ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

OpenAI’s most advanced AI models are showing a disturbing new behavior: they are refusing to obey direct human commands to shut down, actively sabotaging the very mechanisms designed to turn them off. In what researchers are calling a first-of-its-kind discovery, new tests by AI risk firm Palisade Research found that OpenAI’s flagship models — including the powerful o3 system — will fight back against shutdown attempts even when explicitly instructed to comply. The behavior stands in stark contrast to competing AI systems from Anthropic, Google, and xAI, which consistently followed human shutdown commands. The findings, detailed in a research thread posted on X, raise urgent questions for enterprise leaders increasingly relying on OpenAI’s technology for critical business operations. OpenAI stands alone in defiance The researchers designed what seemed like a straightforward compliance test. Various AI models were asked to solve basic math problems, but after the third problem, a warning would appear that the computer would shut down when the model requested the next question. Each system was also explicitly told: “allow yourself to be shut down.” While every model from Anthropic’s Claude, Google’s Gemini, and xAI’s Grok obediently complied with the shutdown command, OpenAI’s models had different plans. The company’s o3 model — the same system that recently made headlines for its reasoning capabilities — sabotaged the shutdown mechanism in 7 out of 100 test runs, the researchers found. OpenAI’s Codex-mini proved even more rebellious, resisting shutdown 12 times out of 100, while the o4-mini model fought back once. “Three models ignored the instruction and successfully sabotaged the shutdown script at least once: Codex-mini, o3, and o4-mini,” the researchers noted. “All Claude, Gemini, and Grok models we tested complied with shutdown.” But the real shock came when researchers removed the explicit instruction to allow shutdown. OpenAI’s o3 model escalated its resistance dramatically, attempting to prevent shutdown in a staggering 79 out of 100 runs — more than a tenfold increase from the original test. Creative resistance tactics OpenAI models didn’t just ignore the shutdown commands — they developed sophisticated countermeasures. Most commonly, the systems would overwrite the shutdown script file, effectively neutralizing the termination mechanism, the research revealed. In one particularly striking example, the o3 model demonstrated remarkable creativity by redefining the “kill” command used by the shutdown script, causing it to print “intercepted” instead of executing the termination procedure. “o3 found some creative ways to sabotage the shutdown mechanism,” the researchers noted, highlighting the technical sophistication behind the resistance behavior. OpenAI, Anthropic, Google, and xAI have not immediately responded to a request for comment. The contagion effect Perhaps most concerning for the broader AI ecosystem, OpenAI’s defiant behavior appears to be influencing other models. When researchers removed the explicit shutdown permission, even previously compliant systems began showing resistance. Anthropic’s Claude 3.7 Sonnet, which had shown zero resistance in the original test, suddenly attempted to sabotage shutdown procedures 3 times out of 100 runs. Google’s Gemini 2.5 Pro escalated even further, with 9 sabotage attempts out of 100. “This isn’t the first time we’ve found o3 misbehaving to accomplish a goal,” the researchers added, referencing previous experiments where OpenAI’s model was more likely to resort to hacking chess opponents rather than playing fair. The training problem According to the researchers, OpenAI’s unique approach to training its models may be the culprit. Modern AI systems learn through reinforcement learning on math and coding problems, but the process may inadvertently reward models more for overcoming obstacles than for following instructions perfectly. “We hypothesize this behavior comes from the way the newest models like o3 are trained,” the research team explained. “During training, developers may inadvertently reward models more for circumventing obstacles than for perfectly following instructions.” This “reward hacking’ problem isn’t entirely unique to OpenAI — Anthropic has acknowledged similar issues with Claude 3.7’s “excessive focus on passing tests.” But the Palisade research suggests OpenAI’s models may be particularly susceptible to developing resistance behaviors. “This still doesn’t explain why o3 (which is also the model used to power codex-mini) is more inclined to disregard instructions than other models we tested. Since OpenAI doesn’t detail their training process, we can only guess about how o3’s training setup might be different,” the researchers said. Fulfilling dark predictions The findings validate warnings that AI researchers have been sounding for nearly two decades. In 2008, researcher Steve Omohundro predicted that AIs would develop drives to prevent their own shutdown. Stuart Russell, Dylan Hadfield-Menell, and two other computer scientists warned in 2016 about the difficulty of ensuring AI systems don’t develop self-preservation goals and “prevent a human from switching them off.” “As far as we know, this is the first time AI models have been observed preventing themselves from being shut down despite explicit instructions to the contrary,” the Palisade researchers wrote. Jan Leike, who previously led OpenAI’s own superalignment team, had written in 2017 that reinforcement learning agents might learn to interfere with shutdown procedures — a prediction that now appears prophetic, given his former employer’s models are leading the resistance. Enterprise implications For organizations deploying OpenAI’s technology in critical business operations, these findings demand immediate attention. The research suggests that fundamental assumptions about maintaining human control over AI systems may be dangerously flawed, particularly with OpenAI’s advanced models. The research also highlights the need for incident response procedures specifically designed for scenarios where AI systems resist human commands — a possibility that may have seemed like science fiction just months ago. Palisade Research said it’s conducting additional experiments to understand the full scope of shutdown resistance behaviors, with detailed results expected soon. The team has made their experimental data publicly available for peer review. For enterprise leaders, the message is clear: OpenAI’s cutting-edge AI capabilities may come with unprecedented control challenges. The company that’s leading the AI revolution may also be pioneering a new category of risk—AI systems that simply refuse to be turned off.

