What if there were a battery that could release energy while trapping carbon dioxide? This isn’t science fiction; it’s the promise of lithium-carbon dioxide (Li-CO₂) batteries, which are currently a hot research topic. Li-CO₂ batteries could be a two-in-one solution to the current problems of storing renewable energy and taking carbon emissions out of the air. They absorb carbon dioxide and convert it into a white powder called lithium carbonate while discharging energy. These batteries could have profound implications for cutting emissions from vehicles and industry—and might even enable long-duration missions on Mars, where the atmosphere is 95% CO₂. To make these batteries commercially viable, researchers have mainly been wrestling with problems related to recharging them. Now, our team at the University of Surrey has come up with a promising way forward. So how close are these “CO₂-breathing” batteries to becoming a practical reality? Like many great scientific breakthroughs, Li-CO₂ batteries were a happy accident. Slightly over a decade ago, a U.S.-French team of researchers were trying to address problems with lithium air batteries, another frontier energy-storage technology. Whereas today’s lithium-ion batteries generate power by moving and storing lithium ions within electrodes, lithium air batteries work by creating a chemical reaction between lithium and oxygen. The problem has been the “air” part, since even the tiny (0.04%) volume of CO₂ that’s found in air is enough to disrupt this careful chemistry, producing unwanted lithium carbonate (Li₂CO₃). As many battery scientists will tell you, the presence of Li₂CO₃ can also be a real pain in regular lithium-ion batteries, causing unhelpful side reactions and electrical resistance. Nonetheless the scientists noticed something interesting about this CO₂ contamination: It improved the battery’s amount of charge. From this point on, work began on intentionally adding CO₂ gas to batteries to take advantage of this, and the lithium-CO₂ battery was born. How it works Their great potential relates to the chemical reaction at the positive side of the battery, where small holes are cut in the casing to allow CO₂ gas in. There it dissolves in the liquid electrolyte (which allows the charge to move between the two electrodes) and reacts with lithium that has already been dissolved there. During this reaction, it’s believed that four electrons are exchanged between lithium ions and carbon dioxide. This electron transfer determines the theoretical charge that can be stored in the battery. In a normal lithium-ion battery, the positive electrode exchanges just one electron per reaction. (In lithium air batteries, it’s two to four electrons.) The greater exchange of electrons in the lithium-carbon dioxide battery, combined with the high voltage of the reaction, explains their potential to greatly outperform today’s lithium-ion batteries. However, the technology has a few issues. The batteries don’t last very long. Commercial lithium-ion packs routinely survive 1,000 to 10,000 charging cycles; most LiCO₂ prototypes fade after fewer than 100. They’re also difficult to recharge. This requires breaking down the lithium carbonate to release lithium and CO₂, which can be energy intensive. This energy requirement is a little like a hill that must be cycled up before the reaction can coast, and is known as overpotential. You can reduce this requirement by printing the right catalyst material on the porous positive electrode. Yet these catalysts are typically expensive and rare noble metals, such as ruthenium and platinum, making for a significant barrier to commercial viability. Our team has found an alternative catalyst, caesium phosphomolybdate, which is far cheaper and easy to manufacture at room temperature. This material made the batteries stable for 107 cycles, while also storing 2.5 times as much charge as a lithium ion. And we significantly reduced the energy cost involved in breaking down lithium carbonate, for an overpotential of 0.67 volts, which is only about double what would be necessary in a commercial product. Our research team is now working to further reduce the cost of this technology by developing a catalyst that replaces caesium, since it’s the phosphomolybdate that is key. This could make the system more economically viable and scalable for widespread deployment. We also plan to study how the battery charges and discharges in real time. This will provide a clearer understanding of the internal mechanisms at work, helping to optimize performance and durability. A major focus of upcoming tests will be to evaluate