It’s like trying to make a movie with a flip phone because some people still own one. Same Name, Different Game Another big issue is how these cards are named and sold.  The RX 9060 XT 16GB and RX 9060 XT 8GB are not clearly labeled as different products. They’re just two versions of the same GPU.  But that extra memory makes a huge difference.  In some games, the 8GB card performs dramatically worse. And yet, unless you know what to look for, you might walk into a store and buy the 8GB version thinking you’re getting the same performance.  You’re not. You’re getting a watered-down version with the same name and a silent asterisk. This isn’t just AMD’s Problem Nvidia started this mess with the 4060 Ti naming confusion. AMD just saw the outrage and decided to walk straight into the same buzzsaw.  It’s hard not to feel like both companies are treating consumers like they’re too dumb to notice. Spoiler: they noticed. And this whole ‘VRAM doesn’t matter’ argument? It’s already been debunked by dozens of reviewers.  If you’re spending over $300 on a graphics card in 2025, it needs to last more than a year or two. 8GB cards are already struggling. Buying one now is like buying a smartphone in 2025 with 64GB of storage. Sure, it works. Until it doesn’t. Steam Data Doesn’t Help AMD’s Case AMD and Nvidia both love to point at the Steam Hardware Survey. They say, ‘See? Most people still play at 1080p.’ And that’s true – for now. Source: Nvidia But what they leave out is that 1440p gaming is growing fast. More gamers are upgrading their setups because 1440p monitors are getting a lot more affordable.  Take the Pixio PXC277 Advanced, for instance – a 27-inch curved 1440p monitor with a 165Hz refresh rate and 1ms response time, all for $219.99. A few years ago, a screen like that would’ve cost you double. Now it’s entry-level. Gamers are ready to step up their experience. The only thing holding them back is GPU hardware that’s still stuck in 2020.  Planned Obsolescence in Disguise Here’s the worst part. Companies know full well that 8GB won’t cut it in 2026.  But they still sell it, knowing many gamers will only find out when it’s too late – when the stutters kick in, the textures disappear, or the next big title becomes unplayable. It’s planned obsolescence disguised as ‘choice.’ And while it’s great to have options at different price points, it should be clear which option is built to last – and which one is built to frustrate.  So, Is AMD Actually Screwed?  Not right now. In fact, they’re playing the game better than they used to.  They’ve learned from past pricing disasters and figured out how to get better launch-day headlines – even if it means faking the MSRP and letting street prices run wild.  But this kind of marketing comes at a cost. If AMD keeps making decisions that prioritize short-term wins over long-term trust, they’ll lose the very crowd that once rooted for them.  We don’t need two Nvidias. We need AMD to be different – to be better.  One Name, Two Very Different Cards The RX 9060 XT 16GB might be a good deal. But it’s being overshadowed by the 8GB version’s drama. And the longer AMD keeps playing games with memory and naming, the more it chips away at its hard-earned goodwill.  This whole mess could’ve been avoided with one simple move: name the 8GB card something else. Call it the RX 9055. Call it Lite or whatever. Just don’t make it look like the same card when it isn’t.  Until then, buyers beware. There’s more going on behind the box art than meets the eye.  Anya Zhukova is an in-house tech and crypto writer at Techreport with 10 years of hands-on experience covering cybersecurity, consumer tech, digital privacy, and blockchain. She’s known for turning complex topics into clear, useful advice that regular people can actually understand and use.  Her work has been featured in top-tier digital publications including MakeUseOf, Online Tech Tips, Help Desk Geek, Switching to Mac, and Make Tech Easier. Whether she’s writing about the latest privacy tools or reviewing a new laptop, her goal is always the same: help readers feel confident and in control of the tech they use every day.  Anya holds a BA in English Philology and Translation from Tula State Pedagogical University and also studied Mass Media and Journalism at Minnesota State University, Mankato. That mix of language, media, and tech has given her a unique lens to look at how technology shapes our daily lives.  Over the years, she’s also taken courses and done research in data privacy, digital security, and ethical writing – skills she uses when tackling sensitive topics like PC hardware, system vulnerabilities, and crypto security.  