As Trump axes the Digital Equity Act, other digital divide initiatives remain at risk. Credit: Kathleen Flynn / The Washington Post via Getty Images The Trump administration continues with its cost-slashing, anti-DEI agenda, and its coming for nationwide efforts to close the digital divide next.On May 8, President Donald Trump posted to Truth Social that he was directing the end of the Biden-Harris era Digital Equity Act. Trump called the program — which allocated $2.75 billion to digital inclusion programs — "racist" and "illegal." Last week, the National Telecommunications and Information Administration (NTIA) abruptly terminated grants for 20 different state projects under the act, including digital access in K-12 schools, veteran and senior programs, and rural connectivity efforts. The State Educational Technology Directors Association (SETDA) called the decision a "significant setback" to universal access goals. "SETDA stands with our state members and partner organizations who have been diligently building inclusive broadband and digital access plans rooted in community need, engagement, and systemic transformation. Equitable access to technology is not a partisan issue–it is a public good." You May Also Like The decision points to an uncertain future for existing broadband and digital connectivity efforts managed or funded by the federal government. Since most serve specific communities and demographics which are at the highest risk of being technologically disconnected or left behind, they have entered the crosshairs of the administration's "anti-woke" crusade. Indigenous connectivity advocates, for example, warned that a Trump presidency would have an immediate impact on rural broadband projects that were in the process of breaking ground, as the president simultaneously promised to shake up the FCC and whittle down the federal government's spending. Mashable Light Speed Want more out-of-this world tech, space and science stories? Sign up for Mashable's weekly Light Speed newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! “Ongoing efforts to bridge the digital divide in the U.S. face significant challenges with the recent termination of the Digital Equity Act, and potential drastic changes coming to the Broadband Equity Access and Deployment (BEAD) program," said Sharayah Lane, senior advisor of community connectivity for the global nonprofit the Internet Society and member of the Lummi Nation. "This will critically impact the future of affordable, reliable, high-speed Internet access in underserved areas, further limiting essential education, healthcare, and economic opportunities."The Biden administration, which pledged billions of federal dollars to building out the nation's high speed broadband and fiber optic network, had made closing the digital divide a central component to its massive federal spending package, including launching the Affordable Connectivity Program, the Tribal Broadband Connectivity Program, and the BEAD initiative. BEAD funds, in particular, were split up between state broadband infrastructure projects, including 19 grants over $1 billion. But now the funds are being pulled out from under them. Commerce Secretary Howard Lutnick has had the $42 billion BEAD budget under review since Trump took office, and has falsely claimed that the program "has not connected a single person to the internet," but is rather a "woke mandate" under the previous presidency. Related Stories Meanwhile, Trump has pushed to open up an auction of highly sought after spectrum bands to serve WiFi, 5G, and 6G projects under his "One Big Beautiful Bill" — a move that may sideline rural connectivity projects focused on building reliable, physical connections to high speed internet. Advocates have long fought for federal investment in "missing middle miles" of fiber optic cables and broadband, rather than unstable satellite connections, such as those promised by Elon Musk's Starlink. "We need to prioritize investments in sustainable infrastructure through programs like BEAD and the Digital Equity Act to ensure long-term, affordable Internet access for all Americans, strengthen the economy, and bolster the nation’s overall digital resilience," said Lane. Chase DiBenedetto Social Good Reporter Chase joined Mashable's Social Good team in 2020, covering online stories about digital activism, climate justice, accessibility, and media representation. Her work also captures how these conversations manifest in politics, popular culture, and fandom. Sometimes she's very funny.

We’re looking for an Implementations Project Manager to drive end-to-end delivery of client implementations, ensuring seamless coordination between internal teams and external stakeholders. This role is critical in ensuring successful project delivery through strong project management, proactive communication, and detailed execution.If you thrive in high-impact environments and are passionate about delivering exceptional client experiences, this could be your next opportunity.What you get to do:Project Leadership & CoordinationOrganise and lead internal handover meetings to ensure a smooth transition from Sales to Implementation.Facilitate client project kick-offs to align on objectives, timelines, and expectations.Oversee end-to-end project execution and delivery, ensuring clear milestones and deliverables.Communication & Stakeholder ManagementCoordinate discussions with third-party vendors to align project scope and ensure contractual obligations are met.Maintain strong lines of communication with infrastructure and technical teams to ensure alignment.Manage daily communication channels with clients, providing updates and resolving queries.Documentation & Risk ManagementVerify implementation documentation, including Product Specification Forms, for accuracy and completeness.Monitor, track, and follow up on tasks that impact project delivery.Proactively identify and escalate risks or potential delays to mitigate impact.Cross-Functional SupportCollaborate with Technical Implementation Managers and other teams to ensure smooth execution of implementation activities.Assist with internal coordination and external client interaction where required.What it takes to succeed:Proficiency with project management tools such as Microsoft Project, Jira, or Asana.Strong understanding of the card issuing and payment processing environment.Proven ability to manage complex implementations and balance multiple priorities.Exceptional communication and stakeholder engagement skills.Ability to adapt quickly in a fast-paced, cross-functional environment.Strong problem-solving skills and a proactive mindset.Fluency in English (written and verbal).Education & Experience:Bachelor’s degree in Business, Engineering, or a related field.Project Management certification is a plus.3 - 5 years of experience in project management, ideally in implementations or a similar client-facing role within fintech or payments.Strong familiarity with software delivery and infrastructure alignment.Knowledge of cards and the payment industry is preferred.What you can look forward to: At Paymentology, it’s not just about building great payment technology, it’s about building a company where people feel they belong and their work matters. You’ll be part of a diverse, global team that’s genuinely committed to making a positive impact through what we do. Whether you’re working across time zones or getting involved in initiatives that support local communities, you’ll find real purpose in your work – and the freedom to grow in a supportive, forward-thinking environment.Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote All Other Remote JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