how the battery performs under different CO₂ pressures. So far, the system has only been tested under idealized conditions (1 bar). If it can work at 0.1 bar of pressure, it will be feasible for car exhausts and gas boiler flues, meaning you could capture CO₂ while you drive or heat your home. Demonstrating that this works will be an important confirmation of commercial viability, albeit we would expect the battery’s charge capacity to reduce at this pressure. By our rough calculations, 1kg of catalyst could absorb around 18.5kg of CO₂. Since a car driving 100 miles emits around 18kg to 20kg of CO₂, that means such a battery could potentially offset a day’s drive. If the batteries work at 0.006 bar, the pressure on the Martian atmosphere, they could power anything from an exploration rover to a colony. At 0.0004 bar, Earth’s ambient air pressure, they could capture CO₂ from our atmosphere and store power anywhere. In all cases, the key question will be how it affects the battery’s charge capacity. Meanwhile, to improve the battery’s number of recharge cycles, we need to address the fact that the electrolyte dries out. We’re currently investigating solutions, which probably involve developing casings that only CO₂ can move into. As for reducing the energy required for the catalyst to work, it’s likely to require optimizing the battery’s geometry to maximize the reaction rate—and to introduce a flow of CO₂, comparable to how fuel cells work (typically by feeding in hydrogen and oxygen). If this continued work can push the battery’s cycle life above 1,000 cycles, cut overpotential below 0.3 V, and replace scarce elements entirely, commercial Li-CO₂ packs could become reality. Our experiments will determine just how versatile and far-reaching the battery’s applications might be, from carbon capture on Earth to powering missions on Mars. Daniel Commandeur is a Surrey Future Fellow at the School of Chemistry & Chemical Engineering at the University of Surrey. Mahsa Masoudi is a PhD researcher of chemical engineering at the University of Surrey. Siddharth Gadkari is a lecturer in chemical process engineering at the University of Surrey. This article is republished from The Conversation under a Creative Commons license. Read the original article.

A long, winding dirt road leads to Contrada Conazzo, a farm in the Enna region of Sicily that is owned by Sara Prato and her family. The ruin of the 14th-century Castello di Pietratagliata hulks in the distance, but the land is otherwise dominated by this masseria (a fortified Sicilian farmhouse), one of the most unexpected properties photographer Guido Taroni and I came across while researching our -forthcoming book, Inside SicilyIn the entry hall of Sara Prato’s 1940s country home in Sicily’s Enna region, a marble staircase leads to a landing with a soaring rectangular window in glass block. The adjacent fresco, original to the house, features imagery of workers in a wheat field; the floor features a mix of marbles.Inside Sicily$75 at AmazonThe house, built in 1943, is a relic from a time of transition, when new industrial methods were being pioneered to uphold an older mentality, in which every element—from the foundation to the furniture—was designed and crafted for its purpose. Prato remembers when her family moved into the masseria. “The house was new,” she says. “We must have been the first people for miles with running water and electricity.” While she and her late brother, the architect Antonio Prato, were alive during the construction of the house, their family has been farming the land for generations.Designed by the chief municipal engineer of Palermo, the home is strikingly modern, with a few whimsical flourishes characteristic of Italian Art Deco. The gatehouse is adorned with medieval-style fishtail merlons, a gesture that acts as a feint: Once you’re in the courtyard, decoration has been reduced to classical elements as seen through the filter of Italian rationalism. The main structure is flanked by stables on one side and a dopolavoro on the other—a space where workers gathered after long days in the fields—and the five-sided semicircular archway is made from blocks of actual travertine as well as a trompe l’oeil version made of concrete.Guido TaroniIn the kitchen, cornflower-blue subway tile contrasts with cabinetry, woodwork, and a table painted in a brighter shade of cyan. The floor is terrazzo.Inside, much of the original decoration was entrusted to Carmelo Comes, a midcentury painter and ceramist whose work can be found in many public buildings across Sicily. He created frescoes throughout, depicting allegorical