In recent days, it has become nearly impossible to move through the world without being confronted by the latest high-profile case of interpersonal violence — the ongoing trial of Sean "Diddy" Combs, following the harrowing testimony of singer Cassie Ventura, Diddy's ex-wife. Ventura's detailed allegations of prolonged abuse, coercion, and exploitation have dominated headlines and social media feeds, making the coverage inescapable. For many, this constant exposure brings up waves of complex feelings, including pain, anger, confusion, or even numbness. And for those of us with a personal history of trauma, these waves may at times feel like a tsunami.This collective reaction is not only understandable, it’s deeply human.As a trauma therapist and mental health professional who has worked alongside hundreds of survivors of interpersonal violence with a focus on human trafficking and sexual violence, I want to offer a framework for understanding what many of us are experiencing, and gentle tools for protecting our mental health as we navigate this moment. You May Also Like Our reactions are personal and validThere is no single way to respond to trauma exposure. Our reactions are shaped by our own lived experiences, including any past histories of violence. They are intersectional based on our identities, the communities we belong to, and the broader histories of injustice we carry. They are also adaptive as our minds are constantly working to make meaning, to find understanding, and ultimately, to protect us.Sometimes, this means we feel an intense pull to learn more. We read every article, scroll through every comment thread, or watch every video in the hope that information might help us feel a little safer, more in control, or closer to justice. This search for meaning is not a flaw; it is a natural function of a brain seeking safety and clarity in a world that can often feel unsafe and chaotic.When meaning-making becomes overexposureThere can be a point where our quest for meaning tips into overexposure, sending us into a state of disregulation. Even when we’re not seeking it out, constant exposure to the Diddy trial coverage can have an impact on our mental health. As we find ourselves reading one more post, watching one more reel, and clicking one more headline, the exposure adds up and our nervous system, especially those who have experienced past trauma, becomes activated.  Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! We begin to move outside our "window of tolerance,” a concept in trauma healing that describes the range of emotional states where we feel grounded and able to respond effectively to stress. When we're pushed beyond that range, we may shift into hyper-arousal, where we feel speedy, agitated, angry, panicked, or unable to stop scrolling. Or we might move into hypo-arousal, where we feel numb, detached, exhausted, or checked out.In hyper-arousal, we might feel compelled to argue with strangers in the comments section or rapidly consume articles. In hypo-arousal, we might shut down, avoid contact with others, or feel disconnected from our bodies and emotions. Both are nervous system responses to overwhelming situations, and both are signs that we need care, not judgment.Recognizing disregulationHere are a few signs that our media consumption may be impacting our mental health:Losing track of time while reading about the caseFeeling emotionally exhausted or detached after reading updatesTrouble sleeping or concentrating after trial exposure Thoughts of our own past experiences of violence arising Spiraling into despair, hopelessness, rage, or any intense emotional stateFeeling disconnected from your bodyIf you recognize yourself in any of these, you are not alone. This response is an adaptive human reaction to graphic trauma exposure. Related Stories Tools for regulation and grounding Caring for ourselves in the face of the Diddy trial coverage means tending to our nervous systems. Here are a few ways to support our well-being:Create social media boundaries. Consider limiting screen time, setting app timers, or pausing before engaging with sensitive content. Check in with your body. Are you breathing shallowly? Clenching your jaw? Holding tension? Gentle movement, deep breathing, or stretching can help regulate our nervous system and bring us back into the present moment. Name your feelings. Say them out loud or write them down. Naming emotions helps us metabolize them. If you’re having trouble identifying them, try looking at the emotions wheel. Protect your peace in comment sections. Online space, especially comment threads, can reflect common misconceptions about violence that place undue scrutiny on survivors rather than those who caused harm. It’s okay to disengage from these conversations. Preserving your mental health does not mean you care any less; it means you are choosing where to place your energy.Reach out. Talk to someone you trust. Community care is essential to healing.Practice