Save this picture!© Ugo Carmeni, 2025A pavilion in a Biennale serves as a platform for cultural expression, allowing a nation to articulate its architectural identity while responding to global challenges. These national exhibitions reflect how each country interprets the event's central theme through the lens of its own landscapes, histories, and future aspirations, reinforcing architecture's ability to act not only as a built discipline, but also as a catalyst for reflection, transformation, and dialogue. In this context, Montenegro's contribution resonates with particular force. Titled Terram Intelligere: INTERSTITIUM, the pavilion draws on the concept of a newly understood anatomical system of fluid-filled spaces running throughout the human body, facilitating connection and exchange. Once considered dense and inert, the interstitium is now revealed to be a network of dynamic interrelation — a metaphor that the curators use to reframe architecture as an active, living inquiry into natural, artificial, and collective intelligence, in tune with this edition's theme: Natural. Artificial. Collective.Curated by Prof. Dr. Miljana Zeković, with contributors Ivan Šuković, Dejan Todorović, and Emir Šehanović, transforms the newly inaugurated Arte Nova space in Venice's Campo San Lorenzo into a dynamic laboratory. The project treats the interstitium not only as a biological metaphor, but as an architectural strategy, and the pavilion becomes a mediating membrane, connecting biology, tradition, and speculative futures. As Zeković explains, "Architecture naturally occupies a space between disciplines — not only between art and science, but also engineering. Here, it becomes a form of mediation between species, materials, and temporalities."Floating polycarbonate forms, infused with soil-derived bacterial cultures, are suspended by cables and arranged in a carefully orchestrated constellation. These transparent volumes are not inert, but biologically active. Over the six months of the Biennale, the microorganisms within them will grow, mutate, and generate bio-pigments in response to environmental stimuli such as light and temperature. This expanded view of architecture revisits the suvomeđa, a traditional Montenegrin dry-stone boundary wall built without mortar. More than a marker of property, the međa embodies ecological coexistence and cultural memory. In the pavilion, its principles are reinterpreted through these structures, each evoking the porosity, modularity, and autonomy of this vernacular tradition. "The međa is present in the pavilion both as a metaphor and as a symbol," observes Zeković. "Stones traditionally assembled without binding material are now reimagined in a collective, organic form — each floating, yet interconnected." Save this picture!Save this picture!Rethinking Intelligence (and Color) Through Soil and Slow TransformationDeveloped in collaboration with the Institute of Molecular Genetics and Genetic Engineering at the University of Belgrade, the project demonstrates how soil bacteria collected from Durmitor National Park, Skadar Lake, Bukumirsko Lake, and villages near Virpazar produce bio-pigments under UV exposure. These vibrant and resilient pigments suggest a future in which ecological coloring could replace synthetic and toxic dyes in the construction industry. "The bacteria developed fascinating spatial systems," says Zeković, "which could easily be envisioned, in some modified form, applied in construction." For Zeković, this convergence between science and design reflects a deeper ambition: It is entirely realistic to expect that many industrial materials containing hazardous components will be replaced by natural, sustainable alternatives. (...) Science, art, and architecture can help create a better, more stable, and sustainable world. The Montenegrin pavilion offers more than a visual encounter — it invites participation. As Zeković states: Visitors can engage with the space in multiple ways. The first is as a passive observer, taking in the installation from afar. The second is for the curious — those who step closer, who examine the bacterial worlds, who enter the 'boundary' and explore this unexpected potential from multiple angles. Save this picture!Inside these floating forms, visitors discover not only living microbial ecosystems, but also narrative templates, abstract representations of Montenegrin terrains, and even living bacterial nanocellulose. It is a multisensory and educational journey — one that encourages slow observation and critical reflection.Rather than offering a definitive solution, Terram Intelligere: INTERSTITIUM invites us to rethink how we define intelligence, materiality, and boundaries. The project asks: what can we learn from soil, from tradition, from microorganisms? In doing so, Montenegro's contribution rejects immediate spectacle in favor of slow, cellular, and continuous transformation — proposing an architecture that adapts, and grows. As the curator affirms, "The theme of intelligence and future hybrid intelligent systems demands far more than mere interpretation; it requires deep engagement on multiple levels."Save this picture!Save this picture!And she reminds us that the Biennale is more than a platform for display: "The Architecture Biennale is indeed a showcase of nations and entities, but — and this is particularly important to me — it is also a place of education. Visitors come primarily to see and to learn, and therefore, the innovations and insights presented through the exhibitions are of great significance."Just as the međa quietly delineates space while sustaining complex and invisible ecologies, the systems explored in the Montenegro Pavilion suggest that resilience does not begin with grand gestures, but with subtle, intelligent adaptation. Rooted in the soil, microorganisms model complex cooperation and environmental responsiveness, constructing spatial networks, generating living pigments, and embodying an architecture that grows from within — silently, incrementally, collectively. As the text presented in the pavilion reminds us, "Through this quiet evolution, the city of the future may rise upon a living, ever-evolving foundation – one shaped by continuous growth, shared intelligence, and the subtle emergence of hybrid systems rooted in nature."Save this picture!Commissioner: Mirjana ĐurišićCurator: dr Miljana ZekovićExhibitors: Ivan Šuković, Dejan Todorović, Emir ŠehanovićProfessional collaborators and project partners: Institute of Molecular Genetics and Genetic Engineering (IMGGE), University of Belgrade - Dr Jasmina Nikodinović-Runić, Vukašin Janković, Dr Tatjana Ilić-Tomić, Dr Ivana Aleksić, Dr Dušan MilivojevićCreative team: Tamara Marović, Maja RadonjićProducer: Jelena BožovićProject technical director: Aleksandar JevtovićTechnical production assistants: Miloš Jevtović, Branislav DragojlovićLighting – technical implementation: Boris Butorac, Jovan Vanja MarjanovićSound design: Miloš HadžićPublication design and visual identity of the exhibition: Igor MilanovićOrganizer: Ministry of Spatial Planning, Urbanism and State Property of Montenegro