figures and laborers tending the land—idealized visions of Sicilian rural life. Comes also designed the elaborate ceiling murals, including a zodiac-patterned one in the sitting room. Everything, from the oak table with aluminum legs to the terrazzo floors to the etched glass and chrome chandeliers, was custom made for the house in the 1940s. In an approach reminiscent of Piero Portaluppi’s Casa Corbellini-Wassermann in Milan, the property is a true gesamtkunstwerk: entirely conceived and designed at a time when the term “modernity” was still finding its definition.Around 80 years prior to the construction of Contrada Conazzo, Sicily was conquered by Garibaldi and unified with Italy. Prior to that, the native Sicilians had been dominated by waves of Phoenician, ancient Greek, Roman, Byzantine, Arab, Norman, French, and Spanish invaders. It was only in 1946 that Sicily was made an autonomous region within Italy. When this house was built, anxiety and aspirations for the future were held in equal measure. The visionary design of the home seems especially courageous against that backdrop.Sara and her daughter Marianna Nicolosi Asmundo today continue their family’s stewardship. And while the land remains an active farm, the property no longer hums with daily activity. Even in this quieter state, the masseria retains an energy: a readiness for renewal. ◾This story originally appeared in the May 2025 issue of Elle Decor. SUBSCRIBE

Mission: Impossible – The Final Reckoning carries the weight of a meaningful farewell but lacks the courage to commit. The eighth film in the series begins with a sincere American president (Angela Bassett) entreating IMF agent Ethan Hunt (Tom Cruise) to take one last mission to save the world. This time, he must defeat a scheming AI called the Entity, which is hell-bent on wiping humans off the face of the earth through computer hacking and nuclear war. As fans have come to expect of this espionage franchise, Mission: Impossible – The Final Reckoning will deliver globe-trekking, tense twists, jaw-dropping action sequences that make grown-ups feel like kids again, the unrelenting star power of Tom Cruise, and a sentimental belief in the righteousness of one noble man playing by his own rules. But amid these treasures, The Final Reckoning is a film at war with itself. Rather than a fitting send-off to a film series rich in stunts and thrills, it feels like an exquisite corpse of warring artistic goals that is incredible to behold, but never really comes together. Mission: Impossible – The Final Reckoning delivers a plot that refuses to make sense. Ethan is still on the mission from Mission: Impossible — Dead Reckoning Part One.not to capture this AI wonder and hand it over to any government. He wants to destroy it, even though stern American counselors to the president insist that killing the Entity would mean destroying cyberspace. How? Despite much, much exposition dropping in brow-furrowing war room scenes, that's never remotely clear. You May Also Like Actually, the script by Christopher McQuarrie (who also directs) and Erik Jendresen makes a lot of declarations about the Entity's intentions, powers, and drawbacks without giving much sense of how any of it is possible. This has the effect of making the movie feel less like a sci-fi espionage thriller and more like flat-out fantasy adventure. The Entity becomes effectively an evil spirit that must be captured to end its reign of terror and its influence on the power-hungry or weak-minded. Final Reckoning even offers a doomsday cult devoted to the Entity to unfurl a thin thread. At 2 hours and 49 minutes, Mission: Impossible – The Final Reckoning takes off running with the plot line from Dead Reckoning, but runs it into the ground by losing sense of what made audiences so excited about the last installment. This fuzzy focus on AI as some vague but almost inescapable demon makes many of the decisions by Ethan and his crew hard to follow if not impossible. Worse yet, McQuarrie and Jendresen's overstuffed plot forces too many of Ethan's allies into a dull box, where they become tools of the plot over engaging characters. Tom Cruise is in top form, but Hayley Atwell is criminally misused in Mission: Impossible – The Final Reckoning. Cruise is a producer and star of this movie, and that's clear even without the title card announcing "A Tom Cruise Production." In Final Reckoning, he is an American action star in full, able to drop a powerful glower to underscore a dramatic moment better than any orchestra swell. He can perform a complicated and astonishing stunt with seeming ease. And truly, no