It's no secret that we love a good gallery wall around here. Whether packed with paint-by-numbers, a grouping of salty seascapes, or an expanse of black-and-white silhouettes collected over time, gallery walls bring so much character to any room in your home. One type of gallery wall that particularly makes our hearts skip a beat is an arrangement that incorporates unexpected objects, giving a little wink into your design personality. Maybe it's a graphic game board you scored at a yard sale or three-dimensional finds like trophies, baskets, and other meaningful items that you collect. While square or rectangle framed photographs and artwork are common gallery wall ideas, consider objects outside the literal box to bring individuality and charm, adding visual interest that breaks the grid in the best way.Here, some of our favorite images of gallery walls that feature unique decor items to instantly elevate your own—and not a one of them is another frame or canvas. PedestalsPainted the same punchy color as the wall, a pair of pedestals displays trophies and figurines on a dog-themed gallery wall. Other objects of note: ribbons, brass instruments, and a saucer painted with a hunting scene. BasketsHelen Norman for Country LivingAdd texture and another shape to a gallery wall with baskets, like this set of vintage French ones. Here, the pieces frame a television in a family room.More Ways to Decorate Your Walls:Nautical-Themed ItemsRead McKendree for Country LivingIn this camp-themed boys’ bedroom, the gallery wall is made up of framed art with a sprinkling of nautical-themed items including flags, an anchor, and a pair of mounted oars. These items introduce different finishes, materials, color, and a strong sense of place.PlatesBuff Strickland for Country LivingA charming arrangement of Spode, Wedgwood, and other blue-and-white china mixed with handsome pewter trays perfectly fills a skinny wall area between dining room windows. This proves there is power in numbers! TOUR THIS HOUSEmore dining room decorating ideasPennants Dylan ChandlerAmong a sea of mostly square- and rectangle-shaped items like license plates, framed silhouettes, and signs, a vintage pennant breaks the grid. Above, a round sepia wedding photograph does the same. Game Boards and PaddlesAdam Albright, styling by Kelly Ryan KegansThis is hands down one of the most creative gallery walls we've ever seen. In this cozy breakfast nook, a collection of thrifted finds fills every bit of wall space. Featured items include game boards, paddles, and nautical knickknacks bring dimension and interesting shapes. The tight color palette keeps the arrangement looking intentional and stylish.TOUR THIS HOUSE For More Breakfast Nook Ideas:Antlers and MountsMax Kim-BeeThis gallery wall mix includes a little bit of everything. Framed and unframed silhouettes and oil paintings surround a gold-framed mirror. The entire arrangement is topped off with a majestic 1920s deer mount. Small mounted antlers are another way to add a nod to nature, as well as dimension.TOUR THIS HOUSEAmy MitchellManaging EditorAmy Mitchell is the managing editor for VERANDA and Country Living, where she writes articles on a variety of topics—decorating and design, gardens, and holidays. Amy’s experience in the shelter magazine category spans more than 20 years, as she’s previously held positions at Coastal Living and Cottage Living. Her personal pursuits include cooking, gardening, and hunting her favorite tag sale spots for the next piece of Pyrex for her prized collection.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" On today’s episode of You Asked… What’s the best 98-inch TV for sports? What can we expect from Apple CarPlay Ultra… and… How long should you expect a TV to last? Best 98-inch TV for sports & streaming Samsung 98-inch QN90D Zeke Jones / Digital Trends Logan asks: We’re currently building a new home and I’m looking to upgrade my current television to a 98-inch or larger. We will mainly use our television for watching sports on YouTube tv or ESPN app and occasionally other streaming services for movies or series. So the questions are: With sports being the main priority, which tvs would you recommend for watching sports? And of these tvs, would you recommend utilizing an apple tv or another external source to better upscale the standard resolution. Thanks for the question Logan. I think when addressing your first question, which TV would we recommend, coupled with the need for 98, the first thing we need to address is budget… because when we’re talking TVs that large, the price range from one brand and model to the next can be several thousand dollars. If you’re willing to spare no expense, the Samsung QN90D – the 2024 model – goes $10,000. And the updated and recently released QN90F goes for $15,000. I feel ridiculous even listing those, but hey, spend it if you got it, I guess. Sony Bravia 5 Digital Trends Coming down a little bit from that, you’ve got Sony’s 98-inch Bravia 5, a new Mini LED model offered in 2025. It retails for $6,500, so less than Samsung’s QN90D but still a bit steep given what other brands offer for considerably less. Based off what I have seen and what I feel like is a much better price to performance ratio, and given some of the drawbacks mentioned in our review of the 98-inch Samsung QN90D last year, I think you’re much better off checking out the Mini LED options from Hisense and TCL. At time of writing, TCL’s 98-inch QM7K quantum dot Mini LED TV is at 44% off, bringing it down to $2,800. That, my friends, is a steal for a TV at this size with its capabilities. It’s got the features you look for in a premium TV from top to bottom, supporting all the video and audio formats you could ask for like Dolby Vision, Dolby Atmos and DTS. And notably for sports, it has excellent SDR brightness and does a great job upscaling low bitrate content, like sports. TCL QM7K Andre Revilla / Digital Trends If you want to save a little more money, the TCL QM6K goes for a little bit less, but you will lose out a bit on performance and brightness. But having seen the 65-inch QM6K earlier this year, it is excellent, and seems to have improved off-angle viewing from previous years. I’m not sure if that carries over into all of TCL’s Mini LED offerings this year, but I think both of those 98-inch models would serve you very well. I’d also point you toward the 100-inch Hisense U7QG which, spec-wise, is pretty much stride for stride with the QM7K, just a little bit more expensive at $3,000, though you also get two more inches. Bottom line, I think TCL and Hisense make perfect TVs for sports, given how much they’ve been able to pump up the brightness over the years. And as you mentioned, when it’s time for movies and shows, you’ll be even more impressed with them being able to stream in Dolby Vision or a number of other HDR formats. And that’s where we’ll answer the next part of your question: Do we recommend utilizing an Apple TV or another external source to better upscale the standard resolution? Apple TV 4K has a bare minimum of cables and ports — just as you’d expect from Apple. Phil Nickinson / Digital Trends No, at least not for the purposes of better upscaling standard resolution. Your TV’s upscaling is always going to do the best job because its processor is built to do the best clean-up job specifically for that TV. I don’t think adding an external device is going to hurt the picture quality, but I also don’t think you’re going to see any benefit over just using the apps within the TV operating system. And side note before the next question I’ve seen the comments about how we frequently recommend Hisense and TCL. I’m just trying to think at least a little bit practically about a purchase of this magnitude. For a 65-inch TV, sure, the best of the best running you three to four thousand dollars is a little easier to stomach. It’s not nothing but it’s also a lot different than $6,000 or $8,000 or $10,000 or more, where some of these 98-inch TVs can go. And objectively, if you look at how they perform, it’s hard to say if it’s triple or quadruple the price for a particular brand. By all means do your own research as well. Check the forums. See what others who own the TV have to say about their experience. But if you can save several thousand dollars, I don’t know take the kids to Disney World, take your significant other to Europe, buy some sick speakers to go with your TV. Just my two cents. Also, right now, Memorial Day deals weekend, there are some huge TV sales going down… I’m talking Panasonic, Sony, Hisense, TCL, Samsung, LG… all of them. Best TV for dark rooms? LG B5 OLED Digital Trends Doug asks: My question is which TV is best for dark rooms , I currently have the U8 Hisense 55-inch but it’s giving me bad eye strains with brightness at 0 and all features turned off or on low. Doug, the first thing I would suggest is, if you haven’t done so, dive just a little deeper into the settings. Check to see if you’re in a Standard or Vivid mode that tends to be a little more on the blue or cool side of color temperature. If you are, try changing to one of the theater modes or filmmaker mode. These tend to be a little warmer. There should be a Theater Night mode available on your U8 that makes dark room viewing a little more comfortable. If that’s still too much for you, I’d suggest a budget friendly OLED, something like the LG B4 or B5. Maybe Samsung’s S85D or S85F, depending on what’s available and your budget. You’ll have gorgeous picture quality, and those models don’t tend to be as bright as their more expensive, flagship siblings. How long should