Missing the big picture US science is being wrecked, and its leadership is fighting the last war Facing an extreme budget, the National Academies hosted an event that ignored it. John Timmer – Jun 4, 2025 6:00 pm | 16 Credit: JHVE Photo Credit: JHVE Photo Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more WASHINGTON, DC—The general outline of the Trump administration's proposed 2026 budget was released a few weeks back, and it included massive cuts for most agencies, including every one that funds scientific research. Late last week, those agencies began releasing details of what the cuts would mean for the actual projects and people they support. And the results are as bad as the initial budget had suggested: one-of-a-kind scientific experiment facilities and hardware retired, massive cuts in supported scientists, and entire areas of research halted. And this comes in an environment where previously funded grants are being terminated, funding is being held up for ideological screening, and universities have been subject to arbitrary funding freezes. Collectively, things are heading for damage to US science that will take decades to recover from. It's a radical break from the trajectory science had been on. That's the environment that the US's National Academies of Science found itself in yesterday while hosting the State of the Science event in Washington, DC. It was an obvious opportunity for the nation's leading scientific organization to warn the nation of the consequences of the path that the current administration has been traveling. Instead, the event largely ignored the present to worry about a future that may never exist. The proposed cuts The top-line budget numbers proposed earlier indicated things would be bad: nearly 40 percent taken off the National Institutes of Health's budget, the National Science Foundation down by over half. But now, many of the details of what those cuts mean are becoming apparent. NASA's budget includes sharp cuts for planetary science, which would be cut in half and then stay flat for the rest of the decade, with the Mars Sample Return mission canceled. All other science budgets, including Earth Science and Astrophysics, take similar hits; one astronomer posted a graphic showing how many present and future missions that would mean. Active missions that have returned unprecedented data, like Juno and New Horizons, would go, as would two Mars orbiters. As described by Science magazine's news team, "The plans would also kill off nearly every major science mission the agency has not yet begun to build." A chart prepared by astronomer Laura Lopez showing just how many astrophysics missions will be cancelled. Credit: Laura Lopez The National Science Foundation, which funds much of the US's fundamental research, is also set for brutal cuts. Biology, engineering, and education will all be slashed by over 70 percent; computer science, math and physical science, and social and behavioral science will all see cuts of over 60 percent. International programs will take an 80 percent cut. The funding rate of grant proposals is expected to drop from 26 percent to just 7 percent, meaning the vast majority of grants submitted to the NSF will be a waste of time. The number of people involved in NSF-funded activities will drop from over 300,000 to just 90,000. Almost every program to broaden participation in science will be eliminated. As for specifics, they're equally grim. The fleet of research ships will essentially become someone else's problem: "The FY 2026 Budget Request will enable partial support of some ships." We've been able to better pin down the nature and location of gravitational wave events as detectors in Japan and Italy joined the original two LIGO detectors; the NSF will reverse that progress by shutting one of the LIGOs. The NSF's contributions to detectors at the Large Hadron Collider will be cut by over half, and one of the two very large telescopes it was helping fund will be cancelled (say goodbye to the Thirty Meter Telescope). "Access to the telescopes at Kitt Peak and Cerro Tololo will be phased out," and the NSF will transfer the facilities to other organizations. The Department of Health and Human Services has been less detailed about the specific cuts its divisions will see, largely focusing on the overall numbers, which are down considerably. The NIH, which is facing a cut of over 40 percent, will be reorganized, with its 19 institutes pared down to just eight. This will result in some odd pairings, such as the dental and eye institutes ending up in the same place; genomics and biomedical imaging will likewise end up under the same roof. Other groups like the Centers for Disease Control and Prevention and the Food and Drug Administration will also face major cuts. Issues go well beyond the core science agencies, as well. In the Department of Energy, funding for wind, solar, and renewable grid integration has been zeroed out, essentially ending all programs in this area. Hydrogen and fuel cells face a similar fate. Collectively, these had gotten over $600 billion dollars in 2024's budget. Other areas of science at the DOE, such as high-energy physics, fusion, and biology, receive relatively minor cuts that are largely in line with the ones faced by administration priorities like fossil and nuclear energy. Will this happen? It goes without saying that this would amount to an abandonment of US scientific leadership at a time when most estimates of China's research spending show it approaching US-like levels of support. Not only would it eliminate many key facilities, instruments, and institutions that have helped make the US a scientific powerhouse, but it would also block the development of newer and additional ones. The harms are so widespread that even topics that the administration claims are priorities would see severe cuts. And the damage is likely to last for generations, as support is cut at every stage of the educational pipeline that prepares people for STEM careers. This includes careers in high-tech industries, which may require relocation overseas due to a combination of staffing concerns and heightened immigration controls. That said, we've been here before in the first Trump administration, when budgets were proposed with potentially catastrophic implications for US science. But Congress limited the damage and maintained reasonably consistent budgets for most agencies. Can we expect that to happen again? So far, the signs are not especially promising. The House has largely adopted the Trump administration's budget priorities, despite the fact that the budget they pass turns its back on decades of supposed concerns about deficit spending. While the Senate has yet to take up the budget, it has also been very pliant during the second Trump administration, approving grossly unqualified cabinet picks such as Robert F. Kennedy Jr. All of which would seem to call for the leadership of US science organizations to press the case for the importance of science funding to the US, and highlight the damage that these cuts would cause. But, if yesterday's National Academies event is anything to judge by, the leadership is not especially interested. Altered states As the nation's premier science organization, and one that performs lots of analyses for the government, the National Academies would seem to be in a position to have its concerns taken seriously by members of Congress. And, given that the present and future of science in the US is being set by policy choices, a meeting entitled the State of the Science would seem like the obvious place to address those concerns. If so, it was not obvious to Marcia McNutt, the president of the NAS, who gave the presentation. She made some oblique references to current problems, saying, that “We are embarking on a radical new experiment in what conditions promote science leadership, with the US being the treatment group, and China as the control," and acknowledged that "uncertainties over the science budgets for