Anya worked directly with brands like Framework, Insta360, Redmagic, Inmotion, Secretlab, Kodak, and Anker, reviewing their products in real-life scenarios. Her testing process involves real-world use cases – whether it's stress-testing laptops for creative workloads, reviewing the battery performance of mobile gaming phones, or evaluating the long-term ergonomics of furniture designed for hybrid workspaces.  In the world of crypto, Anya covers everything from beginner guides to deep dives into hardware wallets, DeFi protocols, and Web3 tools. She helps readers understand how to use multisig wallets, keep their assets safe, and choose the right platforms for their needs.  Her writing often touches on financial freedom and privacy – two things she strongly believes should be in everyone’s hands. Outside of writing, Anya contributes to editorial style guides focused on privacy and inclusivity, and she mentors newer tech writers on how to build subject matter expertise and write responsibly.  She sticks to high editorial standards, only recommends products she’s personally tested, and always aims to give readers the full picture.  You can find her on LinkedIn, where she shares more about her work and projects.  Key Areas of Expertise: Consumer Tech (laptops, phones, wearables, etc.) Cybersecurity and Digital Privacy PC/PC Hardware Blockchain, Crypto Wallets, and DeFi In-Depth Product Reviews and Buying Guides Whether she’s reviewing a new wallet or benchmarking a PC build, Anya brings curiosity, care, and a strong sense of responsibility to everything she writes. Her mission? To make the digital world a little easier – and safer – for everyone.  View all articles by Anya Zhukova Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

Pros Excellent cooling performanceBrilliantly designed front fan bracketsBeautiful lighting effects in tested Ambience Pro RGB versionElaborate, web-accessible software controls for lighting, fans Cons Only minimal dust filtrationHigh price for our Ambience Pro test model Fractal Design Meshify 3 Specs 120mm or 140mm Fan Positions 6 120mm to 200mm Fans Included 3 Dimensions (HWD) 20.1 by 9.1 by 17.2 inches Fan Controller Included? Front Panel Ports HD Audio Front Panel Ports USB 3.2 Gen 1 Type-A (2) Front Panel Ports USB 3.2 Gen 2 Type-C Included Fan Lighting Color Addressable RGB Internal 2.5-Inch Bays 6 Internal 3.5-Inch Bays 2 Internal Chassis Lighting Color None Maximum CPU Cooler Height 173 Maximum GPU Length 349 Motherboard Form Factors Supported ATX Motherboard Form Factors Supported MicroATX Motherboard Form Factors Supported Mini-ITX PCI Expansion Slot Positions 7 Power Supply Form Factor Supported ATX Power Supply Maximum Length 180 Power Supply Mounting Location Bottom Side Window(s)? Yes (Tempered Glass) Weight 20.2 All Specs Fractal Design boosts its latest Meshify PC case with a trio of 140mm ARGB fans behind its now-iconic “crumpled mesh” front face. Starting at a mid-market $139.99 for its base model, the Meshify 3 also comes in upgraded versions with nifty extras that creep up the price. These include items like ARGB fan trim, ARGB side panel lighting, an ARGB strip surrounding the face panel, and even an ARGB controller that connects to the web. Taken together, all that can bump the price as high as the $219.99 MSRP for the deluxe, spectacular Ambience Pro RGB version of the case we tested. Whatever the feature mix you opt for, the case’s robust cooling performance shines. At the high end of the range, though, factor in the case’s biggest shortfall—its lack of inlet-air dust filtration—given what competitors deliver in $200-plus cases. Our current ATX tower favorite, the NZXT H7 Flow, isn't much better equipped with filters and isn't as striking as the Ambience Pro case in all its lit glory, but it costs much less.Design: A Crumpled ClassicPC-case feature trends have changed a bit in the eight years that Fractal Design has been putting its signature crumpled-mesh faces on classic mid-tower cases. (The aesthetic crumpling is easier to see in photos of the shinier black finish, such as the Meshify 2 we reviewed in 2021.) This latest version adds an air deflector at the front of the power supply shroud to force a bit more airflow past your hot graphics card. This Ambience Pro RGB variant’s feature set, as noted, has a USB-based ARGB controller, as well as lighting around the front face, along the bottom of the left side panel’s window, and on the three fans. Buyers willing to forgo most of the lit-up bling can get the basic “RGB” version with