grounding. Sensory-based techniques like holding a cold object, naming five things you see, and engaging your full five senses can bring you back into your body.Seek support. Whether through therapy, community support, or a trusted friend, reaching out to others to process what is happening can be an important lifeline. At the Sanar Institute, we specialize in providing this type of trauma-specific care to ensure that individuals and communities that have experienced interpersonal violence have access to life-changing support.A call for collective compassionAs we navigate through this trial, this is an invitation to us all: we do not need to consume every update to care deeply about what happened. We are allowed to set boundaries. We are allowed to care for our bodies, our spirits, and to prioritize our psychological safety.Each of us processes trauma exposure differently. Let’s offer compassion for our own responses and grace for the ways others may be showing up. The goal isn’t to disconnect from the world but to stay rooted in it, with care.Kate Keisel, LCSW is the Co-Founder & Co-CEO of the Sanar Institute, which creates holistic access to trauma-conscious and person-centered care to support individuals and communities healing from the traumatic events of interpersonal violence. This column represents the opinion of the author. Topics Social Good Social Media

Gladiatorial combat where naked warriors fight atop dinosaurs, alien octopus invasions, and tyrannical felines are just the tip of the iceberg in the fourth installment of Love, Death + Robots. Netflix’s genre-blending animated anthology series adeptly highlights science fiction’s versatility with stories that embrace horror, comedy, melodrama, and other label-defying tales. It’s a rare example of a project that becomes more confident and ambitious over time.  Love, Death + Robot’s executive producer, Tim Miller, and supervising director, Jennifer Yuh Nelson, open up on the animated anthology series’ electric fourth season, which science fiction story would be their white whale of adaptations, how David Fincher’s ludicrous string puppet music video came together, and which of this volume’s segments were supposed to be directed by Zack Snyder. DEN OF GEEK: How do you figure out the stories that you’re going to tell and how do you approach the source material that you adapt? Is it a case of finding source material that you’re passionate about from the start or are there stories that are being suggested to you? JENNIFER YUH NELSON: Well, pretty much all the shorts done in all the seasons have been based on short stories that Tim’s read throughout his life. And the reason why they stuck with him is because they’re great stories. And so we have hundreds of these stories just piled up. That’s sort of the pile that we go through and say, “That’s a great one. Let’s try that one,” and we just curate a gigantic, different list and try to find stories that can live together in a nice sort of album of narratives, tones, and looks. TIM MILLER: There’s a lot of different stories, but once we get the vibe for the season, there’s a lot of like, “Let’s swap this one in for that one because it’s a little too much like this other one.” We try to curate the perfect mix. So we have a little something for everybody, although we always seem to end up with too many cats. But I can’t explain that. I don’t really notice it until after the fact. Have there been any short stories that you wanted to adapt, but weren’t able to, whether it’s been for rights issues or just not being able to figure out the best way to adapt it? TM: Oh, tons. Tons. Johnny Mnemonic, the original short story. There’s another one by William Gibson called Dogfight that I would love to do. It took me forever to get Drowned Giant, the J.G. Ballard one that I did in the previous season. Vanni Fucci Is Alive and Well and Living in Hell by Dan Simmons. There’s just a lot and sometimes we just can’t get to it. Sometimes the authors don’t want to let their works go for some reason. I don’t know, but I keep trying. Bound for Glory by Lucius Shepard is another one. It’s always so exciting when you watch a season and you do recognize some of the stories, or even if it’s just the author behind it. There is a real rush to that. I love it. TM: We do publish the stories, too! There’s two volumes. There will be a third soon. All the money goes to the authors. We want people to read the stories! Forget about making them into movies. What does the process of finding the right animation style for each story entail? Are the aesthetics and artistic choices your call or that of the animation studio? JYN: Often we choose the director in the animation studio according to their specialty and making sure that it fits for us. If we have two tentpole episodes that look a certain way then we want to make sure that those episodes are going to look vastly different from each other. So you’ll go to a studio that, say, if you have a realistic science fiction one, then you want to go to a studio that might be able to do stop motion for another story instead. Not every studio does all these different things well. You need to find their thing. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation. What you can do with it and to see the limits and beyond of what these new innovative styles can be. And sometimes these directors are very much pioneers in what they do and no one else is doing what they do. That’s why we end up working with them. TM: We push it in the initial direction and then the directors come in and do their pitch. They’ll build off of the initial concept. So when it comes to, let’s say, design the characters, we let them take their best shot at doing that and try to give them as much freedom or rope to hang themselves – if you prefer – as we can.  Building off of that, Tim, your “Golgotha” segment is really wonderful, but also has the series explore live action territory. How did live action fall on this segment and is that something that you could see more of in Love, Death + Robots’ future? MILLER: Part of it is me just saying, “Look, we can do anything we want, motherfuckers!” So it’s just planting a stake there, but I’d love to do a whole series of, like a live action version of Love, Death + Robots because I like that format. I love animation, but I also like visual effects and I think you could make a case for doing a story that required some really innovative and cutting-edge visual effects to tell the story. But that one just felt right. You know, a lot of times the story speaks to you in a–not in a mystical way, but just a way that feels right to tell that story. Live action felt like the most grounded, right way to tell “Golgotha.” Jennifer, one of the exciting things about a show that’s now in its fourth batch of episodes is that there’s an opportunity to tell sequels and return to past worlds, like with “Spider Rose.” How did you decide that this specific story was an old idea that you wanted to build upon, rather than another past entry? JYN: Well, “Spider Rose” was batting around for a while on the story wall. We wanted to make it for a while. And with Tim’s episode, “Swarm,” those were always like two sides of the same struggle in Bruce Sterling’s world of the Shapers and the Mechanists. And so Tim’s episode, “Swarm,” had the investor aliens, which are making a reprise in “Spider Rose.” The same aliens show up, but Tim’s story focuses on the side of the Shapers, which are humans sort of manipulating themselves and evolving through biotechnology, whereas the Mechanists on the other side are the ones that are more mechanical. They’re actually cybernetic enhancements. “Spider Rose” is that side of civilization. So it is not a direct sequel, but it’s happening in the same world. It’s such a rich world, but we only have like 14 or 15 minutes. You get this little slice of a view into this world that’s so rich. That was just a fun way of just getting back into something that’s already so well thought out.  TM: But I have to say, Jennifer – if she and I were both kids and you took us to Toys “R” Us, I’m the kid that runs in and goes to the toy he knows he wants exactly. Jennifer is the kid that peruses all the aisles and makes a considered choice about what she wants, looks at every toy she could get, and then chooses the one she really wants, after much consideration, because she can choose anything she wants to put in the show. And she really thinks about it. It’s usually after the lineup comes together that she’s like, “I want that one!” It’s quite different the way our brains work. Yeah. Well, like “Screaming of the Tyrannosaur” feels like a very good example of that. Of just being like, “Who doesn’t love gladiator dinosaurs at the end of the day?” It’s just so much fun. TM: That one was written for Zack Snyder! Zack wanted to do one, but then he didn’t have time. I had written it so, normally, it wouldn’t have been one I picked, but I was invested in it, because I’d written it and I enjoyed it. When I write something, I’m working it out in my head; how I would direct it, really.  JYN: Was it really one you wouldn’t have normally done? Nelson laughs TM: I don’t know. If you look at “Drowned Giant,” which was the one I had done before that, could anything be more different than that? Although that was a weird one for me to do too. I’m not sure. I don’t think I have a style for, better or worse. David Fincher’s “Can’t Stop” is such a fun experiment, but I also really just loved to see him ostensibly returning to his music video roots. Was this an idea that he previously wanted to do in the series? How did this decision on his part come about? TM: He had mentioned a while ago about wanting to do a Chili Peppers music video with puppets. But when I called and said, “Hey, would you do an episode?” And he said, “What do you want me to do?” I said a music video for two reasons. One, because he is essentially the master of masters in that field. And then secondly, because I knew he was limited with his time. Like, he couldn’t make a 20-minute music video. So it built a box around him that I knew he couldn’t get out of. But he immediately said, “Yeah, I want to do the Chili Peppers as puppets.” Directors get fixated on ideas and then they just kick around in the attic until they get a chance to do them. You’ve talked about the rich world that all of these stories create, but sometimes you only spend a very brief time in them. Has there been any consideration for full-length spinoffs – or even a movie – that take one of these ideas or worlds and turn them into their own series?  