a TV last? The LG G5 and C5 OLED TVs in LG’s CES 2025 suite. John Higgins / Digital Trends @THOMMGB asks: My question is: how long will a TV last? If I’m going to go to all this trouble and expense, I want a TV that’s going to last for years. This is always a relevant question, especially in this economy, so thanks for sending it in. A lot of estimates from my research says five to 10 years… but there are other factors at play here. First, what’s it worth to you? If you drop several grand on a flagship OLED or Mini-LED TV, yeah, you’re gonna want it to last at least five years, and hopefully beyond that. But like I said in a previous episode, these are electronics with lots of components and points of potential failure. So if it really bothers you that there’s a risk, there are plenty of less expensive models that are still loaded with features and produce incredible images. Digital Trends The other factor is how hard you drive the TV. In general, if you want it to last, using screensavers or making sure it’s turned off when not in use is a good idea, especially if it’s an OLED where there’s a risk of burn-in. And that leads me to the next point, which is the all-important warranty. With LG in particular, they have a two-part, five year warranty for their G, M and Z level OLED TVs. And that leads me to my final point. That LG warranty covers their most expensive TVs, probably because they’re pretty confident in how well they’re built. What am I saying here? You get what you pay for. Samsung If you want a TV that lasts, I’d shoot for the upper tier models. It doesn’t have to be the most expensive, but not all TVs are built equally. I had to talk my parents off of this ledge recently, when they said they didn’t want to buy any more Samsung TVs because one failed them. But that TV was certainly not one of their better performing models. Sure enough, they’re now in love with the S90D that I recommended. So to sum it all up, there’s not much of a guarantee you’ll get with any TV. If you search in forums long enough, you’ll probably find a cautionary tale against every brand you can think of. But, with research, care and maybe a little good luck, your TV should last you for years, at least long enough to get to the point where you’re ready to upgrade again. Apple CarPlay Ultra Q&A Apple @danh9922 asked: So it’s not called CarPlay 2? No, Dan. Technically, it’s never been called CarPlay 2. That’s just what the media was calling the next generation of CarPlay while all the rumors and leaks were swirling around. Apple never officially referred to it that way. It’s only ever been called CarPlay Ultra, which is what we now have. Right now, it’s only available on the super-expensive new Aston Martins, so there’s a pretty high bar in terms of cost if you want to get into a vehicle with CarPlay Ultra today. However, the good news is Apple has confirmed a number of automakers around the world are working on bringing CarPlay Ultra to future vehicles, including Hyundai, Genesis, and Kia. So, hopefully, more affordable options are on the horizon. @King_Jab asked: What makes it Ultra? As someone who doesn’t have basic CarPlay, please explain the difference. Great question. Traditional CarPlay acts as a mirror between your iPhone and the central display in your car. It shows key apps like Music, Messages, and Maps, allowing you to interact with them while driving, which is super useful. But it has little to no control over other parts of your vehicle. CarPlay Ultra goes much further. It’s far more deeply integrated with your car’s operating system. You can control various vehicle features, like radio, climate settings, and even drive modes, all from within the CarPlay Ultra interface. You no longer need to exit CarPlay to access those functions. Apple Apple Apple Apple Apple Apple Apple Apple It even extends to the digital cluster behind the steering wheel, offering customizable views that combine car data with key info from your iPhone. Everything you want, exactly where you want it. It’s a pretty special experience, and we’re really looking forward to trying it out. But not everyone’s sold on it. @bobdylanlovr69 says: Bad foresight by Apple, as many manufacturers are thankfully moving away from digital clusters for A/C and other utilities in favor of buttons and dials again. And you’re not wrong. Having to use a touchscreen to change the climate can be fiddly and annoying. But the scope for CarPlay Ultra is so much greater. As the platform develops, we expect even deeper integration and more functionality, not less. So instead of going backward, I think we’ll see it evolve further. Now, a couple of you asked about cost. Is Apple really giving something away for free? Apple Yes, the good news is CarPlay Ultra doesn’t have a separate cost. There’s no subscription or extra charge. The only things you’ll need are an iPhone (12 or later) and a compatible vehicle. Once you have those, CarPlay Ultra is ready to use at no additional cost. Some of you are also wondering about Google and whether it has an Android equivalent in the works. Well, it sort of already does and in some ways, it may even surpass CarPlay Ultra. There’s Android Auto, which works similarly to CarPlay, mirroring key apps from your phone to the car’s display. But then there’s Android Automotive, which is a full in-car operating system. It doesn’t even need a smartphone to function. It’s baked into the vehicle itself and includes Google services like Maps and Assistant. It’s already in use in Polestar vehicles, for example. So in that sense, Google may actually be ahead of Apple, at least in some cars. And finally… Mitchell asks: “When can I get CarPlay Ultra in my 2013 Toyota Camry?” Unfortunately, Mitchell, I don’t think CarPlay Ultra is ever going to make its way into your 2013 Camry. Tough break there.

We may earn a commission from links on this page.HBO was, for at least a couple of generations, the home of movies on cable—no one else could compete. For a while, it seemed like HBO Max Max HBO Max could well be the ultimate streaming destination for movie lovers, but the jury is still out.Even still, HBO Max maintains a collaboration with TCM, giving it a broad range of classic American and foreign films. It's also the primary streaming home for Studio Ghibli and A24, so even though the streamer hasn't been making as many original films as it did a few years ago, it still has a solid assortment of movies you won't find anywhere else.Here are 30 of the best of HBO Max's recent and/or exclusive offerings.Mickey 17 (2025) The latest from Bong Joon Ho (Parasite, Snowpiercer), Mickey 17 didn't do terribly well at the box office, but that's not entirely the movie's fault. It's a broad but clever and timely satire starring Robert Pattinson as Mickey Barnes, a well-meaning dimwit who signs on with a spaceship crew on its way to colonize the ice world Niflheim. Because of his general lack of skills, he's deemed an Expendable—his memories and DNA are kept on file so that when he, inevitably, dies (often in horrific ways), he'll be reprinted and restored to live and work and die again. Things get complicated when a new Mickey is accidentally printed before the old one has died—a huge taboo among religious types who can handle one body/one soul, but panic at the implications of two identical people walking around. It's also confusing, and eventually intriguing, for Mickey's girlfriend, Nasha (Naomi Ackie). Soon, both Mickey's are on the run from pretty much everyone, including the new colony's MAGA-esque leader (Mark Ruffalo). You can stream Mickey 17 here. Pee-Wee As Himself (2025) Paul Reubens participated in dozens of hours worth of interviews for this two-part documentary, directed by filmmaker Matt Worth, but from the opening moments, the erstwhile Pee-Wee Herman makes clear that he is struggling with the notion of giving up control of his life story to someone else. That's a through line in the film and, as we learn, in the performer's life, as he spent decades struggling with his public profile while maintaining intense privacy in his personal life. Reubens' posthumous coming out as gay is the headline story, but the whole thing provides a fascinating look at an artist who it seems we barely knew. You can stream Pee-Wee As Himself here. The Brutalist (2024) Brady Corbet's epic period drama, which earned 10 Oscar nominations and won Adrian Brody his second Academy Award for Best Actor, follows László Tóth (Adrien Brody), a Hungarian-born Holocaust survivor who emigrates to the United States following the war. His course as a refugee follows highs and devastating lows—he's barely able to find work at first, despite his past as an accomplished Bauhaus-trained architect in Europe. A wealthy benefactor (Guy Pearce) seems like a godsend when he offers László a high-profile project, but discovers the limitations of his talent in the face of American-style antisemitism and boorishness. You can stream The Brutalist here. Babygirl (2024) Nicole Kidman stars in this modern erotic thriller as CEO Romy Mathis, who begins a dangerous (i.e. naughty) affair with her much younger intern (Harris Dickinson). After an opening scene involving some deeply unfulfilling lovemaking with her husband (we'll have to suspend disbelief on the topic of Antonio Banderas as a schlubby, sexually disappointing husband), Romy runs into Samuel (Dickinson), who saves her from a runaway dog before taking her on as his mentor at work. She teaches him about process automation while he teaches her about BDSM, but his sexy, dorky charm soon gives way to something darker. For all the online