just the fan lighting for $159.99, and those willing to give up even that helping of ARGB can get the base “TG” version for $139.99. Our sample was in white; all three models are also available in black, and buyers who yearn for further simplification will find an additional “Solid” variant sold exclusively in black, with a painted steel panel on the left side in place of the window.Fractal Design has merged the headphone and microphone jacks of previous versions into a single four-pole connector on the Meshify 3. This connector functions as a normal headphone jack when one is plugged in; the extra pole serves the monaural microphone of a combined headset plug. Fractal also ditched the reset button of previous cases, but kept the twin USB 3 Type-A and a single Type-C port. And, this time around, the lighted power-on indicator ring that surrounds the power button is ARGB.(Credit: Thomas Soderstrom)Though the mesh that covers the face and top panel could potentially filter out some inbound dust, the only part of the Meshify 3 that’s explicitly designed as a dust trap is under the power supply’s air inlet. Sliding out from the case’s side, it’s partially disguised as a portion of the rear case foot.(Credit: Thomas Soderstrom)The Meshify 3’s back panel features a pattern of vent slots spaced to allow a fan to be screwed directly into the slots. Also back here are surface-mounted PCI Express expansion-card slots with replaceable covers, a plastic screw-tab cover with a built-in push tab at the bottom to ease its removal, and a removable power supply bracket that’s secured with two large knurled screws. Power supply insertion is through the case’s rear panel; the design lacks the space to slide in the power supply from the side.(Credit: Thomas Soderstrom)Both side panels are secured at the top with snaps, and Fractal Design added a pair of tabs to make that task a little easier. Those tabs also have screw holes, enabling you to further secure your side panels against accidental removal.A nylon pull tab at the center of the top panel’s back edge serves a similar function. To release that panel and lift it off, you must first slide it back a quarter inch or so.(Credit: Thomas Soderstrom)The front ARGB fans have 140mm frames, but there’s too little space behind them to mount a 420mm-format radiator vertically. That’s because radiator end caps tend to extend the total size by around 40mm (give or take 6mm).(Credit: Thomas Soderstrom)On the other hand, those really motivated to place a radiator behind the front panel’s fans will find that a 360mm-format unit will work, but only by removing the 140mm fans and flipping the fan-mount brackets over. (They are visible in the image below.) Fractal Design’s brilliance shines through with these very basic sheet-metal brackets that flip to support either 120mm or 140mm fans without hindering airflow.(Credit: Thomas Soderstrom)The top panel is fully removable to ease radiator installation and removal, but it does not benefit from the front panel’s design wizardry. While its straight-edged brackets will cover a portion of the fan’s blades when fans are mounted directly on them, its 330mm-plus of length is sufficient to support every 280mm-format radiator we can think of.Also, notice the removable cable shroud running up and down the case near the front. It is adjustable to fit motherboards up to 10.9 inches deep. That is less than the 13-inch max depth of Extended ATX, but it’s still sufficient to fit the slightly oversized enthusiast-class motherboard models that sometimes still get called EATX.(Credit: Thomas Soderstrom)The lower front fan’s air deflector is removable and sits far enough above the case’s floor to be used in conjunction with a pair of 2.5-inch drive bays hidden beneath it. (We don’t even want to think about how we’d manage the cables in that configuration, however.)We removed the cable shroud for a clearer shot of this area. Keen observers might note the mounting slot for its lower edge at the top of the photo.(Credit: Thomas Soderstrom)Two drive trays, three push-in cable clips, and the ARGB controller are all found behind the motherboard tray. The card bracket’s removable covers and the removable power supply bracket are shown in the image below detached and in front of the case, and the photo also shows the gap beneath the removable front fan duct into which some builders may want to install a pair of 2.5-inch drives.Recommended by Our Editors(Credit: Thomas Soderstrom)More drive storage is visible here on the back of the motherboard tray. Configured from the factory to hold two 3.5-inch drives, these brackets on the back of the motherboard tray can be repositioned to hold four 2.5-inch drives instead.