Pixar has been delighting audiences with its house animation style and world-building for three decades, and the Disney-owned animation studio is showing no signs of slowing down. And unlike Andy, they haven’t aged out of playing with their toys.  At the Annecy’s International Animation Film Festival, Pixar dropped a series of announcements, teasers, and special previews of their upcoming slate, including the much-anticipated first-look at Toy Story 5.  Den of Geek attended a private screening, with remarks from Pixar’s Chief Creative Officer, Pete Docter, in early June ahead of the festival. During the presentation to the press, Docter hinted at the company putting its focus and energy to its theatrical slate, a notable change after recent releases like Dream Productions, set in the Inside Out universe, and the original Win or Lose debuted in early 2025. It’s a telling sign for Disney’s shifting approach to Disney+. The studio’s latest film, Elio, hit theaters on June 20th. “Our hope is that we can somehow tap into the things that people remember about the communal experience of seeing things together,” Docter said. “It’s different than sitting at home on your computer watching something [compared to] when you sit with other human beings in the dark and watch the flickering light on the screen. There’s something kind of magic about that.”  Pixar is aiming to be back on a timeline of three films every two years, with Toy Story 5 and an original story titled Hoppers releasing in 2026, and another original, Gatto, hitting theaters in 2027.  Docter boldly stated that Pixar is “standing on one of the strongest slates we’ve ever had.” While bullish for a studio that has had an unprecedented run of success in the world of animated features, the early footage we saw leaves plenty of room for optimism. Is Pixar so back? Here’s what we learned from the presentation and footage…  Toy Story 5 – June 19, 2026  Woody, Buzz, Jesse and the gang will all be returning for the fifth feature film in one of Pixar’s most beloved franchises. Docter confirmed Tom Hanks, Tim Allen and Joan Cusack will reprise their respective roles. Written and directed by Andrew Stanton, who has worked on all of the films, and co-directed by McKenna Harris, Toy Story 5 catches up to our modern, tech-oriented world, and how that affects children’s interests. Bonnie, now eight, is given a brand new, shiny tablet, called a Lily Pad. The new tech allows Bonnie to stay connected and chat with all of her friends, slowly detaching her from her old toys. But just like all the other toys, Lily can talk, and she’s quite sneaky. Lily believes Bonnie needs to get rid of her old, childish toys completely. Feeling Bonnie slipping away, the toys call Woody for back up, but after not seeing Buzz for some time, the two go back to their old ways of constantly butting heads.  “With some films, you’ll struggle to find new things to talk about. And you know, this is [Toy Story 5]. We still are finding new aspects of what it is to be a toy… There’s more of a spotlight on Jesse, so there’s that’s a whole nother facet to it as well. And she’s just such a rich, wonderful character to see on screen,” Docter says. Pixar screened the opening scene for press, which saw a fresh pallet of new Buzz Lightyear figures washed up in a shipping container on a remote island. Think Toy Story meets Cast Away as the Lightyears band together to concoct a way to get home, wherever that might be, in an unexpectedly gripping start to the fifth installment. Join our mailing list Get the best of Den of Geek delivered right to your inbox! HOPPERS – © 2025 Disney/Pixar. All Rights Reserved. Hoppers – March 6, 2026  Preceding Toy Story 5 and kicking off 2026 for Pixar will be an all-new story, Hoppers.  The film follows Mabel (Piper Curda), a college student and nature enthusiast as she fights to save a beloved glade near her childhood home from a highway project that will bulldoze through it– brought forth by the greedy mayor voiced by Jon Hamm. With little support from those around her, Mabel enlists the help of “hoppers,” a clever group of scientists who’ve found a way to “hop” their minds into robots. When Mabel hops into the body of a beaver, she sets off to get other animals to return to the glade, hopefully halting construction. The animals take her to meet their rather conflict-avoidant leader, King George (Bobby Moynihan), and she soon learns that the animal world is a lot more complex than she had thought.  The footage screened saw Jon Hamm’s mayor abducted by beavers in a slapstick scene that corroborated Docter’s excitement for the project. Like Pixar’s highest highs, Hoppers appears to be charming and big-hearted, and it certainly won’t hurt merchandise sales at the Disney parks with the adorably designed animals in this film. Docter compared Hoppers to Mission Impossible meets Planet Earth. We’re locked in.  GATTO – © 2025 Disney/Pixar. All Rights Reserved. Gatto – Summer 2027  In maybe the most creatively intriguing announcement, a new film titled Gatto is in production from the team behind Luca. Gatto will employ the same classic Pixar animation-style, but with a painterly twist to match the artistic vibe of Venice. The art direction shown in short clips was stunning and unique spin on Pixar’s house style. The film is set in Venice, Italy, a destination popular for its stunning architecture and romantic ambience, that some only dream of visiting one day. It’s not so ideal, however, for Nero, the protagonist of the upcoming Pixar-original film, Gato. Nero is a black cat, who people turn the other way from because they fear he’s bad luck. With no other options, Nero turns to the seedier side of the stray cat scene in Venice, where he soon finds himself in hot water with Rocco, a cat mob boss. The heart of the film is Nero’s love for music, and his budding friendship with a street musician named Maya, who is also an outsider.