one in cinema history can run as intensely as Cruise; his every speedy step seems to propel the iconic Mission: Impossible theme. At 62, his latest mission pulls him into the depths of the ocean and into a sky-high dogfight. Whether pummeling cronies with his bare hands or leaping from one in-flight plane to another, Cruise (and his stunt team) make Ethan a one-of-a-kind hero, capable of anything, yet able to express keenly his own morality through a powerful glance. This works even amid Final Reckoning's meandering plotting. Unfortunately, all the Ethan-centered heroics leave little room for his expansive crew to shine. Reprising their roles as IMF agents Luther Stickell and Benji Dunn, Ving Rhames and Simon Pegg have little screen time, but solid impact. They've mastered the art of making the most of these brotherly supporting roles. But more recent additions — like Hayley Atwell as pickpocket turned agent Grace and Pom Klementieff as assassin turned ally Paris — have achingly little to do. Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories 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! Klementieff gets a fun opening fight scene and a tender sequence in the third act. But frankly, that finale feels in conflict with her chilly character, as everywhere in between her dialogue is the same one-note joke of being apathetic, in French. Atwell, who was established as Cruise's next love interest in Dead Reckoning, becomes an unrecognizable nag in Final Reckoning. Her spirited banter and self-assurance has been swapped for tedious dialogue filled with worry or bizarrely out-of-character proclamations, like that Ethan should take over Entity and effectively rule the world! A collection of critically heralded actors, from Academy-Award winner Bassett to Emmy-winner Nick Offerman to Morales, Hannah Waddingham, Shea Whigham, and Janet McTeer, are similarly underused in scenes that involve a lot of furrowed brow-talking, but too little logic. Their intensity might have better sold the absurdity if McQuarrie didn't linger so long in these preposterous war room discussions. Tramell Tillman steals Mission: Impossible – The Final Reckoning. The underwhelming dialogue, which veers from exposition dumping to near-religious proclamations, proves a stumbling block for much of the Final Reckoning ensemble. Even Cruise struggles with comically dramatic lines like, "We can deceive the Lord of Lies!" But Severance star Tramell Tillman strides where others stumble. It's not that he gets better dialogue. Many of his lines are unremarkable, like, "Oh, OK" in response to some intense Ethan declaration. But Tillman builds a world with his curious delivery. Playing a smooth submarine captain, Tillman delivers every line as if he is welcoming Ethan into an exclusive resort. There's an almost seductive attitude to Tillman's captain, who moves suavely in the tight confines of the submarine and addresses his crew with a magnanimous warmth. As if he had not a concern in the world, he oozes charisma, which is reflected by his invitingly smirking crewmate Kodiak, played by Love Lies Bleeding's Katy O'Brian. Together they weave an underwater world of camaraderie and personality that had me wishing Ethan would abandon his mission and just hang out there for a spell. This series has offered scads of compelling characters. But I was sad to see the plot plunge away from this submarine crew so soon. I'd follow Tillman's captain anywhere, just because of the beguiling way he says "OK." Related Stories Mission: Impossible – The Final Reckoning is bloated but very fun. The final hour of Final Reckoning is jam-packed with suspense as action sequences between Ethan and his crew are cut across each other. Editor Eddie Hamilton masterfully creates tension while underlying how everything in the impossible plan to defeat the Entity must come together in "the blink of an eye." When the action scenes are hitting as they should, it's hard to imagine anything better to experience in a theater than a Mission: Impossible movie. Even Cruise's old-school sincerity is contagious, as Ethan throws his life on the line one more time for life, liberty, and an idealized American way. Very likely, you'll walk out of the cinema with a rush and joy, marveling over the stunts and heroics. But if you linger on the details of Final Reckoning, you begin to notice plot holes and dangling threads. You may get hung up on the tonal shifts that feel less like a flowing dance — as they did in Dead Reckoning — and more like a frenzied battle between ideas. In some ways, Mission: Impossible – The Final Reckoning feels like the final