By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when thosecharacters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Saniigave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Homand I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowdsis dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessupbecause sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Murenwas keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter. “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.” #discovering #elio

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

The Carbon MORPHEUS is so sleek and streamlined its wind-tunnel test is probably just a bunch of parallel lines. Designed by EPTA, this mid-engine two-seater supercar skips nostalgia and dives straight into aggressive futurism. It looks engineered by a design studio that sees speed not as a metric, but as a shape. The design brief? “Design is the language of dreams.” Which sounds poetic until you realize what they’ve dreamt up could moonlight as a Batmobile in a Nolan film – just sharper, lower, and probably too dangerous for even Bruce Wayne. A manifesto of Italian elegance, they call it. But it leans more toward brutalist cyberpunk with a splash of Lamborghini’s wild DNA and a whisper of Bertone-era silhouette language. That tapered greenhouse? Pure retro-futurism, the kind that could only come from a country that worships both speed and sculpture in equal measure. Designer: EPTA Design The bodywork is entirely carbon fiber, and not just as a flex. The weave is visible from every angle, wrapping around exaggerated wheel arches and angry origami-like creases. It’s not just aesthetics either – it’s structure, soul, and statement. The reflections rolling off the surface are almost liquid, a high-gloss hallucination of light and intent. Look closely and you’ll see the word “VEPTA” near the front wheels, perhaps a clue or a red herring in EPTA Design’s growing mythos. Around the back, things get wild. Four vertical exhausts erupt from a tail section that looks like a spaceship’s afterburner array. There’s no wing, but the rear deck itself swoops like it’s ready to generate lift – or downforce, depending on how many laws of physics it’s trying to bend. A golden center-lock nut anchors the gloss-black wheels, which are wide, multi-spoked, and performance-obsessed. Brake calipers peek out in red, adding a splash of aggression to an otherwise stealth-fighter palette. From above, the canopy has a near-seamless wrap of glass and carbon. It’s tight. Tense. Like a jet cockpit shrunken down and perched just ahead of a carbon fiber storm. The symmetry here is clinical, the panel gaps razor-thin. It doesn’t just look fast; it looks like it was born in a vacuum chamber under military surveillance. EPTA says this is a “mid-engine two-seater supercar,” which automatically tells you what kind of proportions and intent they’re working with. But beyond the silhouette and stance, this thing is abstract sculpture on wheels. It’s less about raw specs and more about shaping emotion through velocity. And yet, it’s not lost in concept art fantasy. The presence is real, the panels are real, the reflections tell you this isn’t just a digital mockup. There’s heat coming out of those pipes in one of the rear shots. That’s combustion. That’s ambition made tactile. You don’t commit this hard to an idea unless you’re serious about chasing it into reality.The post The MORPHEUS Supercar Concept Could Make Batman Rethink His Ride first appeared on Yanko Design. #morpheus #supercar #concept #could #make

In today’s homes, the boundaries between indoors and outdoors are becoming beautifully blurred, and courtyard design plays a key role in that transformation. No longer just decorative pockets of greenery, modern courtyards are fully integrated living spaces that bring natural light, fresh air, and a sense of calm right into the heart of the home. Whether you live in a city apartment or a suburban retreat, a well-designed courtyard can create flow, function, and serenity. It becomes more than an outdoor space, it becomes a natural extension of your daily life. In this guide, we’ll explore practical, creative courtyard design ideas that help you connect your interior with the outdoors. From lush garden rooms to cozy side patios, each idea is crafted to inspire a home that feels open, grounded, and alive. 1. Open-Plan Layouts That Frame the Courtyard Image Source: The Architect Diary An open-plan layout that wraps around a courtyard transforms the entire home experience. By strategically positioning living areas,like the kitchen, living room, or dining space,around an open-air courtyard, the outdoors becomes an organic extension of your indoor life. Floor-to-ceiling windows or sliding doors allow natural light and garden views to flow freely. This setup not only maximizes the courtyard’s visibility but also encourages daily use, blurring the lines between inside and outside. It’s especially effective in warmer climates, where fresh air and sunlight can be enjoyed year-round. This courtyard design creates a social hub and a serene retreat in one integrated space. 2. Use Vertical Space for Planting Image Source: HomesandGardens When square footage is limited, think upward. Using vertical space in your courtyard lets you enjoy lush greenery without compromising walkability or functionality. Wall-mounted planters, trellises, living green walls, and tiered shelves can host herbs, flowers, or trailing vines. This strategy not only maximizes planting room but also adds visual depth and texture. It’s ideal for urban courtyards or narrow side patios, where ground planting space is scarce. Vertical gardening also draws the eye upward, creating a sense of openness and scale. With thoughtful positioning, these green walls can mirror or complement interior design features, further connecting your indoor and outdoor worlds.  3. Water Features to Add Tranquility Image Source: Houzz A water feature, whether a bubbling fountain, koi pond, or minimalist wall cascade,adds peace and movement to your courtyard design. The gentle sound of flowing water soothes the mind and masks urban noise, turning the space into a true sanctuary. Water also reflects light and greenery, adding a dynamic visual layer. Compact courtyards benefit especially from wall-mounted or vertical designs, which save floor space while enhancing ambiance. Water features pair well with lush plants and stone elements for a naturalistic setting. Plus, they bring an added cooling effect in warmer climates. It’s a small feature with big sensory benefits. 