Pictured Above: Designer Amber Lewis balances New England charm with old-world sophistication with a half Calacatta Vagli marble backsplash in the kitchen of this Martha's Vineyard home. To backsplash or not to backsplash? That is the question. Or is it? Because if anyone’s ever told you “you shouldn’t do anything halfway,” they clearly haven’t heard of the half backsplash. This twist on a design mainstay makes a compelling case for stopping short. So maybe the real question is: to backsplash or to half backsplash?Lately, we’ve seen more and more designers going for the latter. “A trend these days is to use 1/2 or 2/3 stone backsplashes with a six- to nine-inch ledge,” says designer Jennifer Gilmer. “This is typically used behind a range and adds interest as well as softening the overall look.” It’s not just aesthetic—it’s strategic functionality. “The ledge is useful for salt and pepper shakers, olive oil, and other items,” she adds. Ahead, we break down everything to know about half backsplashes and why this kitchen trend is gaining traction in the design world.Related StoriesWhat Is a Half Backsplash?Lisa PetroleMagnolia’s director of styling, Ashley Maddox, enlisted the help of designer Hilary Walker to create her midcentury-modern dream home in Waco, Texas. Complete with walnut kitchen cabinetry topped with a Topzstone countertop continued into a partial backsplash.“A half backsplash or 1/3 backsplash is when the material stops at a point on the wall determined by the design,” explains designer Isabella Patrick. This makes it distinct from a “built-out or existing element, such as upper cabinets, a ceiling, soffit, or some other inherent element of the space.” In other words, it’s intentional, not just the result of running out of tile.Courtesy of JN Interior SpacesTaking the ceiling height into consideration, JN Interior Spaces decided a half backsplash would be suitable for this sleek, modern kitchen.While traditional backsplashes typically reach the bottom of upper cabinetry or span the entire wall, partial backsplashes usually stop somewhere around four to 25 inches up, depending on the look you’re going for.And while it may sound like a design compromise, it’s actually quite the opposite.Related StoryWhy Designers Are Loving the Half-Height LookOpting for a half backsplash is a clever way to balance proportion, budget, and visual interest. “If the design does not have upper cabinets, we would opt for a half backsplash to create visual interest,” Patrick says. “A full wall of the same tile or stone could overwhelm the space and seem like an afterthought.”Shannon Dupre/DD RepsIsabella Patrick experimented with this concept in her own kitchen, mixing materials for a more layered half backsplash look.Instead, Patrick often mixes materials—like running Cambria quartzite up from the counter to a ledge, then switching to Fireclay tile above. “This is a great example of how a singular material would have overwhelmed the space but also may have felt like an afterthought,” she explains. “Mixing materials and adding in details and personal touches is what good design is.”Another bonus? It lets the rest of the kitchen sing. “In another design, we eliminated the upper cabinets in favor of a more open and airy look so that the windows were not blocked—and so you were not walking right into a side view of cabinetry,” Patrick says. “No upper cabinets also makes the kitchen feel more of a transitional space and decorative, especially since it opens right into a dining room.”krafty_photos
copyright 2021This kitchen from JN Interior Spaces proves that a partial backsplash can still make a big impact. They chose to use an iridescent, almost-patina tile in this Wyoming kitchen.For Jill Najinigier of JN Interior Spaces, the choice is just as much about form as it is function. “It's all about how the backsplash interacts with the architecture,” she explains. “Wall height, windows, the shape of the hood, upper cabinets, or open shelves—where do they start and terminate?”In one standout project, Najinigier used a luminous tile just tall enough to tuck under a tapered plaster hood, topped with a narrow stone ledge carved from the same slab as the counter. The result? “Clean lines that make a stunning statement.”Mixing materials and adding in details and personal touches is what good design is.It’s Decorative and FunctionalHeather TalbertDesigner Kate Pearce installed a statement-making marble backsplash. Bringing it only halfway up allows its beauty to be appreciated while giving the other aesthetic elements in the space room to breathe.Don’t underestimate what that ledge can do. Designer Kate Pearce swears by hers: “I love my little five-inch-deep marble shelf that allows me to style some vintage kitchenware in the space,” she says. “And I think the shelf (and the pieces styled on it) is exactly what gives the kitchen an approachable feel—versus having a full backsplash of marble, which would have given the space a more serious vibe.”Stylish ProductionsPrioritizing visually continuity, Italian designer Federica Asack of Masseria Chic used the same leathered sandstone, a natural material that will develop a wonderful patina, for both the counters and the backsplash.Designer Federica Asack of Masseria Chic used a leathered sandstone for both her countertop and half backsplash, adding a ledge that’s just deep enough to style. “It allows for a splash-free decorating opportunity to layer artwork and favorite objects,” she says.Designer Molly Watson agrees: “The simple shelf is just deep enough for some special items to be on display,” she notes of a project where carrying the countertop stone up the wall helped keep things visually calm and scaled to the space. Related StoryThe Verdict on Half BacksplashesErin Kelly"Keeping materials simple in this kitchen was important for scale," says designer Molly Watson. "Carrying the countertop up the wall as a backsplash allowed the space to feel larger."Half backsplashes are having a major design moment, but not just because they’re practical. They’re a blank canvas for creativity. From floating ledges and mixed materials to budget-conscious decisions that don’t skimp on style, they’re a smart (and stylish) way to make your kitchen feel lighter, livelier, and totally considered.So, go ahead—do it halfway.Follow House Beautiful on Instagram and TikTok.