All products featured on Architectural Digest are independently selected by our editors. However, we may receive compensation from retailers and/or from purchases of products through these links.“I don’t like fame. I don’t like the sense of belonging to the public,” Elizabeth Taylor admits in Elizabeth Taylor: The Lost Tapes, the 2024 documentary featuring unearthed recordings of the Hollywood legend by journalist Richard Meryman. “The person my family know[s] is real. But the other Elizabeth Taylor, the famous one, really has no depth or meaning to me. It’s a commodity and it makes money. One is flesh and blood, and one is cellophane.” Taylor, who skyrocketed to fame as a child actor and was among the first film stars to receive a $1 million payday for a role, spent much of her life in the spotlight. It’s not surprising, then, that the late icon considered her public image to be completely divorced from her private persona.The Lost Tapes grants viewers a glimpse into that life through Taylor’s candid reflections on it all—the romances, the tragedies, the opulence, and the scandals. Though her superstar status meant that even her rare private moments sometimes got the on-camera treatment, the below selection reveals an intimate look at the “real” Elizabeth Taylor’s time at home, outside the limelight.Photo: George Rinhart/Corbis via Getty Images1/211942In 1939, Taylor, her older brother Howard, and her parents—stage actress Sara Sothern and art dealer Francis Lenn Taylor—moved from London to Los Angeles. After a couple of years living in LA’s Pacific Palisades neighborhood, the family moved into a Spanish-style Beverly Hills home. Here, Howard and Elizabeth are seen in the backyard with their pets during the year in which the 10-year-old began her acting career.Photo: Earl Theisen/Getty Images2/211947This 1947 shot shows Taylor and her mother prepping hamburgers and hot dogs in the kitchen of their family home. Biographer Alexander Walker wrote that the 1929-built abode sported “pink stucco walls and red roof tiles, a huge round-arched window facing the road and a dusty front ‘yard’ with an olive tree in it.” It would remain the young starlet’s home until her first marriage.Photo: Bettmann/Contributor/Getty Images3/211949Featuring decorative tiles and terra-cotta floors, the dwelling had all the classic Spanish-style details that remain beloved throughout Los Angeles today. The Hollywood legend is pictured here at age 17, drying off her dog, Amy (named after Taylor’s character in the film Little Women, which hit theaters in March of that year).Photo: Bettmann/Contributor/Getty Images4/211949The future Oscar winner is seen here with her mother reading sheet music at their piano. At the time, Taylor was engaged to William Pawley Jr., the son of a US ambassador. “I want our hearts to belong to each other throughout eternity,” the teenage actor wrote in a letter to Pawley. It wasn’t in the cards, however; the engagement ended just a few months later.Photo: Archive Photos/Getty Images5/211950Photographed in her childhood home, the movie star twirls in a velvet dress before an ornately framed painting. Walking in her father’s footsteps, Taylor continued to collect art throughout her life. The very same painting can be seen in photos of Taylor’s final residence, six decades after this snapshot was taken.Photo: Bettmann/Contributor/Getty Images6/211950Eager for independence from her sheltered upbringing, Taylor married hotel heir Conrad “Nicky” Hilton Jr. in May 1950 at the age of 18. However, Hilton was “abusive, physically and mentally,” the actor wrote in her 1988 book Elizabeth Takes Off. “The honeymoon and the relationship were both over by the time we returned. I couldn’t bear to reveal that my marriage was a failure, and I kept quiet for months. Around Christmas, I could stand it no longer and moved out of our house.” The residence in question, pictured here, was a Pacific Palisades rental where the pair stayed after a stint at the Bel Air Hotel.Photo: Ed Jackson/NY Daily News Archive via Getty Images7/211951The young couple officially divorced in January 1951 and Taylor moved into New York’s Plaza Hotel, which was owned by Hilton’s father at the time. The exes met on October 15, 1951, in her suite to wrap up some loose ends—including a property settlement, per the New York Daily News, which published the above snapshot. The star speaks fondly of her time at the iconic hotel in The Lost Tapes, describing it as “the first kind of free, independent time I’d ever had in my life.”Photo: Ed Jackson/NY Daily News Archive via Getty Images8/211951The couple discusses the divorce settlement and meets with the press in Taylor’s Plaza suite here. “I was a divorcée, and I was 19. Roddy [McDowall] was there with me, and Monty [Clift]. Just having fun with my chums, doing all kinds of crazy things,” Taylor said of her time living at the famed hotel. “If I wanted to go ice skating at nine at night, we would. Or we’d just have hot dogs all day long. Completely irresponsible sort of behavior. I didn’t have to keep proper hours. I didn’t have to do anything properly. And I had a ball.”Photo: Bettmann/Getty Images9/211952In 1952, Taylor married English actor Michael Wilding and moved into his London apartment, where they are pictured here playing piano. The starlet looked to Wilding, who was two decades her senior, as a source of stability and comfort following her volatile first marriage, she explains in The Lost Tapes.Photo: WATFORD/Mirrorpix/Mirrorpix via Getty Images10/211953Taylor and Wilding bought a house in Beverly Hills in 1953, the same year that the Cat on a Hot Tin Roof star gave birth to her first child, Michael Jr. Pictured in September of that year, the 21-year-old actor reclines on her sofa with the infant. “We will have the outside painted yellow, with white shutters, the living room will be in gray with periwinkle blue—my favorite color, ” Taylor allegedly said upon buying the home.Photo: Bettmann/Contributor/Getty Images11/211953Baby Michael’s sweetly decorated nursery had a butter yellow, baby blue, and pink color scheme. Taylor described the storybook Beverly Hills dwelling in her 1965 tome, An Informal Memoir. “One whole wall was built of bark with fern and orchids growing up the bark,” she wrote. “You really couldn’t distinguish between the outside and inside. And all the colors I loved—off-white, white, natural woods, stone, beigy marble. The pool was so beautiful. There were palm trees and rock formations—it looked like a natural pool, with trees growing out of it. It was the most beautiful house I’ve ever seen.”Photo: CBS via Getty Images12/211957Taylor and Wilding split after nearly five years of marriage. One month after the divorce was finalized, the Cleopatra star married film producer Mike Todd in February 1957. The two are pictured here in their penthouse apartment on Manhattan’s Upper East Side. Taylor and Todd kept estates on both coasts; in addition to their NYC abode, they maintained a 1920s Spanish-style primary residence near Coldwater Canyon in Beverly Hills. The roughly 4,000-square-foot home didn’t offer the high-profile pair much privacy—its front steps began right at the curb, winding around a turret, and up to an arched wood front door.Photo: CBS Photo Archive/Getty Images13/211957A few months after they married, Todd and Taylor welcomed CBS’s cameras into their NYC home at 715 Park Avenue for a 1957 Person to Person segment, which showed the newlyweds’ duplex