There are certainly plenty that could sustain it. Does that idea interest you at all? TM: We pitched a “Three Robots” series. Netflix – I’m not gonna say they said no, I’m just gonna say that they haven’t said yes. And then there have been others. But you know, the beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature. If I said, “Yeah, I want to do naked gladiatorial slaves riding dinosaurs in space, they’d go, ‘No.’” But if I say it as part of a short, nobody cares, right? Nobody even questions it as part of the show, which is the greatest thing about the show ever.  And even if you’re not wildly into an idea, you’re still going to do it if it’s only a five-minute buy-in. There’s such a good setup to what you guys are doing. JYN: Sometimes – and I don’t mean this in a bad way – but sometimes that’s all that’s required. You know what I mean? It’s great for five minutes, but you wouldn’t enjoy it If you made it 90. You’ve accomplished so much across the first four volumes of Love, Death + Robots, but what are your aspirations for future volumes? Is there anything that you haven’t done that you’d like to attempt? TM: We’ve got a lot of stories. I have the next season – seasons, actually – picked out. There’ll be wrangling of them if we are fortunate enough to do it, but there’s no lack of great material. And there’s no lack of different types of things. We occasionally go back to something like the tilt-shift of “Night of the Mini Dead” sort of thing or “Three Robots,” which I think is fun. There’s still a lot of room to do new and innovative things that we haven’t done before.  JYN: Absolutely. One thing that I think the show does really well and I hope really continues on  forever is that this is a way to show new ideas and new looks and new innovation by different directors and studios around the world. Rarely do you see such a showcase of animation like this. So I think that sort of beauty, shared with everyone, I hope that continues forever.  Off of that, I am such a huge animation fan. I love the different studios  that you have involved with the show. Animation has just made such huge leaps over the past few years. It’s so exciting to see the kind of stuff that’s getting nominated at the Academy Awards. Has there just been anything over the past few years that’s really excited you guys in particular?  JYN: Do we have time to watch anything, Tim?  TM: Not really, but I will say on our other show, Secret Level, one of the shorts we did was with Unreal Engine. I really think that a large part of the future of animation is going to be real-time and the tools that come with that. I think it opens up the filmmaking process to a lot of people. My studio, Blur, was started at the dawn of the PC desktop age, and it was great because it opened up the business of making animation to people that didn’t have millions of dollars. I started Blur with $24,000, but now things are even better and people can do more really highly polished stuff in their bedroom, in their underwear. I think that’s fantastic, and it’ll open up bigger stories for us to tell.  It’s too soon to say what AI is going to do to the whole industry. I’m terrified, fascinated, and excited, but I think we’re going to see a lot of changes. This means taking on bigger stories, which is what I want. It shouldn’t cost $100 million to tell a story and I hope we can do more with less. Not people, but time. All four volumes of Love, Death + Robots are now streaming on Netflix.

When Brooklyn-based designer Virginia Sin launched her home goods brand, SIN, in 2007, it was with a simple mission: to bring warmth and intention into everyday living. Fast forward to today, that mission is scaling up in a big way. At ICFF 2025, SIN will debut its most expansive lighting launch yet – introducing the OBEL and STRIA collections, alongside new additions to its beloved GAMI series. Drawing inspiration from Egyptian obelisks, heritage textiles, and the delicate art of origami, the new releases transform centuries-old craft traditions into contemporary forms that are equal parts sculptural and soulful. It’s a major milestone for the brand, which has built a loyal following for its handmade, coil-building ceramic and mixed material designs. Inspired by the ancient practice of hand-weaving, the STRIA