next year, coupled with cancellations of billions of dollars of already hard-won research grants, is causing an exodus of researchers." But her primary focus was on the trends that have been operative in science funding and policy leading up to but excluding the second Trump administration. McNutt suggested this was needed to look beyond the next four years. However, that ignores the obvious fact that US science will be fundamentally different if the Trump administration can follow through on its plans and policies; the trends that have been present for the last two decades will be irrelevant. She was also remarkably selective about her avoidance of discussing Trump administration priorities. After noting that faculty surveys have suggested they spend roughly 40 percent of their time handling regulatory requirements, she twice mentioned that the administration's anti-regulatory stance could be a net positive here (once calling it "an opportunity to help"). Yet she neglected to note that many of the abandoned regulations represent a retreat from science-driven policy. McNutt also acknowledged the problem of science losing the bipartisan support it has enjoyed, as trust in scientists among US conservatives has been on a downward trend. But she suggested it was scientists' responsibility to fix the problem, even though it's largely the product of one party deciding it can gain partisan advantage by raising doubts about scientific findings in fields like climate change and vaccine safety. The panel discussion that came after largely followed McNutt's lead in avoiding any mention of the current threats to science. The lone exception was Heather Wilson, president of the University of Texas at El Paso and a former Republican member of the House of Representatives and Secretary of the Air Force during the first Trump administration. Wilson took direct aim at Trump's cuts to funding for underrepresented groups, arguing, "Talent is evenly distributed, but opportunity is not." After arguing that "the moral authority of science depends on the pursuit of truth," she highlighted the cancellation of grants that had been used to study diseases that are more prevalent in some ethnic groups, saying "that's not woke science—that's genetics." Wilson was clearly the exception, however, as the rest of the panel largely avoided direct mention of either the damage already done to US science funding or the impending catastrophe on the horizon. We've asked the National Academies' leadership a number of questions about how it perceives its role at a time when US science is clearly under threat. As of this article's publication, however, we have not received a response. At yesterday's event, however, only one person showed a clear sense of what they thought that role should be—Wilson again, whose strongest words were directed at the National Academies themselves, which she said should "do what you've done since Lincoln was president," and stand up for the truth. John Timmer Senior Science Editor John Timmer Senior Science Editor John is Ars Technica's science editor. He has a Bachelor of Arts in Biochemistry from Columbia University, and a Ph.D. in Molecular and Cell Biology from the University of California, Berkeley. When physically separated from his keyboard, he tends to seek out a bicycle, or a scenic location for communing with his hiking boots. 16 Comments

House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

Few companies in the history of capitalism have amassed as much wealth and influence as Meta.A global superpower in the information space, Meta — the parent company of Facebook, Instagram, WhatsApp, and Threads — has a market cap of $1.68 trillion at the time of writing, which for a rough sense of scale is more than the gross domestic product of Spain.In spite of its immense influence, none of its internal algorithms can be scrutinized by public watchdogs. Its host country, the United States, has largely turned a blind eye to its dealings in exchange for free use of Meta's vast surveillance capabilities.That lack of oversight coupled with Meta's near-omnipresence as a social utility has had devastating consequences throughout the world, manifesting in crises like the genocide of Muslims in Myanmar, or the systemic suppression of Palestinian rights organizations.How do you uncover the harms caused by one of the most powerful companies on earth? In the case of public violence, the evidence isn't hard to trace. However, Meta's unprecedented corporate dynasty also creates less obvious harms, which scores of scholars, researchers, and journalists are devoting entire careers to uncovering.One prominent group of said investigators is GLAAD, the Gay & Lesbian Alliance Against Defamation, which recently released its annual report on social media safety, privacy, and expression for LGBTQ people.The report notes that Meta has undergone a "particularly extreme" ideological shift over the past year, adding harmful exceptions to its content moderation policies while disproportionately suppressing LGBTQ users and their content. The tech giant has also failed to give LGBTQ users sovereignty over their own personal data, which it collects, analyzes, and wields to generate huge profits.While Meta collects all of our data — from which it draws over 95 percent of its revenue — the practice is particularly harmful to LGBTQ users, who then have to contend with algorithmic biases, non-consensual outing, harassment, and in some countries state oppression."It's a dangerous time, certainly for trans people, who as a minority have been so ridiculously maligned, but also a dangerous time for gay people, openly bi[sexual] people, people who are different in any way," says Sarah Roberts, a UCLA professor and Director of the Center for Critical Internet Inquiry.To address these shortcomings and the dangers they introduce, GLAAD made a number of recommendations. One key suggestion was to improve moderation "by providing training for all content moderators focused on LGBTQ safety, privacy and expression." The media advocacy group doesn't mince words, adding that "AI systems should be used to flag for human review, not for automated removals."However, it doesn't look like Meta got the message.Weeks after GLAAD issued its findings, internal Meta documents leaked to NPR revealed the company's plan to hand 90 percent of its privacy and integrity reviews over to "artificial intelligence."This will impact nearly every new feature introduced to its platforms, where human moderators would typically evaluate new features for risks to privacy and safety, and the wellbeing of user groups like minors, immigrants, and LGBTQ people.Meta's internal risk assessment is an already opaque process, and Roberts notes that government attempts at risk oversight, like the EU's Digital Services Act, are likewise a labyrinth of filings which are largely dictated by the social media companies themselves. AI, chock full of biases and prone to errors — as admitted by Meta's own AI chief — is certain to make the situation even worse.Earlier this week, meanwhile, the Wall Street Journal revealed Meta's plans to fully automate advertising via the company's generative AI software, which will allow advertisers to "fully create and target ads" directly, with no human in the loop.This includes hyper-personalized ads, writes the WSJ, "so that users see different versions of the same ad in real time, based on factors such as geolocation."Data hoarders like Meta — which track you even when you're not using its platforms — have long been able to profile LGBTQ users based on gender identify and sexual orientation, including those who aren't publicly out.Removing any human from these already sinister practices serves to streamline operations and distance Meta from its own actions — "we didn't out gay users living under an oppressive government," the company can say, "even if our AI did." It's no coincidence that Meta had already disbanded its "Responsible AI" team as early as 2023.At the root of these decisions — Meta CEO Mark Zuckerberg's right wing turn notwithstanding — is the calculated drive to maximize revenue."If there's no reason to rigorously moderate harmful content, then why pay so many content moderators? Why engage researchers to look into the circulation of this kind of content?" observes Roberts. "There ends up being a real cost savings there.""One of the things I've always said is that content moderation of social media is not primarily about protecting people, it's about brand management," she told Futurism. "It's about the platform managing its brand in order to make the most hospitable environment for advertisers."Sometimes these corporate priorities line up with progressive causes, like LGBTQ user safety or voter registration. But when they don't, Roberts notes, "dollars are dollars.""We are looking at multibillion-dollar companies, the most capitalized companies in the world, who have operated with impunity for many, many years," she said. "How do you convince them that they should care, when other powerful sectors are telling them the opposite?"Share This Article

