If you’re in the homebuying market, you’ve probably come to realize that the grass is always greener in the listing description—both literally and figuratively. Real estate agents sometimes get creative with Photoshop edits on listing photos, often brightening up the grass and editing out unsightly objects, like a neighbor’s clunker car or wires cluttering a bedroom. They also use some descriptive language that can be, well, deceptive. Adjectives like cozy and charming may evoke good feelings in potential buyers, but they’re high on the list of frequently used adjectives that probably don’t mean what you think they do. Photos and descriptions give you a teaser, but nothing beats an in-person tour for catching any potential sneaky details. Still, there are certain phrases to keep an eye out for as you're browsing for your next dream home online. Below, we're rounding up 10 common words or phrases often found in real estate listings should raise red flags, according to real estate pros. Related Stories“Charming”DreamPictures//Getty ImagesOr, similarly, unique. “Often, this means the property has some quirks that might not appeal to everyone,” real estate expert Yawar Charlie, director of the luxury estates division at Aaron Kirman Group, says. “It could be anything from a funky floor plan to unconventional finishes.” Think about resale value and whether any of these quirks might be a dealbreaker for future buyers, should you choose to sell“Cozy”Cozy is most likely a code word for lacking square footage, Charlie says. “When they call it cozy, they’re hinting that it might be a bit cramped,” he says. “Check for square footage and layout specifics.”“Home Being Sold As Is”"As is" is perhaps one of the biggest red flags in real estate. “It often signals that the property may have significant issues the seller is trying to offload,” says Nikki Bernstein, a global real estate advisor with Engel & Völkers Scottsdale.According to Bernstein, an "as is" condition indicates that the seller is likely emotionally detached and unwilling to negotiate on price or concessions. It also suggests they may be withholding information, indicating there could be hidden problems waiting to be uncovered during inspection, she says. “As is might as well be a warning: ‘Buyer beware,’” Bernstein says. “Fixer Upper”Mableen//Getty ImagesIf you’ve got a design-build background or are looking for homes that are worth renovating, a property advertised as a fixer-upper might make for a fun challenge. But this phrase usually means the property has seen better days and needs some TLC, which is not what most buyers are looking for. Charlie's advice? Bring a contractor or a handyman to the home inspection with you. “You’re not just checking for cosmetic issues; you want to get the lowdown on structural problems, electrical updates, and plumbing repairs,” Charlie says. “A fixer-upper can quickly turn into a money pit.”If you choose to pursue a home that needs a fair amount of love, make sure you’ve got the right loan, Virginia Realtor and real estate broker Michelle Brown cautions. For example, a FHA 203K loan lets buyers roll home improvement costs into their mortgage.“Investors’ Dream”This phrase typically signals the property is in poor condition but priced low for potential profit through renovations or redevelopment, Brown says. This is another instance where you’ll want to have a contractor with you to get a full picture of all the repairs that may be needed.“Make This Home Your Own”This phrase signals the home is likely outdated and in need of cosmetic updates at the very least, New Jersey Realtor Larry Devardo says. Listings that advertise “potential” or say “home has endless possibilities” are also indicators that repairs and updates are needed, he says. “Great Bones”DreamPictures//Getty ImagesOn the upside, “great bones” means the home is structurally sound with strong infrastructure, Maryland Realtor Ellie Hitt says. On the downside, it likely needs a lot of cosmetic updates to bring it up to date with modern conveniences and aesthetics.“Needs TLC”Often, when a home requires cosmetic work, “TLC” is noted, indicating the property needs someone who is willing to put in a little bit of elbow grease, agent Karen Kostiw of Coldwell Banker Warburg says. You may be thinking of new carpet, updated cabinets, and a few other touch-ups, but in some cases, TLC could actually mean the property requires a gut renovation.“Motivated Seller”Translation: The seller is eager to sell, possibly due to financial issues, a pending foreclosure, or a property that has been on the market for a while, says Jeffrey Borham, owner of Tampa Bay, Florida Team Borham. “This could be an opportunity for negotiation,” he adds. “However, investigate why the seller is motivated; there could be hidden issues that have deterred other buyers.”Similarly, “priced to sell” could mean a whole host of things, ranging from the property needs some work or the seller wants to start a bidding war, New York City Broker Sean Adu-Gyamfi of Coldwell Banker Warburg says.“Hot Listing”Some agents advertise “hot listings” on the MLS to create urgency, even if there are no other offers, Misty Spittler, a licensed public insurance adjuster and certified roof inspector, says. Don’t feel pressured, though. She recently had a client bid $20,000 over asking on a listing advertised as hot. Spittler’s inspection found $30,000 of necessary repairs, so the client was able to renegotiate.Follow House Beautiful on Instagram and TikTok.

