AI is packing and shipping efficiency for the retail and consumer packaged goods (CPG) industries, with a majority of surveyed companies in the space reporting the technology is increasing revenue and reducing operational costs. Global brands are reimagining every facet of their businesses with AI, from how products are designed and manufactured to how they’re marketed, shipped and experienced in-store and online. At NVIDIA GTC Paris at VivaTech, industry leaders including L’Oréal, LVMH and Nestlé shared how they’re using tools like AI agents and physical AI — powered by NVIDIA AI and simulation technologies — across every step of the product lifecycle to enhance operations and experiences for partners, customers and employees. 3D Digital Twins and AI Transform Marketing, Advertising and Product Design The meeting of generative AI and 3D product digital twins results in unlimited creative potential. Nestlé, the world’s largest food and beverage company, today announced a collaboration with NVIDIA and Accenture to launch a new, AI-powered in-house service that will create high-quality product content at scale for e-commerce and digital media channels. The new content service, based on digital twins powered by the NVIDIA Omniverse platform, creates exact 3D virtual replicas of physical products. Product packaging can be adjusted or localized digitally, enabling seamless integration into various environments, such as seasonal campaigns or channel-specific formats. This means that new creative content can be generated without having to constantly reshoot from scratch. Image courtesy of Nestlé The service is developed in partnership with Accenture Song, using Accenture AI Refinery built on NVIDIA Omniverse for advanced digital twin creation. It uses NVIDIA AI Enterprise for generative AI, hosted on Microsoft Azure for robust cloud infrastructure. Nestlé already has a baseline of 4,000 3D digital products — mainly for global brands — with the ambition to convert a total of 10,000 products into digital twins in the next two years across global and local brands. LVMH, the world’s leading luxury goods company, home to 75 distinguished maisons, is bringing 3D digital twins to its content production processes through its wine and spirits division, Moët Hennessy. The group partnered with content configuration engine Grip to develop a solution using the NVIDIA Omniverse platform, which enables the creation of 3D digital twins that power content variation production. With Grip’s solution, Moët Hennessy teams can quickly generate digital marketing assets and experiences to promote luxury products at scale. The initiative, led by Capucine Lafarge and Chloé Fournier, has been recognized by LVMH as a leading approach to scaling content creation. Image courtesy of Grip L’Oréal Gives Marketing and Online Shopping an AI Makeover Innovation starts at the drawing board. Today, that board is digital — and it’s powered by AI. L’Oréal Groupe, the world’s leading beauty player, announced its collaboration with NVIDIA today. Through this collaboration, L’Oréal and its partner ecosystem will leverage the NVIDIA AI Enterprise platform to transform its consumer beauty experiences, marketing and advertising content pipelines. “AI doesn’t think with the same constraints as a human being. That opens new avenues for creativity,” said Anne Machet, global head of content and entertainment at L’Oréal. “Generative AI enables our teams and partner agencies to explore creative possibilities.” CreAItech, L’Oréal’s generative AI content platform, is augmenting the creativity of marketing and content teams. Combining a modular ecosystem of models, expertise, technologies and partners — including NVIDIA — CreAltech empowers marketers to generate thousands of unique, on-brand images, videos and lines of text for diverse platforms and global audiences. The solution empowers L’Oréal’s marketing teams to quickly iterate on campaigns that improve consumer engagement across social media, e-commerce content and influencer marketing — driving higher conversion rates. Noli.com, the first AI-powered multi-brand marketplace startup founded and backed by the  L’Oréal Groupe, is reinventing how people discover and shop for beauty products. Noli’s AI Beauty Matchmaker experience uses L’Oréal Groupe’s century-long expertise in beauty, including its extensive knowledge of beauty science, beauty tech and consumer insights, built from over 1 million skin data points and analysis of thousands of product formulations. It gives users a BeautyDNA profile with expert-level guidance and personalized product recommendations for skincare and haircare. “Beauty shoppers are often overwhelmed by choice and struggling to find the products that are right for them,” said Amos Susskind, founder and CEO of Noli. “By applying the latest AI models accelerated by NVIDIA and Accenture to the unparalleled knowledge base and expertise of the L’Oréal Groupe, we can provide hyper-personalized, explainable recommendations to our users.”  