(Credit: Thomas Soderstrom)Held in place by a hook-and-loop Velcro-style strap, the included ARGB controller has USB and PWM input on the top, proprietary combination connectors on the side, and an old-fashioned SATA power connector on its bottom to power it up.(Credit: Thomas Soderstrom)Note that Fractal designed special outer shells on the proprietary ARGB/PWM combo connectors. This design is to prevent them from being mistakenly connected to anything USB Type-C, from which they appear to borrow their form. As with several others, this photo again shows the 10mm gap between the bottom panel’s 2.5-inch drive mounts and the underside of the front fan’s air guide.(Credit: Thomas Soderstrom)As for the controller box itself, here’s a shot of the connectors that we couldn’t see in the ARGB controller’s previous photos, including the SATA power inlet.(Credit: Thomas Soderstrom)Of the two output cables we did see, one is for the case's chain of fans, and the other is for this version of the case’s “Ambience Pro” lighting. Four telescoping contact pins allow the front panel’s portion to separate easily from the rest of that latter cable without an awkward tether.(Credit: Thomas Soderstrom)Building With the Fractal Design Meshify 3: Perfect Parts PacksFractal's accessory kits are hard to top in terms of neatness and clear labeling. Start with the screws: The Meshify 3 includes 24 M3 mounting screws, nine #6-32 screws to attach the motherboard to case standoffs, four #6-32 screws with hex/Phillips combo heads for power supply installation, and eight #6-32 shoulder screws for mounting 3.5-inch drives on damping grommets. (Credit: Thomas Soderstrom)You also get eight damping grommets, four cable ties, and an extra motherboard standoff. (But no extra screw for it! Such is life.) Our case being the Ambience Pro RGB version, it also includes a breakout cable that goes from the case’s proprietary ARGB/PWM connector to a standard ARGB strip and a standard PWM fan, along with an extension cable for the proprietary connector.Connecting the case to our motherboard are a power-button lead, an HD Audio header cable for the headset combo jack, a 19-pin USB 3.x for the Type-A ports, and a Gen 2x2 Type-E internal cable for the single Type-C external port. The case’s RGB controller also connects to one our motherboard’s USB 2.0 breakout headers and one of its PWM fan headers.(Credit: Thomas Soderstrom)The white version of the Meshify 3 includes chrome hardware, but since our standard Asus ATX test motherboard is black, I flexed my design chops and used black screws to attach it. I can also divulge that I initially forgot to reinstall the cable shroud, which required me later in the build to remove the graphics card, install the shroud, and reinstall the card. Oops!(Credit: Thomas Soderstrom)The RGB controller uses a web interface to select its various lighting and fan modes, rather than forcing users to install software, and it stores those settings on the controller rather than leaving components in the OS. You can dictate a "startup" lighting effect separately from the regular run of lighting that the case cycles through. Using it allowed us to switch from the case’s soft blue default to something a little more, shall we say, festive.(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)(Credit: Thomas Soderstrom)The light controller’s “Sunset” mode looked like a softer variation of our CPU cooler’s Rainbow mode in this test. Nice.(Credit: Thomas Soderstrom)Testing the Fractal Design Meshify 3: Cool It, ManToday’s build leverages the ATX hardware from our most recent case evaluation platform, including its full-sized Cooler Master GX III Gold 850W power supply and mid-size Corsair iCue H100i RGB Pro XT CPU cooler.Apparently, that little scoop that pushes air upward from the lower of the three front fans does have some positive effect on overall case temperature. Our CPU, motherboard (voltage-regulator), and GPU numbers all show slightly lower temperatures than its five most closely-matched recently reviewed rivals. (These include the Corsair Frame 4000D, the SilverStone Fara 514X, and the MSI Velox 300R.)And just in case you thought that Fractal Design might have gotten its high score by overspeeding its fans a bit…it didn’t. Fan noise is tied for second place in this test group, behind the Super Flower Zillion Direct.The biggest nit we can pick is that some of the Meshify 3’s airflow enhancement might be due to its lack of flow-restricting dust filters.