Table of Contents Table of Contents Table of Contents What is Sinners about? Is Sinners worth watching? How to watch Sinners at home The best HBO Max streaming deals The best streaming deals to watch 'Sinners' at home: WATCH NOW Buy 'Sinners' on Prime Video $24.99 WATCH NOW Rent 'Sinners' on Prime Video $19.99 WATCH LATER Max (With Ads) annual subscription $99.99/year (save $19.89) WATCH LATER Max Standard annual subscription $169.99/year (save $33.89) WATCH LATER FOR FREE Max Basic With Ads for Cricket customers Free for Cricket customers on the $60/month unlimited plan (save $9.99/month) WATCH LATER FOR FREE Max Basic With Ads Free for DashPass annual plan subscribers (save $9.99 per month) WATCH LATER Max Student $4.99 per month for 12 months (save 50%) WATCH LATER Disney+, Hulu, and Max $16.99 per month (with ads), $29.99 per month (no ads) (save up to 38%) Black Panther director Ryan Coogler is back with another smash hit. The third movie Warner Bros. has released in 2025 that features an A-lister playing dual roles, Sinners is "easily one of the best movies of the year," according to Mashable's head movie critic.Besides Michael B. Jordan times two, it stars Hailee Steinfeld (Hawkeye), Jack O’Connell (Ferrari), Wunmi Mosaku (Passenger), Jayme Lawson (The Woman King), Omar Benson Miller (True Lies), and Delroy Lindo (Da 5 Bloods). With bits of horror, history, and musical theater all sprinkled in, it's a genre-fluid movie in every sense of the term. If you haven't caught it in theaters yet, there's still time. However, if you'd rather watch it at home, it's now available on digital-on-demand services as of June 3. Here's everything you need to know about how to watch Sinners at home. You May Also Like What is Sinners about?Set in the 1930s Jim Crow-era South, Sinners stars Michael B. Jordan in a dual role as Smoke and Stack, twin brothers who return to their hometown with the goal of setting up a juke joint — only for its grand opening to be disrupted by something supernaturally monstrous."There are vampires in the film, but it's really about a lot more than just that. It's one of many elements, and I think we're gonna surprise people with it," director Ryan Coogler explained at a press conference.Check out the official trailer: Is Sinners worth watching?Sinners is a huge success story for original horror. It's only the second movie in 2025 to pass the $250 million domestic box office milestone and is one of the 10 highest-grossing horror movies to date. Not only has it been a smash hit at the box office, now climbing to over $338 million worldwide and $258 million domestically, but the reviews are outstanding. It currently holds a near-perfect 97 percent critic rating on Rotten Tomatoes and a 96 percent audience rating. That's no easy feat."Sinners is more than a hell of a thrilling vampire movie. Like Black Panther, it expands beyond the expectations of its genre to become a magnificent film, emanating with spirit, power, and purpose," Mashable's Kristy Puchko writes in her review of the film. "Smoothly blending vampire horror into a unique tale of regret, resilience, and redemption, Coogler and Jordan have made a cinematic marvel that is terrifying, satisfying, and unforgettable."Read our full review of Sinners.How to watch Sinners at home Credit: Warner Bros. Sinners smashed into theaters on April 18, 2025, and is still floating around in select theaters nationwide. However, if you would rather watch it at home, there are now a couple of different options: purchasing via digital video-on-demand or renting via digital video-on-demand. 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Based on the digital-to-streaming trajectory of other recent theatrical hits from Warner Bros. like Companion, Mickey 17, and Beetlejuice Beetlejuice, we expect that Sinners will make its streaming debut sometime around late July to mid-August.Max subscriptions start at $9.99 per month, but there are a few different ways to save some money on your plan. Check out the best Max streaming deals below.The best HBO Max streaming dealsBest for most people: Save 16% on Max Basic annual subscription Opens in a new window Credit: Max Max Basic with ads yearly subscription $99.99 per year (save $19.89) The Max Basic plan with ads typically goes for $9.99 per month, but if you pay for the entire year up front, that cost drops down to $8.33 per month. An annual plan is just $99.99 total, which saves you about 16% compared to the monthly plan. Related Stories Mashable Deals Want more hand-picked deals from our shopping experts? Sign up for the Mashable Deals newsletter. 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Attendees at a screening for ReelShort's "Wings Of Fire." Tiffany Rose/Getty Images for ReelShort 2025-06-03T08:42:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Mini-drama apps have grabbed Hollywood's attention as they've gained popularity in the US. The apps offer bite-sized, mobile-friendly episodes that people are paying to watch. They could be a low-cost alternative to traditional shows for Hollywood giants. Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice.These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox.Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space."I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. "Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach."Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm."In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued.As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap.Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars.App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Still from "Breaking the Ice" on ReelShort. ReelShort Hollywood is curious about mini-dramasAgents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy.Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said.Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort.Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain.People have questionsDespite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent.And people in Hollywood told BI they had plenty of questions.Here are a few:These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members?Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers.Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week.How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform.Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model.'It's just a matter of time' Paramount's "Mean Girls" experiment on TikTok bore some resemblance to mini-dramas. Paramount Pictures Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential.They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows."There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players.Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV."It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."Geoff Weiss contributed reporting.