4. French-Style Courtyard Image Source: The Spruce A French-style courtyard adds classic romance and timeless charm to your home. These courtyards often feature symmetrical layouts, gravel pathways, wrought iron furniture, climbing vines, and a central focal point like a fountain or statue. Boxwood hedges and potted lavender or citrus trees evoke the ambiance of a Parisian garden café. Ideal for homes with European-inspired architecture, this courtyard design feels elegant yet grounded. French-style courtyards blend effortlessly with interiors that favor neutral palettes, antiques, and organic materials. Even in modern homes, this style offers a sophisticated counterpoint to sleek lines. It’s a refined yet welcoming space that makes every day feel like a getaway. 5. Don’t Overcomplicate Your Space Image Source: HomesandGardens When it comes to courtyard design, simplicity often wins. Trying to incorporate too many features, like oversized furniture, mixed themes, or excessive décor,can make even a spacious courtyard feel cramped or chaotic. Instead, focus on clear, functional zones: a place to sit, a patch of green, perhaps one focal point like a water feature or tree. Neutral tones and natural textures help create a calm, cohesive atmosphere. Minimalism doesn’t mean boring, it means intentional. By keeping the design clean and uncluttered, your courtyard becomes a restful extension of your home, not an overstimulating departure from it. Simplicity creates harmony and usability. 6. Introduce Outdoor Lighting Image Source: HomesandGardens Outdoor lighting is essential for enjoying your courtyard after dark and for enhancing safety, mood, and aesthetics. Use layered lighting: overhead string lights or sconces for ambient glow, path lights for navigation, and accent lights to highlight plants or architectural details. Solar-powered options make installation easy and eco-friendly. Smart lighting systems let you control brightness or color temperature from your phone. Choose fixtures that echo your home’s interior style,modern, rustic, or industrial,for cohesion. Well-designed lighting doesn’t just extend courtyard use into the night,it also turns the space into a visual feature from inside, contributing to a seamless indoor-outdoor design. 7. Use Exaggerated Verticals to Maximize Space Image Source: Living get In courtyards with limited square footage, exaggerating vertical elements can dramatically expand the visual experience. Tall hedges, statement sculptures, narrow water walls, or climbing plants draw the eye upward, giving a sense of height and airiness. This is particularly useful in enclosed or urban settings where lateral space is tight. Pair vertical lines with mirrored surfaces or slim lighting fixtures for added effect. Inside, echo this verticality with tall windows or vertically stacked shelves that overlook the courtyard. These upward design cues establish continuity and give the entire area a modern, architectural flair while making it feel larger and more open. 8. Side Patio Courtyard Image Source: The Spruce A side patio courtyard is a smart solution for homes with narrow or awkwardly shaped outdoor areas. Tucked alongside the house, this type of courtyard can become a cozy, private retreat or a secondary dining and lounge zone. Maximize the space with slim furniture, vertical planting, and clean lines. Use glass doors or large windows to open interior rooms,like a kitchen or hallway,directly onto the courtyard, improving light flow and visibility. Even modest side courtyards can feel spacious when thoughtfully designed. With the right layout and materials, they become stylish outdoor rooms that serve as peaceful escapes or vibrant entertaining spots. 9. Built-In Benches or Daybeds Image Source: BetterHomes&gGardens Built-in benches or daybeds are functional and beautiful additions to any courtyard. These features maximize space and invite relaxation without cluttering the area with bulky furniture. Often integrated into low walls or along garden beds, they offer a clean, minimalist look while providing ample seating. Top them with weather-resistant cushions and fabrics in colors that echo your interior for design harmony. A daybed turns your courtyard into a sunlit lounge, ideal for reading or napping. Built-ins also make cleaning and maintenance easier and can be customized to fit awkward corners. Their permanence gives your courtyard design a polished, intentional finish. 10. Backyard Turned Courtyard Image Source: Living get If your backyard feels underused or too open, consider transforming a portion of it into a courtyard. You can define the space by adding partial walls, fencing, or tall plantings like bamboo or hedges to create a sense of enclosure. Incorporate a central feature such as a tree, water fountain, or fire pit to anchor the space. Add comfortable seating, outdoor rugs, and potted plants to bring warmth and purpose. This approach turns a generic backyard into a functional, intimate zone,perfect for reading, relaxing, or hosting. A backyard courtyard offers structure while preserving openness, giving your outdoor area new life. 11. Bring the Inside Out Image Source: HomesandGardens To achieve true indoor-outdoor harmony, replicate the feel of your interior design in the courtyard. Choose outdoor furnishings that mirror your indoor color palette, materials, and style. For example, use similar wood tones, textiles, and decorative elements like lanterns or throw pillows. Outdoor rugs, weatherproof sofas, and even coffee tables can make your courtyard feel like a living room under the sky. Add art, mirrors, or bookshelves with planters to soften the transition. This strategy helps the courtyard feel like a true continuation of your home rather than a separate zone. It enhances comfort, flow, and everyday livability. 12. Indoor Courtyard Turned Private Garden Image Source: Architectural design An indoor courtyard can become a hidden garden sanctuary with the right design approach. Enclosed or semi-enclosed by glass or open ceilings, these courtyards are perfect for curated greenery, from ferns and moss to small trees or flowering vines. Add gravel paths, benches, or a water feature to create a peaceful retreat visible from multiple rooms. This setup is especially useful in dense urban homes, where privacy is valued. The garden becomes a quiet core for reflection and relaxation, away from the outside world. It not only improves aesthetics but also enhances indoor air quality and emotional wellness. 16. Multipurpose Courtyard Space Image Source: Architectural design Why settle for just one use? Design your courtyard to serve multiple functions,such as a morning coffee nook, a kids’ play zone, or an evening yoga space. Use movable furniture, foldable tables, or modular seating that can be reconfigured as needed. Zone the area with rugs or planters to subtly divide uses without crowding the space. This flexible approach makes the courtyard dynamic and relevant to all members of the household. It’s especially useful in smaller homes where every square meter matters. A multipurpose courtyard adapts with your day, making it not just beautiful, but deeply practical. 