Tutankhamun’s Iconic Gold Death Mask Is Getting a New Home Near the Pyramids of Giza Soon, the elaborately decorated artifact will be transferred to the brand new Grand Egyptian Museum, joining more than 5,000 other items from the boy king’s tomb Tutankhamun's gold funerary mask has been on display at the Egyptian Museum for nearly a century. Mostafa Elshemy / Anadolu Agency / Getty Images For nearly a century, visitors have flocked to the Egyptian Museum on Cairo’s Tahrir Square to admire Tutankhamun’s funerary mask, the intricately decorated artifact designed to cover the mummified pharaoh’s face. Starting this summer, they’ll be able to see the mask in its new home, the $1 billion Grand Egyptian Museum located in nearby Giza. Officials will soon transfer the mask to the massive new venue, where it will join more than 5,000 artifacts from the boy king’s tomb. “Only 26 objects from the Tutankhamun collection, including the golden mask and two coffins, remain here [at the Egyptian Museum] in Tahrir,” says Ali Abdel Halim, director of the Egyptian Museum, to the Agence France-Presse (AFP). “All are set to be moved soon.” Halim didn’t say when the death mask will be transferred, but the new Grand Egyptian Museum is scheduled to fully open to the public in early July after years of delays. Some portions of the Grand Egyptian Museum have been open since November 2023, with an additional 12 exhibit halls opening last October. All told, the museum complex spans more than 5 million square feet and houses more than 100,000 artifacts, which makes it the largest museum in the world focused on a single civilization. “We spent all this money to build the greatest museum in the world,” said Zahi Hawass, an Egyptologist who has twice served as Egypt's tourism and antiquities minister, to NBC News’ Keir Simmons, Charlene Gubash and Mithil Aggarwal in October. “You will see the objects for the first time in an incredible way.” The Untold Secrets of King Tut's Tomb Watch on Tutankhamun's mask has been housed at the Egyptian Museum in Cairo since 1934, 12 years after British archaeologist Howard Carter discovered the pharaoh’s tomb. However, the 123-year-old Beaux Arts venue is small and starting to show its age, so officials decided to relocate Tutankhamun's treasures to the enormous, high-tech Grand Egyptian Museum. At the new facility, the Tutankhamun artifacts will have their own dedicated, climate-controlled wing—one that’s large enough to display all of them together for the first time. Last month, officials carefully transferred 163 Tutankhamun treasures to the new museum, according to an announcement from the Egyptian Ministry of Tourism and Antiquities. That delivery included the pharaoh’s elaborately decorated ceremonial chair, various pieces of jewelry and the canopic chest that held the jars containing Tutankhamun’s organs, reports Artnet’s Sarah Cascone. The Egyptian Museum in Cairo, meanwhile, is not closing. Though it has lost Tutankhamun’s treasures and more than 20 mummies, it still has roughly 170,000 artifacts in its collection, per the AFP. Curators say they plan to replace the Tutankhamun artifacts with a new exhibition, though they haven’t shared many details. Get the latest stories in your inbox every weekday.

By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”

The US Department of Commerce has renamed its AI Safety Institute to the Center for AI Standards and Innovation (CAISI), shifting its focus from overall safety to combating national security risks and preventing “burdensome and unnecessary regulation” abroad. Secretary of Commerce Howard Lutnick announced the change on June 3rd, calling the agency’s overhaul a way to “evaluate and enhance US innovation” and “ensure US dominance of international AI standards.” The AI Safety Institute was announced in 2023 under former President Joe Biden, part of a global effort to create best practices for governments mitigating AI system risk. It signed memorandums of understanding with major US AI companies, including OpenAI and Anthropic, to get access to new models and suggest improvements before release. Near the end of Biden’s term in early 2025, it released draft guidelines for managing AI risks that included using systems to create biological weapons or other clear threats to national security, but also more common categories of harmful content like child sexual abuse material (CSAM). Lutnick’s statement says that the new institute will “focus on demonstrable risks, such as cybersecurity, biosecurity, and chemical weapons” in its evaluations. It will also investigate “malign foreign influence arising from use of adversaries’ AI systems,” a category that likely includes DeepSeek, a Chinese large language model that shook up the American AI industry earlier this year. The move is part of a larger Trump administration effort to accelerate the expansion of American AI companies. On his first day in office Trump rescinded a Biden executive order that ordered new safety standards for large AI systems and a report evaluating the potential risks for US consumers and the labor market. His own executive orders have encouraged increasing generative AI adoption in fields like education and promoting coal as a source of power for energy-hungry AI data centers. And the current Republican budget bill includes a 10-year moratorium on state-level AI regulations — a provision even some in Trump’s party have come to oppose.