We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

Version 1.0.0 By Robert Jan van Pelt (Park Books, 2025) The largest artifact in the touring exhibition Auschwitz. Not Long Ago. Not Far Away., currently on display at the ROM in Toronto, is a wooden barracks building. It’s from the Auschwitz-Monowitz camp, a satellite to Auschwitz created to provide slave labour to the IG Farben corporation for the construction of a synthetic rubber factory.  The discovery of a sister building, back in 2012, led exhibition chief curator and architectural historian Robert Jan van Pelt, University Professor at the Waterloo School of Architecture, on a research journey to write a comprehensive history of the barracks—temporary buildings that have not only housed prisoners, but also provided shelter for military servicemen and women, refugees, and natural disaster survivors. “Many people have experienced, for shorter or longer time periods, life in a barrack, and for all of them it represented life on the edge, for better or worse,” writes Van Pelt. Worm’s eye axonometric of Renkioi Hospital Barrack, a prefabricated hospital designed by Ismabard Kingdom Brunel for a site in Turkey, 1857. Van Pelt’s book criss-crosses with ease through architectural history, military history, and the history of medicine—all of which played crucial roles in the evolving development of this seemingly simple building type. The book is arranged in a dozen episodes, with the barrack at the centre of each, serving as an anchor point for unfolding the rich intellectual and historical context shaping the way these structures were developed and deployed. The book is richly illustrated with archival materials—a feat in itself, given that the documentation for temporary buildings, particularly before 1900, is scarce. These drawings, photos, and paintings are supplemented with 20 worm’s eye views of key buildings, carefully composed by a team of Waterloo architecture school students and alumni.  Thomas Thomaszoon, View of the headquarters of the Spanish in the Huis tea Kleef during the siege of Haarlem, 1572-73. Collection of Noord-Hollands Archief, Haarlem; courtesy Robert Jan van Pelt Like many vernacular buildings, temporary structures larger than a tent, designed to house soldiers in the field, have existed at least since Ancient Rome. One of the first visual accounts of barracks came centuries later, in the winter of 1572, when the Spanish laid siege to the Dutch city of Haarlem, and cartographer Thomas Thomaszoon sketched the position of dozens of Spain’s wood-and-straw structures outside the city. The siege was successful, but only a few years later, the Dutch Republic gained the upper hand. As part of the creation of a standing army, they began to develop more precise instructions for the layout of camps, including the construction of temporary barracks. Antoine-François Omet des Foucaux, Barrack constructed in Hendaye, France, 1793. From Jean-Charles Krafft, Plans, coupes et élévations de diverses productions de l’art de la charpente, 1805. Collection of Bilbliothèque Nationale de France, Paris. Courtesy Robert Jan van Pelt The Napoleonic army made use of barracks in both military camps and training camps; by the mid-1800s, the construction of various barrack types was detailed in field construction manuals issued to officers in many European armies. During the Crimean War (1853-56), over 3,500 prefabricated barracks were manufactured in a Gloucester factory, as a solution to the appalling conditions at the front. But when the structures arrived at port, British forces were not able to unload and erect them—the materials for a single building weighed more than two tons, and each would require 60 horses (or 150 men) to transport to camp on the muddy roads.  The US (Union) Army’s Lincoln Hospital, Washington, DC, 1865. Collection of Library of Congress, Washington, DC. Courtesy Robert Jan van Pelt Prefabrication was also used, with somewhat more success, towards the end of the conflict to erect field hospitals designed by British engineer Isambard Kingdom Brunel with a priority on cross-ventilation to limit the spread of disease. Low mortality rates from similar structures led to a continued preference for “barrack hospitals” based on groupings of low-slung, well-ventilated pavilions, rather than conceived as single grand structures. The model was further refined with the addition of primitive underfloor heating and ridge ventilation by former surgeon William A. Hammond for the Union Army during the American Civil War (1861-65).  Barrack hospitals were constructed for civilian use, as well. Following the conclusion of the Franco-Prussian war (1870-71), such designs were built to house patients with infectious diseases in Berlin and proposed as a means to bring professional medical care to Germany’s rural areas. A barracks-inspired hospital was built in Saint Petersburg, Russia, in 1889, and continues to be operational.  If the barrack as an accommodation for the sick is a progressive tale, the 19th-century history of the barrack is equally checkered by the building type’s use for prisoner accommodation, including in the penal colonies of Australia and French Guiana. In North America, barracks were used in an internment camp for Native American Dakotas, and Civil War-era Union barracks at Camp Douglas were used to house Confederate prisoners. The oldest preserved barrack in the world may be in Canada, at Grosse Isle national park. Here, barrack-style quarantine sheds were used to detain thousands of Irish immigrant families during the typhoid fever epidemic of 1846-47, and their damp, fetid conditions contributed to many deaths—an episode Van Pelt describes as a “blot on the national consciousness of Canada.” A single Doecker Hut contains an operation room, pharmacy and hospital management office. The prefabricated, portable hospitals were developed in 1885, and used around the world, including in the First World War. In America, they were marketed for managing epidemics in the wake of the 1892 typhus fever outbreak in New York. Courtesy Berlin State Library and Robert Jan van Pelt   At the turn of the 19th century, the prefabricated portable barrack came to the fore with the manufacturing of the Doecker barracks, by Christoph & Unmack, a firm based in Copenhagen and Germany. Developed by a former military officer-turned-tentmaker, the technically sophisticated model used large rectangular frames that could be clipped together, and covered with “felt-cardboard”—dense felt pressed onto canvas and impregnated with linseed oil. The self-supporting structures proved easy to set up, dismount, and transport, making them suitable for both military applications—and, with little modification, for humanitarian aid. The Red Cross deployed Doecker barracks for use as field hospitals in Manchuria and Yokohama during the Russo-Japanese War (1904-05).  The Barrack, 1572-1914 wraps up in in the early 20th century, but with the note that in the ensuing decades until 1945, millions of barracks were produced by many of the world’s major nations—and that most of these were erected in barbed-wire-ringed compounds. “This is the period in which tens if not hundreds of millions of people, many of whom were civilians, were forced to live in barracks, as refugees, as expellees, as civilian internees, as forced laborers, as prisoners or war, as concentration camp prisoners, and as people made homeless by the destruction wrought by war,” writes Van Pelt. Up until 1914, he notes, this building type largely carried a sense of achievement—an image that would change sharply with the Age of the Camps. But although a WWII barrack was responsible for instigating Van Pelt’s initial investigation, that time period will need to await a second volume on this simple building type with a rich, complex, and complicated history.   As appeared in the June 2025 issue of Canadian Architect magazine  The post Book Review: The Barrack, 1572-1914—Chapters in the History of Emergency Architecture appeared first on Canadian Architect.