17. Courtyard with Kitchen Access Image Source: Decorpad One of the most functional courtyard design ideas is positioning it directly off the kitchen. This setup makes alfresco dining a breeze and encourages more frequent use of the outdoor space. Add a BBQ grill, outdoor sink, or even a full mini kitchen with countertop space. For seamless service, consider installing a pass-through window or fold-up bar. It’s perfect for entertaining or simply enjoying a quiet breakfast outside. This courtyard becomes a social hub and culinary extension, combining practicality with pleasure. With the right setup, your kitchen and courtyard will work in tandem to elevate daily life. 18. Rustic Mediterranean Courtyard Image Source: Houzz Create the warm, welcoming feel of a Mediterranean escape by combining textured walls, clay pots, terracotta tiles, and flowering plants like bougainvillea or rosemary. Wrought-iron furniture, mosaic tables, and rustic wooden beams bring that sun-soaked, timeless atmosphere to life. Use soft, earthy tones, like sand, stone, and rust, to match your interior and make the courtyard feel grounded. This style blends perfectly with both traditional and bohemian interiors. With some soft lighting and olive trees, your courtyard becomes a rustic retreat that feels far away, even when it’s just a step from your living room. 19. Create a Spa-Like Feel With a Bathroom Courtyard Image Source: Living get Transform your daily routine into a wellness ritual by connecting your bathroom to a serene courtyard. A small, private outdoor space just off the bath or shower instantly adds a spa-like vibe. Think smooth stone pathways, tropical plants, soft lighting, and perhaps a water feature to enhance tranquility. Frosted glass doors or large windows maintain privacy while allowing natural light to pour in. Even a compact courtyard can elevate a bathroom into a peaceful retreat that feels worlds away from daily stress. This seamless connection between your indoor sanctuary and outdoor calm fosters relaxation, mindfulness, and luxurious everyday living Wrap Up  Great home design isn’t just about what happens inside four walls, it’s about how your living spaces connect, flow, and breathe together. Whether it’s a peaceful garden retreat, an alfresco dining space, or a flexible zone for work and play, the right courtyard design creates harmony between indoors and out. At Home Designing , we believe the best homes are the ones that reflect how you live, and how you want to feel. These courtyard ideas are just one way to craft spaces that are not only functional, but deeply personal and inspiring. #courtyard #design #ideas #seamless #indooroutdoor

Pavilion of Estonia Let Me Warm You Biennale Architettura 2025 / Keiti Lige + Elina Liiva + Helena MännaSave this picture!© Joosep KivimäePavilion•Venezia, Italy Architects: Year Completion year of this architecture project Year:  2025 Photographs Photographs:Joosep KivimäeMore SpecsLess Specs this picture! Text description provided by the architects. The Ministry of Culture of Estonia presents the installation and exhibition "Let me warm you" www.letmewarmyou.com curated by architects Keiti Lige, Elina Liiva, and Helena Männa, the Pavilion of Estonia at the 19th International Architecture Exhibition of La Biennale di Venezia. The Pavilion explores whether current insulation-driven renovations are merely a compliance measure to meet European energy targets or if they can serve as an opportunity to enhance the spatial and social quality of mass housing districts. To highlight this issue, the Estonian Pavilion will cover the facade of a Venetian building with insulation panels, the same practice used in Estonia for mass housing. The palazzetto is located in Riva dei Sette Martiri 1611 in the waterfront between Corso Garibaldi and the Giardini, within the Castello neighborhood. On the ground floor of the same building, a room, wrapped in plastic film, will host an exhibition showing how social dynamics within different stakeholders have an effect on spatial solutions.this picture!this picture!this picture!"With this project, we question whether insulation is just a bureaucratic checkbox for meeting EU targets or a real chance to tackle social and spatial challenges. It exposes the clash between bold global ambitions and the everyday realities of people navigating collective decisions." — assert curators Keiti Lige, Elina Liiva, and Helena Männa. In order to cope with climate change, one half of the world is installing ever-thicker insulation layers, while the other half is using increasingly powerful cooling systems. As Europe races toward its transition to climate neutrality by 2050, Estonia has an ambitious goal, pledging to upgrade all the apartment buildings pre-2000 to at least energy efficiency class C. This sweeping renovation effort is part of a larger European movement to modernize aging housing stock in response to the climate crisis. However, insulation should not be treated as a mere quick fix, a 'bandage,' but rather a meaningful upgrade in quality of life. Given the high costs and long-term impact of these renovations, the real challenge is finding a balance between ambitious climate policies and the everyday needs of the people who live in these spaces.this picture!Installations - The installation, mounted directly onto the existing building's façade, will use the same materials and design elements typically found in Estonian renovations. Set against the ornate architecture of Venice, this stark contrast serves as a powerful visual statement. In Estonia, Soviet-era apartment block renovations often proceed with little to no architectural input, reinforcing a problematic disregard for the character and potential of these spaces. By juxtaposing a fiber cement-clad façade with Venice's rich historic fabric, the installation aims to spark a dialogue between inhabitants and architects about the cities and spaces we aspire to live in.this picture!this picture!Exhibition - On the ground floor of the palazzetto, an exhibition will delve into the social forces shaping renovation decisions. In Estonia, where most apartment buildings are privately owned, renovation choices are often driven by financial constraints, leaving little room for spatial improvements beyond insulation. The exhibition spaceitself will be wrapped in plastic film, symbolizing the relentless push for renovation while exposing how technical fixes often overshadow the deeper connections and real needs people have with their homes. At its centre, a model of a Soviet-era housing block brings human interactions to the forefront, using theatrical dialogues and exaggerated spatial outcomes to depict how different relationships and interactions have their impact on space. By shining a light on the complexities of collective living and renovation decisions, the exhibition invites visitors to reflect on the tension between policy-driven energy goals and the lived realities of those affected by them. The exhibition is accompanied by a catalogue that captures the tragicomedy of an apartment building in six