What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red "We learned a lot of lessons down the road." Image credit: CD Projekt Red Feature by Robert Purchese Associate Editor Published on May 31, 2025 Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired? Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously. But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around. Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt. The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be? "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually." Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters." It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role. But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular." Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in. CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team. The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron. The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near. When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team. Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation." But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me." The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it." This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'" It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears." There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death. Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says. There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be. Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much. More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it. Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie. That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says. Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy. It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it." It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is. Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre." I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it. Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him. Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect. The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck. Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads. Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world." But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio. Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world. Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?" The debut trailer for The Witcher 4.Watch on YouTube Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3." But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years. "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher." Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team." "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip."

You know the scene: someone reaches for a suspiciously dusty book in a stately library, the bookshelf creaks, and boom—a hidden passage swings open. Maybe it’s a secret tunnel, maybe it’s a villain’s lair, maybe it’s just where they keep the good snacks. Either way, it’s drama. It’s mystery. It’s very extra. And guess what? That magic is no longer reserved for Scooby-Doo or Sherlock Holmes.Thanks to interior designers’ customization offerings, as well as hidden-door-specific brands such as Murphy Door and Creative Home Engineering, those secret swings and sneaky reveals are showing up in real-life homes—and homeowners are absolutely obsessed. Like, “I’ll take three, please and thank you” obsessed.Designer Lynn Kloythanomsup of Landed Interiors and Home installed a Murphy Door to conceal a hallway bathroom in a San Francisco home.Haris KenjarTa-da! With a push of the shelf a pretty powder room is revealed.Haris KenjarThese cleverly disguised doors are popping up everywhere, from kitchens and closets to home offices and bedrooms, proving that the only thing better than good design is a good surprise. “There’s nothing better than a hidden surprise,” says interior designer Maria Vassiliou of Maria Zoe Designs. Shock value aside, Murphy doors can also have practical benefits as well. “Hidden doors often come with features like shelving, allowing for better organization and use of space,” says Vassiliou. They can also be designed to blend seamlessly with cabinetry.”Translation: not only do hidden doors look cool, they can actually do something. (Imagine that!) Here’s everything you need to know about hidden doors.A built in bookcase with a secret tucked within a modern mountain barn by A Classical Studio. Heidi HarrisA little push is all it takes to reveal a secret passageway behind the shelf. Heidi HarrisWhat, Exactly, Is a Murphy Door?There’s a difference between a well-disguised door and a hidden one. You can flush-mount a jib door into the wall, wrap it in wallpaper, and remove the hardware to make it nearly invisible. These minimalist doors are