Amazon hasn't yet released a full list of what's coming to Prime Video in June, but we do know what original titles are slated to premiere throughout the month. Prime original action comedy Deep Cover (June 12) has a stacked cast that includes Bryce Dallas Howard, Orlando Bloom, Nick Mohammed, and Sean Bean. In the film, Howard plays an improv comedy teacher who recruits two of her students (played by Bloom and Mohammed) to infiltrate London's gangs by pretending to be criminals. Countdown (June 25) is a new crime thriller series from Chicago Fire showrunner Derek Haas. An LAPD detective is recruited to a secret task force to investigate the murder of a Department of Homeland Security officer. And We Were Liars (June 18) is a psychological thriller series based on the titular novel by E. Lockhart, the plot of which follows the wealthy Sinclair family and the events of summer on their private island. Finally, there's sports doc American Thunder: NASCAR to Le Mans (June 12), which chronicles the journey to bring the American stock car Chevrolet Camaro to the 24 Hours of Le Mans. Here are the originals coming to Prime Video in June.What’s coming to Prime Video in June 2025 Available June 12American Thunder: NASCAR to Le MansDeep CoverAvailable June 15The Chosen: Last SupperAvailable June 18We Were LiarsAvailable June 23Head Over HeelsAvailable June 25CountdownAvailable June 27Marry My Husband

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.

Lousy ROI Elon Musk counts the cost of his four-month blitz through US government Term at DOGE did serious damage to his brands, only achieved a fraction of hoped-for savings. Joe Miller and Alex Rogers, Financial Times – May 30, 2025 9:28 am | 59 Elon Musk wields a chainsaw at the Conservative Political Action Conference in February to illustrate his aim to cut government waste Credit: Jose Luis Magana/AP Elon Musk wields a chainsaw at the Conservative Political Action Conference in February to illustrate his aim to cut government waste Credit: Jose Luis Magana/AP Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Elon Musk’s four-month blitz through the US government briefly made him Washington’s most powerful businessman since the Gilded Age. But it has done little for his reputation or that of his companies. Musk this week formally abandoned his role as the head of the so-called Department of Government Efficiency (Doge), which has failed to find even a fraction of the $2 trillion in savings he originally pledged. On Thursday, Donald Trump lamented his departure but said Musk “will always be with us, helping all the way.” Yet the billionaire will be left calculating the cost of his involvement with Trump and the meagre return on his $250 million investment in the US president’s election campaign. “I appreciate the fact that Mr Musk put what was good for the country ahead of what was good for his own bottom line,” Tom Cole, the Republican chair of the House Appropriations Committee, told the Financial Times. After Doge was announced, a majority of American voters believed Musk would use the body to “enrich himself and undermine his business rivals,” according to a survey, instead of streamlining the government. Progressive groups warned that he would be “rigging federal procurement for billionaires and their pals” and cut regulations that govern his companies Tesla and SpaceX. Democratic lawmakers said Doge was a “cover-up” of a more sinister, self-serving exercise by the world’s richest person. Early moves by the Trump administration suggested Musk might get value for money. A lawsuit brought by the Biden administration against SpaceX over its hiring practices was dropped in February, and regulators probing his brain-implant company Neuralink were dismissed. Musk’s satellite Internet business Starlink was touted by Commerce Secretary Howard Lutnick as a potential beneficiary of a $42 billion rural broadband scheme. An executive order calling for the establishment of a multibillion-dollar Iron Dome defense system in the US looked set to benefit Musk, due to SpaceX’s dominance in rocket launches. The gutting of various watchdogs across government also benefited Musk’s businesses, while a number of large US companies rushed to ink deals with Starlink or increase their advertising spending on X. Starlink also signed agreements to operate in India, Pakistan, and Vietnam, among other countries it has long wished to expand into. But while Doge took a scythe to various causes loathed by Musk, most notably international aid spending and government contracts purportedly linked to diversity initiatives or “woke” research, it also caused severe blowback to the billionaire’s businesses, particularly Tesla. At one point during his Doge tenure, Tesla’s stock had fallen 45 percent from its highest point last year, and reports emerged that the company’s board of directors had sought to replace Musk as chief executive. The 53-year-old’s personal wealth dropped by tens of billions of dollars, while his