scenes. Based on real people's stories, it explores themes ranging from the fear of change to the revitalization of the neighborhood.this picture!The Biennale Architettura 2025 is curated by architect Carlo Ratti under the theme "Intelligens. Naturale. Artificiale. Collettiva.", and will be about the built environment as one of the largest contributors to atmospheric emissions, placing architecture among the main culprits in the degradation of our planet. As the climate crisis accelerates, architects must offer solutions, substantial and non-cosmetic, effective, and quick to achieve. In this sense, the Estonian exhibition responds to Ratti's call for pavilions: "This year's head theme offers good ground to discuss what happens to architecture when the Architect is excluded from the process. Renovation processes that are planned by residents themselves according to their best knowledge provide a good example of how collective intelligence, or lack of it, affects our spatial environment. The Estonian Pavilion gives the message that the architectural quality of the living environment should not be overlooked in renovation processes," explains Johanna Jõekalda, advisor on architecture and design at the Ministry of Culture of Estonia, Commissioner of the Estonian Pavilion. With "Let me warm you", visitors to the Biennale Architettura 2025 will actively engage with the pavilion and the building. By rethinking renovation strategies, Estonia could set an example for Europe: transforming outdated housing not just for energy efficiency, but for a more sustainable and livable future.this picture! Project gallerySee allShow less Project locationAddress:Venezia, ItalyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeKeiti LigeOffice•••Elina LiivaOffice•••Helena MännaOffice••• MaterialsWoodPlasticMaterials and TagsPublished on May 27, 2025Cite: "Pavilion of Estonia Let Me Warm You Biennale Architettura 2025 / Keiti Lige + Elina Liiva + Helena Männa" 27 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream #pavilion #estonia #let #warm #you

io9 is proud to present fiction from Lightspeed Magazine. Once a month, we feature a story from Lightspeed’s current issue. This month’s selection is “Through the Machine” by P.A. Cornell. Enjoy! Through the Machine by P.A. Cornell “Steve, over here! Turn to your right. Can we get a smile?” He falls back on his training easily enough, turns to the cameras, gives them his famous crooked smile, tilts his head just so as the flashes go off so they can capture the smoulder that highlights his cheekbones. The one he’s practiced countless times with his manager, Ethel. The red carpet extends before him, and up ahead he sees the actress he’s been paired with in this film. His co-star and onscreen love interest but in reality, a total stranger. He only knows her name because the photographers keep shouting it, asking her to turn so they can capture her svelte profile. She tilts her head obligingly, long blonde hair falling seductively over one eye, teasing the lenses and through them the millions of fans who’ll one day see these images. She’s a pro, like him. She’s clearly had the same kind of training he’s had. She’s been through the machine. It’s a phrase he heard years ago from a late-night talk show host. It refers to the way Hollywood turns you into a product. You start out this average person, just trying to make it as an actor, then as your success grows, more and more people come into your life to turn you into something else. A movie star. A fairy tale ideal of celebrity perfection. He’d told himself that would never be him. He was in it for the art, not the fame and fortune. But here he is. “Steve! Daphne! Can we get some shots of the two of you together?” The blonde up ahead reaches a hand toward him as if beckoning a good friend, though this is the first time they’ve met. She smiles at him in a way that almost looks genuine. He returns his best leading man grin, flashing the expensive set of pearly white teeth his manager arranged for in the earliest days of their partnership. He puts an arm around Daphne. They both pose, turn, look at each other and smile, over and over. Then both look serious, then smile once more. Then she leans in for a peck on the cheek as instructed by the shouting crowd, just before they’re both ushered off to find their places inside, where the film will be screened. Once they’re away from the cameras, he extends his hand to Daphne. “Hi. Steve Randall.” “Nice to meet you,” she laughs. “Daphne Everheart.” “You seen any of it yet?” “Not even the trailer,” she admits. “Did they send you the screenplay?” He shakes his head. Someone in her entourage grabs her by the arm. She gives him a small wave as they lead her off. He wonders if he’ll even see her again after this premiere. Maybe. If the film does well opening weekend, there could be a sequel. They could find themselves at another premiere for a movie they appear in together, but that neither of them has acted in. Steve lets his own people show him past curtains and cocktails to a theater with plush red seating. He takes his place staring up at the screen, trying to conjure up some of the excitement he once felt as a kid about to watch his favorite actors. But the excitement feels more akin to anxiety as the opening credits appear. He sees his own name—or the one his manager gave him, anyway. That’s when he appears. Seeing himself like this is unsettling, to say the least. He turns to the people seated around him and they’re all looking up at this face that resembles him but isn’t him. Do they not see it? Do they not feel that uncanny valley sickness in the pit of their stomachs that weighs his down as the thing on screen billed as Steve Randall starts to speak? It’s his voice, but he’s never said these words. Never read the script they came from. Who wrote this, anyway? He wonders. Or rather, what wrote this? The film’s runtime is ninety-five minutes. It’s a romantic comedy, but the word “comedy” is generous. Steve doesn’t so much as crack a smile. He watches this AI-generated doppelganger and his equally digitized scene partner as they traverse the uneven landscape of the disjointed plot—flimsy even for this genre. They flash smile after smile, kiss with ever-deepening passion—if you can call it that—and ultimately, after a series of contrived misunderstandings, they get their Hollywood ending. All set to an AI-generated score bereft of any feeling that might conjure atmosphere or elicit an emotional response from the viewer. As the lights come up and people start to clap, Steve glances down the row of seats at his co-star. Daphne, seeming to sense his stare, glances back. She looks as though she’s about to be sick but gives him a brave smile—a trained smile—and starts to clap along with everyone else. He does the same. This is his job now, after all. The scan was taken a couple of years ago, during pre-production on a movie in which he played an astronaut. They