collection evokes the intentionality, care, and process behind heritage textiles. This series of sculptural wall sconces reinterprets the soft striations of fabric into rhythmic ceramic forms that beautifully filter light. STRIA also celebrates the many connections inherent in both ceramics and textile work – between material and maker, form and function, earth and home. Handmade in SIN’s Brooklyn studio, the sconces are fully ADA-compliant and designed with high-end residential and hospitality areas in mind, providing designers with a way to shape spaces that feel layered, meaningful, and inviting. Stria 3 Sconce in Bone Stria 3 Sconce in Obsidian Stria 5 Sconce in Graphite Stria 5 Sconce in Bone Stria 4 Sconce in Obsidian Stria 4 Sconce in Bone Obel Osen Table Lamps With the OBEL collection, SIN turns to the monumental geometry of hand-hewn Egyptian obelisks, reimagining these ancient forms as sculptural table lamps. Each piece is grounded and architectural, crafted through a slow, deliberate hand-building process that honors the raw beauty of clay. This also marks the first time SIN introduces shaded designs, creating a gentle contrast between soft and hard materials. By bringing history into the contemporary present, OBEL offers lighting that feels both timeless and striking, anchoring spaces with a quiet sense of presence and reverence. Obel Osen Table Lamp in Obsidian Obel Osen Table Lamp in Obsidian Obel Gio Table Lamp in Bone Obel Gio Table Lamp in Sand Obel Gio Table Lamp in Obsidian The GAMI collection returns this season with an expanded lineup of pendants, flush mounts, and sconces that continue to explore the balance between fluidity and structure. Inspired by the art of origami, each piece is crafted from a single sheet of clay, folded into sculptural forms that feel both delicate and solid. With its extended range, GAMI brings a fresh versatility to both residential and hospitality spaces, offering a poetic way to express light, form, and shadow. Gami Shayd Pendant in Sand Gami Shayd Pendant in Sand With OBEL, STRIA, and GAMI, SIN continues to push the boundaries of clay, drawing on storied traditions to create collections that are as visually striking as they are meaningful. Don’t miss the chance to experience these sculptural designs in person at ICFF 2025 and see how timeless craft and contemporary design come together in ceramic. Gami Shun Flush Mount in Sand Gami Double Shai Sconce in Sand Gami Double Shai Sconce in Sand Gami Double Shai Sconce in Sand To learn more about the OBEL, STRIA, and GAMI collections, visit virginiasin.com. Photography courtesy of Virginia Sin and SIN.

Requisition #: 16649 Our Mission: Powering Innovation That Drives Human Advancement When visionary companies need to know how their world-changing ideas will perform, they close the gap between design and reality with Ansys simulation. For more than 50 years, Ansys software has enabled innovators across industries to push boundaries by using the predictive power of simulation. From sustainable transportation to advanced semiconductors, from satellite systems to life-saving medical devices, the next great leaps in human advancement will be powered by Ansys. Innovate With Ansys, Power Your Career. Summary / Role PurposeThe Senior R&D Documentation Specialist writes, edits, and creates a variety of Ansys documentation deliverables. They review all work for organization, content, technical accuracy, and style. This role requires effective planning, scheduling, research, writing, and editing skills. The Senior Documentation Specialist participates as a member of development teams, keeping informed of product development activities to determine the need for new documentation as well as revisions, corrections, and changes in previously released materials. This position does not qualify for immigration sponsorship.Key Duties and ResponsibilitiesDetermines audience needs to create HTML and PDF end user documentation, Getting Started Guides, scripting API documentation, tutorials, and videos for Ansys HFSSUpdates and revises previously released documentation to current specificationsAttains a high level of knowledge about both Ansys products and Ansys documentation tools, processes, and procedures Works closely with HFSS development team and Ansys ACE team to implement technological requirements for Ansys documentationRequires minimal supervisionMay mentor other documentation specialistsMinimum Education/Certification Requirements and ExperienceBS in Technical Writing, Technical Communication, Computer Science, English, or Engineering with 5 years' experience, or MS with 3 years' experienceFluency in English, along with excellent written and spoken communication skillsSkilled at gathering and analyzing technical and product information from various sources, and paying close attention to detail Proven experience determining the best method in which to present information and then developing user-centric documentation high in