Outlets 8, Conghua | © Wu Siming In the landscape of contemporary Chinese urbanism, few typologies encapsulate the contradictions of late-capitalist development more vividly than the pseudo-European commercial complex. These replicated enclaves, constructed en masse in the early 2000s, were once marketed as symbols of international sophistication. Over time, however, many were abandoned, becoming architectural vestiges of speculative urbanism. Outlets 8 in Conghua, Guangzhou, is one such project that has undergone a radical architectural reinterpretation. Originally completed in 2018 but long dormant, it has been reimagined by E Plus Design in collaboration with URBANUS/LXD Studio. Through a precise, light-touch intervention, the project avoids wholesale demolition and reprograms space through color, rhythm, and landscape strategy. Outlets 8, Conghua Technical Information Architects1-14: E Plus Design Central Plaza Design: URBANUS / LXD Studio Location: Conghua District, Guangzhou, China Gross Area: 80,882 m2 | 870,000 Sq. Ft. Project Years: 2022 – 2023 Photographs: © Wu Siming This approach is like a contemporary remix of classical music. The four blocks correspond to four movements. Without extensive demolition or altering the European-style architectural rhythm, we reinterpreted the emotional tones, chords, and cadenzas. Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony. – Li Fu, Chief Architect at E Plus Design Outlets 8, Conghua Photographs Aerial View | © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Chen Liang Liu Shan © Chen Liang Liu Shan © Chen Liang Liu Shan Outlets 8 Context and Typological Challenge Outlets 8 was initially conceived as a 110,000-square-meter faux-European outlet village. Despite its scale and investment, it struggled to resonate with local cultural dynamics and remained idle. The typology itself, rooted in nostalgic mimicry, was already facing obsolescence. The challenge, then, was not only architectural but also conceptual: how to resuscitate a typology that had become both spatially and culturally inert. The design team chose a strategy of minimal physical intervention coupled with maximal perceptual impact. Rather than demolish or drastically reconstruct, they aimed to re-signify the existing structures. This approach reflects a growing trend in urban renewal across China, where sustainability, cost-efficiency, and cultural specificity take precedence over spectacle. Spatial Transformation Through Chromatic Reprogramming After | © Wu Siming Before | Original Facade, © E+ At the intervention’s core is using color as a spatial and psychological agent. The ornament-heavy facades were stripped of their polychromatic excess and repainted in low-saturation hues. This chromatic cleansing revealed the formal rhythms of the architecture beneath. By doing so, the design avoids mimicry and opts for abstraction, reintroducing clarity to the site’s visual language. The design framework is structured as a musical metaphor, with each of the four blocks conceived as a separate movement in a visual symphony. The street-facing facades, now unified through a golden “variation,” establish a new urban frontage that is both legible and symbolically rich. A ribbon-like golden band traces across the main elevations, creating continuity and contrast between old and new volumes. In contrast, the sports block adopts a cooler, blue-toned palette, offering a different spatial and functional rhythm. New architectural insertions are rendered in transparent materials, signaling temporal and programmatic distinctions. At the center, the elliptical plaza becomes a spatial crescendo, defined by a sculptural intervention inspired by Roman aqueducts. This feature functions as a landmark and a temporal break, juxtaposing historical references with performative landscape elements. Rewriting Landscape as Urban Ecology After | © Wu Siming Before | Original Facade, © E+ Water, derived from the nearby Liuxi River, serves as the thematic and material backbone of the landscape design. Its integration is not symbolic but functional. Water flows through constructed channels, interactive fountains, and sculptural cascades that encourage observation and participation. These elements create a multisensory environment that enhances the spatial experience while reinforcing ecological awareness. The planting strategy emphasizes native species capable of withstanding Guangzhou’s subtropical climate. The design maximizes greenery wherever regulatory conditions allow, particularly along the main entrance, central corridors, and arcaded walkways. The result is a layered landscape that balances visual density with ecological resilience. Integrating landscape and architecture as a singular design operation, the project shifts away from ornamental greening toward environmental synthesis. This approach foregrounds interaction and immersion, aligning with broader shifts in landscape architecture toward performative and participatory ecologies. Programmatic Rebirth and Urban Implications After | © Wu Siming Before | Original Facade, © E+ Beyond formal and material considerations, the project redefines the programmatic potential of large-scale retail environments. Positioned as a “micro-vacation” destination, Outlets 8 is a hybrid typology. It combines retail, leisure, and outdoor experience within a cohesive spatial narrative. This reprogramming responds to changing patterns of consumption and leisure in Chinese cities, particularly among younger demographics seeking experiential value over transactional efficiency. Statistical metrics underscore the project’s social impact. In its first nine days, the outlet attracted over half a million visitors and became a trending location across multiple digital platforms. While not the focus of architectural critique, these figures reflect a successful alignment between spatial renewal and public resonance. More importantly, the project offers a replicable model for dealing with the vast inventory of misaligned commercial developments across China. The intervention avoids nostalgia and cynicism by foregrounding perceptual clarity, ecological integration, and cultural recontextualization. Instead, it offers a clear path forward for reimagining the built remnants of a prior urban paradigm. Outlets 8, Conghua Plans Elevations | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Sections | © E Plus Design Outlets 8, Conghua Image Gallery About E Plus Design E Plus Design is a multidisciplinary architecture studio based in Shenzhen, China, known for its innovative approaches to urban renewal, adaptive reuse, and large-scale public space transformations. The firm emphasizes minimal intervention strategies, spatial clarity, and contextual sensitivity, often working at the intersection of architecture, landscape, and urban design to create integrated environments that are both socially responsive and experientially rich. Credits and Additional Notes Chief Design Consultant: Liu Xiaodu Master Plan, Architecture, and Landscape Schemes: E Plus