filled with art; a Monet painting in a gilded frame hangs behind them in this photo. Taylor gave birth to the couple’s daughter, Liza, before Todd’s tragic 1958 death in a plane crash.Photo: Bettmann/Contributor/Getty Images14/211966After a five-year marriage to singer and actor Eddie Fisher that generated tons of scandalous tabloid fodder, Taylor married her Cleopatra costar, Richard Burton, in 1964. The couple, whose relationship essentially birthed modern paparazzi culture, is pictured here at their Gstaad, Switzerland, property. Dubbed Chalet Ariel, Taylor and Fisher purchased the estate early in their marriage. The Who’s Afraid of Virginia Woolf? star retained ownership of the dwelling for the rest of her life.Photo: James Andanson/Sygma via Getty Images15/211967The couple—again pictured at their Swiss vacation home, with a trio of petite pooches in tow—were known for their passionate yet turbulent marriage. “We enjoy fighting,” Taylor reportedly said. “Having an out-and-out, outrageous, ridiculous fight is one of the greatest exercises in marital togetherness.” It’s fitting that the relationship was filled with drama, seeing as it began with some: The couple started their affair while Taylor was still married to Fisher and Burton was married to Welsh actress Sybil Christopher.Photo: David Cairns/Getty Images16/211967The frequent costars also spent a great deal of time on their yacht, Kalizma. They reportedly bought the luxury vessel for $192,000 (roughly $1.8 million adjusted for inflation) in 1967 and invested another $200,000 in refurbishing it to their liking. It was onboard the Kalizma that the Welsh actor gifted Taylor the famous 69.42-carat Cartier diamond now known as the Taylor-Burton diamond.Photo: David Cairns/Express/Getty Images17/211967The couple looks out from the deck of the Kalizma in this snapshot. They reportedly outfitted the vessel with Chippendale mirrors, Louis XIV chairs, and English tapestries. Taylor’s suite—from the bedroom to the bathroom—was done up in a hot pink color scheme. Grace Kelly, Orson Welles, and Ringo Starr were among the A-list guests that Taylor and Burton entertained on the yacht.Photo: Disney General Entertainment Content via Getty Images18/211977After divorcing Burton (twice—once in 1974 and again in 1976 after a brief second marriage), Taylor married American politician John Warner in December 1976. They are pictured here in the kitchen of their roughly 7,000-square-foot fieldstone-walled manor in Marshall, Virginia. Taylor reportedly kept horses on the sprawling property, which was known as Atoka Farm.Photo: Disney General Entertainment Content via Getty Images19/211977Warner and Taylor roam the grounds of the 400-acre plot in this photo. The actor helped her husband with his 1978 senate campaign, though his busy government schedule put a strain on the marriage, and they divorced in 1982. “She was my ‘partner’ in laying the foundation for 30 years of public service in the US Senate,” Warner said later. “We were always friends—to the end.”Photo: Michael Ochs Archives/Getty Images20/211987Taylor’s primary residence from 1981 until her 2011 death was at 700 Nimes Road in Bel Air. This 1987 photo shows the Hollywood icon smiling on her sofa in the ranch-style home, which was formerly owned by Nancy Sinatra. Taylor worked with AD100 Hall of Fame designer Waldo Fernandez to decorate the dwelling, which was posthumously featured in the July 2011 issue of Architectural Digest. A trophy room, plush pastel carpets, and abundant flower gardens were among the estate’s highlights.Photo: Michael Ochs Archives/Getty Images21/211987Taylor sits in a welcoming living room at her Nimes Road dwelling in this shot. “Of course when she had to appear at an important event, she would put on the most beautiful dress and the most amazing jewelry and become Elizabeth Taylor, the star,” famed fashion designer Valentino once said. “But at home she liked a cozy life, friends, good food.”The Hollywood legend died in 2011 at age 79.

  Photography has remained fundamentally horizontal for over a century. Fujifilm’s latest creation shatters this convention with stunning simplicity. The new X half premium compact digital camera transforms how we capture images by embracing vertical orientation as its foundational design principle. This revolutionary approach acknowledges our smartphone-shaped world while delivering an experience distinctly separate from mobile photography. The camera challenges our assumptions about what photography tools should look like and how they should function. Its design speaks to a generation that consumes images vertically but craves tactile experiences beyond touchscreens. Designer: Fujifilm Design Origin & Philosophy The X half emerged from Fujifilm’s experimental design workshops, where creative freedom flourishes without immediate commercial pressure. These sessions allow designers to explore concepts that challenge conventional thinking about cameras. During one particularly productive workshop, a designer named Bueno presented a fully realized mock-up addressing his personal frustration with film photography’s ongoing costs. As noted in Fujifilm’s development history, Bueno loved shooting film but found it financially challenging, which sparked his creative solution. This origin story reveals a fascinating inversion of traditional product development cycles. Bueno’s concept arrived as a complete physical design with no internal components or technical specifications. The engineering team faced the unusual challenge of building technology to fit an established form rather than designing around predetermined components. Senior leadership immediately recognized the concept’s potential, supporting this rare bottom-up development process that preserved the designer’s original vision. The concept brilliantly translates half-frame film photography into digital form. Traditional half-frame cameras, popular for their economy and distinctive aesthetic, captured two vertical images on a single 35mm film frame. This digital interpretation maintains that vertical orientation while eliminating film costs entirely. Fujifilm went further by incorporating intentional constraints that shape the photographic experience. Physical Design & Ergonomics The camera lacks image stabilization and captures JPEGs exclusively without RAW capability. These aren’t technical limitations but deliberate design decisions that encourage a specific relationship with photography. Users focus on composition and timing rather than post-processing possibilities or technical perfection. The design philosophy prioritizes the act of seeing over technical manipulation, encouraging photographers to develop their eye rather than their editing skills. The X half weighs a mere 240 grams (8.5 ounces), lighter than many smartphones despite its purposeful construction. Its compact dimensions (105.8mm x 64.3mm x 30.0mm) make it genuinely pocketable, fitting comfortably in standard jeans pockets without the awkward bulge larger cameras create. Fujifilm selected a fixed 10.8mm F2.8 prime lens, equivalent to 32mm in traditional 35mm format. This focal length provides the perfect balance between environmental context and subject isolation. According to the product specifications, this specific field of view mirrors that of the beloved Fujifilm QuickSnap disposable cameras, creating an immediately familiar perspective that feels natural for everyday