Persona 5 + Persona 5 Royal: Official Design Works $54.70 (was $75) | Limited Time Deal See at Amazon Persona fans can get the recently translated Persona 5 Royal art book for its best price yet. Persona 5 + Persona 5 Royal: Official Design Works is on sale for $54.70 (was $75) at Amazon. This is a limited-time deal with limited availability. At the time of writing, 20% of Amazon's stock has already been claimed by Atlus fans. Persona 5 + Persona 5 Royal: Official Design Works $54.70 (was $75) | Limited Time Deal This is essentially a two-in-one art book, as you're getting an in-depth look at both Persona 5 and its enhanced and expanded edition, Persona 5 Royal.Because it covers two games, this recently translated work is bigger than the average video game art book. The 544-page hardcover is filled with artwork from the earliest stages of development to materials used to promote the finished games.The concept art, sketches, character illustrations, and design drawings are accompanied by commentary from the development team throughout. It also includes an exclusive interview with Persona series artist Shigenori Soejima.If you're interested in picking up a book that takes an in-depth look at the art direction of one of the most stylish games in its genre, you probably shouldn't wait too long. Official Design Works books covering older entries in the Persona and Shin Megami Tensei series have been out of print for years. See at Amazon If you haven't played it, Persona 5 tells the story of the Phantom Thieves, high school students who save people from the twisted desires of those around them by awakening the power of their true selves. It's wonderfully weird stuff, and worth checking out. It's available on all modern platforms, and since it has been out for a few years, you can usually get a pretty good deal on the incredible RPG that'll keep you busy for dozens of hours. If you really want to spoil yourself, you can also check out this collector's edition for Persona 5 Royal. The 1 More Edition is back in stock for its original $120 retail price for Nintendo Switch.Continue Reading at GameSpot

There are plenty of creative ways to take care of enemies in a game as boundless as Minecraft, but one incredibly lucky interaction shared by one fan online proves that it's possible to kill bosses like the Wither using a wild dolphin. This might take the cake when it comes to one of the most unorthodox ways to finish off one of Minecraft's bosses, despite fans using plenty of strange methods in the past, ranging from explosive beds to traps that suffocate them with bedrock blocks.

By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

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In early-stage start-ups, the pitch deck is often the first thing investors see. Sometimes, it’s the only thing. And yet, it rarely gets the same attention as the website or the socials. Most decks are pulled together last minute, with slides that feel rushed, messy, or just off. That’s where designers can really make a difference. The deck might seem like just another task, but it’s a chance to work on something strategic early on and help shape how the company is understood. It offers a rare opportunity to collaborate closely with copywriters, strategists and the founders to turn their vision into a clear and convincing story. Founders bring the vision, but more and more, design and brand teams are being asked to shape how that vision is told, and sold. So here are five handy things we’ve learned at SIDE ST for the next time you’re asked to design a deck. Think in context Designers stepping into pitch work should begin by understanding the full picture – who the deck is for, what outcomes it’s meant to drive and how it fits into the broader brand and business context. Their role isn’t just to make things look good, but to prioritise clarity over surface-level aesthetics. It’s about getting into the founders’ mindset, shaping visuals and copy around the message, and connecting with the intended audience. Every decision, from slide hierarchy to image selection, should reinforce the business goals behind the deck. Support the narrative Visuals are more subjective than words, and that’s exactly what gives them power. The right image can suggest an idea, reinforce a value, or subtly shift perception without a single word. Whether it’s hinting at accessibility, signalling innovation, or grounding the product in context, design plays a strategic role in how a company is understood. It gives designers the opportunity to take centre stage in the storytelling, shaping how the company is understood through visual choices. But that influence works both ways. Used thoughtlessly, visuals can distort the story, suggesting the wrong market, implying a different stage of maturity, or confusing people about the product itself. When used with care, they become a powerful design tool to sharpen the narrative and spark interest from the very first slide. Keep it real Stock photos can be tempting. They’re high-quality and easy to drop in, especially when the real images a start-up has can be grainy, unfinished, or simply not there yet. But in early-stage pitch decks, they often work against your client. Instead of supporting the story, they flatten it, and rarely reflect the actual team, product, or context. This is your chance as a designer to lean into what’s real, even if it’s a bit rough. Designers can elevate even scrappy assets with thoughtful framing and treatment, turning rough imagery into a strength. In early-stage storytelling, “real” often resonates more than “perfect.” Pay attention to the format Even if you’re brought in just to design the deck, don’t treat it as a standalone piece. It’s often the first brand touchpoint investors will see—but it won’t be the last. They’ll go on to check the website, scroll through social posts, and form an impression based on how it all fits together. Early-stage startups might not have full brand guidelines in place yet, but that doesn’t mean there’s no need for consistency. In fact, it gives designers a unique opportunity to lay the foundation. A strong, thoughtful deck can help shape the early visual language and give the team something to build on as the brand grows. Before you hit export For designers, the deck isn’t just another deliverable. It’s an early tool that shapes and impacts investor perception, internal alignment and founder confidence. It’s a strategic design moment to influence the trajectory of a company before it’s fully formed. Designers who understand the pressure, pace and uncertainty founders face at this stage are better equipped to deliver work that resonates. This is about more than simply polishing slides, it’s about helping early-stage teams tell a sharper, more human story when it matters most. Maor Ofek is founder of SIDE ST, a brand consultancy that works mainly with start-ups. 