https://blogs.nvidia.com/wp-content/uploads/2025/06/Noli_Demo.mp4 The Accenture AI Refinery, powered by NVIDIA AI Enterprise, will provide the platform for Noli to experiment and scale. Noli’s new agent models will use NVIDIA NIM and NVIDIA NeMo microservices, including NeMo Retriever, running on Microsoft Azure. Rapid Innovation With the NVIDIA Partner Ecosystem NVIDIA’s ecosystem of solution provider partners empowers retail and CPG companies to innovate faster, personalize customer experiences, and optimize operations with NVIDIA accelerated computing and AI. Global digital agency Monks is reshaping the landscape of AI-driven marketing, creative production and enterprise transformation. At the heart of their innovation lies the Monks.Flow platform that enhances both the speed and sophistication of creative workflows through NVIDIA Omniverse, NVIDIA NIM microservices and Triton Inference Server for lightning-fast inference. AI image solutions provider Bria is helping retail giants like Lidl and L’Oreal to enhance marketing asset creation. Bria AI transforms static product images into compelling, dynamic advertisements that can be quickly scaled for use across any marketing need. The company’s generative AI platform uses NVIDIA Triton Inference Server software and the NVIDIA TensorRT software development kit for accelerated inference, as well as NVIDIA NIM and NeMo microservices for quick image generation at scale. Physical AI Brings Acceleration to Supply Chain and Logistics AI’s impact extends far beyond the digital world. Physical AI-powered warehousing robots, for example, are helping maximize efficiency in retail supply chain operations. Four in five retail companies have reported that AI has helped reduce supply chain operational costs, with 25% reporting cost reductions of at least 10%. Technology providers Lyric, KoiReader Technologies and Exotec are tackling the challenges of integrating AI into complex warehouse environments. Lyric is using the NVIDIA cuOpt GPU-accelerated solver for warehouse network planning and route optimization, and is collaborating with NVIDIA to apply the technology to broader supply chain decision-making problems. KoiReader Technologies is tapping the NVIDIA Metropolis stack for its computer vision solutions within logistics, supply chain and manufacturing environments using the KoiVision Platform. And Exotec is using NVIDIA CUDA libraries and the NVIDIA JetPack software development kit for embedded robotic systems in warehouse and distribution centers. From real-time robotics orchestration to predictive maintenance, these solutions are delivering impact on uptime, throughput and cost savings for supply chain operations. Learn more by joining a follow-up discussion on digital twins and AI-powered creativity with Microsoft, Nestlé, Accenture and NVIDIA at Cannes Lions on Monday, June 16. Watch the NVIDIA GTC Paris keynote from NVIDIA founder and CEO Jensen Huang at VivaTech, and explore GTC Paris sessions.

Lego Mario Kart: Mario & Standard Kart (1,972 Pieces) $170 | Releases July 1 at Walmart | Available now at Lego Store Preorder at Walmart See at Lego Store The latest Lego Mario display model for adults and experienced builders will no longer be exclusive to the Lego Store starting July 1. Walmart has opened preorders for Lego Mario Kart: Mario & Standard Kart, a charming and superbly designed building set comprised of 1,972 pieces. The kit lets fans build a large Super Mario figure and his signature red kart. As of June 27, Walmart is offering release-day delivery for the $170 set.Mario & Standard Kart debuted as a Lego Store exclusive on May 15. Lego exclusives typically don't arrive at major retailers for three to six months after launch, so Walmart stocking it on July 1 is a bit surprising. Since Walmart is the only retailer taking preorders, it's possible that the retail release will only be available there.Continue Reading at GameSpot

By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”

If you’re a fan of previous Funcom titles, such as Conan Exiles, then you know the lore, while interesting in small doses, isn’t the focal point. It’s just the flavoring helping you immerse yourself in the sprawling landscape. In Dune Awakening, the

IMAX est mondialement reconnu pour ses écrans gigantesques, mais cette technologie révolutionnaire ne se limite […] Cet article IMAX : tout ce que vous devez savoir a été publié sur REALITE-VIRTUELLE.COM.