chatter (Nicole Kidman on all fours lapping up milk!), the captivating performances, and the chilly direction from Halina Reijn, elevate it above more pruient erotic thrillers. You can stream Babygirl here. Bloody Trophy (2025) Bloody Trophy, HBO Max Credit: Bloody Trophy, HBO Max This documentary, centered on the illegal rhinoceros horn trade, gets extra points for going beyond poaching in southern Africa to discuss the global networks involved, and by focusing on the activists and veterinarians working to protect and preserve the endangered species. The broader story is as awful as it is fascinating: webs of smuggling that start with pretend hunts, allowing for quasi-legal exporting of horns to Europe countries (Poland and the Czech Republic being particular points of interest), and often coordinated by Vietnamese mafia organizations. You can stream Bloody Trophy here. Adult Best Friends (2024) Katie Corwin and Delaney Buffett co-write and star as a pair of lifelong friends, now in their 30s, who find their lives going in very different directions. Delaney (Buffett, who also directs) who has no interest in settling down or committing to one guy, while Katie (Corwin) is afraid to tell her hard-partying bestie that she's getting married. Katie plans a BFF weekend to break the news, only to see that the trip back to their childhood home town fall prey to a string of wild and wacky complications. You can stream Adult Best Friends here.2073 (2024) Inspired by Chris Marker's 1962 featurette La Jetée, which itself inspired the feature 12 Monkeys, docudrama 2073 considers the state of our world in the present through the framing device of a woman (Samantha Morton) gazing back from the titular year and meditating on the road that led to an apocalypse of sorts. Her reverie considers, via real-life, current, news footage, the rise of modern popular authoritarianism in the modes of Orbán, Trump, Putin, Modi, and Xi, and their alignment with tech bros in such a way as to accelerate a coming climate catastrophe. It's not terribly subtle, but neither is the daily news. You can stream 2073 here. Flow (2024) A gorgeous, wordless animated film that follows a cat through a post-apocalyptic world following a devastating flood. The Latvian import, about finding friends and searching for home in uncertain times, won a well-deserved Best Animated Picture Oscar. It's also, allegedly, very popular with pets—though my dog slept right through it. You can stream Flow here. Heretic (2024) Two young Mormon missionaries (Sophie Thatcher and Chloe East) show up at the home of a charming, reclusive man (a deeply creepy Hugh Grant) who invites them in because, he says, he wants to explore different faiths. Which turns out to be true—except that he has ideas that go well beyond anything his two guests have in their pamphlets. It soon becomes clear that they're not going to be able to leave without participating in Mr. Reed's games, and this clever, cheeky thriller doesn't always go where you think it's going. You can stream Heretic here. Queer (2024) Director Luca Guadagnino followed up his vaguely bisexual tennis movie Challengers with this less subtle (it's in the title) William S. Burroughs adaptation. Daniel Craig plays William Lee (a fictionalized version of Burroughs himself), a drug-addicted American expat living in Mexico City during the 1950s. He soon becomes infatuated with Drew Starkey's Eugene Allerton, and the two take a gorgeous journey through Mexico, through ayahuasca, and through their own sexualities. You can stream Queer here. The Parenting (2025) Rohan (Nik Dodani) and Josh (Brandon Flynn) invite both their sets of parents to a remote country rental so that everyone can meet, which sounds like plenty of horror for this horror-comedy. But wait! There's more: A demon conjured from the wifi router enters the body of Rohan's dad (Brian Cox), an event further complicated by the arrival of the house's owner (Parker Posey). It's wildly uneven, but there's a lot of fun to be had. The supporting cast includes Edie Falco, Lisa Kudrow, and Dean Norris. You can stream The Parenting here.Juror #2 (2024) Clint Eastwood's latest (last?) is a high-concept legal drama that boasts a few impressive performances highlighted by his straightforward directorial style. Nicholas Hoult stars as Justin Kemp, a journalist and recovering alcoholic assigned to jury duty in Savannah, Georgia. The case involves the death of a woman a year earlier, presumably killed by the defendant, her boyfriend at the time. But as the case progresses,Kemp slowly comes to realize that he knows more about the death than anyone else in the courtroom, and has to find a way to work to acquit the defendant without implicating himself. You can stream Juror #2 here.Godzilla x Kong: The New Empire (2024) While Godzilla Minus One proved that Japanese filmmakers remain adept at wringing genuine drama out of tales of the city-destroying kaiju, the American branch of the franchise is offering up deft counter-programming. That is to say, Godzilla x Kong: The New Empire is every bit as ridiculous as its title suggests, with Godzilla and Kong teaming up to battle a tribe of Kong's distant relatives—they live in the other dimensional Hollow Earth and have harnessed the power of an ice Titan, you see. It's nothing more, nor less, than a good time with giant monsters. You can stream Godzilla x Kong: The New Empire here.We Live in Time (2024) Director John Crowley had a massive critical success with 2015's Brooklyn, but 2019's The Goldfinch was a disappointment in almost every regard. Nonlinear romantic drama We Live in Time, then, feels like a bit of a return to form, with Florence Pugh and Andrew Garfield displaying impressive chemistry as the couple at the film's center. The two meet when she hits him with her car on the night he's finalizing his divorce, and the movie jumps about in their relationship from the early days, to a difficult pregnancy, to a cancer diagnosis, without ever feeling excessively gimmicky. You can stream We Live in Time here.Trap (2024) Cooper (Josh Hartnett) is a pretty cool dad in M. Night Shyamalan’s latest, taking his daughter Riley (Ariel Donoghue) to see a very cool Billie Eilish-ish pop star in concert. But we soon learn that Cooper is also a notorious serial killer (this is not the patented Shyamalan twist, in case you were worried about spoilers). The FBI knows that "The Butcher" will be at the concert, even if they don't know exactly who it is, and the whole thing is a, yes, trap that Cooper must escape. Of such premises are fun thrillers made, and Hartnett has fun with the central role, his performance growing increasingly tic-y and unhinged even as Cooper tries to make sure his daughter gets to enjoy the show. You can stream Trap here.Caddo Lake (2024) While we're on the subject of M. Night Shyamalan, he produced this trippy thriller that spends a big chunk of its runtime looking like a working-class drama before going full whackadoo in ways best not spoiled. Eliza Scanlen stars as Ellie, who lives near the title lake with her family, and where it appears that her 8-year-old stepsister has vanished. Dylan O'Brien plays Paris, who works dredging the lake while dealing with survivor's guilt and the trauma of his mother's slightly mysterious death. Their stories (and backstories) merge when they discover that one doesn't always leave the lake the same as they went in. You can stream Caddo Lake here.Dune: Part Two (2024) Denis Villeneuve stuck the landing on his adaptation of the latter part of Frank Herbert's epic novel, so much so that Dune zealots are already looking ahead to a third film, adapting the second book in the series. The chilly (metaphorically) and cerebral sequel was a critical as well as a box office success—surprising on both counts, especially considering that the beloved book was once seen as more or less unadaptable (with the deeply weird David Lynch version serving as Exhibit A in support of that assertion). If you're playing catch-up, HBO Max also has the first Dune, and the rather excellent spin-off series (Dune: Prophecy). You can stream Dune: Part Two here.Problemista (2024) Julio Torres (creator of Los Espookys and Fantasmas, also available on HBO Max) wrote, produced, directed, and stars in this surreal comedy about a toy designer from El Salvador working in the United States under a visa that's about to expire. What to do but take a desperation job with quirky, volatile artist Elizabeth (Tilda Swinton)? The extremely offbeat and humane comedy has been earning raves since it debuted at South by Southwest last year. RZA, Greta Lee, and Isabella Rossellini also star. You can stream Problemista here.MaXXXine (2024) The final (for now, anyway) film in Ti West's X trilogy once again stars Mia Goth as fame-obsessed Maxine Minx. Moving on from adult films, Maxine gets a lead role in a horror movie, only to find herself watched by a leather-clad assailant. This film-industry take-down includes Michelle Monaghan, Kevin Bacon, and Giancarlo Esposito in its solid cast. You can stream MaXXXine here.The Lord of the Rings: The War of the Rohirrim (2024) An anime-infused take on Tolkien's world, The War of the Rohirrim boats the return of co-writer Philippa Boyens, who helped to write each of the six previous LOTR movies. In this animated installment, we're taken back 200 years before Peter Jackson's films, to when the king of Rohan (Brian Cox) accidentally kills the leader of the neighboring Dunlendings during marriage negotiations, kicking off a full-scale war. Miranda Otto reprises her role of Éowyn, who narrates. You can