had to scan him for proper fit of the spacesuit they were having made, as well as for some of the more intricate effects. The voice they came by even more easily. From all the ADR he’d done, voicework on some animated stuff, and of course countless interviews already accessible online. He hadn’t given the scan much thought, at the time. It had made sense for the work they were doing. He’d never imagined it would lead to this. There’s an afterparty and people keep coming up and congratulating him on the movie. He says what he’s been trained to say, graciously thanking them for their praise, taking pictures with people for magazines and entertainment shows. Evidence that he is in fact still a real person that exists in the world, even though it’s not him on screen. Not in this movie and not in a handful of others, several of which he hasn’t even seen. If Hollywood could turn you into a product before, this is on another level. His career has become, almost exclusively, one of public appearances. His L.A. agent has him booked for a store opening tomorrow, and a series of meet-and-greets at conventions sometime in the spring. The sorts of gigs that used to be thought of as “has-been” work, but Steve, by all accounts, is still a bona fide movie star. He was People magazine’s “Sexiest Man Alive” just last year. Fans still somehow manage to find out what hotel he’s staying at in any given city all over the world, just so they can catch a glimpse of him walking in and out. How has it come to this? At the end of the night someone pushes him into a shiny black town car and the spectacle of this farce fades away in the car’s rear lights. He exhales, trying to get the image of the thing on screen out of his head. It’s not so bad, he tells himself. SAG made sure he’d get paid for the use of his image. It’s not as much as he might’ve liked, maybe, but it’s decent, and they use it often enough that the cheques enable him to maintain his standard of living. The public appearances add to that. He can’t really complain. But the sick feeling in his stomach remains. • • • When he’s back in New York, he calls his manager. “It was fucking weird, Ethel.” He tells her. “Seeing myself in a film I wasn’t actually in. No chemistry between me and my co-star because, well . . . neither of us was actually there to do any acting. This isn’t what I signed up for.” “Sweet boy,” she says, using her years’ old term of endearment for him, though he hasn’t been a boy in quite some time. “I know. But this is how it works with the studio films these days. Be glad your image is still worth something.” Steve sighs deeply. “I know. It’s just . . . I worked so hard to get here. We both did. The work mattered to me. I miss challenging myself, figuring out who my character is and how to best convey that through my performance. I miss being able to disappear into all those people and live their lives for a time.” “Of course, of course,” says Ethel. “That’s one of the reasons I took you on as a client. Even at sixteen, you had such passion. You loved the art of it. But what’s the alternative, Stefan?” She only ever uses his original name when she’s serious. He knows her hands are as tied as his. It’s this or give up the business altogether. • • • Over drinks with a friend the next night, he airs his frustrations, his tongue loosened by more than a few shots with beer chasers. “I’m bored,” he tells Frank, who doubled for him in an action film franchise that now continues without need of either of them. “I miss acting. It’s like all they left me with are the worst parts of fame. The parts where I still can’t walk down the street in peace without some paparazzo shoving a lens in my face, and where I can still get cancelled online for any stupid shit I might say without thinking. But the good parts, they’ve all been taken over by some digital version of me that frankly gives me the creeps.” “I hear ya, Steve,” Frank says, raising his beer. “It’s not just you though, brother. At least you still have a marketable presence. Companies still send you free clothes and shit so you can be spotted using it.” “Sure,” he tells Frank. “But all that amounts to is that I’m now pretty much just this human billboard. I’m not even an actor anymore.” “You’re breaking my heart, man. But think about guys like me. We were getting your crumbs even in the good times. If you think things have gotten rough for you, imagine what’s left for us. I haven’t been called for a stunt gig in months. And that last one ended up cancelled last minute when they decided it was cheaper to use AI. I’ve got a family to support, and all three kids are gonna need braces. Not to mention the first wife who’s on my back if I’m even half a second late with her alimony. What I wouldn’t give for my ugly mug to be in demand.” Steve knows he’s right and feels bad for whining. Things could be so much worse. Whatever jobs he’s lost to AI, there are countless more jobs lost by less famous actors, crew, and other support personnel like PA’s and craft services. He can’t begin to imagine how they’re all making ends meet these days. Many of the ones he’s still close with, like Frank, work multiple jobs, even outside the industry, just to cover what their once stable careers did. “Drinks are on me tonight, by the way,” he tells Frank. “You’ll get no argument here, pal.” • • • Later, in the privacy of his loft, Steve allows himself the luxury of self-pity. He can’t help thinking of the kid he once was. The chubby little dork with the accent. Too shy to talk to girls. Pushed around by the guys he so wanted to be. Acting freed him from all that. It had allowed this kid who didn’t feel comfortable in his own skin to become someone else. In time, it had given him confidence, and as he continued to hone his craft, it had brought him the attention he’d craved and opportunities he’d never imagined. It hasn’t always been easy. There’d been plenty of lean years before his big breakout role turned him into a household name. Years during which covering rent had been a struggle, and meals had often consisted of half-eaten scraps left by patrons of the restaurants in which he’d waited tables. But he’d loved acting enough to stick with it, and he’d thought it worth all the sacrifices. He gave up his very name for this profession. He lost the accent and the baby fat. He’s spent a sizeable portion of his income on fixing his teeth, and on five-hundred-dollar haircuts sometimes paired with a treatment to achieve that perfect shade of chestnut brown or a shave that still left enough stubble to keep him looking “manly” in a marketable way. He’s gotten regular tans to conceal his naturally pale complexion—a condition the L.A. agent refers to as his “vampire” look. He’s hired a stylist, a personal trainer, and a dietitian to help him maintain what the grueling workouts have chiselled him into. He’s had more hours of media training than he’s had acting classes. Hell, at times he’s even dated women he’s