Attendees at a screening for ReelShort's "Wings Of Fire." Tiffany Rose/Getty Images for ReelShort 2025-06-03T08:42:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Mini-drama apps have grabbed Hollywood's attention as they've gained popularity in the US. The apps offer bite-sized, mobile-friendly episodes that people are paying to watch. They could be a low-cost alternative to traditional shows for Hollywood giants. Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice.These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox.Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space."I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. "Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach."Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm."In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued.As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap.Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars.App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Still from "Breaking the Ice" on ReelShort. ReelShort Hollywood is curious about mini-dramasAgents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy.Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said.Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort.Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain.People have questionsDespite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent.And people in Hollywood told BI they had plenty of questions.Here are a few:These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members?Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers.Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week.How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform.Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model.'It's just a matter of time' Paramount's "Mean Girls" experiment on TikTok bore some resemblance to mini-dramas. Paramount Pictures Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential.They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows."There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players.Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV."It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."Geoff Weiss contributed reporting.

Creatify's AdMax platform uses AI to quickly generate dozens of video advertisements, which are geared toward social media marketing

The University of Pennsylvania has announced the completion of Amy Gutmann Hall, a six-story, 116,000-square-foot facility for data science and artificial intelligence programs. Designed by Lake|Flato Architects in collaboration with KSS Architects, and rising 88 feet, the building is the tallest mass timber academic structure on the East Coast. Image credit: Jeffrey TotaroImage credit: Jeffrey TotaroNamed in honor of the university’s longest-serving president, the building was designed as a hub for cross-disciplinary collaboration in emerging technological fields. The design approach sought to reflect a dual commitment to innovation and sustainability, incorporating biophilic design principles and advanced building systems. Image credit: Jeffrey TotaroImage credit: Jeffrey TotaroThe scheme is constructed through a mass timber structural system, which contributes to a significant reduction in the building’s embodied carbon: 52% less than a concrete structure and 41% less than a stee...

Last year Hunger Games social media accounts made shocking news when they announced there would be a new book and movie in the series. Shortly afterward, Collins released the novel on March 18, 2025 where it promptly sold 1.2 million copies in its first week in the U.S.—three times more than what Mockingjay, which closed out Collins’ original Hunger Games trilogy, did in the same time frame.  Sunrise on the Reaping follows Peeta and Katniss’ mentor, Haymitch Abernathy, when he is chosen to compete in the 50th Hunger Games, which due to the anniversary means there will be double the amount of tributes. The novel tells the story of Haymitch’s life in District 12 and his rebellion against the Capitol, which led him to become the unfriendly mentor we know from the original series.  This is the second prequel Collins has released after The Ballad of Songbirds and Snakes, which followed a young Coriolanus Snow on his journey to becoming the ruthless president in the original trilogy. The Ballad of Songbirds and Snakes movie grossed $349 million worldwide, and Collins and Lionsgate are likely eager to repeat that success at the box office with a Sunrise on the Reaping film.  