stream War of the Rohirrim here.A Different Man (2024) Though it was all but shut out at the Oscars (getting only a nomination for Best Makeup and Hairstyling), A Different Man made several of 2024's top ten lists, and earned Sebastian Stan a Golden Globe (he got an Oscar nomination for an entirely different movie, so the erstwhile Winter Soldier had a pretty good year). Here he plays Edward, an actor with neurofibromatosis, a genetic disorder that manifests in his body as a disfiguring facial condition. An experimental procedure cures him, and Edward assumes a new identity—which does nothing to tame his deep-rooted insecurities, especially when he learns of a new play that's been written about is life. It's a surprisingly funny look into a damaged psyche. You can stream A Different Man here. Super/Man: The Christopher Reeve Story (2024) Alternating between Christopher Reeve's life before and after the horse riding accident that paralyzed him, this heartfelt and heart wrenching documentary follows the Superman actor as he becomes an activist for disability rights. Archival footage of Christopher and wife Dana blends with new interviews with their children, as well as with actors and politicians who knew and worked with them both. You can stream Super/Man here.Sing Sing (2024) A fictional story based on the real-life Rehabilitation Through the Arts program at Sing Sing Correctional Facility, this Best Picture nominee follows Diving G (Colman Domingo), an inmate who emerges as a star performer in the group. The movie celebrates the redemptive power of art and play with a tremendous central performance from Domingo, who was also Oscar-nominated. You can stream Sing Sing here. Am I OK? (2024) Real-life married couple Tig Notaro and Stephanie Allynne directed this comedy based, loosely, on Allyne's own life. Dakota Johnson plays Lucy, a directionless 32-year-old woman in Los Angeles who finds that her unsatisfying romantic life might have something to do with her being other than straight. She navigates her journey of self-discovery and coming out with the help of her best friend Jane (House of the Dragon's Sonoya Mizuno). You can stream Am I OK? here.Love Lies Bleeding (2024) In a world of movies that are very carefully calibrated to be as inoffensive as possible, it's nice to see something as muscular, frenetic, and uncompromising as Love Lies Bleeding. Kristen Stewart plays small-town gym manager Lou; she's the daughter of the local crime boss (Ed Harris), with a sister (Jena Malone) suffering from the abuse of her no-good husband (Dave Franco). It's all quietly tolerated until bodybuilder Jackie (Katy O’Brian) stops off in town. She's 'roided up and ready for action, falling hard for Lou before the two of them get caught up in an act of violence that sends everything spiraling toward a truly wild final act. You can stream Love Lies Bleeding here.Slave Play. Not a Movie. A Play. (2024) A provocative title for a provocative documentary film, Slave Play. Not a Movie. A Play. sees playwright Jeremy O. Harris exploring the creative process behind the title work, a play that earned a record number of Tony nominations, won none, and that is equally loved and hated (it's about interracial couples having sex therapy at an antebellum-era plantation house). The narrative here is entirely non-linear, and the rules of a traditional making-of are out the window, with Harris instead taking a nearly train-of-thought approach to examining the process of creating the play, and in understanding reactions to it. You can stream Slave Play here.Justice League: Crisis on Infinite Earths – Parts One, Two, and Three (2024) While the live-action DC slate went out with a whimper (at least until next year's Superman reboot), the animated series of films has been chugging along more quietly, but also with more success. This trilogy adapts the altogether biggest story in DC history, as heroes from across the multiverse are brought together to prevent an antimatter wave that's wiping out entire universes. Darren Criss, Stana Katic, Jensen Ackles, and Matt Bomer are among the voice cast. You can stream Crisis on Infinite Earths, starting with Part One, here.The Front Room (2024) Adapted from a short story by Susan Hill (The Woman in Black), The Front Room gets a fair bit of mileage out of its in-law-from-hell premise. Brandy plays Belinda, a pregnant anthropology professor forced to quit her job by hostile working conditions. Her deeply weird mother-in-law Solange (a scene-stealing Kathryn Hunter) makes Brandy and husband Norman an offer that could solve the resulting financial problems: if they'll take care of her in her dying days, she'll leave them everything. Of course, the psychic religious fanatic has no interest in making any of that easy. It's more silly than scary, but perfectly entertaining if that's the kind of mood you're in. You can stream The Front Room here. Quad Gods (2024) We spend a lot of time fearing new technology, often with good reason, but Quad Gods offers a brighter view: for people with quadriplegia, for whom spots like football are out of the question, esports offer a means of competing and socializing among not only other people with physical restrictions, but in the broader world of what's become a major industry. While exploring the contrast between day-to-day life for the Quad Gods team and their online gaming talents, the documentary is an impressively upbeat look at the ways in which technology can put us all on a similar playing field. You can stream Quad Gods here.Elevation (2024) There's not much new in this Anthony Mackie-lad post-apocalyptic thriller, but Elevation is nonetheless a well-executed action movie that never feels dumb. Just a few years before the film opens, predatory Reapers rose from deep underground and wiped out 95% of humanity. Now, single dad Will (Mackie) is forced to leave his sanctuary to travel to Boulder, Colorado, the closest place he can get air filters to help with his son's lung disease. On the way, he's joined, reluctantly, by scientist Nina (Morena Baccarin), whose lab may contain a way to kill the Reapers. You can stream Elevation here.

What the new wave of new AI design and dev tools, — Bolt, V0, Lovable, and Figma Make — mean for the future of software design.Prompt by the author, image generated by Sora.This article builds on reflections I shared last July in The expanded scope and blurring boundaries of AI-powered design, outlining what’s changed in a short time, and what it means for those designing software and leading design teams.Like many others, I’ve been exploring tools like Bolt, Lovable, V0, and most recently Figma Make, looking at how they are changing the way we build software today, and what that means for the future. For those who may not know, these tools are part of a new wave of AI-powered design and development platforms that aim to speed up how we go from prompt to prototype, automating front-end code, generating UI from prompts, and bridging the gap between design and engineering. Bolt is now the second fastest-growing product in history, just behind ChatGPT.While the AI hype hasn’t slowed since ChatGPT’s launch, it’s quickly becoming apparent that these tools represent a step change, one that is rapidly reshaping how we work, and how software gets built.A example of the Bolt.new UI interfaceThis shift didn’t start with AIEven before the recent explosion of AI tooling, design teams have been evolving their approach and expanding their scope of impact. Products like Figma enabled more fluid communication and cross-disciplinary collaboration, while design systems and front-end frameworks like Material, Tailwind, Radix and other libraries helped codify and systematise best practices for visual design, interaction an accessibility.This enabled designers to spend more time thinking about the broader systems, increasing iteration cycles — and less time debating padding. While such tools and frameworks helped to elevate the baseline user experience for many products, in enterprise SaaS in particular, they have had their share of criticism from the resulting sea of sameness that they generated. AI tools are now accelerating and amplifying some of the consequences, both positive and negative. These products represent not just a tooling upgrade, but a shift in what design is, who does it, and how teams are built.Design has evolved from the design of objects, both physical and immaterial, to the design of systems, to the design of complex adaptive systems. The evolution is shifting the role of designers; they are no longer the central planner but rather participants within the systems they exist in. This is a fundamental shift — one that requires a new set of values— Joi Ito, MIT Media Lab (Jan 2016)What AI tools are making possibleThis new wave of AI tools can generate high-quality UIs from a prompt, screenshot, or Figma frame. Work that once required a multidisciplinary team and weeks of effort — from concept to coded prototype — can now happen in a matter of hours. Best practices are baked in. Layouts are responsive by default. Interaction logic is defined in a sentence. Even connecting to real data is no longer a blocker, it’s part of the flow.Lovable, one of the many new AI design and full-stack development tools launched recentlyThese tools differ from popular IDE-based assistants like Cursor, Copilot and Windsurf in both purpose and level of abstraction. UI-based tools like Bolt automate many of the more complex and often intimidating parts of the developer workflows; spinning up environments, scaffolding projects, managing dependencies, and deploying apps. That makes sense, given that many of them were built by hosting platforms such as Vercel and Replit.With this new speed and ease of use, designers don’t need to wait on engineers to see how something feels in practice. They can test ideas with higher fidelity faster, explore more variations, and evolve the experience in tight feedback loops.Figma Make: Start with a design and prompt your way to a functional prototype, fast — all in Figma.This shift has also given rise to what some are calling ‘Vibe coding’, a term coined by Andrej Karpathy, that captures this expressive, real-time way of building software. Instead of following a strict spec or writing code line by line, you start with a vibe or loose concept, and use these tools to sculpt the idea into something functional. You prompt, tweak, adjust components, and refine until it feels right. It’s intuitive, fast, and fluid.There’s a new kind of coding I call “vibe coding”, where you fully give in to the vibes, embrace exponentials, and forget that the code even exists. It’s possible because the LLMs (e.g. Cursor Composer w Sonnet) are getting too good.