Of all the jarring things I’ve witnessed on the National Mall, nothing will beat the image of the first thing I saw after I cleared security at the Army festival: a child, sitting at the controls of an M119A3 Howitzer, being instructed by a soldier on how to aim it, as his red-hatted parents took a photo with the Washington Monument in the background. The primary stated reason for the Grand Military Parade is to celebrate the US Army’s 250th birthday. The second stated reason is to use the event for recruiting purposes. Like other military branches, the Army has struggled to meet its enlistment quotas for over the past decade. And according to very defensive Army spokespeople trying to convince skeptics that the parade was not for Donald Trump’s birthday, there had always been a festival planned on the National Mall that day, and it had been in the works for over two years, and the parade, tacked on just two months ago, was purely incidental. Assuming that their statement was true, I wasn’t quite sure if they had anticipated so many people in blatant MAGA swag in attendance — or how eager they were to bring their children and hand them assault rifles. WASHINGTON, DC - JUNE 14: An Army festival attendee holds a M3 Carl Gustav Recoilless Rifle on June 14, 2025 in Washington, DC. Photo by Anna Moneymaker / Getty ImagesThere had been kid-friendly events planned: an NFL Kids Zone with a photo op with the Washington Commanders’ mascot, a few face-painting booths, several rock-climbing walls. But they were dwarfed, literally, by dozens of war machines parked along the jogging paths: massive tanks, trucks with gun-mounted turrets, assault helicopters, many of them currently used in combat, all with helpful signs explaining the history of each vehicle, as well as the guns and ammo it could carry. And the families — wearing everything from J6 shirts to Vineyard Vines — were drawn more to the military vehicles, all-too-ready to place their kids in the cockpit of an AH-1F Cobra 998 helicopter as they pretended to aim the nose-mounted 3-barrelled Gatling Cannon. Parents told their children to smile as they poked their little heads out of the hatch of an M1135 Stryker armored vehicle; reminded them to be patient as they waited in line to sit inside an M109A7 self-propelled Howitzer with a 155MM rifled cannon.Attendees look at a military vehicle on display. Bloomberg via Getty ImagesBut seeing a kid’s happiness of being inside a big thing that goes boom was nothing compared to the grownups’ faces when they got the chance to hold genuine military assault rifles — especially the grownups who had made sure to wear Trump merch during the Army’s birthday party. (Some even handed the rifles to their children for their own photo ops.) It seemed that not even a free Army-branded Bluetooth speaker could compare to how fucking sick the modded AR-15 was. Attendees were in raptures over the Boston Dynamics robot dog gun, the quadcopter drone gun, or really any of the other guns available (except for those historic guns, those were only maybe cool).RelatedHowever many protesters made it out to DC, they were dwarfed by thousands of people winding down Constitution Avenue to enter the parade viewing grounds: lots of MAGA heads, lots of foreign tourists, all people who really just like to see big, big tanks. “Angry LOSERS!” they jeered at the protesters. (“Don’t worry about them,” said one cop, “they lost anyways.”) and after walking past them, crossing the bridge, winding through hundreds of yards of metal fencing, Funneling through security, crossing a choked pedestrian bridge over Constitution Ave, I was finally dumped onto the parade viewing section: slightly muggy and surprisingly navigable. But whatever sluggishness the crowd was feeling, it would immediately dissipate the moment a tank turned the corner — and the music started blasting.Americans have a critical weakness for 70s and 80s rock, and this crowd seemed more than willing to look past the questionable origins of the parade so long as the soundtrack had a sick guitar solo. An M1 Abrams tank driving past you while Barracuda blasts on a tower of speakers? Badass. Black Hawk helicopters circling the Washington Monument and disappearing behind the African-American history museum, thrashing your head to “separate ways” by Journey? Fucking badass. ANOTHER M1 ABRAMS TANK?!?!! AND TO FORTUNATE SON??!?!? “They got me fucking hooked,” a young redheaded man said behind me as the crowd screamed for the waving drivers. (The tank was so badass that the irony of “Fortunate Son” didn’t matter.)Members of the U.S. Army drive Bradley Fighting Vehicles in the 250th birthday parade on June 14, 2025 in Washington, DC. Getty ImagesWhen you listen to the hardest fucking rock soundtrack long enough, and learn more about how fucking sick the Bradley Fighting Vehicles streaming by you are (either from the parade announcer or the tank enthusiast next to you), an animalistic hype takes over you — enough to drown out all the nationwide anger about the parade, the enormity of Trump’s power grab, the fact that two Minnesota Democratic lawmakers were shot in their homes just that morning, the riot police roving the streets of LA.It helped that it didn’t rain. It helped that the only people at the parade were the diehards who didn’t care if they were rained out. And by the end of the parade, they didn’t even bother to stay for Trump’s speech, beelining back to the bridge at the first drop of rain.The only thing that mattered to this crowd inside the security perimeter — more than the Army’s honor and history, and barely more than Trump himself — was firepower, strength, hard rock, and America’s unparalleled, world-class ability to kill.See More:

“Pillars” (2024), oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style June 4, 2025 Kate Mothes In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history. Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens. “The Patron Saint of Urban Farming” (2025), oil on linen, 72 x 48 inches In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes. The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present. An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War. Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations. “Watermelon Man” (2025), oil on linen, 51 1/2 x 42 inches Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride. For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community. For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says. Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram. “International Detroit Playa: Sheefy” (2022), oil on linen, 108 x 96 inches “These Are Not Yams But They Are Damn Good” (2025), oil on linen, 51 1/2 x 42 inches “Creation of a Revolutionary (Helen Moore)” (2023), oil on linen, 76 x 52 inches “Black” (2023), oil on linen, 48 x 48 inches “Garland of Resilience” (2025), oil on linen, 51 1/2 x 42 inches “Birth of Cool” (2023), oil on linen, 72 x 48 inches Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit Previous articleNext article

Today we are happy to announce Regions of Ruin: Runegate, the new game in the universe of the beloved Regions of Ruin. Embark on an explorative RPG hack-and-slash adventure where you attempt to re-establish a haven for the lost dwarven civilization. Journey across varied lands, help those in need, gather resources and fight off goblins and monsters as you slowly rebuild a home for your people.  All that remains of the once-glorious dwarven civilization is dust, scattered exiles, and monster-infested landscapes. Embark on an explorative RPG hack-and-slash adventure as a lone dwarf attempting to re-establish a haven for your dwarven kin – and delve into the mysteries of their forebears.  EXPLORE RICH LANDS  The former land of the dwarves is as diverse as it is vast, filled with rich veins of resources, loyal allies and fearsome foes. Journey through lush environments, treacherous weather, glowing crystal-filled caverns and more in your pursuits for riches and information. And be prepared to carve your path through relentless enemies, hell-bent on sending the last of the dwarves into extinction.  RESTORE A COMMUNITY  On your travels, you will encounter dwarven allies in need of assistance. Come to their aid, enlist their help and create a safe haven for your people by rebuilding a civilization. By gathering resources and meeting skilled adventurers, you will be able to unlock new facilities and technologies, furthering your pursuits.  TAILOR YOUR EXPERIENCE  Shape your dwarven hero from their appearance to their preferred style of fighting, through a range of weapons, gear and skill trees for you to explore and experiment with. Approach each encounter as you deem best: Dive straight into the fray with a spear in hand or sneak up close and stab a goblin in the back. Just remember – stay vigilant while fighting, for enemies will adapt to your actions. Join our dwarven community today: X – https://x.com/Gameclaw_Studio BlueSky – https://bsky.app/profile/regionsofruin.bsky.social Facebook – https://www.facebook.com/profile.php?id=61576874065404 Instagram – https://www.instagram.com/regionsofruin/ TikTok – https://www.tiktok.com/@regionsofruin?lang=en Discord – https://discord.gg/MQhaDchhBm Linktree – linktr.ee/regionsofruin The post Regions of Ruin: Runegate Announced at The Mix appeared first on Raw Fury.