photography. The most innovative physical element is undoubtedly the Frame Advance Lever. This mechanical component serves genuine functions beyond nostalgic decoration. Users physically advance the digital frame, combining two vertical images into diptychs or merging short video clips with still photographs. The tactile resistance of the lever makes each frame advance a deliberate act, reinforcing intentionality in image-making. Interface & User Experience Fujifilm reimagined the camera interface from first principles rather than adapting existing designs. The 2.4-inch touch screen provides intuitive control without overwhelming complexity. Traditional button arrays have been replaced with gesture controls that feel natural to digital natives while maintaining connections to analog processes. The interface allows users to adjust the dividing line between frames. According to the technical documentation, photographers can select narrow, regular, or bold styles reminiscent of Instax prints, and even change the color between black and white. Switching between color and monochrome modes happens through simple, intuitive controls that don’t interrupt the photographic process. The true interface innovation appears when connecting to smartphones. The camera simulates a film development process when transferring images. Users select which “roll” to import, initiating a development sequence that builds anticipation. The digital contact sheet displays edge codes that reference specific film simulations, such as “RTR” for retro filter. This thoughtful replication of analog workflows transforms routine file transfer into a meaningful experience that enhances the photographer’s connection to their images. The menu system abandons conventional hierarchical organization for a more intuitive approach. Instead of burying options within nested submenus, the interface presents contextually relevant controls based on shooting mode and camera orientation. This adaptive interface reduces the cognitive load on photographers, allowing them to focus on image-making rather than menu navigation. The system learns from user behavior, prioritizing frequently used settings for faster access. Visual feedback appears through subtle animations that reference analog processes. When adjusting exposure compensation, a virtual needle moves across a scale reminiscent of light meters from manual cameras. These visual metaphors create intuitive understanding without requiring technical knowledge, making the camera accessible to photographers at all experience levels. Image Quality & Creative Features The X half’s output demonstrates its design philosophy most clearly. Fujifilm incorporated 13 Film Simulation modes based on their 90-year color science heritage. Each simulation offers unique characteristics that influence how photographers approach different subjects and lighting conditions. The system goes further by incorporating three new creative filters inspired by film photography: Light Leak, which creates a slightly exposed look; Halation, a halo effect that appears around light sources; and Expired Film, which mimics the grainy look of older analog film. These elements come from an internal database of authentic film artifacts, applied without preview to reintroduce the element of surprise that made film photography exciting. This unpredictability represents a deliberate design choice that restores the anticipation often missing from digital photography. Optional date stamping mimics the iconic corner-markings found on 1990s film cameras, enhancing the nostalgic experience for users familiar with physical prints. The camera’s grain behavior connects to its advanced image processing engine, replicating organic and irregular patterns characteristic of traditional film. The vertical orientation influences composition in profound ways. By default, photographers naturally frame subjects differently when working in portrait format. This constraint encourages fresh perspectives on familiar subjects, breaking habitual compositional patterns that develop with horizontal framing. Color science receives special attention through custom calibration for vertical subjects. The color rendering has been optimized for skin tones, architecture, and vertical landscapes, with subtle adjustments to saturation and contrast that complement vertically framed subjects. Environmental Considerations Fujifilm designed the X half with environmental impact in mind. The camera’s simplified internal architecture reduces component count compared to similar-sized digital cameras, minimizing resource consumption during manufacturing while extending potential service life through mechanical simplicity. The fixed lens eliminates the environmental impact of multiple lens production and transportation, reducing materials usage and packaging waste associated with interchangeable lens systems. Most significantly, the X half’s design philosophy encourages users to value fewer, more meaningful images. This approach reduces the environmental impact of data storage and transfer while fostering a more sustainable relationship with photography itself. By emphasizing quality over quantity, the camera encourages a more mindful approach to image creation and consumption. My Thoughts for Now At $849.99 USD, the X half targets photography enthusiasts seeking something beyond conventional cameras. Fujifilm clearly understands this camera serves a specific market segment rather than competing directly with multi-purpose devices. The price reflects both unique design and premium materials while offering value beyond technical specifications. The camera’s pocketable size encourages daily carry, resulting in more frequent use than larger systems that often remain at home. This regular engagement creates more photographic opportunities, enhancing practical value. The fixed lens and simplified controls eliminate ongoing accessory costs while encouraging mastery of a single focal length. The X half represents a significant departure from conventional camera design by challenging horizontal orientation as the default. Its most profound impact lies in embracing constraints as creative catalysts. Early testing revealed that while professional photographers initially expressed frustration, those willing to adapt discovered these limitations fostered creativity rather than restricting it. “X half is special because it rekindles our love for the compact camera and blends it with the modern sensibilities that make it easy to make a part of our everyday lives,” explains Victor Ha, vice president of Electronic Imaging and Optical Devices Divisions at Fujifilm North America Corporation. The camera arrives as design trends increasingly embrace digital interpretations of analog experiences. From skeuomorphic interfaces to vinyl record resurgence, consumers seek tangible, imperfect experiences within our digital world. What makes the X half truly innovative lies in its intentional subtractions from photography. By removing RAW capture options, limiting post-processing flexibility, and challenging horizontal orientation, Fujifilm creates something paradoxically nostalgic yet forward-looking. The FUJIFILM X half compact digital camera will be available in late June 2025 at a Manufacturer’s Suggested Retail Price of $849.99 USD and $998.99 CAD.The post Fujifilm Reimagines Photography with X half Premium Compact Digital Camera first appeared on Yanko Design.