Monitoring and Support EngineerKeyword StudiosPasig City Metro Manila Philippines2 hours agoApplyWe are seeking an experienced Monitoring and Support Engineer to support the technology initiatives of the IT Infrastructure team at Keywords. The Monitoring and Support Engineer will be responsible for follow-the-sun monitoring of IT infrastructure, prompt reaction on all infrastructure incident, primary resolution of infrastructure incidents and support requests.ResponsibilitiesFull scope of tasks including but not limited to:Ensure that all incidents are handled within SLAs.Initial troubleshooting of Infrastructure incidents.Ensure maximum network & service availability through proactive monitoring.Ensure all the incident and alert tickets contain detailed technical information.Initial troubleshooting of Infrastructure incidents, restoration of services and escalation to level 3 experts if necessary.Participate in Problem management processes.Ensure that all incidents and critical alerts are documented and escalated if necessary.Ensure effective communication to customers about incidents and outages.Identify opportunities for process improvement and efficiency enhancements.Participate in documentation creation to reduce BAU support activities by ensuring that the Service Desks have adequate knowledge articles to close support tickets as level 1.Participate in reporting on monitored data and incidents on company infrastructure.Implement best practices and lessons learned from initiatives and projects to optimize future outcomes.RequirementsBachelor's degree in a relevant technical field or equivalent experience.Understanding of IT Infrastructure technologies, standards and trends.Technical background with 3+ years’ experience in IT operations role delivering IT infrastructure support, monitoring and incident management.Technical knowledge of the Microsoft Stack, Windows networking, Active Directory, ExchangeTechnical knowledge of Network, Storage and Server equipment, virtualization and production setupsExceptional communication and presentation skills, with the ability to articulate technical concepts to non-technical audiences.Strong analytical and problem-solving skills.Strong customer service orientation.BenefitsGreat Place to Work certified for 4 consecutive yearsFlexible work arrangementGlobal exposure Create Your Profile — Game companies can contact you with their relevant job openings. Apply

Enterprise artificial intelligence investment is unprecedented, with IDC projecting global spending on AI and GenAI to double to $631 billion by 2028. Yet beneath the impressive budget allocations and boardroom enthusiasm lies a troubling reality: most organisations struggle to translate their AI ambitions into operational success.The sobering statistics behind AI’s promiseModelOp’s 2025 AI Governance Benchmark Report, based on input from 100 senior AI and data leaders at Fortune 500 enterprises, reveals a disconnect between aspiration and execution.While more than 80% of enterprises have 51 or more generative AI projects in proposal phases, only 18% have successfully deployed more than 20 models into production.The execution gap represents one of the most significant challenges facing enterprise AI today. Most generative AI projects still require 6 to 18 months to go live – if they reach production at all.The result is delayed returns on investment, frustrated stakeholders, and diminished confidence in AI initiatives in the enterprise.The cause: Structural, not technical barriersThe biggest obstacles preventing AI scalability aren’t technical limitations – they’re structural inefficiencies plaguing enterprise operations. The ModelOp benchmark report identifies several problems that create what experts call a “time-to-market quagmire.”Fragmented systems plague implementation. 58% of organisations cite fragmented systems as the top obstacle to adopting governance platforms. Fragmentation creates silos where different departments use incompatible tools and processes, making it nearly impossible to maintain consistent oversight in AI initiatives.Manual processes dominate despite digital transformation. 55% of enterprises still rely on manual processes – including spreadsheets and email – to manage AI use case intake. The reliance on antiquated methods creates bottlenecks, increases the likelihood of errors, and makes it difficult to scale AI operations.Lack of standardisation hampers progress. Only 23% of organisations implement standardised intake, development, and model management processes. Without these elements, each AI project becomes a unique challenge requiring custom solutions and extensive coordination by multiple teams.Enterprise-level oversight remains rare Just 14% of companies perform AI assurance at the enterprise level, increasing the risk of duplicated efforts and inconsistent oversight. The lack of centralised governance means organisations often discover they’re solving the same problems multiple times in different departments.The governance revolution: From obstacle to acceleratorA change is taking place in how enterprises view AI governance. Rather than seeing it as a compliance burden that slows innovation, forward-thinking organisations recognise governance as an important enabler of scale and speed.Leadership alignment signals strategic shift. The ModelOp benchmark data reveals a change in organisational structure: 46% of companies now assign accountability for AI governance