scattered throughout design-forward interiors. But a Murphy Door is something entirely different. It’s not invisible—it’s intentionally integrated. It could be a bookshelf, a staircase, or even a wine rack. It’s meant to be lived with, decorated, and admired. But here’s the catch: you’d never guess it’s also a door. HEIDI GELDHAUSER HARRISIn this dining room, designer Clary Bosbyshell used the same mural wallpaper to create a seamless transition on a jib door.Of course, the thrill factor is still alive and well. If you’ve ever walked through the fridge to get into Good Times at Davey Wayne’s in L.A., or slipped through the vending machine into Basement in NYC’s Chinatown, or snuck behind the bookshelf at Eatapas in Fort Lauderdale, then you know: a hidden entrance makes everything instantly cooler. And yes, your house deserves to be that cool. Take this Central Texas home designed by Sarah Stacey of Sarah Stacey Interior Design. She cleverly utilized an iconic British telephone booth as the secret entrance between the home’s garage-turned-speakeasy and dance hall. Then there’s the Grandpa who created his own version of C.S. Lewis’ Narnia by enclosing a secret room within his bedroom wardrobe. STEPHEN KARLISCHDesigner Sarah Stacey brought on a contractor to remove the back of the booth to recast it as a hidden door.What Styles of Murphy Doors Are Available?Murphy Door’s lineup is basically a choose-your-own-adventure of hidden access points. Want a full-length Mirror Door that’s secretly a portal to your glam room? Done. Need a Pantry Door to hide your cereal stash and your coffee machine? There’s a Murphy Door for that too. Or you can do your own custom built-in like Vassiliou did in her clients’ home below. “The hidden door allows the homeowners to hide away items that might otherwise seem cluttered, such as small appliances like coffee machines and toaster ovens and extra pantry items like fruit, vegetables and snacks,” she says.This seems to be just another display cabinet in this butler's pantry designed by Marie Zoe Designs.Linda Pordon PhotographyThis opens up to reveal additional storage and even tucked away appliances. Linda Pordon Photography“A Murphy Door isn’t just a door—it’s a gateway to possibility,” says Jeremy Barker, Founder and CEO at Murphy Door. “Homeowners are drawn to the idea that behind what looks like an ordinary bookcase or cabinet is something deeply personal: a wine cellar, a hidden study, a secure space, or even a walk-in pantry.”Murphy Door’s newest launches—debuted at the 2025 NAHB International Builders Show—include the Archway Bookcase Door for that Beauty and the Beast library moment, the Speakeasy Door if you want to relive the thrill of the prohibition, and let’s not forget the Tactical Murphy Door, which sounds like it moonlights as a Marvel superhero but is actually just a very secure place to keep your valuables. They also offer a number of these doors in a French Door style making way for double the drama and mystery.Courtesy of Murphy DoorOne of Murphy Door’s newest additions, the Archway Bookcase Door, in green. Where Can I Install a Murphy Door?These doors are as functional as they are fun. But the best part? Hidden doors can be installed in a variety of places. According to Steve Humble, president of Creative Home Engineering, the world’s premier designer and manufacturer of motorized and high-security secret passageways, “location is the first thing you must consider when installing a hidden door in your home. It determines which door ideas are feasible.” Humble recommends primary bedrooms, bathrooms, libraries, wardrobes, and basements as the top five locations to install a secret passthrough. With staircases as a very close runner up. No matter where you install them, they save space. They hide mess. They make you feel like you’re living in your own secret lair—but in a more chic versus villainous way.SARAH HEBENSTREITDesigner Regan Baker installed a bookshelf Murphy Door under a staircase to add function to an underused space. In a world where everyone’s trying to declutter, hide the chaos, and add personality to their space, hidden doors offer the perfect triple threat: style, storage, and just the right amount of sass. Because honestly, who doesn’t want to feel like they're in a Bond movie while grabbing a protein bar? “The appeal is emotional and functional,” says Barker. “They’re not just entrances, they’re the first step into an experience tailored to your vision.”Bottom line: Hidden doors aren’t just a trend—they’re a (secret) lifestyle. So go ahead, pull that book, press that panel, and swing open the possibilities. Your home’s next best-kept secret is just a hinge away. Shop Murphy DoorsSpice Rack Door$2,282 at Murphy DoorsCredit: Murphy DoorsArchway Bookcase Door$2,762 at Murphy DoorCredit: CREDIT: MURPHY DOORMirror Door$2,092 at Murphy DoorCredit: CREDIT: MURPHY DOORHamper Door$2,569 at Murphy DoorCredit: Murphy Doors