been told to date. All of it to create this perfect image of Hollywood glamour intended to seduce audiences into filling theater seats. He’s been put through the machine—and willingly let it happen—just so he can go on doing what he loves. He hadn’t realized this image wasn’t him. It was just a product. Something that could be sold, and then re-sold again and again, with little if any say from him as to how it might be used. Feeling down about his situation, Steve turns to Instagram. He doesn’t follow any fan accounts but now and then, when he’s alone, he looks up the hashtag that bears his name. The fans have a way of making him feel better about himself. Their comments on his pictures—especially the shirtless ones—always make his day. Their support for the charities he’s championed over the years warms his heart. Sure, there are always trolls, but those are in the minority and easy enough to block. He scrolls through his feed and finds the People photo shoot. His feelings about the shoot are a mix of pride and embarrassment. Pride that the chubby kid with the Polish accent showed his high school bullies up, but a little shame at the fact that he still cares so much about what they might think. Still, a few of the pictures from the shoot are really good. He recalls how the photographer’s great sense of humor put him at ease, and how welcoming the magazine staff were. Continuing to scroll, he comes across a picture of himself he never took. This isn’t one of those amazing fan art images he’s seen over the years made by outstandingly talented artists that managed to capture not just his appearance, but his essence. This is some kind of Frankenimage, clearly AI-generated. His hair is a honey blonde he’s never sported, not even on screen. The cheekbones are oddly exaggerated and too narrow, giving him an almost gaunt appearance. In the picture he holds an infant, staring down at it like a proud father. It hurts him to see it. He’s always wanted a family, but this hasn’t happened for him in real life. Steve scrolls some more and comes across another AI image. In this one he’s dressed in a patent leather getup; cut to reveal tattoos he doesn’t have. A red blindfold covers his eyes. His arms are cuffed behind his back. His expression is one of ecstasy. Behind him stands another known actor who holds the handle of a whip against his chest as he leans in to lick the side of Steve’s face. The actor is a good friend. They’ve worked together a few times but never as onscreen lovers. Fans have imagined their characters as a couple for years, which seemed harmless enough, but seeing this is something else. Against his better judgment, he reads the comments. “I ship them.” “Gorgeous art. Love this.” “Yes, please.” And so on. “I wanna see them getting down in a movie together,” someone’s written. There’s a response to this last comment from someone who’s handle indicates they work for a major studio. “Don’t worry. You won’t have to wait much longer for that. And let’s just say this one’s not going to be the family-friendly fare you’re used to seeing these guys in.” Steve isn’t homophobic. He’s played gay characters more than once and has been fine with kissing or even simulating sex with other male actors. But there’s something about being paired with a close friend in this way without so much as a heads up, that seems like a violation. It’s one thing to work with another actor that you’ve built trust with and talk through a scene to make sure you’re both comfortable depicting something intimate that everyone can be proud of in the end. It’s quite another thing when your image is used to quell strangers’ salacious appetites, in a way you didn’t consent to. Steve feels sick. He takes screenshots of both the AI image and the comment about the movie and texts them to his friend. He follows that up with the message: Did you know about this? The reply comes almost immediately. Fuck. Are you kidding me? Wish I was. Damn man. I love you, but not like that. At least not without the kind of money we used to get for our movies. Steve smiles in spite of himself. At least his friends can still have a sense of humor about these things. I feel like we need to push back on this, he tells his friend. Yeah, I get it man, but we signed the contract. I know we didn’t have much choice, but the law doesn’t care. We agreed to this. Pretty sure it’s too late to stop them. The fans don’t even seem to care it’s not really us, Steve types. Why would they? His friend replies. They don’t even really need us anymore. We just get in the way of their fantasies. Steve doesn’t respond to that. He deletes his Instagram account. He shudders to think of what they’re doing with his image on TikTok. Or worse, on the dark web. • • • “This sucks, Ethel.” Steve puts the phone on speaker and sets it down on the kitchen counter to pour a bowl of cereal. “I’m going stir-crazy here. I need something to challenge my creativity again.” “Well, I heard about one thing, but I’m not sure it’s really for you, so I hadn’t mentioned it,” she says. “What? Tell me?” He opens the fridge and reaches for the almond milk then thinks, screw it, and grabs the whole milk he bought yesterday instead. “There’s this Broadway musical. I know one of the producers, but you’d have to audition.” “That’s exactly what I need right now,” he tells her, over mouthfuls of Frosted Flakes. “It’ll be good for me to go back to my theater roots. It’s been too long since I’ve performed in front of an audience.” He pushes the thought that it’s a musical to the back of his mind. He’s never been known for his singing, but he can work with a voice coach or something. At this point, he’ll do anything to perform again. “It’s been a long time since you’ve had to audition, let alone for live theater,” Ethel says. “Just tell me where and when. I’ve got this.” • • • When he gets the lead in the musical, Steve’s thrilled, but also mildly surprised. He’d felt good about the audition, but he’d heard some of the other actors sing and they were clearly better than he is. He figures they must’ve seen something in him—an intangible quality that suits the part. Why overthink it? His illusions come crashing down early on in rehearsals. During a break, he talks with one of the stagehands. An older guy named Bill. Steve vents a bit about how he can’t really act in the film industry anymore. “Thank god for Broadway. The last refuge for actors like me.” “Yeah. For actors like you,” Bill agrees. Steve isn’t sure what he means by that and says so. “Look, you seem like a decent enough guy,” Bill says, “so don’t take this the wrong way, but you’re here because you’re a name. They need something to put on the billboards that’ll draw a crowd, is all. It ain’t about talent no more.” Steve is taken aback, and his expression must show it. “Don’t get me wrong,” Bill continues. “You’re good. Up there on the big screen, you were a real standout. But this is a whole different animal. All I’m saying is