Design Lead Architects: Li Fu, Coco Zhou Project Managers (Architecture): Guo Sibo, Huang Haifeng Architectural Design Team: Wang Junli, Zhang Yan, Cai Yidie, Zhu Meng, Lin Zhaomei, Li Geng, Stephane Anil Mamode, Liu Shan, Zhou Yubo Central Plaza Design: URBANUS / LXD Studio Architect of Central Plaza: Liu Xiaodu Project Manager: Li An’hong Facade Design: Song Baolin, Li Minggang Lighting Design (Concept): Fang Yuhui Lighting Consultant: Han Du Associates Client: Guangzhou Outlets 8 Commercial Management Co., Ltd. Client Design Management Team: Yin Mingyue, Zhao Xiong Landscape Area: 29,100 m² Chief Landscape Architect: Gao Yan Project Manager (Landscape): Zhang Yufeng Landscape Design Team: Yu Xiaolei, Li Zhaozhan, Liu Chenghua Landscape Construction Drawings: E Plus Design Project Manager: Wang Bin Design Team: Wang Bin (Landscape Architecture). Huang Jinxiong (Greening Design). Li Gen (Water & Electricity Design) Structural Design Team: Wang Kaiming, Yang Helin, Wu Xingwei, Zhuang Dengfa Electrical Design Team: Sun Wei, Yang Ying Interior Design Concept Design: Shenzhen Juanshi Design Co., Ltd. Chief Interior Designer: Feng Feifan Project Manager: Liu Hongwei Design Team: Niu Jingxian, Shi Meitao Construction Drawings: Shenzhen Shiye Design Co., Ltd. Project Manager: Shen Kaizhen Design Team: Yao Yijian, Yang Hao, Liu Chen Wayfinding Design Studio: Hexi Brand Design Co., Ltd. Curtain Wall Design Firm: Positive Attitude Group (PAG)

Business Development Associate, eCommerceAppLovinToronto30 minutes agoApplyAbout AppLovinAppLovin makes technologies that help businesses of every size connect to their ideal customers. The company provides end-to-end software and AI solutions for businesses to reach, monetize and grow their global audiences. For more information about AppLovin, visit: www.applovin.com.To deliver on this mission, our global team is composed of team members with life experiences, backgrounds, and perspectives that mirror our developers and customers around the world. At AppLovin, we are intentional about the team and culture we are building, seeking candidates who are outstanding in their own right and also demonstrate their support of others.Fortune recognizes AppLovin as one of the Best Workplaces in the Bay Area, and the company has been a Certified Great Place to Work for the last four years (2021-2024). Check out the rest of our awards HERE.About AppLovin’s eCommerce TeamAppLovin is the market leader in performance advertising for mobile games. In 2024, we expanded into the ecommerce space, enabling brands to reach 150M+ U.S. daily active users in a variety of mobile games—scale that rivals the largest social platforms. In Q4, we reached a $1 billion annual run rate in gross advertiser spend in the ecommerce category alone.Learn more about our fast-growing ecommerce beta: https://ecomm.applovin.com/AppLovin's global team is composed of team members with life experiences, backgrounds, and perspectives that mirror our customers around the world. We are intentional about the team and culture we are building, seeking candidates who are outstanding in their own right and also demonstrate their support of others.About the RoleWe are seeking a driven, analytical, and results-focused Analyst, Business Development to join our fast-paced and expanding eCommerce team. This is a unique opportunity to shape a new business line from the ground up and work at the intersection of performance marketing and business development within the rapidly growing eCommerce space.In this client-facing role, you’ll partner with eCommerce brands to unlock growth by leveraging AppLovin’s marketing platform. You’ll build strong relationships with key stakeholders, help them optimize campaigns, and lead strategic initiatives that drive business outcomes. You’ll also work closely with AppLovin leadership and product experts to evolve our eCommerce advertising solution and drive adoption in the market.ResponsibilitiesOnboard eCommerce brands to our platform and educate them on AppLovin’s eCommerce growth solution.Understand what matters most to your partners and drive an action plan for their growth.Set up new campaigns for success by leveraging best practices for creative and performance targets.Define and analyze metrics to ensure success for our eCommerce partners.Become an expert on AppLovin’s mobile advertising products for eCommerce brands.Partner with the broader AppLovin Business Development team in the region.Basic Qualifications1-3 years of professional experience.Bachelor's degree or higher in related fields.Self-starter and eager to learn.Demonstrate outstanding analytical ability and strategic grasp of the “big picture”.Exceptional communication skills and clearly able to communicate concepts and ideasHave experience prioritizing competing demands.Flexible team-player who can use drive, creativity, and initiative to move the organization forward.Demonstrated experience in handling large data sets, with a strong ability to analyze complex data and identify actionable patterns to drive strategic decision-making and optimize client outcomes.Proven interest in technology. Whether you’re an early adopter of gadgets, or an Excel whiz, or took a computer science class in school and loved it, we are a high tech and big data company where you will constantly have the opportunity to contribute business and product ideas.Preferred QualificationsExperience in the e-commerce space and brand operations.A basic understanding of programming or scripting.A basic understanding of image and video editing software.Understanding of models for intelligent decision making, such as game theory, chess, or poker.AppLovin has become aware of a scam targeting jobseekers with fake “app optimization” and similar roles. We do not ask our candidates to download apps or make any form of payment(s). AppLovin works with applicants through our Careers page and applovin.com email addresses. If you are contacted through other unofficial channels (such as WhatsApp or Telegram) or asked to download an app or make a payment, these contacts are not legitimate. Confirm the information here and contact us directly with any questions.AppLovin is proud to be an equal opportunity employer that is committed to inclusion and diversity. All applicants will be considered for employment without attention to race, color, religion, sex, sexual orientation, gender identity, national origin, veteran or disability status, or other legally protected characteristics. Learn more about EEO rights as an applicant here.If you need assistance and/or a reasonable accommodation due to a disability during the application or recruiting process, please send us a request at accommodations@applovin.com.AppLovin will consider for employment all qualified applicants with criminal histories in a manner consistent with applicable law. If you’re applying for a position in California, learn more here.Please read our Global Applicant Privacy Notice to learn more about how AppLovin processes your personal information. 