chapter. Ethan's colleagues praise him so intensely that several scenes feel like a premature eulogy for the still (ass-)kicking agent. The title and the snarling threats of the antagonist Gabriel — who promises a "final reckoning" — suggest this is Ethan's last mission, should he choose to accept it. Cruise's drive to top himself with not one but two absolutely bonkers action set pieces feels like an encore before he retires the character for good. Plus, a reprisal of a character long forgotten in the franchise is not only a welcome surprise, but also suggests this story is coming to a comforting close. (Cheers to Rolf Saxon and Lucy Tulugarjuk, who are splendid scene partners.) However, McQuarrie also refuses to shut doors that seem to be closing. Without giving away third-act spoilers, I can say Final Reckoning pulls its punches, seemingly to allow for a IMF story to continue. Yet what might make for a happy ending isn't satisfyingly resolved either. Rather than providing a sense of resolution, McQuarrie ends the film with a sequence meant to speak to enduring connection, but it feels jarringly isolating because of how disjointedly it is presented. Essentially, Mission: Impossible – The Final Reckoning feels like the filmmakers were both trying to make this the final movie in a successful franchise — and also leaving the door open for more. In waffling over that, they deliver a final chapter that is in turns thrilling and frustrating. Rather than going out with a bang, Mission: Impossible may go out with the fizzled whimper of a message self-destructing in a tape deck. Mission: Impossible – The Final Reckoning opens exclusively in theaters on May 23. Topics Film

A few summers ago, when the culture was moving through micro trends as fast as they could be Instagrammed, Cottage Core was born. The trend, which came out of a Covid-influenced romanticism for living close to nature (but not ruffing it, à la gorpcore, fashion’s cousin trend), inspired an infusion of chintz and whicker-filled interiors, and, of course, lush English-style gardens.Flash forward to 2025. All those cottage gardens planted in early 2020—rustic, sophisticated, chic—are at their peak. And there really is something to an outdoor space that merges with the indoors, is there not? On a warm summer evening, when the bougainvillea is in bloom, and the grass is a bit damp, what could be more appealing than a home built to nestle into a fantastical garden.Here, we’ve collected some of our favorite cottage gardens. They range from fairy house gardens to campground landscape, historical (Anne Hathaway’s famed cottage that has inspired Shakespeare devotees the world over) to contemporary compound gardens in the woods.While we may have a specific notion of a cottage garden, but they are—and should be—as unique as the people who tend them. One lesson for planting your own? A small space is an asset rather than a limitation.Below, you’ll find 15 of our favorite cottage gardens from Marin County California to Stratford-Upon-Avon, England.William Jess LairdThis Amagansett cottage was literally designed for “summertime snoozes.” It’s also a good reminder that a delicate slate garden pathway can take you far. Designer Melissa Lee noted how “unexpected” the whole place felt, surrounded by the many mansions of the Hamptons. As she rightfully notes, the charm is in the surprise. A suggestion of mystery always adds to a cottage! Think The Secret Garden or the unexpectedly expansive Weasley Family home.Noe DewittVines climb up this 1920s English Art and Crafts style cottage in the Hamptons. The elegant and eclectic cottage was re-designed by Nick Olsen to emphasize outdoor living with comfy couches, a tiled patio and a pool.William James LairdThis pink cottage kitchen looks out over a garden in Litchfield County, Connecticut. Designer Clive Lonstein’s work is vibrant and unexpected, particularly for a modest Connecticut cottage built in the late 1800s. In a way though, the bright colors all throughout the house are a reflection of the original design for the house. The architect, Ehrick Rossiter was known for his own whimsy, and even included a turret in this design. This cottage is a great reminder to leave the door open all summer long.Stephen Kent JohnsonThis former fishing shack in Provincetown proves that a sprawling garden can fit into a small space. From Windex yellow fox gloves to arching lavender, this is a bucolic slice of heaven. A classic shingled home, complete with flower boxes and a white picket fence, it has a deeply cottage-core sequence backstory. It was used as an artist studio for William Maynard