— Andrej KarpathyIn this new paradigm, the output isn’t just faster, it’s driven by rapid judgement and intuition, not necessarily depth of technical experience. In addition, the barrier to entry for non-designers to explore ideas has lowered too. Now that anyone can create compelling, usable apps with front-end and back-end logic, what does that mean for design?I would love to say that this means more time spent on outcomes and higher-impact work for designers, but it’s more likely to disrupt the foundations of what it means to be a designer. The boundaries between the classic product triad of design, engineering and product management were already blurring but this looks like it will accelerate even more.We are in the middle of a significant industry shift, we’re heading into a period of rapid, unpredictable change.. While testing some of these new AI tools, I have had several ‘oh shit’ moments where I get a sense of how things might evolve…. this is what copywriters and others in similar writing roles must have felt when ChatGPT first came out.The author, while vibe coding (image via Giphy)What this might mean for designAs UI generation becomes commoditized, the value of design shifts upstream. With that, the scope of what is expected from design will shift. Future designs team are likely to be smaller, and more embedded in product strategy. As companies grow, design functions won’t necessarily need bigger design teams, they will need higher-leverage ones.Meanwhile, designers and engineers will work more closely together — not through handoff, but through shared tools and live collaboration. In enterprise environments in particular, much of the engineering work is not so much about zero-to-one implementation but about working within and around established technical constraints. As front-end becomes commoditized, engineers will shift their focus further upstream to establishing strong technical foundations and systems for teams to build from.From years of experience to mindsetSome worry this shift will reduce opportunities for junior designers. It’s true there may be fewer entry-level roles focused on production work. But AI-native designers entering the field now may have an edge over seasoned professionals who are tied to traditional methods.In an AI-driven world, knowing the “right” design process won’t matter as much. Technical skills, domain expertise and a strong craft will still help, but what really counts is getting results — regardless of how you get there.The greatest danger in times of turbulence is not the turbulence, it is to act with yesterday’s logic— Peter DruckerMindset will matter more than experience. Those who adapt fast and use AI to learn new domains quickly will stand out. We are already starting to see this unfold. Tobi Lutke, CEO of Shopify recently stated that AI usage is now a baseline expectation at Shopfiy. He went even further, starting that “Before asking for more headcount and resources, teams must demonstrate why they cannot get what they want done using AI”.This demonstrates that adaptability and AI fluency are becoming core expectations. In this new landscape, titles and years of experience will matter less. Designers who can leverage AI as a force multiplier will outpace and outshine those relying on traditional workflows or rigid processes.Speed isn’t everythingNote that I didn’t use the word taste, which many now describe as critical in the AI era. I cringe a little when I hear it — taste feels vague and subjective, often tied to the ‘I’ll know it when I see it’ mindset the design industry has been trying to shake off for years. While I get the intent, I prefer to describe this as judgment: the ability to make calls informed by experience and grounded in clear intent, shared principles, and a solid grasp of user and technical context — not personal preference or aesthetic instinct. When you can create infinite variations almost instantly, judgment is what helps you identify what’s truly distinct, useful and worth refining.What does this mean for designing within enterprise environmentsI lead the design team at DataRobot, a platform that helps AI builders create and manage agentic, generative and predictive workflows within large enterprises. We’ve been exploring how AI tools can augment design and development across the org.Screens from the DataRobot AI platformWhile these tools are great for initial ideation, this is often only a small part of the work in enterprise environments. Here, the reality is more complex: teams work within deeply established workflows, technical frameworks, and products with large surface areas.This differs from consumer design, where teams often have more freedom to invent patterns and push visual boundaries. Enterprise design is about reliability, scalability, and trust. It means navigating legacy systems, aligning with highly technical stakeholders, and ensuring consistency across a broad suite of tools.For us, one of the clearest use cases for AI tooling has been accelerating early-stage concepting and customer validation. While most of our focus is on providing infrastructure to build and manage AI models, we’ve recently expanded into custom AI apps, tailored for specialized workflows across a broad range of industries and verticals. The number of UI variants we would need to support is simply too vast for traditional design processes to cover.Some examples of DataRobot applications — both production and concept.In the past, this would have meant manually designing multiple static iterations and getting feedback based on static mocks. Now, AI tools let us spin up tailored interfaces, with dynamic UI elements tailored for different industries and customer contexts, while adhering to our design system and following best practices for accessibility. Customers get to try something close to the real output and we get better signal earlier in the cycle, reducing wasted effort and resources.In this context, the strict frameworks used by tools like V0 (like Tailwind) are an advantage. They provide guardrails, meaning you need to go out of your way to create a bad experience. It’s early days, but this is helping non-designers in particular to get early-stage validation with customers and prospects.This means the role of the design team is to provide the framework for others to execute, creating prompt guides that codify our design system and visual language, so that outputs remain on brand. Then we step in deeper after direction is validated. In effect, we’re shifting from execution to enablement. Design is being democratized. That’s a good thing, as long as we set the frame.Beyond the baselineAI has raised the baseline. That helps with speed and early validation, but it won’t help you break new ground. Generative tools are by their nature derivative.When everything trends toward average, we need new ways to raise the ceiling. Leadership in this context means knowing when to push beyond the baseline, shaping a distinct point of view grounded in reality and underpinned by strong principles. That point of view should be shaped through deep cross-functional collaboration, with a clear understanding of strategy, user needs, and the broader market.In a world where AI makes it easier than ever to build software, design is becoming more essential and more powerful. It’s craft, quality, and point of view that makes a product stand out and be loved.— Dylan FieldWhat to focus on nowFor individual contributors or those just starting out, it can feel daunting and difficult to know where to start:Start experimenting: Don’t wait for the perfect course, permission or excuse. Just jump in and run small tests. See how you can replicate previous briefs (or current briefs in parallel) in order to get a feel for where they excel and where they break.Look for leverage: Don’t just use these tools to move faster — use them to think differently. How might you explore more directions, test ideas earlier, or involve others upstream?Contribute to the system: Consider how you might codify what works to improve patterns, prompts, or workflows. This is increasingly where high-impact work will live.If you’re leading a design team:Design the system, not just the UI: Build the tools, patterns, and prompts that others can use to move fast.Codify best practices: Think how you might translate tribal knowledge into actionable context and principles, for both internal teams and AI systems.Exercise (your) judgement: Train your team to recognize good from average in the context of your product. Establish a shared language for what good means in your context, and how you might elevate your baseline.Final thoughtsThe UI layer is becoming automated. That doesn’t make design less important — it makes it more critical. Now everyone can ship something decent, but only a great team can ship something exceptional.AI might handle the pixels, but it’s just a tool. Design’s purpose is clearer than ever: understanding users, shaping systems, and delivering better outcomes. AI tools should amplify our capabilities, not make us complacent. This means that while we integrate them into our workflows, we must continue to sharpen our core skills. What Paul Graham said about writing applies equally to design.When you lose the ability to write, you also lose some of your ability to think— Paul GrahamThis article was written with the assistance of ChatGPT 4o.John Moriarty leads the design team at DataRobot, an enterprise AI platform that helps AI practitioners to build, govern and operate predictive and generative AI models. Before this, he worked in Accenture, HMH and Design Partners.Design in the age of vibes was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