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Xando Member Oct 28, 2017 38,006 With the launch of Call of Duty Season 4, Activision quietly put adverts inside loadouts for Black Ops 6 and Warzone, sparking a backlash in the process. Activision already has a bad reputation for the aggressive monetization of the premium Black Ops 6 and its free-to-play battle royale Warzone, but this latest move may have tipped some players over the edge. Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts. Elsewhere, Activision has added bundle and Battle Pass advertisements to the Events tab, another controversial change that has caused complaints. Here's a snippet of the response, sourced from across Call of Duty subreddits, Discords, and social media: I wouldn't even be mad if this was just in Warzone, a free game, but putting it in a pay-to-play premium title, with how expensive they're getting? F**k off. This game is still 80€ I get that they make most of their money from the store, but I feel like the bare minimum for a premium product would be to not have ads clogging the menus right? At this point it really feels like opening up a mobile game with how much more you see an option to buy anything in this game. Anyone who wanted this bundle would've checked the store and bought it. Putting it here isn't gonna make more people buy it, its justannoying. Just wait until they add pop up ads for bundles while you are playing the game. Click to expand... Click to shrink... More including some examples here: Activision Quietly Force Adverts into Call of Duty Black Ops 6 and Warzone Loadouts and Players Absolutely Hate It: 'At This Point It Really Feels Like Opening Up a Mobile Game' - IGN With the launch of Call of Duty Season 4, Activision quietly put adverts inside loadouts for Black Ops 6 and Warzone, sparking a backlash in the process. www.ign.com   Gaspode Member Jan 17, 2025 152 gross   MarcosBrXD Member Aug 28, 2024 1,779 Crazy one of the biggest IPs doing this   Wallace Member Oct 25, 2017 28,182 Midwest What a shit franchise.   Shirkelton Member Aug 20, 2020 6,976 Fuck that.   MinerArcaniner Uncle Works at Nintendo Member Oct 29, 2017 7,473 The revenue line has to keep going up. There's no such thing as "enough" with corporations.   Kinthey Avenger Oct 27, 2017 25,551 Poor Cod really needs the money to keep the lights on   skullmuffins Member Oct 25, 2017 7,615 oh, ads for in-game microtransactions. guess i'm not surprised. that's where all the money is these days.   Remark Member Oct 27, 2017 4,184 Yeah the ads are so bad this season. When you boot up the game in CoD HQ, theres a big ass button for Blackcell and BO6 and WZ are all the way on the right side of the menu. It's so annoying. Huge disrespect to the people who actually bought the game. I wish CoD HQ would go away, it doesn't even actually help with anything and actually hampers the UX experience in a lot of ways especially on PC.  Last edited: Today at 10:14 AM LiquidDom Avenger Oct 27, 2017 2,730 Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though.  Richietto One Winged Slayer Member Oct 25, 2017 26,147 North Carolina Lmao what a joke   Loxley Prophet of Truth Member Oct 25, 2017 10,702 We're inching closer and closer to this scene from Ready Player One. "We estimate we can sell up to 80% of an individual's visual field before inducing seizures" View: https://youtu.be/KpPE85Jogjw?si=Di0mlmiF27KidwWs  Fabs Member Aug 22, 2019 2,780 This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless.   Noisepurge Corrupted by Vengeance Member Oct 25, 2017 9,775 Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... Fortnite doesn't cost 80$  OP OP Xando Member Oct 28, 2017 38,006 LiquidDom said: Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though. Click to expand... Click to shrink... Considering half of the in-game purchases are basically ads for some brands or characters that have nothing to do with COD it's basically the same thing   Remark Member Oct 27, 2017 4,184 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... To be fair, Warzone is F2P but that shit should be in there. Whether you buy the game or not, you have to go through CoD HQ which is so annoying.   Doskoi Panda One Winged Slayer Member Oct 27, 2017 17,314 CoD is so fucking trashy lmao. I will never understand how it remains so popular. It just gets worse year over yesr, even Warzone.   SunBroDave "This guy are sick" Member Oct 25, 2017 15,148 How else is COD supposed to make money   Decarb Member Oct 27, 2017 9,264 Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... Not only is it in a full priced mode, but its also in the weapon customization menu where you least expect it.   Agni Kai Member Nov 2, 2017 10,037 Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line.   jroc74 Member Oct 27, 2017 34,177 Yeah I dont think it needs to be this aggressive. LiquidDom said: Wait it's just ads for the in-game purchases? Not outside ads that have nothing to do with the game? I don't have that much of an issue with it, still shit though. Click to expand... Click to shrink... Fabs said: This doesn't seem that different than like Fortnite advertising the shop updates in the main menu. It's fairly harmless. Click to expand... Click to shrink... While trying to play the game tho? "Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts." Imagine getting hit with Shark Card ads while browsing the in game stores in GTA Online....please Rockstar dont do this. Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... Also this.  BradleyLove Member Oct 29, 2017 1,661 Doesn't surprise me. I bought Forza Horizon for PS5 a few days ago and was shocked to encounter unskippable ads for DLC. The American obsession with forcing ads everywhere they can is horrible. This reply was brought to you by NEW Mountain Dew—new look, same bold refreshing flavour.  TransEuropaExpress Member Dec 6, 2017 11,420 US They should go all in and start doing random 5-minute commercial breaks in the middle of rounds.   Pyro God help us the mods are making weekend threads Member Jul 30, 2018 18,922 United States Really fucking gross.   Vourlis Member Aug 14, 2022 5,911 United States I...where are the ads? edit: Oh like advertising the bundles or whatever. Okay.  jroc74 Member Oct 27, 2017 34,177 BradleyLove said: Doesn't surprise me. I bought Forza Horizon for PS5 a few days ago and was shocked to encounter unskippable ads for DLC. The American obsession with forcing ads everywhere they can is horrible. This reply was brought to you by NEW Mountain Dew—new look, same bold refreshing flavour. Click to expand... Click to shrink... I either forgot how it was or just didnt know, because I played it on XSX when it launched. But I was and am shocked at the mtx in FH5.  shadowman16 Member Oct 25, 2017 41,804 I feel like this has already become too normalised because I honestly assumed we were talking about unrelated product ads... Meanwhile the examples above... honestly I kinda expected. Granted the article also points it out perfectly that if it were just in Warzone (free) it'd be... less bad, but charging however much for COD THEN pushing those ads on you... you just know people will crack. Not the worst example of ads in games though, I still give that to SFVI's Turtles costumes, aside the cost, having that damn song playing constantly in the battle hub for month(s) on end drove me nuts at the time.  