The most successful movie in the franchise has been The Hunger Games: Catching Fire with a worldwide box office gross of almost $845 million. Hunger Games hasn’t been able to recreate those numbers since. But the Sunrise on the Reaping movie will follow a character the audience already connects with (as opposed to despite like Coriolanus), which may encourage more casual fans to see it. The announcement of Sunrise on the Reaping release brought new life to the Hunger Games audience, with many fans speculating about casting and production choices for the already confirmed movie adaptation, which is set to release in November 2026.  The Sunrise on the Reaping movie starts production in July and reportedly has a budget of over $150 million, according to a Deadline report, which could make it the largest budget Hunger Games movie to date. Fans of the franchise have been eagerly awaiting information about the highly anticipated movie adaptation, and they won’t have to wait long to get it. Here’s a look at some of the casting choices so far and what the expectations are for the upcoming film.  Amazon Joseph Zada as Haymitch Abernathy There were many fan castings following the release of the book involving popular actors such as Outer Banks’ Rudy Pankow and Harris Dickinson from Babygirl. Instead the lead role went to industry newcomer Joseph Zada, who will bring a fresh perspective. Zada is an Australian actor who began his career in 2019 in a film directed by his father, Jeremy Cumpston. He continued acting and has only been involved in four projects before his casting in Hunger Games, two movies (Bilched and The Speedway Murders), one small role in the Australian TV show Total Control, and a lead role in the currently airing Australian show, Invisible Boys. The Sunrise on the Reaping movie will be Zada’s first Hollywood blockbuster role.    In Sunrise on the Reaping, Haymitch’s character suffers unimaginable loss and faces treacherous conditions in the arena, so it will be interesting to see what Zada brings to the emotional impact of his journey.  Zada will also be starring in another anticipated book-adaptation, We Were Liars, which is set to release in June. Also of note, at age 20, Zada is actually the appropriate age to be playing a 16-year-old, which differs from both fan casting and a franchise that previously has cast actors over 25 as teenagers. Photo by: Nick Morgulis Mckenna Grace as Maysilee Donner Maysilee is a fierce but kindhearted character, which is not uncommon ground for Mckenna Grace. Grace is one of the more well-known additions to the cast, having starred in Gifted alongside Chris Evans, Ghostbusters: Afterlife, and Ghostbusters: Frozen Empire. Many fans were in favor of this choice on social media as well.   Grace will have the task of conveying the multiple layers to Maysilee’s arc. At the start of the novel, the character is viewed as a stuck-up rich girl but as the story progresses, Haymitch realizes there is more to her that meets the eye, and the two characters form a strong bond. Grace’s performance will ride on her ability to capture Maysilee’s development in a way that will have audiences empathizing with her until the very end. Grace already has almost three million followers on Instagram and five million on TikTok because of her popularity with a Gen Z audience, which likely appealed to the Lionsgate marketing department as well. She’s also only 18 years old, making this another case of the filmmakers again avoiding the common Hollywood issue of folks pushing 30 playing teens.  A24 Jesse Plemons as Plutarch Heavensbee Plutarch is a recurring character in the original trilogy, having a pivotal role in Mockingjay where he helps Katniss take down President Snow and the Capitol. In the film version, he was played by Philip Seymour Hoffman in one of the actor’s final roles. In Sunrise on the Reaping, we see Plutarch’s rise to power and how he gained the trust of the president while also helping the rebel cause. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Jesse Plemons was cast to play a younger Plutarch in the upcoming movie. It will be hard to live up to Hoffman’s charisma and talent, but Plemons seems up for the job. In fact, Plemons and Hoffman have actually shared the screen together when Plemons played Hoffman’s son in the 2012 film The Master. Plemons has been in the industry for a while and, most notably, played a role in the popular TV series Breaking Bad. He was also nominated for an Oscar as a supporting actor in The Power of the Dog. Max/WBD Whitney Peak as Lenore Dove Whitney Peak was cast to play Lenore Dove, the musical, free-spirited girlfriend of Haymitch, who is a part of the traveling musical band in District 12, or the “Covey.” Peak is a relatively new actress, best known for her roles in teen dramas like Chilling Adventures of Sabrina on Netflix and the Gossip Girl reboot on Max.  