there’s actors more cut out for the stage than you that can’t get hired anymore because the guys who used to work the screen are taking their roles.” Steve’s about to respond when Bill points to a group of actors sitting together talking. “See the guy in the collared shirt?” Bill says. “That’s Wayne Garnet.” Steve knows Wayne from rehearsals. Nice guy. He has a small part but gives it his all. “Wayne’s a Tony-winner. Used to be his name on the marquee. Now even he has to settle for bit parts since AI started taking chunks out of the film industry.” Later Steve Googles Wayne Garnet and finds he’s actually won two Tonys. He’s also known for his singing voice, which he loaned to several animated films before they started digitally recreating it. Steve feels sick. He approaches Wayne during the next rehearsal and offers to bow out to make room for him. Wayne is gracious and tells him not to. “There’s no point, Steve. They’d just get another big name movie star to replace you. My days as the lead are done. I’m just happy I still get to be on stage at all. At least for now.” “What do you mean?” Steve asks. “AI’s coming for all of us,” Wayne says. “It’s not just the film industry. This crap is spreading like a virus throughout the arts. There’s already talk of a new play, AI-written, of course, where instead of live actors they’re projecting digital performers onto the stage. It’s strictly off-Broadway for now, but give it time.” Steve is appalled. Doesn’t know what to say. Wayne continues. “I’ll take whatever I can get these days. You know what they say, ‘There are no small parts.’ I just hope that when the roles run out, someone will want to scan me to use in a projection so I can at least cash a cheque now and then.” • • • At home one night, after the play’s run has ended, Steve settles in to watch TV. He scans his options, stumbling upon one of his early roles. A serious drama in which he played a depressed teen, struggling with his parents’ divorce and his older brother’s untimely death. Even all these years later, the dialogue comes back as he watches one of the more emotional scenes. “It’s not like I don’t want to talk about Tommy,” he mouths along with his younger self. “I do. It’s just that . . .” Young Steve can’t finish because he’s started to cry. Present day Steve remembers shooting the scene—his first time crying on cue. He remembers harnessing all those emotions and tapping into all the pain he’d ever felt, and all of it somehow pouring out of him in that moment. He remembers the director taking him aside later and saying, “You nailed it, kid.” He smiles thinking of this now, but then he’s sad again, missing the sense of accomplishment of pulling off a scene like this. The exhilaration of seeing an audience respond to it later. He watches the remainder of the movie while eating peanut butter by the spoonful right out of the jar. Halfway through he crumbles in an entire Kit-kat bar like he used to do when he was a kid. By the time the credits roll, the jar is empty. • • • Steve’s personal trainer leaves frequent voicemail messages asking when he’s coming back to the gym. He knows he should, but it’s tough to get motivated for a workout when he feels like all anyone’s going to see is his AI clone. Still, it’s in his contract to try to resemble the digital version of himself as much as possible. He knows his skin could use a bit more color these days too, and his hair’s starting to show some gray he hadn’t even realized he had. He makes a mental note to focus more on his appearance. All that can wait until after he returns from the convention though. He’s surprised to find he’s actually looking forward to connecting with his fans again and maybe seeing some of the ones that have become familiar faces over time. The energy at the con is intense, and Steve feels electrified, like he did during his stint on Broadway. One by one he greets his fans as warmly as he possibly can. He makes time to speak with them in the few minutes he has while they take pictures with him. He gives them not his practiced smile, but his real one, and makes sure to thank each one for their continued support. Things get a little weird during the signing. Much of it is what he’s used to, with fans handing him old headshots or pictures from his older films to sign, and in some cases art they’ve made themselves. But he’s also handed quite a few more AI-generated images than he’s used to. He feels like a fraud signing them. Like he’s putting his autograph on someone else’s headshot. Still, he tries to be gracious and humble with the fans. They’ve been there for him through his rise to fame. It’s the least he can do. By the time it’s all over and he’s on his way back to the hotel, Steve’s feeling good about the event. So good, in fact, that he revives his Instagram account to see what fans have been posting. He smiles at the pictures they took with him earlier in the day. Many of the fans are dressed like his characters. Some of the props and signs they’ve brought are so creative, they bring a smile to his face. But soon he notices that not all the comments under the pictures are kind. “Is it just me or is Steve rockin’ the dad bod these days?” someone asks. “Yeah. I hate to say it, but I was a bit disappointed that he didn’t look as hot as he does in Burning Brand II,” replies the account holder. “He’s looking older too. I mean, don’t get me wrong, he was nice and all, I just wish the picture was better.” “Just fix it so he looks hot,” someone else suggests. “Yeah, I probably will.” Steve doesn’t even know what Burning Brand II is. Another of his films he hasn’t seen—or acted in—he assumes. He closes the app and wonders why he even bothers. If the fans don’t care what’s real and what isn’t, why is he even doing this? • • • He goes for a run the next morning. It’s been a while, but he soon finds his rhythm. It’s early in the day and the streets are quiet. He likes this time of day. It’s peaceful. Gives him a chance to clear his head. When he stops for a rest, he notices a small theater. A sign over the door proclaims that the theater shows only movies made by and starring living human beings. The acronym “AI” is painted on one of the windows with a red slash cut diagonally through it. But what really gets Steve’s attention is the man changing the posters. He replaces one with another that features a pensive-looking Daphne Everheart. His former co-star, if you can call her that, looks younger in this poster. He’s never seen her act before and he’s curious. He decides to return later in the day when the theater opens. • • • The film’s called Grace. In it, Daphne plays a young woman trying to convince her wealthy parents to take her seriously as an inventor. The story is moving, as Daphne’s character struggles against societal expectations to achieve her dreams. Steve likes the score too, and decides he’ll stay to read through the credits to see who composed it. He also enjoys the style the director has