Every item on this page was hand-picked by a House Beautiful editor. We may earn commission on some of the items you choose to buy.While some design-minded folks prefer the shiny, unmarked quality of newly made furniture and decor, others opt for the charm and history associated with vintage and antique treasures. Buying secondhand and locally is not only more sustainable, but it's a great way to avoid increased fees from recent tariff policies. There's never been a better time to invest in ready-made pieces that have seen decades (or even centuries) of history unfold. That said, discerning the true value of high-end antiques—whether it be a secretary desk whose top requires a bit of elbow grease to open or a Lalique bottle that bears a tiny chip in the base—is no easy feat. After all, if you don't know the ins and outs of this particular niche, you could very well get duped into overspending.To prepare you for your next outing to the antique shop, vintage store, or flea market, we asked experts in the field for their most helpful shopping tips. Here's what they had to say about sourcing decades-old treasures—without regretting your purchase later. Related Stories Buy From a Reputable Sourcetaikrixel//Getty Images"Fakes are really the rare outliers and not the norm in the world of antiques and vintage furniture," according to Anthony Barzilay Freund, editorial director and director of fine art at 1stDibs. He says that it's always best to investigate the reputation of individual dealers or browse a reputable online marketplace that sells only vetted and authenticated items. "When buying any piece of furniture that purports to be old, it's important that you are working with a reputable dealer who has a history of handling the type of material and a track record of participating in vetted fairs or selling on digital platforms such as 1stDibs that monitor inventory," Freund continues. That way, you can trust the info you're given. "You can perform your due diligence by asking the dealer to provide you with any information about the piece's provenance (who made it, where it was made, and who owned it over the years)."As for antique-hunting at thrift stores and flea markets, you may find a few quality pieces here and there. "And the more you look, the better able you'll be to discern quality," says Freund. So, browse often!Related StoryLook for a Maker’s MarkMany antiques from famed designers bear a stamp or signature indicating who made them—but many don't, and not all stamps can be trusted. "A piece that has a stamp may be an indication that it's by a specific designer, but there have been known cases in which some badly intentioned people use someone else's branding stamp to produce fakes," says Benoist F. Drut, owner of New York–based gallery Maison Gerard. The prolific 18th-century French designer George Jacobs, for instance, was famous for his iconic stamps, but even he didn't mark every piece he designed with a signature, so "you can't rely entirely on the stamp to prove authenticity," Drut says. That being said, he adds, "It's usually obvious if it's a real stamp and not a copy." Herman MillerIf there's an artist or design house you like, do some research first to uncover exactly what type of mark, if any, you should be seeking. For example, one of the most popular vintage pieces is the beloved Eames lounge chair. According to the brand, which still produces some of the designer's original designs, "Labels and stamps can be the best and the quickest method of authenticating your Eames design. It may also help you to date and value your piece." Every Eames piece, from the first designs from the early 1940s to the ones produced now, bears a label. The only exception is the fiberglass shell chair, each of which bears a stamp. Both the labels and stamps feature a series of letters and numbers that can help determine the exact age of the piece. Related StoryAsk for Provenance DocumentsThis may seem like the most straightforward step, but it's usually the least reliable for one key reason. "Pieces that are a few hundred years old move from place to place during their lifetime, and rarely do the papers follow them," Drut explains. In most cases, you simply have to decide whether or not you trust what the dealer is telling you to be true about a piece's provenance. Some items, however, do come with papers that can easily be authenticated. These pieces are typically ones that have been in the family's estate for generations. If such papers aren't available, he adds, a piece may also be listed in probate inventories or wills, so be sure to check everywhere.A piece with family provenance further helps validate its authenticity. In certain occasions, a piece may be seen in an early 20th-century black and white photograph or, in rare instances, in a daguerreotype.—Erik GronningRelated StoryDo Your Own ResearchBeeldbewerking//Getty ImagesIf you're considering an older piece, the dealer from whom you're buying it should have a general idea of the year or decade it was produced. With that information, do some digging about how similar pieces of furniture were made and with which types of materials. "Look at books about that time period and, if you can, visit museums," says Drut. "It doesn't take a professional to see all of the subtle details—such as the materials and techniques used—that indicate if it's authentic or not." Along the way, you might uncover some lesser-known designers whose pieces are still genuine works of art, but may be easier to find and more affordable to purchase. (If an Eames chair is out of your price range, for example, you might want to look into a Plycraft seat.)Related StoryPerform a “Run-Down”Before making a big-ticket purchase, ask the dealer what the piece is made of—the response will be another indicator of authenticity. Take chairs as an example."Plenty of chairs and sofas made today are filled with foam," says Drut. "An 18th-century chair, however, will be filled with horsehair, as foam was not invented until much later in the 20th century."You'll also want to observe where small marks or imperfections in the construction may bear the signature of a handcrafted (as opposed to mass-produced) item. "The process of making a piece of furniture using only hand tools leaves behind 'tool marks,'" says Erik Gronning, Sotheby's head of Americana. "Saws leave a mark called a saw kerf while planes leave plane