dealerships were torched and death threats poured in. Some of the brand damage to Tesla, until recently Musk’s primary source of wealth, could be permanent. “Eighty percent of Teslas in the US were sold in blue zip codes,” a former senior employee said. “Obviously that constituency has been deeply offended.” Starlink lost lucrative contracts in Canada and Mexico due to Musk’s political activities, while X lost 11 million users in Europe alone. Probes of Tesla and SpaceX by government regulators also continued apace, while the Trump administration pressed ahead with plans to abolish tax credits for electric vehicles and waged a trade war vehemently opposed by Musk that threatened to further damage car sales. In the political arena, few people were cheered by Doge’s work. Democrats were outraged by the gutting of foreign aid and by Musk’s 20-something acolytes gaining access to the Treasury’s payment system, along with the ousting of thousands of federal workers. Republicans looked askance at attempts to target defense spending. And true budget hawks were bitter that Musk could only cut a few billion dollars. Bill Gates even accused Musk of “killing the world’s poorest children” through his actions at Doge. Musk, so used to getting his way at his businesses, struggled for control. At various points in his tenure he took on Treasury Secretary Scott Bessent, Secretary of State Marco Rubio, Transport Secretary Sean Duffy, and trade tsar Peter Navarro, while clashing with several other senior officials. Far from being laser-focused on eliminating waste, Musk’s foray into government was a “revenge tour” against a bureaucracy the billionaire had come to see as the enemy of innovation, a former senior colleague of Musk’s said, highlighting the entrepreneur’s frustration with COVID-19 regulations in California, his perceived snub by the Biden administration, and his anger over his daughter’s gender transition. Trump’s AI and crypto tsar, David Sacks, an influential political voice in the tech world, “whipped [Musk] up into a very, very far-right kind of mindset,” the person added, to the extent that was “going to help this administration in crushing the ‘woke’ agenda.” Neither Musk nor Sacks responded to requests for comment. Musk, who claimed Doge only acted in an “advisory role,” this week expressed frustration at it being used as a “whipping boy” for unpopular cuts decided by the White House and cabinet secretaries. “Trump, I think, was very savvy and allowed Doge to kind of take all those headlines for a traditional political scapegoat,” said Sahil Lavingia, head of a commerce start-up who worked for Doge until earlier this month. Musk, he added, might also have been keen to take credit for the gutting of USAID and other moves but ultimately garnered unwanted attention. “If you were truly evil, [you] would just be more quiet,” said Lavingia, who joined the initiative in order to streamline processes within government. “You would do the evil stuff quietly.” The noise surrounding Musk, whose ability to dominate news cycles with a single post on his social media site X rivaled Trump’s own hold on the headlines, also frustrated the administration. This week, White House Deputy Chief of Staff Stephen Miller took to X to indirectly rebut the billionaire’s criticism of Trump’s signature tax bill, which he had lambasted for failing to cut the deficit or codify Doge’s cuts. Once almost synonymous with Musk, Doge is now being melded into the rest of government. In a briefing on Thursday, White House Press Secretary Karoline Leavitt said that following Musk’s departure, cabinet secretaries would “continue to work with the respective Doge employees who have onboarded as political appointees at all of these agencies.” She added: “The Doge leaders are each and every member of the President’s Cabinet and the President himself.” Doge’s aims have also become decidedly more quotidian. Tom Krause, a Musk ally who joined Doge and was installed at Treasury, briefed congressional staff this week on improvements to the IRS’s application program interfaces and customer service, according to a person familiar with the matter. Other Doge staffers are doing audits of IT contracts—work Lavingia compares with that done by McKinsey consultants. Freed from the constraints of being a government employee, Musk is increasingly threatening to become a thorn in Trump’s side. Soon after his Doge departure was announced, he again criticized the White House, this time over its plan to cancel clean energy tax credits. “Teddy Roosevelt had that great adage: ‘speak softly but carry a big stick’,” Fred Thiel, the chief executive of Bitcoin mining company MARA Holdings, told the FT. “Maybe Elon’s approach was a little bit different.” © 2025 The Financial Times Ltd. All rights reserved. Not to be redistributed, copied, or modified in any way. Joe Miller and Alex Rogers, Financial Times Joe Miller and Alex Rogers, Financial Times 59 Comments