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

All products featured on Architectural Digest are independently selected by our editors. However, we may receive compensation from retailers and/or from purchases of products through these links.Featured in this articleBest Overall Sateen SheetsBoll & Branch Signature Hemmed Sheet SetRead moreFor a Romantic DrapeEttitude CleanBamboo Sheet Set Read moreThe Affordable PickGood Sleep Bedding Egyptian Cotton Sateen SheetsRead moreShow more3 / 8A close cousin to percale and silk, the best sateen sheets offer a happy medium of refinement and softness, all in one durability, and an easy-to-clean fabric.Sateen is known for having a polished appearance because of its lustrous sheen and wrinkle-resistant material. This comes from a tight satin weave that leaves a shiny look without compromising a smooth hand feel. While you can find this bedding in elevated spaces like this vibrant West Village town house thanks to embroidered touches and traditional prints, they’re surprisingly versatile and come in many forms. Here, our editors dive into their favorites for their bedrooms. Since you can find many in higher thread counts though (which we dive into more below), these are durable enough for any room in the house—as seen in this family-friendly getaway.Inside this ArticleBest Overall Sateen Sheets1/8Boll & Branch Signature Hemmed Sheet SetBoll & Branch caught commerce director Rachel Fletcher’s attention when she was browsing for new sheets for a few reasons. One: The brand makes organic and fair trade sheets: Two: She loves a sateen weave, and the retailer mentioned that this set was their bestseller and she wanted to see what the hype was about. “Boll & Branch claims that these cotton sateen sheets are buttery soft, and I definitely agree,” Fletcher says. “That extra-soft feel paired with the lovely, cooling properties make them feel like the luxury sheets that they are.” Along with an earthy color palette (Fletcher has her set in mineral) and thoughtful hem detailing, this set stood out to be our top pick. These do have a higher price point, but as some of the plushest sheets she’s slept on, Fletcher thinks they’re worth it.Specs:Material: 100% organic cottonThread count: N/ASizes: Twin, Twin XL, Full, Queen, King, King With Std. Cases, California King, Split KingColors: 18 colors; 8 printsUpsides & DownsidesUpsidesSustainable materialBreathableOrganic colorwaysDownsidesExpensiveFor a Romantic DrapePhoto: Yelena Moroz AlpertPhoto: Yelena Moroz Alpert2/8Ettitude CleanBamboo Sheet Set “These sheets are buttery—pun intended,” says senior commerce editor Nashia Baker, who has the set in the butter yellow hue and loves the fabric’s delicate yet durable feel. Contributor Yelena Moroz Alpert also has this set and says that the cooling lyocell fabric set takes the bamboo sheets category up a notch. “Somehow they feel substantial but incredibly light and smooth,” she says of this splurge-worthy set. “The site says that the silky-soft sateen weave is comparable to 1,000 thread count cotton—and I believe it. I’ve never touched a baby alpaca, but I imagine that it’s as soft as these sheets.”Specs:Material: 100% CleanBamboo lyocellThread count: 1,000 thread countSizes: Twin, Twin XL, Full, Queen, King, California KingColors: 8Upsides & DownsidesUpsidesPearly appearanceLightweightUltra softDownsidesPriceyThe Affordable Pick3/8Good Sleep Bedding Egyptian Cotton Sateen SheetsDon’t overlook the best Amazon sheets for high-end sateen bedding. Contributor Erika Owen says these are a great option: “After a single night, they became my favorite set, and a few more nights and a wash only locked in this opinion.” She says they’re sumptuous, cool, and durable—and their quality (think texture, weight, and comfort) hasn’t changed after many rounds through the washer and dryer. “I would buy these as a gift for my best friend, if that tells you anything about how much I recommend these,” says Owen. “There’s nothing better than feeling really good