marks, and modern electrical powered saws and planes also leave marks, but theirs are regular and not inconsistent as one sees with hand tools." Related Story Request Pre-Restoration PhotosGiorez//Getty Images"If the piece has been extensively cleaned and/or refinished," Freund advises, "ask to see pre-restoration photographs." Any reputable restorer regularly enlisted by antique dealers is likely to have a few on hand. Here's the thing about restorations: They're not a bad thing, and they're definitely not a reason to question a piece's authenticity or age. For instance, Drut says, if you're considering buying a 19th-century chair whose back leg is attached with glue, "that's because it's 200 years old and, without the glue, the chair may not be usable." Looking at an image of the chair before the glue was applied can reassure you that you're getting a strengthened original, not a fake. On the other hand, if you find a centuries-old piece that looks spotless, "How can you explain that? You can't," says Drut." An alleged antique that looks too good to be true probably is." Consider what an update may be concealing: "If something has been fully painted over, that often means that someone has something to hide. Stay away," says Drut. More specifically, Gronning adds that "18th- and early 19th-century pieces in their 'original' surface have a very dark or nearly black appearance that, to the untrained eye, could appear dirty or ratty, but it is this appearance that helps authenticate its age." If this is the case with an antique treasure you're considering, it's important to look at any perceived flaws as marks of character. "Antiques and vintage pieces have a patina and personality that one cannot find in a newly constructed object," Freund says. "Rather than viewing this as damage or wear and tear, antique lovers think signs of age give an object a visual interest, warmth, and uniqueness that really enhances the character of a room." Follow House Beautiful on Instagram and TikTok.

By Ellyn Lapointe Published May 31, 2025 | Comments (0) | Researchers recovered this face-shaped rock from the San Lázaro rock-shelter in central Spain in 2022 © Álvarez-Alonso et al While digging inside a cave in the Spanish city of Segovia, archaeologists uncovered an unusual rock. The hand-sized stone naturally resembled an elongated face, and featured a spot of red pigment made from ochre right on the tip of what may be considered its nose.  “We were all thinking the same thing and looking at each other because of its shape: we were all thinking, ‘This looks like a face,’” David Álvarez Alonso, an archaeologist at Complutense University in Madrid who was part of the dig, told The Guardian. Álvarez Alonso and his colleagues spent the next three years studying this bizarre rock. The researchers posit that 43,000 years ago, a Neanderthal dipped their finger in ochre and pressed it onto the stone’s central ridge—leaving behind what is now considered to be the world’s oldest complete human fingerprint. It’s an intriguing finding that could have significant implications, but some experts would like to see more evidence to support this hypothesis.  The team published its findings in the journal Archaeological and Anthropological Sciences on Saturday, May 24. In the paper, the archaeologists state that the “strategic position” of the dot suggests it is evidence of Neanderthals’ “symbolic behavior.” In other words, it’s a piece of art that “could represent one of the earliest human face symbolizations in prehistory.” “The fact that the [rock] was selected because of its appearance and then marked with ochre shows that there was a human mind capable of symbolizing, imagining, idealizing and projecting his or her thoughts on an object,” the researchers write.  Whether Neanderthals were capable of making art is a subject of ongoing debate, co-author María de Andrés-Herrero, a professor of prehistory at Complutense University, told the BBC. But over the past decade, a growing body of evidence has led many experts to believe that artistic expression emerged earlier in human evolution than previously thought.  The authors of this new study think their stone adds to this evidence. To reach this conclusion, they first needed more data to support the idea that this ancient artist had actually experienced pareidolia: seeing a face in an inanimate object. To that end, they generated a 3D model of the stone’s surface and measured the distances between its features, finding that the red dot—or nose—was placed such that it accurately resembled an actual nose on a human face.  Then, the researchers enlisted the help of geologists to characterize the red dot, confirming that it was made with ochre. Forensic police experts then used multispectral analysis—a technique that can reveal details invisible to the naked eye—to confirm that the red dot had been applied with a fingertip. Their analysis uncovered a fingerprint that could have belonged to an adult male Neanderthal inside the dot.  “Once we had that and all the other pieces, context and information, we advanced the theory that this could be a pareidolia, which then led to a human intervention in the form of the red dot,” Álvarez Alonso told The Guardian. “Without that red dot, you can’t make any claims about the object.” But Gilliane Monnier, a professor of anthropology at the University of Minnesota who studies Neanderthal behavior, is not totally convinced by the researchers’ findings. “The fact that there are these natural depressions—and that we can measure the distance between them and argue that it’s a face—that’s all well and good,” Monnier, who wasn’t involved in the study, told Gizmodo. “But that doesn’t give us any indication that the Neanderthals who [occupied this cave] saw a face in that [rock].”  What’s more, she is skeptical of the researchers’ claim that the red dot was actually made with a human fingertip. It’s possible, she said, that the coloring and fingerprint-like ridges formed naturally. “I would be interested in seeing an explanation by a geologist—someone trained in geology—saying the likelihood of this forming by natural, geological or geomicrobial processes is a very low likelihood,” Monnier said.  The researchers, too, acknowledge that “it is unlikely that all doubts surrounding this hypothesis can be fully dispelled,” and state that the pareidolia hypothesis should not be seen as a definitive claim, but rather a possible explanation for this object based on the evidence. So it’s hard to say whether this study clarifies or complicates our understanding of how the human mind evolved the ability to create art. The face-shaped rock is an intriguing piece of the puzzle, but more research is needed to figure out where it fits. Daily Newsletter You May Also Like By Margherita Bassi Published May 28, 2025 By Margherita Bassi Published May 27, 2025 By Margherita Bassi Published May 25, 2025 By Natalia Mesa Published May 13, 2025 By Margherita Bassi Published May 8, 2025 By Margherita Bassi Published April 23, 2025