quality, consistency, and accuracyAdept at managing multiple tasks and priorities simultaneously in a fast-paced, deadline-driven, geographically diverse environmentSolid understanding of HTML, CSS, XMLImage and video editing experiencePreferred Qualifications and SkillsFamiliarity with Ansys HFSS or similar 3D simulation softwareExperience using MadCap Flare, oXygen, and Adobe Acrobat ProPython knowledgeExperience with the concepts of documentation authoring, common project management software (ADO), version control (Git), structured documentation, and agile development methodologies At Ansys, we know that changing the world takes vision, skill, and each other. We fuel new ideas, build relationships, and help each other realize our greatest potential. We are ONE Ansys. We operate on three key components: our commitments to stakeholders, our values that guide how we work together, and our actions to deliver results. As ONE Ansys, we are powering innovation that drives human advancementOur Commitments:Amaze with innovative products and solutionsMake our customers incredibly successfulAct with integrityEnsure employees thrive and shareholders prosperOur Values:Adaptability: Be open, welcome what's nextCourage: Be courageous, move forward passionatelyGenerosity: Be generous, share, listen, serveAuthenticity: Be you, make us strongerOur Actions:We commit to audacious goalsWe work seamlessly as a teamWe demonstrate masteryWe deliver outstanding resultsVALUES IN ACTIONAnsys is committed to powering the people who power human advancement. We believe in creating and nurturing a workplace that supports and welcomes people of all backgrounds; encouraging them to bring their talents and experience to a workplace where they are valued and can thrive. Our culture is grounded in our four core values of adaptability, courage, generosity, and authenticity. Through our behaviors and actions, these values foster higher team performance and greater innovation for our customers. We're proud to offer programs, available to all employees, to further impact innovation and business outcomes, such as employee networks and learning communities that inform solutions for our globally minded customer base. WELCOME WHAT'S NEXT IN YOUR CAREER AT ANSYSAt Ansys, you will find yourself among the sharpest minds and most visionary leaders across the globe. Collectively, we strive to change the world with innovative technology and transformational solutions. With a prestigious reputation in working with well-known, world-class companies, standards at Ansys are high - met by those willing to rise to the occasion and meet those challenges head on. Our team is passionate about pushing the limits of world-class simulation technology, empowering our customers to turn their design concepts into successful, innovative products faster and at a lower cost. Ready to feel inspired? Check out some of our recent customer stories, here and here .At Ansys, it's about the learning, the discovery, and the collaboration. It's about the "what's next" as much as the "mission accomplished." And it's about the melding of disciplined intellect with strategic direction and results that have, can, and do impact real people in real ways. All this is forged within a working environment built on respect, autonomy, and ethics.CREATING A PLACE WE'RE PROUD TO BEAnsys is an S&P 500 company and a member of the NASDAQ-100. We are proud to have been recognized for the following more recent awards, although our list goes on: Newsweek's Most Loved Workplace globally and in the U.S., Gold Stevie Award Winner, America's Most Responsible Companies, Fast Company World Changing Ideas, Great Place to Work Certified (China, Greece, France, India, Japan, Korea, Spain, Sweden, Taiwan, and U.K.).For more information, please visit us at Ansys is an Equal Opportunity Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, veteran status, and other protected characteristics.Ansys does not accept unsolicited referrals for vacancies, and any unsolicited referral will become the property of Ansys. Upon hire, no fee will be owed to the agency, person, or entity.Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote Full-Stack Programming JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