Papaya The Fallen Oct 25, 2017 2,735 California The financial model for CoD is awful and lacks any sort of creativity. They just copied fortnite even though it doesn't work for a military shooter. They rarely release any good content because it either doesn't match the game's tone, or it sucks. It just doesn't lend itself well to skins, and other visual customization options. Or maybe they just don't know how to make good. Either way, I've never seen a more boring battlepass in my life. CoD can be a super fun action game, but it's never felt more hollow and lifeless. The best counter-example to "games are art" I've ever seen.  BestBrand Member Mar 5, 2025 457 Call of duty is the worst man. I may not even buy another COD again.   MerluzaSamus Member Dec 3, 2018 1,471 Argentina Agni Kai said: Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line. Click to expand... Click to shrink... The game published by EA to gather obscene money on the fps market? That one Battlefield? Jokes aside, 'fraid this is going to be the norm long term, Fortnite normalized it and publishers with less restraint are going wild, same with AI. At least on the AAA market.  Lumination Member Oct 26, 2017 16,064 Who could have expected them giving the game away would have affected the revenue stream and business model of the game itself.   Geeko Member Oct 27, 2017 1,413 San Jose, CA Lame as hell. The problem is that the masses won't care about it and will still spend crap tons of money on this game thus continuing this constant bombardment of ads.   shadowman16 Member Oct 25, 2017 41,804 Agni Kai said: Only Battlefield 6 can save us now. Hold the line, my friends. Hold the line. Click to expand... Click to shrink... Gameplay wise, Hopefully Dice will take the time and make something truly special. However... I wouldnt expect much better from EA of all publishers. They are every bit as summy...  OP OP Xando Member Oct 28, 2017 38,006 My guess is this is only going to get worse as MS tries to make up the lost revenue from people playing via GP instead of buying   SP. Member Oct 27, 2017 8,578 I guess I thought it would be worse than the reaction seems to suggest… They're in-game micro transaction ads and for the most are for weapon skins which naturally don't seem that out of place in a weapon selection menu. It's not like they're advertising a Burger King Whopper in here. Obviously it'd be better if they weren't there at all but honestly if I played the game and saw these I wouldn't think it's anything out of the ordinary.  Ravelle Member Oct 31, 2017 20,432 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... It doesn't spam you with multiple windows to buy something either  Rosebud Two Pieces Member Apr 16, 2018 51,386 Wallace said: What a shit franchise. Click to expand... Click to shrink... .   Kyokanto Member Mar 4, 2025 493 For a second I thought this was going to be McDonald's ads or something lol. I wonder how far off that is… Still scummy as is.  Pop-O-Matic Avenger Oct 25, 2017 14,007 MarcosBrXD said: Crazy one of the biggest IPs doing this Click to expand... Click to shrink... Not really. CoD might move more money than most of the rest of the industry put together, but capitalism (especially at publicly traded mega corps like MS and ActiBlizz before them) demands that the line must always be going up, and there isn't really much CoD can do to grow the player base in any significant way in the short-to-medium term, so they're going to start trying out shit like this to get even more money out of the existing players so the line goes up and the shareholders can be happy.   Fabs Member Aug 22, 2019 2,780 Noisepurge said: Fortnite doesn't cost 80$ Click to expand... Click to shrink... Decarb said: Not only is it in a full priced mode, but its also in the weapon customization menu where you least expect it. Click to expand... Click to shrink... jroc74 said: Yeah I dont think it needs to be this aggressive. While trying to play the game tho? "Following the launch of Season 4, adverts for weapon bundles can be seen in the build and weapon menus. These are unavoidable for players as they tinker with their loadouts." Imagine getting hit with Shark Card ads while browsing the in game stores in GTA Online....please Rockstar dont do this. Also this. Click to expand... Click to shrink... Full priced games advertise their dlc in menus all the time. Is it because it's in a new place? Is this that different than having the paid operators in the menu for selection like they have in past CoD? Or when I play Street Fighter and I can't pick Akuma because he costs money? I get it if it was for McDonalds but this seems like rage bait.  Plexas Member Jan 24, 2025 289 Several trillion dollar company needs some money to survive, please understand.   Twister Member Feb 11, 2019 6,692 This franchise peaked with BO3. Everything after has been a disaster   Vertigo1 Member Jun 30, 2023 1,093 CoD will never be as good as it was in the 360 era, ever again.   Sordid Plebeian Member Oct 26, 2017 19,955 Yeah I remember seeing that AI store slop when I booted up S4, and they wonder why they're driving players away   Tommy Showbiz Member Jul 20, 2022 3,727 This is pretty corny, but I was honestly expecting ads for like Dr. Squatch and not just prodding you to buy in-game bundles.   Apathy Member Oct 25, 2017 13,538 So the biggest game, created by the biggest publisher, paced by the riches company in the world needs to slide ads into their paid games. Lovely   DarkJ Member Nov 11, 2017 1,918 Ai slop? Ads in the menus? In a fully priced game? Really just making sure I don't even look at the next game.  T88heon Member Aug 26, 2024 1,042 This is a profitability issue coupled with horrendous stewardship of the ip. If the retail side was profitable would they need to stealthily run ads in "COD" of all ip? 😬  DSync Member Oct 27, 2017 884 Black Ops 6 in 2025 after the most recent update for Season 4 > £70 for the base game > £100 for the "Vault Editon" > £50/60 for a year of PS Plus to play the game online > £10 for the Battlepass > £15 for the Battlepass plus tier skips > £25 for the "Blackcell" Battlepass > Free and Premium (Costs money) Battlepasses for the Seth Rogan Operator Weed event > £16-25 Weapon and Operator bundles > AI art in the emblems, calling cards, posters in certain levels > Ads for bundles in creating a Loadout > Server instability issues > Whole game crashes to desktop/homescreen when editing your loadout during a match > UI Menu lagging > Cheaters, hackers run rampant > Store will 100% work no matter what (Prices for everything may not be exact)  Pai Pai Master Member Oct 25, 2017 37,298 Atlanta GA AI crap and ads, yet people will still buy this shit in record numbers every year