until his death in 2016, and when it was sold, prospective buyers were asked to write why they wanted to live there.Rachael SmithWe love an indoor / outdoor cottage garden. Ideally, you have a branch that grows through a window, like this one in Suzie de Rohan Willner’s English Country Garden. It is a charming marriage of dynamics: English and French, contemporary and historical, and, of course just as eclectic as a cottage should be. Willner notes, “The whole house is a collection of things from each period of my and my husband’s lives. I love to pick up bibs and bobs and it all comes together very happily.”Chronicle / Alamy Stock PhotoKate Middleton’s Adelaide Cottage conjures images of an Arthurian fantasy. The Wales family made this their Windsor home since 2023. Built in 1831 for Queen Adelaide (the German-born wife of William IV, who was the Uncle of Queen Victoria). It went through a transformative renovation in 2015 which left the historical decorations in tact. Fun fact: the Wales family pay market rent for their use of the home.Photo 12//Getty ImagesThe poet, actor, and playwright Anne Hathaway’s famed cottage and accompanying garden must have inspired her husband’s plays (that would be Shakespeare). This might be what comes to mind when you think of a cottage garden. Now open to the public daily, it was originally built more than 500 years ago, and is the site of Hathaway’s own birth in 1556.CostcoThis Costco (yes, Costco!) shed turned cottage is an ideal backdrop for your cottage garden fantasy. If you’re feeling very DIY this year, start here. Priced at $6,499, it measures 12’ x 24’ feet, a perfect amount of space for your own summer hide away or gardening shed.Richard PowersThis glass house is a reminder that a cottage garden doesn’t have to follow a prescribed style. The Amagansett cottage, originally built in 1960, is a marvel of mid-century design, an aesthetic reflected in the mod-furniture choices. Again, we love a stylistic mix in an updated cottage. Japanese Maple Trees complete the woodsy vibe.© David Hockney, Photo By Jonathan WilkinsonDavid Hockney illustrated his own cottage garden during the Pandemic. His drawing is illustrative of the benefits of an English garden: a bit wild, extremely lush, and more green than anything else. If we could, we’d jump right into this scene like Mary Poppins on a rainy day.John M. Hall for ELLE DecorHere’s a rule of thumb: trust Ina Garten. This cottage-like structure, on the grounds of the East Hampton home Garten shares with her husband Jeffrey, is perennially perfect. Note, too, the green and purple color scheme here. This is perhaps the dream cottage garden and something of a childhood playhouse. It has just enough space for a cozy chat and is a reminder that you can build your own little cottage on a very small plot of land.Photo 12//Getty ImagesMarie Antoinette’s Hamlet on the grounds of Versailles still sets the standard for the cottage garden with a thatched roof, hedges, and roses straight out of a fairy tale. During the former French Queen’s reign, her hamlet was used as a faux farm house, where she and her young daughter, Princess Marie Thérèse, would dress as idealized versions of French peasant farmers and milk cows. The interior, though, of this modest cottage, is appropriately grand with silk furnishings and canopy beds.Douglas FriedmanA garden that proves succulents and cottages are a match made in heaven. This one, in Marin County, California, adds a bit of desert flair. On the other side of this cottage is a water way and a perfect little dock for launching paddle boards. We love how the greens liven up this side of the house and create a completely different, almost modern desert-like, aesthetic. As with any great cottage garden, there is a distinctly transportive factor.Michael CliffordA light wood sauna and cold plunge on the grounds of Jenni Kayne’s Hudson Valley farmhouse are hidden behind shrubbery for a sense of privacy against a wide open landscape. We love the idea of adding a spa-like ambiance to a cottage garden as well as finding inventive ways to use the space. This is exactly where we want to be in the summer!Getty ImagesThis is sort of cheating, but Bunny Williams is a necessary inclusion! Williams’s Oak Spring Garden in Upperville, Virginia continues to inspire garden and cottage enthusiasts the world over. Rather than one cottage, the grounds of Williams’s large estate feature a guest cottage and a basket house, both of which are charming in the extreme.Dorothy ScarboroughDorothy Scarborough (she/her) is the assistant to the Editor in Chief of Town & Country and Elle Decor.