In a saturated beauty market where "clean" and "science-led" are often tossed around as buzzwords, new skincare brand Kind Atoms stands out by actually delivering on both. London design studio Run For The Hills was brought on to bring the brand's story, identity and debut product to life, and the results are nothing short of stunning. Rooted in tradition and realised with scientific rigour, Kind Atoms draws inspiration from its founders' South Asian heritage. Disheartened by the lack of effective yet gentle skincare for sensitive skin, the team looked inward (and backwards) to childhood memories of natural remedies: turmeric, saffron, amla, and honey passed down through generations. Blending these time-honoured rituals with cutting-edge cosmetic chemistry, the founders – who also happen to be trained scientists – have created a brand that doesn't just trade on nostalgia. It builds on it. The result is a skincare brand that's kind in every sense of the word. To help bring their vision to life, the team tapped creative studio Run For The Hills, known for its work across branding, interiors and art direction. Co-founder and creative lead Chris Trotman steered the creative direction, designing a visual identity that balances the old with the new, the natural with the technical. At the heart of the branding is a bespoke serif logotype and an elliptical atomic logomark, nodding to the fusion of science and nature. "We designed the logo to be timeless and elegant," Chris explains. "Intentionally to feel more premium than the product's price point might suggest, offering skincare lovers a pleasantly unexpected touch of luxury." The same approach carries through to the packaging design. The brand's first product, The Atomic Moisturiser, comes in a sleek matte green bottle, embossed with delicate gold lettering and topped with a satisfying twist mechanism. Housed in a matching green box finished with gold typography, it's designed to feel luxurious but never exclusionary. True to its name, Kind Atoms aims to make high-quality skincare more accessible. The debut product is priced fairly, ensuring that the tactile unboxing experience and elevated visuals don't come at the cost of inclusivity. It's a clever balance, delivering aesthetic polish without drifting into elitism. The visual identity leans into earthy tones, like mustard yellow, deep green, cream, and charcoal black, offering warmth and grounded sophistication. "Every element from the bespoke logotype to the rich, earthy colour palette reflects our ethos of fusing nature with science," say co-founders Jusna Ali and Roxanna Maani. "Run For The Hills instinctively understood our vision, translating it into a design language that feels both timeless and modern." That clarity of vision extended into the launch campaign, which Run For The Hills art directed. The brand photography avoids overly stylised gloss in favour of an organic, tactile feel. Products were shot against softly coloured paper backdrops and paired with natural props like bark and olive branches foraged from local parks and gardens. "For the product shoot, we wanted to fully embrace the brand's deep connection to nature," says Chris. "We gathered props straight from our surroundings – wood stumps and bark from the park, olive branches from our garden – to bring an organic, authentic feel to the imagery." Real women—friends of the founders—were used as models, adding an extra layer of authenticity to the visuals. The brand's aesthetic is natural and elegant, one that feels deliberate and thoughtful without trying too hard. To complete the launch, Run For The Hills also designed and developed Kind Atoms' Shopify-powered website. A clean, scrollable layout allows for immersive storytelling, layering parallax visuals with generous negative space. The result is a minimalist yet engaging digital experience that foregrounds the brand's values: calm, clarity, and care. The Atomic Moisturiser may be the first product, but it sets the tone for a brand that promises to expand with care. While rooted in personal experience and cultural memory, Kind Atoms is looking ahead, creating products that are not only scientifically sound but also beautifully considered. In a category often dominated by extremes, with clinical minimalism on one end and chaotic maximalism on the other, Kind Atoms occupies a quietly confident middle ground. It doesn't shout, doesn't posture and shows what's possible when you take the time to do things properly.

Achieving peace is a team effort. And there is no I in Team.  DC Studios has dropped the official teaser for Peacemaker Season 2, which streams August 21 on Max. Eagly returns... and hope springs eternal. In Season 1 of the R-rated action-adventure-comedy series, which explores the origins of The Suicide Squad character played by John Cena, mercenary Christopher Smith returns home after recovering from his encounter with Bloodsport. Per the logline, the upcoming season follows the vigilante “as he struggles to reconcile his past with his newfound sense of purpose while continuing to kick righteous evil-doer butt in his misguided quest for peace at any cost.” Hopefully, his incredibly animated friend Eagly can keep him grounded in his ongoing search for purpose. Returning cast includes Danielle Brooks, Jennifer Holland, Freddie Stroma, Steve Agee, and Robert Patrick. New Season 2 cast members include Frank Grillo, David Denman, Sol Rodriguez, and Tim Meadows. James Gunn wrote all eight episodes of Peacemaker Season 2 and directed three, including the first episode. Gunn, Peter Safran, and Cena serve as executive producers. Greg Mottola, Peter Sollett, and Althea Jones also direct. Gunn’s Troll Court Entertainment and The Safran Company produce in association with Warner Bros. Television. VFX for Season 1 were crafted by Clear Angle Studios, Crafty Apes, Mr. Wolf, Peerless, Proof Inc, Rodeo FX, and Wētā FX. For Season 2, we know Wētā FX is involved, we’re guessing at least for the work on Eagly. You can read about their incredible first season raptor work here. Check out the teaser now: Source: DC Studios Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