as you hit the hay—who doesn’t want a luxury bed situation—and I felt that way every time I dug into these silky sheets. Let it also be known that I’m no stranger to night sweats and these kept me cool every single night.” The finishing touches are the deep pockets and sturdy elastic on the fitted sheet to fit a grand mattress.Specs:Material: 100% Egyptian cottonThread count: 1,000 thread countSizes: Twin, Twin XL, Full, Queen, King, California King, Split KingColors: 13Upsides & DownsidesUpsidesHigher thread countCoolingSturdy after several washesDownsidesSome shoppers found the fabric weightyA Vibrant Print4/8Rifle Paper Co. Peacock Sateen Bed Sheet SetThese are some of the softest bed sheets out there, just take it from Alpert. Not only are they comfortable to sink into night after night thanks to the plush 300 thread count, but they also veer away from traditional patterns and solid colorways. “I was originally drawn to the peacock print because it is just so whimsical and livens up my guest bedroom,” Alpert says. “But these are also buttery soft. Maybe too soft—my guests never want to leave.” If it wasn’t for the true-to-Rifle print, she would mistake these for hotel sheets because of their supple feel.Specs:Material: 100% combed cotton sateenThread count: 300 thread countSizes: Twin, Full, Queen, KingColors: 3Upsides & DownsidesUpsidesUnique patternsSuppleAiry materialDownsidesNot as ideal for minimalistsClassic Core Set5/8Brooklinen Luxe Sateen Core Sheet SetIf you want sheets with unparalleled quality, durability, and softness that gets better with every wash, multiple AD staff members say you can’t go wrong with these Brooklinen sheets. Fletcher shares that this sateen set is “super classic, smooth, and has a crisp feel.” Sleepers with sensitive skin will also be happy to know that they’re “not at all scratchy or harsh on my skin, like some of the less expensive options I’ve tried in the past,” Fletcher adds.Specs:Material: 100% long-staple cottonThread count: 480 thread countSizes: Twin, Twin XL, Full, Queen, King, California KingColors: 22Upsides & DownsidesUpsidesStructured fabric like a press shirtWrinkle-free designAffordableDownsidesLimited-edition colors sell out fastMore AD-Approved Sateen Sheets6/8Hill House Home Fitted Sheet“For a $100 top sheet and $125 fitted sheet, I truly didn’t know what to expect from a brand as new to the decor game as Hill House Home, but was delightfully surprised at the quality and attention to detail that was put into making these products,” contributor Katarina Kovac says of these Hill House Home sheets.“I wanted something that was crisp yet elevated, and the colored trim in the Savile Sheets was my answer.” Since she’s had her fair share of sheets that have a sandpaper-like texture, she paid close attention to how well these felt after the first wash. To her delight, these “felt soft, velvety, and breathable against my skin, leaving me truly struggling to get out of bed in the morning.”Specs:Material: 100% brushed cotton sateenThread count: N/ASizes: Twin, Full, Queen, King, California KingColors: 6Upsides & DownsidesUpsidesTraditional printsLushSmooth feelThoughtful trimDownsidesFlat sheet, fitted sheet, and pillowcases are sold separately7/8Homebird Sateen Fitted Sheets (Set of 3)Fletcher loves an ethically made, slippery sateen weave, and it took just one night of sleep to be sold on this Homebird set. “They’re very high quality and everything you want in a sateen sheet: incredibly soft to the touch and slightly silky, with a sturdiness to them that you can tell is the result of a high thread count,” she says. “They fit my bed perfectly and also have the most useful feature that, in my opinion, every set of sheets ever made should have: a long-side and short-side label.”Specs:Material: 100% GOTS-certified, long-staple organic cottonThread count: 300 thread countSizes: Full, Queen, KingColors: 7Upsides & DownsidesUpsidesSilky smoothHelpful labels to make the bedDeep pocketsDownsidesOnly available in muted tones