As the second largest retail event in the U.S. after the holiday season, back-to-school shopping represents a crucial opportunity for brand advertising. And this year, the path to reaching parents clearly leads to one place: their mobile devices.Between March and April 2025, Unity surveyed 1,234 parents in the U.S. with children under 18 through Qualtrics to uncover how they're using mobile apps and games during this critical shopping season*. Our research uncovers specific insights into their shopping behaviors, ad engagement patterns, and preferred retail channels that can help marketers create more effective mobile strategies. Let's take a closer look at the key data and takeaways from our survey.Mobile meets back-to-schoolParents are embracing mobile as a primary path to purchase, with the majority using apps to research and buy back-to-school items.68% of parents use mobile apps for back-to-school shopping48% download new apps specifically for the back-to-school shopping seasonDads are more app-curious with 55% downloading new apps vs. 44% of moms46% complete purchases directly through mobile appsNot only are parents using apps for shopping, generally, they are logging serious screen time:22% spend 1–2 hours/day33% spend 3–4 hours/day on their phones35% spend 5+ hours on their phones58% of parents say they’re likely or very likely to engage with rewarded ads offering back-to-school savingsDads (59.6%) are slightly more responsive than moms (58.4%)Only 11.9% of parents are unlikely or very unlikely to engageMost parents are deal-driven, with coupons and limited-time offers leading their purchase decisions:Coupons/deals: 32% overall (35% of moms, 28% of dads)Limited-time offers: 14% of parents overall, with dads more responsive (17.4%)Cost and variety matter while proximity, bundles/packages and customer service ranked lowestRecommendation: Prioritize in-app advertising with deal-focused creatives, combined with rewarded ad formats that highlight limited-time urgency.School’s in (early) sessionWhen looking at timelines – our survey data indicates that parents are early planners, with the majority of shopping activity kicking off in June (or earlier!), with dads being more likely to get an early jump on back-to-school shopping.Nearly 1 in 5 parents (21%) are early planners, starting their shopping before June.Dads are more likely to start early — 29% shop before June vs. 16% of moms.Nearly half of parents (46%) kick off shopping in June or July, with July alone driving the biggest surge (29.6%)—the peak of back-to-school season.24.8% wait until August, likely driven by last-minute needs or school start dates.Recommendation: Consider launching your awareness campaigns in mid-late Q2 to engage early planners while they’re still in research mode.Spend-ready parentsParents that we surveyed indicated they are ready to spend when it comes to back-to-school shopping, with moms being the primary purchasers. Advertising also plays a large role, with the majority of parents citing it as influential in the purchase-making process.42% of parents plan to spend over $150 on back-to-school clothing alone.Another 20% plan to spend between $100–$150, showing that back-to-school is a high-intent, high-investment moment for many families.63% say advertising somewhat or significantly influences their back-to-school purchase decisions.Moms drive the majority of back to school purchases, with 86% identifying as the primary household shopper.Recommendation: Target mobile ad placements that reach moms - who likely drive the majority of purchase decisions - especially through mobile gaming where women outpace men (73% vs. 65%). With 63% of parents somewhat or significantly influenced by advertising and most planning substantial budgets, mobile campaigns during this high-intent period can help you reach your target audience.What’s in their cartParents that we surveyed indicated they have distinct preferences when it comes to both what they're buying and where they're shopping for back-to-school items, with notable differences in shopping behavior between moms and dads.Classroom supplies (33%), clothing (24%), arts and crafts supplies (9%) and electronics (8%) top the shopping listParents surveyed shop, or would consider shopping, at familiar favorites for back-to-school supplies:Walmart (39%)Amazon (17%)Target (12%)Staples (8%)Retailers vary by parent: While both moms and dads shop at mass retailers, dads are more likely to favor tech and office supply stores than moms.Dads were 2x more likely to shop at Staples (12%) vs. moms (6%)Dads were 2.4x more likely to shop at Office Depot (12%) vs. moms (5%)Dads were 3.3x more likely to shop at Best Buy (10%) vs. moms (3%)Moms were 1.6x more likely to shop at Walmart (46%) vs. dads (28%)Recommendation: Align your messaging with top retail destinations and tailor creative and app lists by parent type.Turn these back-to-school insights into conversions: Launch awareness campaigns by mid-Q2 to capture early planners, meet parents where they spend significant time—in mobile apps and games—and craft messaging that emphasizes urgency and deals. By implementing these data-driven strategies, your brand can earn an A+ this back-to-school season while increasing your advertising ROI potential.Learn more about Unity’s Programmatic solutions.*Disclaimer: Findings are based on survey responses from groups of differing sizes (755 mothers, 441 fathers, 38 not specified). While each group was large enough to identify directional patterns, differences in sample size may affect comparability.Qualtrics. "Survey Data Collected Using Qualtrics Software." Qualtrics, March-April 2025, https://www.qualtrics.com.

Formula E has always felt like a sport from the future, with electric cars zipping through city circuits and drivers navigating attack modes and energy boosts with joystick-like precision. So when Nissan's Formula E team wanted to create a campaign for their home race in Tokyo, leaning into the world of retro gaming didn't just make sense—it felt inevitable. The result is 'NISMO Electric Racer Tokyo', a '90s-style arcade game developed by creative agency Dark Horses in collaboration with Japanese-Australian illustrator Kentaro Yoshida. Free to play on desktop and mobile, the game puts players in the hot seat of a stylised Nissan Formula E car, tearing through an 8-bit Tokyo cityscape at top speeds of 322kph, which is the same velocity as the real Nissan E-4ORCE 04. With nods to pixelated classics like Outrun and Street Fighter, the game channels the energy of a bygone gaming era while cleverly linking back to real motorsport. "We've always talked about how Formula E itself feels like a video game," says Dark Horses creative Hannah Rendell. "With its unpredictability, pit boosts, and attack modes, it felt natural to bring those mechanics into a playable world." It's essentially a nostalgic thrill ride packed with thoughtful details. From cherry blossoms and Mount Fuji in the background to lightning bolt speed boosts symbolising attack mode, everything has been designed to reflect both the culture of Japan and the mechanics of the race. Get too slow, and you'll see a 'Game Over' screen – a cheeky nod to Formula E's emphasis on energy management. For creative duo Hannah and Lara Hallam, Tokyo provided the perfect setting for such a concept. "Nineties gaming is making a huge return to pop culture," explains Lara. "So playing into that nostalgic and retro world for the Tokyo E-Prix, a city so iconic for its gaming culture, felt like a no-brainer." The game is part of a wider campaign activation that includes a special edition race livery, which was recently revealed ahead of the Tokyo E-Prix on 14 May. The livery, also designed by Kentaro, reimagines the team's Sakura theme through the same vibrant, pastel-toned aesthetic seen in the game. His illustrations were then translated into crisp pixel art, creating visual cohesion across both digital and physical formats. "Using Kentaro's illustrations as a base, and then transforming them into 8-bit pixel art, meant we ended up with designs that felt truly unique to our game and Japanese culture as a whole," says Hannah. It marks Kentaro's first foray into the world of gaming and one that's already generating buzz across design and motorsport circles alike. Creative consistency was key across the entire campaign, from the game itself to the accompanying video spot, which riffs on classic 90s toy commercials. Live-action footage is spliced with gameplay and VHS-style overlays, mimicking the look and feel of old-school arcade advertising. It's tongue-in-cheek and era-authentic but with a modern twist, much like the game itself. "This is our strategy of noisy thinking," said Dark Horses creative directors Sean Johnson and Josh Pearce. "Generating creatively distinct and individual social-based ideas that drive constant awareness and engagement, working at its very best." The studio has built a reputation for unconventional sports marketing, and this campaign is no exception. While most motorsport content focuses on realism, tension, and competition, NISMO Electric Racer Tokyo invites a sense of play, not just for superfans but also for casual players and culturally curious audiences. "You don't have to be a Formula E fan to want to battle it out on the track in our game," says Lara. "But you can guarantee that after playing it, you'll see Nissan as an exciting team to watch out for." Nissan's Formula E journey is a story of resilience and ambition. Having entered the championship in 2018, the team started at the back of the pack, but this year, they're leading the standings. That trajectory mirrors the underdog thrill of a good racing game: start slow, learn the mechanics, and eventually take the win. "We're very excited to return to our home E-Prix in Tokyo," said Tommaso Volpe, managing director and team principal of the Nissan Formula E Team. "This race is not only a major moment for us as a team but also a chance to celebrate our Japanese heritage. With 'NISMO Electric Racer Tokyo', we've created something that captures the energy we bring to the track while celebrating Japan's legendary gaming culture." For Nissan, this campaign is part of a broader push to electrify its brand identity through how it connects with fans and its vehicles. As the first Japanese manufacturer in Formula E and a pioneer in electric powertrains, Nissan has long positioned itself as a future-forward player. But this activation also shows they're equally comfortable mining the past for creative inspiration. It's quite a unique blend of heritage and innovation through a campaign that brings together game design, illustration, advertising, and automotive branding in one cohesive world. Whether you're a gamer, a designer, or a motorsport die-hard, there's something irresistibly satisfying about seeing a 90s-style arcade racer reimagined for the electric age. If you're thinking of trying it out, just be aware that Nissan's own drivers, Oliver Rowland and Norman Nato, have already set the bar high on the leaderboard (and that it's just a little bit addictive once you start playing).