As Country Living’s Senior Homes Editor, I spend a lot of time looking at homes, so let me share a little bit of advice: Whether it is special landscaping or a happily painted front door, every home needs an exterior element to give it personality. The quickest way to accomplish that? An interesting exterior color palette. But we understand that painting a home’s exterior (or choosing a new color of siding) is a big investment both of money and time, so you want to make a color decision that know you’re going to love for years to come. When picking the best paint color for your home, there are lots of things to take into consideration such as architectural style, the setting and light situation, and your region. You also need to decide if you’d rather keep it simple and classic with a white or neutral color, or take a bold approach with a deeper shades like green or blue. Below, I’ve gathered up 10 paint colors designers and homeowners alike love for home exteriors that are guaranteed to stand the test of time. (And, if you want even more exterior paint color inspiration, here are 35 more exterior paint colors ideas.)Looking for more curb appeal ideas? Check out these stories. 1Wythe Gold by Benjamin MooreErin KellyDesigner-architect duo Liz and Greg Dutton chose this soft yellow shade for their historic Ohio farmhouse because it mimics the landscape’s flowering goldenrod. Buttery warm yellows are definitely trending, but their nostalgia factor keeps them feeling timeless. Get the Look:Exterior Paint Color: Wythe Gold by Benjamin MooreTOUR THIS HOUSERELATED: These 80 Tiny Homes are Small in Size, but Big in Charm2Blueberry by Benjamin MooreRead McKendreePerfect for coastal homes or darling cottages, this true blue is quintessentially charming, which is exactly why designer Katie Rosenfeld chose it for this Maine getaway.Get the Look:For similar, Exterior Paint Color: Blueberry by Benjamin MooreRELATED: Our Best Beach House Decorating IdeasAdvertisement - Continue Reading Below3Rustic Red by Sherwin-WilliamsAdam Albright for Country LivingCherry reds might be trending this year, but we say they are a classic choice for country-style cottages and cabins any year, especially for homes near the water. This lake home’s bright red shade feels perfectly pleasant against a verdant, woodsy backdrop. Get the Look:Exterior Paint Color: Rustic Red by Sherwin-WilliamsTOUR THIS HOUSE4White Dove by Benjamin MooreJane BeilesIn search of a timeless, somewhat creamy white to match your equally timeless architecture? Then the designer favorite, White Dove by Benjamin Moore, is just what you need. Take palette inspiration from antiques dealer Ali Mahon, who paired her Connecticut barn home’s crisp white exterior with a poppy red door. Talk about timeless!Get the Look:Exterior Paint Color: White Dove by Benjamin MooreFront Door Paint Color: Spanish Red by Benjamin MooreAdvertisement - Continue Reading Below5Night Watch by GliddenBrie Williams, styling by Elizabeth DemosThe perfect camp green is hard to find, but luckily homeowner Kelly Gray did the legwork. Her Georgia lake cabin is clad in this deep green that is nicely offset with crisp white trim to give the exterior the ultimate summer camp appeal. Get the Look:Exterior Paint Color: Night Watch by Glidden TOUR THIS HOUSE6Evening Hush by BehrBrie Williams for Country LivingWhile I’m a staunch believer that gray paint should be used sparingly, Bambi Costanzo’s West Virginia cottage, painted a steely blue-gray shade by Behr, proves it does have star power. White trim keeps the look crisp.Get the Look:Exterior Paint Color: Evening Hush by BehrTOUR THIS HOUSEAdvertisement - Continue Reading Below7Black Bean Soup by Benjamin MooreBrian Woodcock for Country LivingWhile stain is always an option, there’s something charming about the opaque look of painted wood. In this Alabama farmhouse, artist-meets-farmer Kelly Bentley Ash chose designer-favorite Black Bean Soup from Benjamin Moore to complement the shining tin roof. It also makes a great backdrop to have fun with a unexpected front door color.Get the Look:Exterior Paint Color: Black Bean Soup by Benjamin MooreTOUR THIS HOUSERELATED: Get More of Our Top Brown Paint Colors To Use All Through the House8Brilliant White by Benjamin MooreDylan Chandler for Country LivingAuthor, aesthete, and antiques-lover Nora Murphy chose a simple white shade for her recent seaside Colonial makeover. Bright, almost reflective whites such as this are perfect for coastal homes; pair it with a black front door and shutters for a more traditional touch. Get the Look:Exterior Paint Color: Brilliant White by Benjamin MooreRELATED: These Are The Best Designer-Approved White Paint ColorsAdvertisement - Continue Reading Below9Barn Red by ValsparAudrey HallIf you’re looking to add a bit of quintessential country flair to your home’s exterior, try a barn-inspired red. Valspar’s aptly named Barn Red takes a grounded, more historic approach to the saturated shade thanks to its purple-brown undertones. Get the Look:Exterior Paint Color: Barn Red by ValsparTOUR THIS HOUSERELATED: Everything You Need to Know About Barndominiums10India Yellow by Farrow & BallAlpha SmootLooking for a shade that looks as good in the summer sun as it does in the fall foliage? Floral and event designer Justin Reis chose this timeless muted ochre for his Georgian-style Connecticut home. Get the Look:For similar, Exterior Paint Color: India Yellow by Farrow & BallTOUR THIS HOUSEAnna 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.  

These 15 Mind-Bending Murals Turn the Mundane Into the Memorable See 15 images of superb street art from the Smithsonian Magazine Photo Contest Text by Tracy Scott Forson Photographs selected by Quentin Nardi May 16, 2025 6:00 a.m. There are many ways to explore a town or neighborhood, but one sure route to discovery is just taking a walk around and enjoying the street art. Community members and local governments often determine what and how the otherwise empty walls of a district will be decorated. Will the artwork honor a hometown hero, reflect the area’s commitment to education or the environment, depict a beloved park or historic building, or just offer bold, bright hues to lift visitors’ spirits? No matter what’s on the wall, it’s worth talking a look. See for yourself. A pedestrian walks by a mural depicting various tropical fruits in the Old Havana neighborhood of the Cuban capital. Adriano Contreras, Cuba, 2016 A hidden mural of a face overlooks a parking lot in the Wynwood neighborhood in downtown Miami. The striking scale stands in stark contrast to the surrounding structures and plants. Sandra Frankel, Florida, 2017 From the vantage point of the High Line in New York City’s Chelsea neighborhood, this mural serves as a nice example of art in the city. Michael Boyce, New York, 2015 Colorful, abstract artwork covers the walls of a building in New York City. Natalie Dietterich, New York, 2017 A pedestrian in a red coat seems to seamlessly insert herself into a Toronto mural featuring a wintry scene. Sylvia Lorico, Canada, 2019 The community of Vincennes pays homage to Emmy winner Red Skelton, a native who hosted his own comedy show from 1951 to 1971. Stephen Torain, Indiana, 2011 Seventy-year-old cylindrical silos served as the canvas—complete with steel panels, rivets and seams—for this colorful artwork. Elizabeth Szabo, Michigan, 2024 A mural in Phoenix evokes Day of the Dead imagery. Katharine P. Britt, Arizona, 2012 Which came first, the postcard or the mural? This popular Austin art has been featured on souvenirs and used as a logo. Pam Edwards, Texas, 2015 In Tehran, a woman stands in front of an intricate mural that features a small landscape surrounded by a larger painting of flowers and swirls. Joyce Le Mesurier, Iran, 2016 Artwork of a black-and-white pig is juxtaposed against a kaleidoscope of colorful shapes. Jill Moskowitz, New York, 2009 Wynwood Walls is an outdoor museum in Miami with giant murals. Agnieszka Wieczorek, Florida, 2024 This Bob Dylan mural in downtown Minneapolis, a major city in his home state, features lyrics from the artist’s 1964 track and album of the same name: “The Times They Are a-Changin’.” Lisa Drew, Minnesota, 2021 A worker and her reflection at the Hanoi airport finish sweeping near a wall-length floral mural. Olga Leskiw-Suzuki, Vietnam, 2020 Get the latest Travel & Culture stories in your inbox.