to a Chief Innovation Officer – more than four times the number who place accountability under Legal or Compliance. This strategic repositioning reflects a new understanding that governance isn’t solely about risk management, but can enable innovation.Investment follows strategic priority. A financial commitment to AI governance underscores its importance. According to the report, 36% of enterprises have budgeted at least $1 million annually for AI governance software, while 54% have allocated resources specifically for AI Portfolio Intelligence to track value and ROI.What high-performing organisations do differentlyThe enterprises that successfully bridge the ‘execution gap’ share several characteristics in their approach to AI implementation:Standardised processes from day one. Leading organisations implement standardised intake, development, and model review processes in AI initiatives. Consistency eliminates the need to reinvent workflows for each project and ensures that all stakeholders understand their responsibilities.Centralised documentation and inventory. Rather than allowing AI assets to proliferate in disconnected systems, successful enterprises maintain centralised inventories that provide visibility into every model’s status, performance, and compliance posture.Automated governance checkpoints. High-performing organisations embed automated governance checkpoints throughout the AI lifecycle, helping ensure compliance requirements and risk assessments are addressed systematically rather than as afterthoughts.End-to-end traceability. Leading enterprises maintain complete traceability of their AI models, including data sources, training methods, validation results, and performance metrics.Measurable impact of structured governanceThe benefits of implementing comprehensive AI governance extend beyond compliance. Organisations that adopt lifecycle automation platforms reportedly see dramatic improvements in operational efficiency and business outcomes.A financial services firm profiled in the ModelOp report experienced a halving of time to production and an 80% reduction in issue resolution time after implementing automated governance processes. Such improvements translate directly into faster time-to-value and increased confidence among business stakeholders.Enterprises with robust governance frameworks report the ability to many times more models simultaneously while maintaining oversight and control. This scalability lets organisations pursue AI initiatives in multiple business units without overwhelming their operational capabilities.The path forward: From stuck to scaledThe message from industry leaders that the gap between AI ambition and execution is solvable, but it requires a shift in approach. Rather than treating governance as a necessary evil, enterprises should realise it enables AI innovation at scale.Immediate action items for AI leadersOrganisations looking to escape the ‘time-to-market quagmire’ should prioritise the following:Audit current state: Conduct an assessment of existing AI initiatives, identifying fragmented processes and manual bottlenecksStandardise workflows: Implement consistent processes for AI use case intake, development, and deployment in all business unitsInvest in integration: Deploy platforms to unify disparate tools and systems under a single governance frameworkEstablish enterprise oversight: Create centralised visibility into all AI initiatives with real-time monitoring and reporting abilitiesThe competitive advantage of getting it rightOrganisations that can solve the execution challenge will be able to bring AI solutions to market faster, scale more efficiently, and maintain the trust of stakeholders and regulators.Enterprises that continue with fragmented processes and manual workflows will find themselves disadvantaged compared to their more organised competitors. Operational excellence isn’t about efficiency but survival.The data shows enterprise AI investment will continue to grow. Therefore, the question isn’t whether organisations will invest in AI, but whether they’ll develop the operational abilities necessary to realise return on investment. The opportunity to lead in the AI-driven economy has never been greater for those willing to embrace governance as an enabler not an obstacle.(Image source: Unsplash)

show some love for the losers Delightfully irreverent Underdogs isn’t your parents’ nature docuseries Ryan Reynolds narrates NatGeo's new series highlighting nature's much less cool and majestic creatures Jennifer Ouellette – Jun 15, 2025 3:11 pm | 5 The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Narrator Ryan Reynolds celebrates nature's outcasts in the new NatGeo docuseries Underdogs. Most of us have seen a nature documentary or two (or three) at some point in our lives, so it's a familiar format: sweeping majestic footage of impressively regal animals accompanied by reverently high-toned narration (preferably with a tony British accent). Underdogs, a new docuseries from National Geographic, takes a decidedly different and unconventional approach. Narrated by with hilarious irreverence by Ryan Reynolds, the five-part series highlights nature's less cool and majestic creatures: the outcasts and benchwarmers, more noteworthy for their "unconventional hygiene choices" and "unsavory courtship rituals." It's like The Suicide Squad or Thunderbolts*, except these creatures actually exist. Per the official premise, "Underdogs