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Zaha Hadid Architects has begun construction on Asaan, the Misk Heritage Museum in Diriyah, Saudi Arabia. The Asaan museum will be created using locally made clay mud-bricks, drawing inspiration from traditional Najdi architecture. This will be ZHA's first adobe-constructed project worldwide.One of the most significant historical landmarks in the Kingdom, Diriyah is regarded as the birthplace of the Saudi Arabian nation. The At-Turaif district of Diriyah was designated a UNESCO World Heritage Site in 2010 because of the more than 600 years of Najdi history and architecture that have been conserved within its mud-brick buildings.Asaan, which translates to "inheritance passed down through generations," will be an organization devoted to commemorating and conserving this rich legacy while also encouraging innovation and information exchange.Through immersive experiences, workshops, events, and interactive exhibitions, the museum aims to strengthen connections to the country's cultural history. It is supported by the Misk Foundation, a non-profit organization dedicated to fostering learning and leadership in young people. Historical archeological artifacts will be restored and preserved with the help of on-site conservation labs.Drawing inspiration from traditional Najdi architecture, the Asaan Museum will be built using clay mud-bricks made locally. The low-embodied-carbon adobe walls are thick enough to offer excellent insulation in Diriyah's scorching desert climate, and they also have a high thermal mass to keep the interior comfortable while using less energy for cooling.The museum's three main programs—educational, artistic, and administrative—are anchored by three shaded courtyards that are a defining characteristic of the local Najdi architecture. These courtyards offer visitors comfortable outdoor areas that protect them from the weather. Public plazas, rooftop promenades, and a variety of outdoor covered manicured gardens are all made possible by shading mechanisms.The Asaan, Misk Heritage Museum is part of the Diriyah Gate concept, which prioritizes water conservation, energy efficiency, wellness, and climate resilience while preserving and promoting Diriyah's rich cultural legacy. The city is also entirely walkable."Asaan’s role extends beyond preserving and displaying artifacts; it seeks to inspire meaningful engagement through immersive experiences that connect past, present, and future generations, strengthening pride in Saudi identity and sharing our cultural legacy with the world," said Khaled Al-Saqer, CEO of Asaan, Misk Heritage Museum. "Driven by our belief in community participation as a pillar of heritage preservation, Asaan will offer a wide range of interactive programs curated by leading experts." "These initiatives aim to foster cultural passion, inspire creativity, and empower all members of society to engage with and celebrate our heritage," Al-Saqer added."Asaan is a valuable addition to Diriyah’s portfolio of cultural projects and demonstrates our commitment to presenting the richness of Saudi heritage in a contemporary way that strengthens its global presence," said Jerry Inzerillo, Group CEO of Diriyah Company.Recently, Zaha Hadid Architects opened a new science and technology museum with layered form and glazed façade in Shenzhen, China. In addition, the firm unveiled plans for a new high-rise informed by Tbilisi's rolling hills. Further, the firm unveiled design for a new masterplan, featuring a pair of fluid towers in eastern Naples, Italy. Project factsClient: Diriyah CompanyArchitect: Zaha Hadid Architects (ZHA)ZHA Design: Patrik SchumacherZHA Project Directors: Viviana Muscettola, Maurizio Meossi (Associate Director), Bidisha Sinha (Associate Director / Interior Design)ZHA Project Associates: Cristina Capanna (Senior Architect / Project Manager); Architecture: Nannette Jackowski, Marco Amoroso; Interor Design: Roberta Sartori, Marco Pavoni, Marie-Perrine Placais; BIM: Mark Winnington.ZHA Project Team: Alessandra Laiso, Andy Lin, Angela Augelli Curci, Angus Tung, Aysu Aysoy, Caleb Baldwin, Chhavi Mehta, Chiara Baiocco, Didem Sahin, Elizabeta Diakantonis, Gaurav Janendra, Gizem Muhtaroğlu, Henry Louth, Ines Fontoura, Juliana Hernandez Cardona, Karan Puranik, Karmung Sze, Karoly Markos, Karthikeyan Arunachalam, Keerti Manney, Lam Nguyen, Lars Elseth, Leeanne Li, Li Jin, Liam Rogers, Louai Jaber, Luciana Maia Teodozio, Michael Rogers, Muaz Masri, Muriel Boselli, Nailu Chen, Nannette Jackowski, Neli Vasileva, Nivedita Ramachandran, Noa Guy, Nurul Ahmad Fauzi, Peter Safranka, Rabiyya Huseynova, Roberta Sartori, Ruggero Bruno Chialastri, Shantanu Bhatt, Sonia Renehan, Teodor Andonov, Tommaso Casucci, Tracy Shum, Valeria Perco, Yihoon Kim, Zachariah Hong.Local Architect: WMA / InhabitStructural Engineers: InhabitQuantity Surveyor: AECOMGeneral Contractor: El SeifCost Consultants: AECOMEnvironmental Consultant: InhabitFaçade Engineering: InhabitM&E Engineering: InhabitMEP: InhabitFire Engineer: Egis / InhabitLandscape Consultant: DS LandscapeLighting Design: InhabitAcoustic Consultant: InhabitTheatre Consultant: Theatre ProjectsProject Management: AECOMRestaurant Kitchen Consultant: TriconWater Features Specialist: Fountain ProjectConservation Areas Specialist: Samuel Anderson ArchitectsAccessibility: CAESignage / Wayfinding: SpaceAgencyExhibition Designer: Opera Amsterdam; Sustainability: Egis; Security: Inhabit; AV / IT: Inhabit; Waste Management: Egis; Civil Engineer: Egis; People Movement: Systematica.All images © Specto-Digital. > via Zaha Hadid Architects