A small home in Wayne County, Missouri was torn apart by a tornado. An aerial image by Jeff Roberson taken on March 15 depicts chunks of stick-framed walls and half-recognizable debris strewn across a patchy lawn in an eviscerated orthography of middle-American life. Elisa Iturbe, assistant professor of Architecture at Harvard’s Graduate School of Design, describes this scene as “an image of climate impact, climate victimhood…these walls are doing the hard work of containment, of containing the rituals of human lifestyle.” Roberson’s image embodied the themes that emerged from the Projective Territories Symposium: The atomized fragility of contemporary American domesticity, the fundamental link between ways of living and modes of land tenure, and the necessary primacy of form in architecture’s response to the incoming upheaval of climate change. Lydia Kallipoliti talked about her 2024 book Histories of Ecological Design; An Unfinished Cyclopedia. (Andy Eichler) Projective Territories was hosted at Kent State University’s College of Architecture and Environmental Design on April 3 and 4. Organized and led by the CAED’s assistant professor Paul Mosley, the symposium brought Iturbe, Columbia University’s associate professor Lydia Kallipoliti, California College of the Arts’ associate professor Neeraj Bhatia, and professor Albert Pope of Rice University to Kent, Ohio, to discuss the relationship between territory and architecture in the face of climate change. “At its core, territory is land altered by human inhabitation,” read Mosley’s synopsis. “If ensuring a survivable future means rethinking realities of social organization, economy, and subsistence, then how might architecture—as a way of thinking and rethinking the world—contribute to these new realities?” Projective Territories kicked off on the afternoon of April 3 with a discussion of Bhatia’s Life After Property exhibition hosted at the CAED’s Armstrong Gallery. The exhibition collected drawings, renderings, and models by Bhatia’s practice The Open Workshop on a puzzle-piece shaped table constructed from plywood and painted blue. Nestled into the table’s geometric subtractions, Bhatia, Pope, Mosley, and CAED associate professor Taraneh Meshkani discussed Bhatia’s research into the commons: A system of land tenure by which communities manage and share resources with minimal reliance on the state through an ethic of solidarity, mutualism, and reciprocity. Neeraj Bhatia presented new typologies for collective living. (Andy Eichler) The symposium’s second day was organized into a morning session, “The Erosion of Territory,” with lectures by Kallipoliti and Iturbe, and an afternoon session, “The Architecture of Expanding Ecologies,” with lectures by Bhatia and Pope. Mosley’s introduction to “The Erosion of Territory” situated Kallipoliti and Iturbe’s work in a discussion about “how territories have been historically shaped by extraction and control and are unraveling under strain.” Lydia Kallipoliti’s lecture “Ecological Design; Cohabiting the World” presented questions raised by her 2024 book Histories of Ecological Design; An Unfinished Cyclopedia, which she described as “an attempt to clarify how nature as a concept was used in history.” Kallipoliti proposed an ecological model that projects outward from domestic interiors to the world to generate a “universe of fragmented worldviews and a cloud of stories.” Iturbe’s “Transgressing Immutable Lines” centered on her research into the formal potentials for Community Land Trusts—nonprofits that own buildings in trust on existing real estate. Iturbe described these trusts as “Not just a juridical mechanism, but a proposal for rewriting the relationship between land and people.” “Ecology is the basis for a more pleasurable alternative,” said Mosley in his introduction to the day’s second session. “Cooperation and care aren’t the goals, but the means of happiness.” An exhibition complementing the symposium shared drawings, renderings, and models. (Andy Eichler) Neeraj Bhatia’s lecture “Life After Property” complemented the previous days’ exhibition, problematizing the housing crisis as an ideological commitment to housing rooted in market speculation. Bhatia presented new typologies for collective living with the flexibility to formally stabilize the interpersonal relationships that define life in the commons. Albert Pope finished the day’s lectures with “Inverse Utopia,” presenting work from his 2024 book of the same name, which problematizes postwar American urban sprawl as an incapability to visualize the vast horizontal expansion of low-density development. Collectively, the day’s speakers outlined a model that situated the American domestic form at the center of the global climate crisis. Demanding complete separation from productive territories, this formal ideology of the isolated object is in a process of active dismemberment under climate change. The speakers’ proposed solutions were unified under fresh considerations of established ideas of typology and form, directly engaging politics of the collective as an input for shaping existing space. As Friday’s session drew to a close, the single-family home appeared as a primitive relic which architecture must overcome. Albert Pope’s images of tower complexes in Hong Kong and council estates in London that house thousands appeared as visions of the future. “The only way we can begin to address this dilemma is to begin to understand who we are in order to enlist the kinds of collective responses to this problem,” said Pope. Walker MacMurdo is an architectural designer, critic, and adjunct professor who studies the relationship between architecture and the ground at Kent State University’s College of Architecture and Environmental Design.