features a range of never-before-filmed scenes, including the first time a film crew has ever entered a special cave in New Zealand—a huge cavern that glows brighter than a bachelor pad under a black light thanks to the glowing butts of millions of mucus-coated grubs. All over the world, overlooked superstars like this are out there 24/7, giving it maximum effort and keeping the natural world in working order for all those showboating polar bears, sharks and gorillas." It's rated PG-13 thanks to the odd bit of scatalogical humor and shots of Nature Sexy Time Each of the five episodes is built around a specific genre. "Superheroes" highlights the surprising superpowers of the honey badger, pistol shrimp, and the invisible glass frog, among others, augmented with comic book graphics; "Sexy Beasts" focuses on bizarre mating habits and follows the format of a romantic advice column; "Terrible Parents" highlights nature's worst practices, following the outline of a parenting guide; "Total Grossout" is exactly what it sounds like; and "The Unusual Suspects" is a heist tale, documenting the supposed efforts of a macaque to put together the ultimate team of masters of deception and disguise (an inside man, a decoy, a fall guy, etc.).  Green Day even wrote and recorded a special theme song for the opening credits. Co-creators Mark Linfield and Vanessa Berlowitz of Wildstar Films are longtime producers of award-winning wildlife films, most notably Frozen Planet, Planet Earth and David Attenborough's Life of Mammals—you know, the kind of prestige nature documentaries that have become a mainstay for National Geographic and the BBC, among others. They're justly proud of that work, but this time around the duo wanted to try something different. Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A fireworm is hit by a cavitation bubble shot from the claw of a pistol shrimp defending its home. National Geographic/Hugh Miller As it grows and molts, the mad hatterpillar stacks old head casings on top of its head. Scientists think it is used as a decoy against would-be predators and parasites, and when needed, it can also be used as a weapon. National Geographic/Katherine Hannaford Worst parents ever? A young barnacle goose chick prepares t make the 800-foot jump from its nest to the ground. National Geographic An adult pearlfish reverses into a sea cucumber's butt to hide. National Geographic A vulture sticks its head inside an elephant carcass to eat. National Geographic A manatee releases flatulence while swimming to lose the buoyancy build up of gas inside its stomach, and descend down the water column. National Geographic/Karl Davies "There is a sense after awhile that you're playing the same animals to the same people, and the shows are starting to look the same and so is your audience," Linfield told Ars. "We thought, okay, how can we do something absolutely the opposite? We've gone through our careers collecting stories of these weird and crazy creatures that don't end up in the script because they're not big or sexy and they live under a rock. But they often have the best life histories and the craziest superpowers." Case in point: the velvet worm featured in the "Superheroes" episode, which creeps up on unsuspecting prey before squirting disgusting slime all over their food. (It's a handy defense mechanism, too, against predators like the wolf spider.) Once Linfield and Berlowitz decided to focus on nature's underdogs and to take a more humorous approach, Ryan Reynolds became their top choice for a narrator—the anti-Richard Attenborough. As luck would have it, the pair shared an agent with the mega-star. So even though they thought there was no way Reynolds would agree to the project, they put together a sizzle reel, complete with a "fake Canadian Ryan Reynolds sound-alike" doing the narration. Reynolds was on set when he received the reel, and loved it so much he recoded his own narration for the footage and sent it back. "From that moment he was in," said Linfield, and Wildstar Films worked closely with Reynolds and his company to develop the final series. "We've never worked that way on a series before, a joint collaboration from day one," Berlowitz admitted. But it worked: the end result strikes the perfect balance between scientific revelation and accurate natural history, and an edgy comic tone. That tone is quintessential Reynolds, and while he did mostly follow the script (which his team helped write), Linfield and Berlowitz admit there was also a fair amount of improvisation—not all of it PG-13.  "What we hadn't appreciated is that he's an incredible improv performer," said Berlowitz. "He can't help himself. He gets into character and starts riffing off [the footage]. There are some takes that we definitely couldn't use, that potentially would fit a slightly more Hulu audience."  Some of the ad-libs made it into the final episodes, however—like Reynolds describing an Aye-Aye as "if fear and panic had a baby and rolled it in dog hair"—even though it meant going back and doing a bit of recutting to get the new lines to fit. Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A male hippo sprays his feces at another male who is threatening to take over his patch. National Geographic A male proboscis monkey flaunts his large nose. The noses of these males are used to amplify their calls in the vast forest. National Geographic Dream girl: A blood-soaked female hyena looks across the African savanna. National Geographic A male bowerbird presents one of the finest items in his collection to a female in his bower. National Geographic The male nursery web spider presents his nuptial gift to the female. National Geographic Cue the Barry White mood music: Two leopard slugs suspend themselves on a rope of mucus as they entwine their bodies to mate with one another. National Geographic Despite their years of collective experience, Linfield and Berlowitz were initially skeptical when the crew told them about the pearl fish, which hides from predators in a sea cucumber's butt (along with many other species). "It had never been filmed so we said, 'You're going to have to prove it to us,'" said Berlowitz. "They came back with this fantastic, hilarious sequence of a pearl fish reverse parking [in a sea cucumber's anus)." The film crew experienced a few heart-pounding moments, most notably while filming the cliffside nests of barnacle geese for the "Terrible Parents" episode. A melting glacier caused a watery avalanche while the crew was filming the geese, and they had to quickly grab a few shots and run to safety. Less dramatic: cinematographer Tom Beldam had his smartphone stolen by a long-tailed macaque mere minutes after he finished capturing the animal on film. If all goes well and Underdogs finds its target audience, we may even get a follow-up. "We are slightly plowing new territory but the science is as true as it's ever been and the stories are good. That aspect of the natural history is still there," said Linfield. "I think what we really hope for is that people who don't normally watch natural history will watch it. If people have as much fun watching it as we had making it, then the metrics should be good enough for another season." Verdict: Underdogs is positively addictive; I binged all five episodes in a single day. (For his part, Reynolds said in a statement that he was thrilled to "finally watch a project of ours with my children. Technically they saw Deadpool and Wolverine but I don't think they absorbed much while covering their eyes and ears and screaming for two hours.") Underdogs premieres June 15, 2025, at 9 PM/8 PM Central on National Geographic (simulcast on ABC) and will be available for streaming on Disney+ and Hulu the following day.  You should watch it, if only to get that second season. Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments

Key Takeaways Meta and Yandex have been found guilty of secretly listening to localhost ports and using them to transfer sensitive data from Android devices. The corporations use Meta Pixel and Yandex Metrica scripts to transfer cookies from browsers to local apps. Using incognito mode or a VPN can’t fully protect users against it. A Meta spokesperson has called this a ‘miscommunication,’ which seems to be an attempt to underplay the situation. Denmark’s Ministry of Digitalization has recently announced that it will leave the Microsoft ecosystem in favor of Linux and other open-source software. Minister Caroline Stage Olsen revealed this in an interview with Politiken, the country’s leading newspaper. According to Olsen, the Ministry plans to switch half of its employees to Linux and LibreOffice by summer, and the rest by fall. The announcement comes after Denmark’s largest cities – Copenhagen and Aarhus – made similar moves earlier this month. Why the Danish Ministry of Digitalization Switched to Open-Source Software The three main reasons Denmark is moving away from Microsoft are costs, politics, and security. In the case of Aarhus, the city was able to slash its annual costs from 800K kroner to just 225K by replacing Microsoft with a German service provider.  The same is a pain point for Copenhagen, which saw its costs on Microsoft balloon from 313M kroner in 2018 to 538M kroner in 2023. It’s also part of a broader move to increase its digital sovereignty. In her LinkedIn post, Olsen further explained that the strategy is not about isolation or digital nationalism, adding that they should not turn their backs completely on global tech companies like Microsoft.  Instead, it’s about avoiding being too dependent on these companies, which could prevent them from acting freely. Then there’s politics. Since his reelection earlier this year, US President Donald Trump has repeatedly threatened to take over Greenland, an autonomous territory of Denmark.  In May, the Danish Foreign Minister Lars Løkke Rasmussen summoned the US ambassador regarding news that US spy agencies have been told to focus on the territory. If the relationship between the two countries continues to erode, Trump can order Microsoft and other US tech companies to cut off Denmark from their services. After all, Microsoft and Facebook’s parent company Meta, have close ties to the US president after contributing $1M each for his inauguration in January. Denmark Isn’t Alone: Other EU Countries Are Making Similar Moves Denmark is only one of the growing number of European Union (EU) countries taking measures to become more digitally independent. Germany’s Federal Digital Minister Karsten Wildberger emphasized the need to be more independent of global tech companies during the re:publica internet conference in May. He added that IT companies in the EU have the opportunity to create tech that is based on the region’s values. Meanwhile, Bert Hubert, a technical advisor to the Dutch Electoral Council, wrote in February that ‘it is no longer safe to move our governments and societies to US clouds.’ He said that America is no longer a ‘reliable partner,’ making it risky to have the data of European governments and businesses at the mercy of US-based cloud providers. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, experienced a disconnection from his Microsoft-based email account, sparking uproar across the region.  Speculation quickly arose that the incident was linked to sanctions previously imposed on the ICC by the Trump administration, an assertion Microsoft has denied. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, disconnection from his Microsoft-based email account caused an uproar in the region. Some speculated that this was connected to sanctions imposed by Trump against the ICC, which Microsoft denied. Weaning the EU Away from US Tech is Possible, But Challenges Lie Ahead Change like this doesn’t happen overnight. Just finding, let alone developing, reliable alternatives to tools that have been part of daily workflows for decades, is a massive undertaking. It will also take time for users to adapt to these new tools, especially when transitioning to an entirely new ecosystem. In Aarhus, for example, municipal staff initially viewed the shift to open source as a step down from the familiarity and functionality of Microsoft products. Overall, these are only temporary hurdles. Momentum is building, with growing calls for digital independence from leaders like Ministers Olsen and Wildberger.  Initiatives such as the Digital Europe Programme, which seeks to reduce reliance on foreign systems and solutions, further accelerate this push. As a result, the EU’s transition could arrive sooner rather than later As technology continues to evolve—from the return of 'dumbphones' to faster and sleeker computers—seasoned tech journalist, Cedric Solidon, continues to dedicate himself to writing stories that inform, empower, and connect with readers across all levels of digital literacy. With 20 years of professional writing experience, this University of the Philippines Journalism graduate has carved out a niche as a trusted voice in tech media. Whether he's breaking down the latest advancements in cybersecurity or explaining how silicon-carbon batteries can extend your phone’s battery life, his writing remains rooted in clarity, curiosity, and utility. Long before he was writing for Techreport, HP, Citrix, SAP, Globe Telecom, CyberGhost VPN, and ExpressVPN, Cedric's love for technology began at home courtesy of a Nintendo Family Computer and a stack of tech magazines. Growing up, his days were often filled with sessions of Contra, Bomberman, Red Alert 2, and the criminally underrated Crusader: No Regret. But gaming wasn't his only gateway to tech.  He devoured every T3, PCMag, and PC Gamer issue he could get his hands on, often reading them cover to cover. It wasn’t long before he explored the early web in IRC chatrooms, online forums, and fledgling tech blogs, soaking in every byte of knowledge from the late '90s and early 2000s internet boom. That fascination with tech didn’t just stick. It evolved into a full-blown calling. After graduating with a degree in Journalism, he began his writing career at the dawn of Web 2.0. What started with small editorial roles and freelance gigs soon grew into a full-fledged career. He has since collaborated with global tech leaders, lending his voice to content that bridges technical expertise with everyday usability. He’s also written annual reports for Globe Telecom and consumer-friendly guides for VPN companies like CyberGhost and ExpressVPN, empowering readers to understand the importance of digital privacy. His versatility spans not just tech journalism but also technical writing. He once worked with a local tech company developing web and mobile apps for logistics firms, crafting documentation and communication materials that brought together user-friendliness with deep technical understanding. That experience sharpened his ability to break down dense, often jargon-heavy material into content that speaks clearly to both developers and decision-makers. At the heart of his work lies a simple belief: technology should feel empowering, not intimidating. Even if the likes of smartphones and AI are now commonplace, he understands that there's still a knowledge gap, especially when it comes to hardware or the real-world benefits of new tools. His writing hopes to help close that gap. Cedric’s writing style reflects that mission. It’s friendly without being fluffy and informative without being overwhelming. Whether writing for seasoned IT professionals or casual readers curious about the latest gadgets, he focuses on how a piece of technology can improve our lives, boost our productivity, or make our work more efficient. That human-first approach makes his content feel more like a conversation than a technical manual. As his writing career progresses, his passion for tech journalism remains as strong as ever. With the growing need for accessible, responsible tech communication, he sees his role not just as a journalist but as a guide who helps readers navigate a digital world that’s often as confusing as it is exciting. From reviewing the latest devices to unpacking global tech trends, Cedric isn’t just reporting on the future; he’s helping to write it. View all articles by Cedric Solidon Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

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