brought to the project. But what he likes most is Daphne’s performance. She’s good. It kills him to think that someone who was clearly a rising star is now relegated to appearing only as a digital ghost of herself in half-baked movies that would’ve been an embarrassment at another time. How many other talented actors have been forced out of the industry altogether? And what of everyone else whose jobs have been made irrelevant? Steve feels the tears well up, in part because of the movie, but also because of his thoughts. He blinks them away and looks around to see if other people are equally moved. That’s when he notices that nearly every seat in the theater has someone in it. He watches their expressions as they react to Daphne’s performance. He sees the story affect them, and by the end he understands that there are people for whom this art still has meaning. • • • After the movie lets out, he calls Ethel. “I’m thinking of doing something a bit different,” he tells her. “I want to start a production company. Make movies the old way. I have a whole list of people I can call who’d jump at the chance to collaborate on something real again.” “That sounds wonderful, sweet boy. It’s nice to hear some excitement in your voice again.” “I was calling to ask you something,” he tells her. “You wouldn’t happen to know how to get in touch with Daphne Everheart, would you? I don’t have a project yet, but I’d like to gauge her level of interest. I’m sure we’ll find something for her. The world deserves to see how good she actually is at this.” About the Author P.A. Cornell is a Chilean-Canadian speculative fiction writer. A graduate of the Odyssey workshop, her stories have been published or are forthcoming in over fifty magazines and anthologies, including Lightspeed, Apex, and three “Best of” anthologies. In addition to becoming the first Chilean Nebula finalist in 2024, Cornell has been a finalist for the Aurora and World Fantasy Awards, was longlisted for the BSFA Awards, and won Canada’s Short Works Prize. When not writing, she can be found assembling intricate Lego builds or drinking ridiculous quantities of tea. Sometimes both. For more on the author and her work, visit her website pacornell.com. © Adamant Press Please visit Lightspeed Magazine to read more great science fiction and fantasy. This story first appeared in the May 2025 issue, which also features short fiction by R. P. Sand, Gene Doucette, Martin Cahill, Russell Nichols, Meg Elison, Jonathan Olfert, Nancy Kress, and more. You can wait for this month’s contents to be serialized online, or you can buy the whole issue right now in convenient ebook format for just or subscribe to the ebook edition here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #movie #star #endures #hollywoods #dystopian

A US M1A1 Abrams tank. Spc. Christian Carrillo/US Army 2025-05-22T18:51:39Z d Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Nearly 30 M1A1 Abrams tanks will roll down Constitution Ave. in DC for the Army's 250th birthday. The service is finalizing plans to prevent the heavy 70-ton tanks from damaging the road. Engineers will use steel plates and track pads to protect roads during the parade. The powerful M1A1 Abrams tank, with its heavy armor and 120mm cannon, is a massive hulk of steel, and dozens are set to hit the streets in the nation's capital next month.Nearly 30 of the tanks are expected to rumble down Constitution Avenue as part of the US Army's 250th anniversary celebration on June 14, set to coincide with President Donald Trump's birthday.The street, which runs parallel to the National Mall and serves as a major route for city traffic, isn't built to easily accommodate each tank's nearly 70-ton frame. Most cars weigh only about two tons.So how is the Army going to keep its tanks from chewing up Constitution Avenue? The service's engineers are putting the finishing touches on plans to protect the busy street's pavement from biting tracks.Officials aren't too concerned with the straight path down Constitution, which will likely see a single file of tanks. It's turning points that will be the most vulnerable to tears from the heavy tracked vehicles."We are targeting those areas that we have concerns," said Army Col. Jesse Curry, Executive Officer for the Army's Chief of Engineers, during a media roundtable with reporters on Wednesday. "Particularly the areas where the surface of the pavement would typically, you know, receive an exaggerated level of stress." US M1A1 Abrams tanks arrive via rail at Grafenwoehr, Germany. Staff Sgt. Christopher Stewart/U.S. Army To prevent such stress, military engineers are figuring out which turn points will be layered with steel plates at least one inch thick.Such large plates are commonly seen on city streets where heavy equipment is used, Curry said, adding that equipment staging areas and the parade route were specially chosen to minimize weight-related damage.Heavy tracked vehicles like the M1A1 often make turns by using differential steering — one side will roll forward while the other reverses, or the tracks will operate at a different speed. That can cause tracks to "pinch," a problem for asphalt.Inbound parade tanks will also don new "track pads," rubber components that create some separation between the metal tracks and the pavement, Curry told reporters.Additional measures to prevent damage are still being examined, with help from DC's Department of Transportation, the National Park Service, and the Federal Highway Administration.The tanks and other vehicles, such as Bradley fighting vehicles and Strykers, will arrive in the DC area via rail and will then depart to parade staging areas via heavy-duty trailers, similar to those used to move houses down highways. An M1A1 Abrams is loaded onto a heavy equipment movement truck at Fort Cavazos, Texas. Spc. Alejandro L. Carrasquel/ US Army Troops will not be conducting any full-scale rehearsals for the parade, a notable deviation from typical military planning. Normally, complete rehearsals are an important part of any military mission, including small unit ceremonies. Officials said Wednesday that while the Army has been planning a major 250th birthday event for two years, the idea to include heavy vehicles like tanks and other armored vehicles in a parade only arrived this year. The officials did not specify how the idea originated.Even moving at a slow parade pace, any military activity using heavy equipment and vehicles is fraught with concerns that require meticulous planning for safety precautions, especially when it comes to the equipment offloads required to stage for such a parade. Large vehicles must rely on ground guides to ensure no one is inadvertently run over.Officials said Wednesday that Hercules wreckers will be available to recover any tanks that break down. How roads might handle the behemoth 70-ton M88 Hercules recovery vehicle with a downed tank on its trailer bed is unclear. #how #army #plans #keep #its