Mike Rupp (left) and Shawn Henderson debut Pyrion, a new lighting collection available through Hostler | Burrows.With the debut of Pyrion, designer Shawn Henderson and Mike Rupp of Rupp Studio introduce a lighting collection that transforms tactile yet minimal table and floor lamps into collectible design pieces. Rooted in sculptural minimalism, each piece takes the form of a pyramid, its surface hand-finished with a spray metal technique that mimics the rich patina of cast bronze. Complementing this architectural form are handwoven shades from Colombian atelier VERDI, crafted from Yaré vine and metallic threads. They infuse each fixture with a tactile contrast of earthiness and refinement.The collaboration is a study in balance, shaped by a shared design language. “Pyrion came out of a shared love for restraint and richness—how one shape, when made with intention, can feel both powerful and quiet,” says Rupp.Ethan HerringtonThe pyramid informs the collection’s hand-polished lamp bases and custom shades created in partnership with VERDI.In this exclusive Q&A, Henderson, a member of ELLE DECOR’s A-List, discusses the origins of Pyrion, his obsession with proportion, and how a unique design tête-à-tête helped create this notable collaboration. Available exclusively through Hostler | Burrows in both New York City and Los Angeles.ELLE DECOR: HOW DID YOU FIRST BECOME ACQUAINTED WITH MIKE? AND WHAT INSPIRED A LIGHTING-SPECIFIC COLLECTION?Shawn Henderson: Mike and I have been friends for many years and have collaborated on design throughout much of that time. Casual conversations gradually turned into a shared curiosity about doing something creative together. We both feel there’s a real void in the market for special lighting, so it felt like the right place to begin—designing lamps that sit at the intersection of architecture, sculpture, and atmosphere, all things we’re naturally drawn to in our work.Ethan HerringtonPyrion is made up of three distinctive lamps in three shade colors. Pictured above is the Pyrion Table Lamp.WHAT WERE YOUR MAIN SOURCES OF INSPIRATION FOR THE COLLECTION? We kept coming back to the idea of a singular, architectural shape—something clean and elemental, but not cold. We were thinking about ancient forms, like pyramids and obelisks, and how to reinterpret that kind of presence in a way that feels modern and quiet.HOW DID YOU BOTH BEGIN THE DESIGN PROCESS? It started with a shape—literally a triangle. We sketched, talked through proportions, passed ideas back and forth. It was very collaborative but intuitive. We were both aligned in wanting to do less, not more—to find strength in simplicity and let the materials do the work.AND, THIS LED TO PYRAMIDS. WHAT’S MEANINGFUL TO YOU ABOUT THIS SHAPE? There’s something timeless and grounded about a pyramid. It’s a shape that feels rooted and powerful, but also quiet. We liked that tension. Architecturally, it’s incredibly stable—and symbolically, it carries a sense of permanence and intention, which aligned with how we wanted these pieces to feel.Ethan HerringtonEach lamp is hand finished and features lamp shades made of Yaré threads.TELL US A BIT MORE ABOUT YOUR MATERIAL CHOICES FOR THE COLLECTION? We used Vero metal, which is a hand-applied liquid metal coating. It allowed us to get the feel and finish of cast metal, but with more control over weight and form. The process is incredibly hands-on—each base is polished by hand, so the surface has that human touch to it.THERE IS A TACTILITY TO THE CORDED LAMPSHADES. HOW DID YOU COME TO WORK WITH THIS UNIQUE MATERIAL? We partnered with VERDI, a Bogotá-based atelier that creates beautiful textiles from natural materials and metal. When we saw what they were doing with Yaré and metallic threads, we knew it was the right match. The fiber comes from the Colombian Amazon, and it has this amazing strength and texture—woven with copper or steel, it creates something that’s both wild and refined. It felt like the perfect counterpoint to the sculptural metal base.Ethan HerringtonThe Pyrion Floor Lamp transforms illumination into sculpture.WHAT'S IT LIKE TO WORK WITH A FELLOW INTERIOR DESIGNER?It’s kind of like finishing each other’s sentences—but visually. There’s a shorthand. We both understand proportion, materiality, restraint. There’s also a shared understanding of how pieces need to live in a room—not just how they look on a pedestal. That makes for a really fluid and grounded collaboration.This interview has been edited for length and clarity.