Reading Time: 4 minutes Lifecycle marketers are facing a profound shift in how they engage customers. Artificial intelligence (AI) has emerged as both a promise and a pressure point, positioned as the key to delivering hyper-personalized, timely, and impactful experiences. Yet behind the AI hype lies a more nuanced reality: executing AI-driven lifecycle marketing at scale is often messier than advertised. Marketers are caught between high expectations and systemic challenges, from fragmented data to stalled adoption and internal roadblocks. Understanding what’s holding AI back (and how to move forward with confidence) is essential for modern lifecycle teams.   The Great Data Disconnect One of the most persistent obstacles to realizing AI’s potential in customer engagement and lifecycle marketing is the inability to access and seamlessly activate customer data. Many marketers report being bottlenecked by their reliance on centralized data teams, which slows down the ability to test, iterate, and personalize campaigns at scale. While platforms frequently advertise integrations with major data warehouses such as Snowflake, Databricks, and Amazon Redshift, the reality often falls short. These connections may exist in name but not in function. Instead of enabling real-time audience segmentation or event-triggered personalization, many marketers are forced to rely on manual data exports, SQL queries, or engineering support just to get campaigns off the ground. This idea reinforces what many already know from experience: a tech stack is only as powerful as its weakest connection. The end goal isn’t just connection, but cohesion.  You need platforms that support bi-directional data sync, real-time event streaming, and transparent visibility across the customer journey without additional tools or workarounds. Until these capabilities are widespread, you’ll continue to feel like your AI ambitions are constrained by outdated infrastructure.   When AI Falls Short: Fatigue, Friction, and Fading ROI Even with the right data, many marketers are growing skeptical of AI’s ability to deliver tangible results.  AI fatigue is real.  Teams have poured time and resources into personalization engines, predictive analytics models, and generative content tools…only to find underwhelming returns. This disconnect isn’t imagined. Many AI projects ultimately fail to deliver on their promised ROI, often due to unclear use cases, lack of stakeholder alignment, or insufficient change management. For lifecycle marketers, this often plays out as prolonged proof-of-concept cycles (hello, year-long POC that never seems to end…) that absorb months of energy with little to show. It’s not uncommon for teams to invest in tools that generate predictive churn scores or optimal send times, only to realize those insights aren’t actionable within their rigid engagement platforms. The issue is compounded by the flood of marketing tools claiming AI capabilities. In many cases, the “AI” is little more than rule-based automation in disguise, creating confusion around what real AI looks like and how it should be evaluated.   The Hidden Cost of Vendor Lock-In Another growing concern is vendor lock-in. As marketing tech stacks expand, so does the risk of becoming overly dependent on a single vendor’s ecosystem. This can be especially problematic when marketers outgrow their existing platforms but fear the complexity and disruption of switching. Model Context Protocols (MCPs) offer a path forward. These emerging frameworks are designed to create portable, standardized models for audience segmentation and campaign orchestration. With MCPs, marketers can define core elements—like audiences, campaign flows, and experimentation strategies—in a vendor-agnostic way. This means if they switch platforms, they don’t have to rebuild everything from scratch. The appeal is clear: reduced rework, faster time to value, and more flexibility in choosing best-of-breed tools. MCPs are still gaining traction, but their potential to reduce friction and future-proof marketing strategies is significant. Meanwhile, marketers continue to seek out credible migration stories that show what platform transitions look like in practice. Clear documentation, proven onboarding frameworks, and peer testimonials are increasingly essential for vendors looking to attract modern, data-savvy teams.     Practical Tips for Testing and Evaluating AI Tools Despite the challenges, marketers can adopt a more strategic approach to AI: one that reduces risk and increases clarity. Instead of jumping into full-scale deployments, teams can take smaller, more deliberate steps.  Using the following tactics, you can better differentiate between hype and real capability, allowing you to adopt AI tools that align with your goals and constraints. 1. Use sandbox environments Ask for a sandbox to simulate real use cases without impacting production data. This allows teams to pressure-test capabilities before committing. 2. Prioritize transparent case studies Look for success stories that offer a behind-the-scenes look at implementation, challenges, and actual results, not just polished outcomes. 3. Test integration depth, not just compatibility Don’t stop at “Yes, we integrate.” Ask: Can you trigger journeys based on real-time data? Can attributes update dynamically? Does data flow both ways? 4. Evaluate vendor support and education The best tools come with great training, responsive support, and documentation that accelerates onboarding and learning. 5. Learn from your peers Communities like the Lifecycle Luminaries Slack channel offer real, unfiltered feedback from practitioners. These sources are often the most trustworthy and valuable for unbiased opinions.     Embracing AI Realistically and Strategically AI has the power to transform lifecycle marketing, but only when it’s applied with clarity, intention, and the right foundation. Success doesn’t come from chasing the flashiest tools. It comes from solving real problems: fragmented data, limited visibility, and disconnected systems that prevent marketers from executing the strategies they already know will work. That’s why the most effective marketers right now aren’t asking, “How do I use more AI?” They’re asking, “Where can AI remove friction and help me act faster, smarter, and with more confidence?” At MoEngage, we’ve seen meaningful results when AI is embedded directly into the marketing workflow, not layered on top as an afterthought. Our AI engine, Sherpa, supports use cases like predictive segmentation, intelligent send-time optimization, and creative performance insights. These features are designed to help marketers spend less time reacting and more time proactively engaging their customers. This isn’t about replacing human decision-making. It’s about making smarter decisions, faster, with AI as the assistant, not the driver. As lifecycle marketing continues to evolve, the marketers who succeed won’t be the ones with the most tools. They’ll be the ones who combine strategic thinking, team alignment, and well-integrated AI to deliver personalized, timely, and scalable customer experiences. Marketers must remain curious but skeptical, innovative but grounded. Those who strike the right balance will be best positioned to harness AI’s full potential (not just as a trend), but as a lasting engine of engagement and growth. The post Navigating the AI Revolution in Lifecycle Marketing: Challenges & Opportunities appeared first on MoEngage.