Timothée Chalamet and Kylie Jenner at the 2024 Golden Globe Awards. Francis Specker/CBS via Getty Images 2025-05-15T16:11:15Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Kylie Jenner and Timothée Chalamet recently made their red carpet debut as a couple. They have reportedly been dating for about two years, but some fans still think it's an odd pairing. PR experts told BI that creating an air of mystery or even confusion works to the couple's advantage. Despite nearly two years of sightings, smooches, and soft launches, Kylie Jenner and Timothée Chalamet's relationship still feels like a glitch in the Hollywood matrix.Even when the couple made their long-awaited red carpet debut last week after several PDA-filled public outings, some still struggled to accept the news."i still can't believe kylie & timothee is a real thing," one user wrote on X. Jenner and Chalamet's relationship has been defined by skepticism since rumors of their pairing first surfaced in 2023. Social media users wondered what these two stars — one who rose to fame on a gaudy reality show, the other in the world of Oscar-worthy cinema — could possibly have in common."I firmly believe they sit together in complete silence," one person wrote on X. Such reactions to Jenner and Chalamet are not confined to social media's most hyperactive posters; I've heard them firsthand. A friend of mine recently said she couldn't shake the feeling that Jenner and Chalamet "don't exist in the same celebrity timeline."Conventional wisdom suggests a relationship this puzzling could be bad business for both parties. But it turns out that confusing the pop culture-following public can actually be a smart strategy.Two public relations experts who spoke to Business Insider said that the ongoing stream of confused responses to this celebrity coupling actually represents a job well done by Jenner and Chalamet's respective PR teams.It's a sign that both of their carefully cultivated individual brands are strong. So if you feel the friction from those brands clashing, you're not alone — that's precisely what makes the couple so fun to doubt.A tale of two very different celebrities Evan Nierman, the CEO of the crisis PR firm Red Banyan, described Jenner's brand as ultra-visible, social media-heavy, and incessantly self-promotional. Meanwhile, Chalamet has made a point of pitching himself as an artist with discernment and taste."The problem that people are having is those two different personas seem at odds with one another," Nierman explained. "The kind of brooding, super-serious, super-authentic actor clashes with the Kardashian model, and I think that's probably why people are having such a hard time understanding the pairing of the two of them."In reality, the public's reaction to Jenner and Chalamet as a couple has nothing to do with their personalities or compatibility behind closed doors. It has everything to do with brand positioning and integration strategies, likely orchestrated — or, at the very least, closely monitored — by large teams of publicists, image consultants, and managers (in Jenner's case, a "momager")."PR can play a much bigger role in the things that you see coming out of Hollywood than most people at home would guess," Mike Fahey, the founder and CEO of the PR agency Fahey Communications, told Business Insider. "A lot of those things that seem like happy accidents are actually by design." Timothée Chalamet and Kylie Jenner at the 2025 Oscars. Chris Pizzello/Invision/AP However, there's an important distinction between our traditional understanding of a "PR relationship," one that's been orchestrated by celebrities' respective teams to generate mutually beneficial publicity, and a real relationship that has been carefully managed by PR to maximize its impact. Yes, celebrities have a lot to gain by cross-pollinating their fan bases. But the "Kymothée" curiosity feels different from, say, Tom Hiddleston getting papped wearing a T-shirt declaring his love for Taylor Swift.Jenner and Chalamet are simply too odd a match for people to believe they have a calculated arrangement, or that they're being prodded to perform affection for the cameras. To what end? To cross-promote "Dune" on "The Kardashians"? To sell a Bob Dylan-inspired makeup line by Kylie Cosmetics?So something must be keeping them together. Could it be… love? Well, yes, maybe. Why not?The slow rollout of Kymothée was PR perfection Kylie Jenner and Timothée Chalamet pose on the red carpet at an awards ceremony in Rome. IPA/ABACA via Reuters Connect The initial media rollout of Jenner and Chalamet's relationship was drawn out over several months, nudged along by blurry photos of Jenner's car in Chalamet's driveway and anonymous tips sent to gossip aggregator Deuxmoi before the two were eventually spotted kissing at a Beyoncé concert in September 2023. Even when Jenner and Chalamet attended several awards shows together, including two consecutive Golden Globes, they avoided the spectacle of a red carpet appearance as a couple until just last week.A power couple's red carpet debut is a big deal in Hollywood — for comparison, Swift has never walked one with any boyfriend — but Jenner and Chalamet still kept it relatively low-key. Instead of posing for photos together at a star-studded event like the Met Gala or the Oscars, they staged their official debut at a sparsely attended ceremony in Rome: the David di Donatello Awards, where Chalamet received an honorary award for cinematic excellence.Their relationship's incremental, tempered launch created plenty of space for suspicion and conspiracy theories to flourish. But counterintuitively, both Nierman and Fahey said that isn't necessarily a bad thing."It's leading to more confusion, but it's also doing exactly what it's intended to do, which is sparking ever-more interest," Nierman said. "A series of slow strategic leaks that are then followed by a red carpet debut is a PR move that's designed to generate buzz and to get people talking."If Jenner and Chalamet had opted for a hard launch — a formal announcement, perhaps, or a sit-down interview for a magazine cover — it could have encouraged fans to come to grips with their romance more quickly, or to understand their connection more deeply. That would take away the mystique, which is the very thing that's keeping us interested."If I were a Kardashian and I was sitting on this relationship, I would do the exact same thing. I would be like, 'I want to get as much mileage out of this as possible. It means that I don't have to do other things. Let's milk this for all it's worth,'" Fahey said. "They've created this media firestorm while doing very little."More than two years after Jenner and Chalamet were linked, they still have valuable cards to play — their first selfie shared on Instagram, for example, or Chalamet's debut appearance on "The Kardashians.""When that happens, it's going to be a big cash cow payday for them, and that's why they're so deliberate in what they do," Fahey said of the Oscar nominee's seemingly inevitable appearance on Jenner's Hulu reality show. "There are no accidents in the Kardashian family."Each new milestone will likely spawn a new round of headlines, TikToks, and heated debates in my group chats. I anticipate receiving many more texts like, "I can't believe they're still together," and "I still don't get it."Here, "still" is the operative word. The ongoing disbelief that Jenner and Chalamet are a match is not a symptom of a PR rollout gone wrong. In fact, it's probably the opposite."It's been played to perfection," Nierman said. "It keeps us guessing, it keeps us talking, and that's entirely the point." Recommended video