Jesse Armstrong loves to pull fictional stories out of reality. His universally acclaimed TV show Succession, for instance, was inspired by real-life media dynasties like the Murdochs and the Hearsts. Similarly, his newest film Mountainhead centers upon characters that share key traits with the tech world’s most powerful leaders: Elon Musk, Mark Zuckerberg, Sam Altman, and others.Mountainhead, which releases on HBO on May 31 at 8 p.m. ET, portrays four top tech executives who retreat to a Utah hideaway as the AI deepfake tools newly released by one of their companies wreak havoc across the world. As the believable deepfakes inflame hatred on social media and real-world violence, the comfortably-appointed quartet mulls a global governmental takeover, intergalactic conquest and immortality, before interpersonal conflict derails their plans.Armstrong tells TIME in a Zoom interview that he first became interested in writing a story about tech titans after reading books like Michael Lewis’ Going Infinite (about Sam Bankman-Fried) and Ashlee Vance’s Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future, as well as journalistic profiles of Peter Thiel, Marc Andreessen, and others. He then built the story around the interplay between four character archetypes—the father, the dynamo, the usurper, and the hanger-on—and conducted extensive research so that his fictional executives reflected real ones. His characters, he says, aren’t one-to-one matches, but “Frankenstein monsters with limbs sewn together.” These characters are deeply flawed and destructive, to say the least. Armstrong says he did not intend for the film to be a wholly negative depiction of tech leaders and AI development. “I do try to take myself out of it, but obviously my sense of what this tech does and could do infuses the piece. Maybe I do have some anxieties,” he says. Armstrong contends that the film is more so channeling fears that AI leaders themselves have warned about. “If somebody who knows the technology better than anyone in the world thinks there's a 1/5th chance that it's going to wipe out humanity—and they're some of the optimists—I think that's legitimately quite unnerving,” he says. Here’s how each of the characters in Mountainhead resembles real-world tech leaders. This article contains spoilers. Venis (Cory Michael Smith) is the dynamo.Cory Michael Smith in Mountainhead Macall Polay—HBOVenis is Armstrong’s “dynamo”: the richest man in the world, who has gained his wealth from his social media platform Traam and its 4 billion users. Venis is ambitious, juvenile, and self-centered, even questioning whether other people are as real as him and his friends. Venis’ first obvious comp is Elon Musk, the richest man in the real world. Like Musk, Venis is obsessed with going to outer space and with using his enormous war chest to build hyperscale data centers to create powerful anti-woke AI systems. Venis also has a strange relationship with his child, essentially using it as a prop to help him through his own emotional turmoil. Throughout the movie, others caution Venis to shut down his deepfake AI tools which have led to military conflict and the desecration of holy sites across the world. Venis rebuffs them and says that people just need to adapt to technological changes and focus on the cool art being made. This argument is similar to those made by Sam Altman, who has argued that OpenAI needs to unveil ChatGPT and other cutting-edge tools as fast as possible in order to show the public the power of the technology. Like Mark Zuckerberg, Venis presides over a massively popular social media platform that some have accused of ignoring harms in favor of growth. Just as Amnesty International accused Meta of having “substantially contributed” to human rights violations perpetrated against Myanmar’s Rohingya ethnic group, Venis complains of the UN being “up his ass for starting a race war.”Randall (Steve Carell) is the father.Steve Carell in Mountainhead Macall Polay—HBOThe group’s eldest member is Randall, an investor and technologist who resembles Marc Andreessen and Peter Thiel in his lofty philosophizing and quest for immortality. Like Andreessen, Randall is a staunch accelerationist who believes that U.S. companies need to develop AI as fast as possible in order to both prevent the Chinese from controlling the technology, and to ostensibly ignite a new American utopia in which productivity, happiness, and health flourish. Randall’s power comes from the fact that he was Venis’ first investor, just as Thiel was an early investor in Facebook. While Andreessen pens manifestos about technological advancement, Randall paints his mission in grandiose, historical terms, using anti-democratic, sci-fi-inflected language that resembles that of the philosopher Curtis Yarvin, who has been funded and promoted by Thiel over his career. Randall’s justification of murder through utilitarian and Kantian lenses calls to mind Sam Bankman-Fried’s extensive philosophizing, which included a declaration that he would roll the dice on killing everyone on earth if there was a 51% chance he would create a second earth. Bankman-Fried’s approach—in embracing risk and harm in order to reap massive rewards—led him to be convicted of massive financial fraud. Randall is also obsessed with longevity just like Thiel, who has railed for years against the “inevitability of death” and yearns for “super-duper medical treatments” that would render him immortal. Jeff (Ramy Youssef) is the usurper.Ramy Youssef in Mountainhead Macall Polay—HBOJeff is a technologist who often serves as the movie’s conscience, slinging criticisms about the other characters. But he’s also deeply embedded within their world, and he needs their resources, particularly Venis’ access to computing power, to thrive. In the end, Jeff sells out his values for his own survival and well-being. AI skeptics have lobbed similar criticisms at the leaders of the main AI labs, including Altman—who started OpenAI as a nonprofit before attempting to restructure the company—as well as Demis Hassabis and Dario Amodei. Hassabis is the CEO of Google Deepmind and a winner of the 2024 Nobel Prize in Chemistry; a rare scientist surrounded by businessmen and technologists. In order to try to achieve his AI dreams of curing disease and halting global warning, Hassabis enlisted with Google, inking a contract in 2014 in which he prohibited Google from using his technology for military applications. But that clause has since disappeared, and the AI systems developed under Hassabis are being sold, via Google, to militaries like Israel’s. Another parallel can be drawn between Jeff and Amodei, an AI researcher who defected from OpenAI after becoming worried that the company was cutting back its safety measures, and then formed his own company, Anthropic. Amodei has urged governments to create AI guardrails and has warned about the potentially catastrophic effects of the AI industry’s race dynamics. But some have criticized Anthropic for operating similarly to OpenAI, prioritizing scale in a way that exacerbates competitive pressures. Souper (Jason Schwartzman) is the hanger-on. Jason Schwartzman in Mountainhead Macall Polay—HBOEvery quartet needs its Turtle or its Ringo; a clear fourth wheel to serve as a punching bag for the rest of the group’s alpha males. Mountainhead’s hanger-on is Souper, thus named because he has soup kitchen money compared to the rest (hundreds of millions as opposed to billions of dollars). In order to prove his worth, he’s fixated on getting funding for a meditation startup that he hopes will eventually become an “everything app.” No tech exec would want to be compared to Souper, who has a clear inferiority complex. But plenty of tech leaders have emphasized the importance of meditation and mindfulness—including Twitter co-founder and Square CEO Jack Dorsey, who often goes on meditation retreats. Armstrong, in his interview, declined to answer specific questions about his characters’ inspirations, but conceded that some of the speculations were in the right ballpark. “For people who know the area well, it's a little bit of a fun house mirror in that you see something and are convinced that it's them,” he says. “I think all of those people featured in my research. There's bits of Andreessen and David Sacks and some of those philosopher types. It’s a good parlor game to choose your Frankenstein limbs.”