May 29, 2025 Enhanced Gameplay, Deeper Immersion in Fan-Favorite Modes, and 300+ Real-World Coaches Bring Players Authentic College Football Like Never Before REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ: EA) and EA SPORTS™ today released the official reveal trailer and game details of EA SPORTS™ College Football 26, which delivers more than 2,700 new plays, thousands of real college athletes, and authentic coaching styles from more than 300 real-world coaches. From iconic traditions to heart-pounding road game environments at all 136 FBS schools, every day feels like game day. Fans can rise from high school recruit to Heisman legend in Road to Glory, or lead their dream program to dominance in Dynasty mode when College Football 26 launches worldwide on July 10 for PlayStation®5 and Xbox Series X|S.EA SPORTS Celebrates Enhanced Gameplay, Deeper Immersion in Fan-Favorite Modes, and 300+ Real-World Coaches Bring Players Authentic College Football Like Never Before in its Feature Reveal“The return of EA SPORTS College Football struck a chord with fans last year by capturing the heart of college football—its authenticity, passion, and unforgettable game day energy,” said Daryl Holt, SVP and Group GM, EA SPORTS. “With EA SPORTS College Football 26, we’ve deepened that experience, delivering more dynamic gameplay, vibrant stadium atmospheres, and modes that let players craft their own stories. From classic rivalries to the chase for championship glory, this game celebrates what fans love most about the sport and takes it to new heights.”College Football 26 empowers fans to strategize like never before with authentic college gameplay, delivering unmatched realism to prove their program’s dominance on the field. With over 2,700 new plays, thousands of athletes, and more than 300 real-world coaches bringing their true-to-life schemes, players can master enhanced offensive and defensive mechanics, execute new stunts and twists, and make dynamic substitutions when it counts. Dive into the action with these game-changing features:Over 300 Real-World Coaches: Suit up for Dan Lanning. Compete against Kirby Smart. Recruit as or against James Franklin. Go toe-to-toe with current coaches who bring distinctive playstyles to the field. Strategize like they would with their unique playbooks for a more authentic coaching experience.Expanded Player Types & Abilities: Recruit and develop athletes with 84 abilities and 10 new archetypes, giving you more ways to dominate on either side of the ball.Wear & Tear Everywhere: Manage fatigue and injuries dynamically with no need to pause the action. Customize the system to match your playstyle and save your stars for when it matters most.Foundational Football Advancements: Enhanced AI, dynamic play-calling adjustments, improved blocking and coverages plus new features like Dynamic Substitutions and custom zones give you more control on both sides of the ball, so you can show your opponent what your program is made of.From the roar of Death Valley to the lights in Tuscaloosa, the pageantry and chaos of college football Saturdays come alive with unprecedented depth. Be immersed in the authentic traditions, customized PA tracks, team-specific chants, and atmospheric upgrades that capture the pulse of every game.Next-Level Homefield Advantage: The revamped Stadium Pulse system introduces new crowd-based challenges like clock distortion, extreme screen shake, and rattled HUDs in rivalry and playoff games.More Like Saturday: With over 160 new school-specific chants, 10 new PA tracks including Metallica’s electric “Enter Sandman”, and tradition-rich visuals like Texas Tech’s Double T Saddle Monument and Coastal Carolina’s King of Turnovers, every school’s spirit is alive and unique.Broadcast & Commentary: Legendary voices return—Chris Fowler, Kirk Herbstreit, Rece Davis, Jesse Palmer, Desmond Howard, and David Pollack—bringing dynamic, situation-specific commentary tailored to your season.College Football 26 delivers an immersive experience with a variety of dynamic game modes that embody the spirit of college football. From building a legendary program in Dynasty to rising as a student-athlete in Road to Glory, each mode offers unique challenges and deep customization. Compete for playoff glory, assemble dream rosters, and navigate the modern landscape of college football with the following exciting modes:Dynasty: Build a coaching powerhouse from the ground up. Recruit based on location, fit your roster to your scheme, and navigate today’s college football world—from the high school pipeline to the transfer portal. Customize playbooks and staff archetypes, then chase glory in the expanded College Football Playoff with cross-play support in Online Dynasty across Xbox Series X|S and PlayStation®5†. Keep your promises with all-new Dynamic Dealbreakers to avoid transfers and preserve team chemistry, and upload your program using advanced Team Builder customization tools.Road to Glory: The unmatched student-athlete experience returns. Start in high school, build