Architect: PPAALocation: Santiago de Querétaro, MexicoCompletion Date:2024Sometimes all it takes to deliver a successful project is a client who is willing to take a chance. When a past residential customer approached Pablo Pérez Palacios, principal of his eponymous firm, Pérez Palacios Arquitectos Asociados (PPAA), about an expansion of an office for the premium dairy company Lyncott in Santiago de Querétaro, Mexico, the architect suggested something unusual: a modular structure made entirely of cross-laminated timber (CLT). In Mexico, as Pérez Palacios explained to AN, concrete is considered the de facto building material. In fact, when the client asked for examples of similar wood construction in Mexico, there simply weren’t any. Adding to the complexity, the architect advocated to use a polycarbonate system by the manufacturer Danpal as the facade. Essentially, Pérez Palacios was proposing a never-used (in Mexico) structure clad in a translucent envelope that would obscure most views from the interior offices. In theory, it sounded crazy. The building’s exterior is clad entirely in Danpal, a polycarbonate system, and connected to a cross-laminated timber frame. (Fabian Martínez) Fortunately, the client, who had recently risen to the top spot in the family-owned company, engaged with Pérez Palacios. At first, the executive told him, “I’m sure you won’t take this project, because it’s in an industrial park with zero budget,” recalled the architect, a past AN Interior Top 50 honoree. “I told him I’d take the project, without telling him that in the back of my mind, I knew I was going to do it out of wood.” Pérez Palacios had to overcome two hurdles from the outset: how to keep costs down despite CLT being a more expensive material than concrete and finding workers who could deliver on the construction. Fortunately, Vigalam, a company that manufactures prefabricated wood structures was located in the same office park as Lyncott, virtually eliminating shipping costs and simplifying the contracting. The team enlisted representatives from Danpal to install the facade system. The company sent a team to place and attach the panels, an exacting process that involves a clip to which a frame is attached and which then receives the polycarbonate pieces. Inside, the framing systems of the CLT and Danpal meet. (Fabian Martínez) Pérez Palacios is either a sly salesman or an eccentric designer—or both—but he managed to pull off one of Mexico’s first all-CLT projects and one of the most striking industrial buildings in recent memory. PPAA connected the thin 10,900-square-foot office expansion to an existing structure. Here the light, efficient addition contrasts the heavy, inefficient existing conditions; Pérez Palacios explained that the original steel and concrete building operates 24 hours a day to support the dairy plant and relies on artificial light. As PPAA captioned an Instagram post about the project, “This new intervention addresses the challenge of balancing the industrial character of the context with a serene and conscious environment focused on connecting with nature.” The translucent facade allows light into the offices and exposes the wood frame from the exterior. (Fabian Martínez) One of the most intriguing aspects of the facade is its lack of transparent glass, though Pérez Palacios noted that there are windows along the side of the building facing the dairy plant. “When you’re in an office, you’re not looking at the view. You are looking at a screen,” he said. “To create an atmosphere with natural light, it’s super nice if you’re going to be sitting at a computer for eight hours a day.” Besides, he added: “There’s nothing to see outside. It’s an industrial park.” The offices are bathed in light via the translucent facade. (Fabian Martínez) PPAA has completed two translucent projects previously: a now-finished office building in China that employed fabric and a housing prototype for a 2022 exhibition at Crystal Bridges Museum in Arkansas. “It was our interpretation of an affordable housing project—and we used Danpal!” Pérez Palacios exclaimed. Still, the dairy building project is the first time he put his theories about Danpal into practice. “We created this translucent envelope that allows people to work in natural light all day long,” Pérez Palacios explained. “It has solar capacities; it blocks the sun rays. It requires zero maintenance and protects the interior structure.” PPAA used wood for the entire structure, including beams, columns, and ceilings. (Fabian Martínez) Efficiency was part of the selling point to Lyncott, whose leader worried about the building’s lightness. “I had to tell him, ‘Don’t worry, it won’t blow away,’” Pérez Palacios recalled with a laugh. He went on to connect the agricultural aspects of the client’s business to the sustainability of building with these methods. The wood reduces the structure’s carbon footprint, and an all-glass facade would have run up the air-conditioning bills. Instead, Lyncott’s new building redirects the sun, part of the reason it has become something of an attraction in Mexico. Pérez Palacios foresees bringing students for site visits, and Danpal has shown the site to potential clients. PPAA has even sold the idea of mass timber construction to a skeptical audience: Now the firm has two more wood projects in the pipeline. Project Specifications Architect: PPAA Structural engineering: Vigalam Electrical engineering: ROA Civil engineering: Consulta Urbana Lighting design: PPAA Facade system: Danpal Glass: Consulta Urbana Roofing: Aircrete Interior finishes: Alfombras de Mexico Fixtures: Biticino Lighting: Magg Furniture: PM Steele, Vipp