your highlight tape, and secure offers from your top schools. Make key decisions about your academics, NIL opportunities, playing time, and even when to decommit. Rise to become a Heisman winner—and easily continue your football journey into the NFL inEA SPORTS™ Madden NFL 26.Road to the College Football Playoff: Compete across consoles in a new online progression format where every win matters. Represent your university or take over a powerhouse program, climb the polls, and earn your way into the playoff bracket.College Football Ultimate Team: Build your dream roster with Legends from the past and current college stars. Lead your Ultimate Team to greatness by taking on the competition in H2H matchups and themed challenges meant to put your skills to the test.Fans can pre-order their copy of EA SPORTS College Football 26 now or connect their football journeys with the EA SPORTS™ MVP Bundle on PlayStation®5 and Xbox Series X|S, which includes the deluxe editions of EA SPORTS College Football 26 and Madden NFL 26 with 3-day early access and an array of benefits across both titles‡.EA Play members can Bring Glory Home in EA SPORTS™ College Football 26 with the EA Play* 10-hour early access trial, starting July 7, 2025. Members also score member rewards including monthly College Football Loyalist Ultimate Team™ Packs, as well as receive 10% off EA digital content including pre-orders, game downloads, Season Passes, College Football Points, and DLC. For more information on EA Play please visit https://www.ea.com/ea-play.Stay tuned for more on Instagram, X, Facebook, TikTok, and YouTube as College Football 26 news unfolds in the coming months.†Internet connection, all game updates, EA Account, and platform account required. ‡Conditions & restrictions apply. See https://www.ea.com/games/madden-nfl/madden-nfl-26/legal-disclaimers for details. *Conditions, limitations and exclusions apply. See EA Play Terms for details.For College Football 26 assets, visit: EAPressPortal.com.EA SPORTS™ College Football 26 is developed in Orlando, Florida and Madrid, Spain by EA Tiburon and will be available worldwide July 10 for PlayStation®5 and Xbox Series X|S.About Electronic ArtsElectronic Arts (NASDAQ: EA) is a global leader in digital interactive entertainment. The Company develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers.In fiscal year 2025, EA posted GAAP net revenue of approximately $7.5 billion. Headquartered in Redwood City, California, EA is recognized for a portfolio of critically acclaimed, high-quality brands such as EA SPORTS FC™, Battlefield™, Apex Legends™, The Sims™, EA SPORTS™ Madden NFL, EA SPORTS™ College Football, Need for Speed™, Dragon Age™, Titanfall™, Plants vs. Zombies™ and EA SPORTS F1®. More information about EA is available at www.ea.com/news.EA, EA SPORTS, EA SPORTS FC, Battlefield, Need for Speed, Apex Legends, The Sims, Dragon Age, Titanfall, and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, and F1 are the property of their respective owners and used with permission.Category: EA Sports Erin Exum Director, Integrated Comms [email protected] Source: Electronic Arts Inc. Multimedia Files:

From featuring weirdly sexual, even predatory scenes to just plain horrible effects, dated or immature jokes and awkward acting, not every film we watched during our childhood is as good as would like to remember.Based on more than 12,000 votes on films pulled from a Reddit thread asking, “What's a movie you loved as a child that you now consider to be cringe worthy?” Ranker compiled the top movies we watched when we were younger that make us wince when we think about them — or at least certain scenes — today.Sure, movies such as 1994’s Blank Check, 1984's Sixteen Candles and 2007’s Bee Movie were some of our favorite flicks growing up, but it’s clear they haven't aged so well.READ MORE: ’90s Classics That Could Never Get Made TodayAccording to Ranker voters, these are the top 11 movies we loved when we were kids that totally make us cringe with secondhand embarrassment today.Blank Check — Creepy for its blatant predatory vibes and that age gapHoward the Duck — Remembered for its bizarre acting and plain weird interspecies sex sceneSixteen Candles — Problematic in retrospect for the implied non-consensual assaultBee Movie — A human lady cheats on her boyfriend with a literal bee...The Master of Disguise — Fun as a kid, but just an atrocious film when watched as an adultThe Cat in the Hat — You'd be surprised how raunchy and kid-unfriendly this eyesore of a movie isMars Needs Moms — Uncanny valley centralThe Adventures of Sharkboy and Lavagirl — George Lopez is terrifying nightmare fuelCatwoman — It's very early 2000sDungeons & Dragons — A camp classic with spotty acting and cheesy special effectsBatman & Robin — The Batsuit has nipplesGet our free mobile appTV Shows We Used to Love That Are Cringe NowWe can't say why we liked these shows, but we can certainly say why we can't watch them now. Gallery Credit: Emma Stefansky