We will see if Peak can capture the same wild, whimsical energy that Rachel Zegler did when she played a very similar role as Lucy Gray Baird in The Ballad of Songbirds and Snakes movie. Zegler captured the hearts of Hunger Games fans, helping her to land roles afterward like Y2K and the latest Broadway production of  Romeo and Juliet. Zegler has already expressed her support for Peak’s casting on social media, writing, “I know she’s gonna do the Baird name proud.” Searchlight Pictures Kelvin Harrison Jr. as Beetee Beetee is a major character in the second Hunger Games novel, Catching Fire, where he uses his intelligence and knowledge of the arena to help stop the Games. In Sunrise on the Reaping, we learn about his family and his previous involvement in the rebellion, making his actions in the original trilogy more impactful. Young Beetee will be played by Kelvin Harrison Jr. who has had roles in other major movies like Elvis, The Trial of Chicago 7, Luce, and Waves and has been acting since 2013.  The character was previously played by Jeffrey Wright in the original trilogy, who unsurprisingly did a good job of coming across as shy and dorky while simultaneously using his intelligence to take down the Capitol. Harrison will act as a mentor to young Haymitch in Sunrise on the Reaping and aid him in his rebellion against the Capitol, showing that just because he’s nerdy doesn’t mean he’s not dangerous.  Netflix Maya Hawke as Wiress  Wiress is one of Haymitch’s mentors in the novel who won the Hunger Games the year before by outsmarting the gamemakers and the other tributes. Wiress will be played by Maya Hawke, who is known for being the daughter of famous actors Ethan Hawke and Uma Thurman as well as her role in the popular TV series Stranger Things. Many fans of her and the franchise were satisfied with the charismatic choice.  Like Beetee, Wiress’s character is introduced in Catching Fire as the smart but mentally disturbed tribute from District 3. In Sunrise on the Reaping, we see that she used to be able to communicate normally before the Capitol tortured her for her involvement in the rebellion. She was played in the original movies by Amanda Plummer, who embodied her eccentric, odd demeanor well, but Hawke will be playing a more sane and coherent version of Wiress. She will have to embody the young, capable victor who encourages the District 12 kids to use their intelligence to succeed in the Hunger Games without having to kill.  Amazon Prime Lili Taylor as Mags The kind and loveable mentor Mags will be played by Lili Taylor. The American actress has had roles in many successful movies, including Mystic Pizza, The Conjuring, I Shot Andy Warhol and Dogfight. Mags was also introduced in Catching Fire as Finnick’s mentor and a sweet, maternal figure. We see more of her in Sunrise on the Reaping as she helps Haymitch and the District 12 tributes prepare and shows us what she was like before the Capitol’s influence on her.  Mags was played in the Catching Fire movie by Lynn Cohen, but she was nonverbal and frail after years of Capitol torment. The Mags in this movie will be different, more energetic and able-bodied while still retaining the same affectionate nature. We will see her taking care of the tributes and making them feel like human beings even though they are headed to almost certain death.  Sony Pictures Ben Wang as Wyatt Callow Wyatt Callow is one of the District 12 tributes and a mathematical genius. Wyatt is known to take bets on the Hunger Games and calculate the odds of each tribute for his father, which Haymitch doesn’t like. The two characters get off to a rocky start, but Haymitch eventually realizes Wyatt is a good person with how loyal he is to their group.  Ben Wang will be playing Wyatt in the upcoming adaptation. Wang is also about to star in Karate Kid: Legend and has also appeared in the Mean Girls remake and the Disney+ series American Born Chinese.  Wyatt is socially awkward, but kind-hearted, and Wang will have to portray the depth of his character beyond just his intelligence.  Focus Features Ralph Fiennes as President Snow The ruthless President Snow will be played by the legendary Ralph Fiennes. The British actor has received multiple Academy Award nominations for his roles in Schindler’s List, Conclave, and The English Patient. His legacy also extends to some of the most popular movies of the last 30 years, running the gamut from Skyfall to The Grand Budapest Hotel. Fiennes is one of the most veteran members of the cast and someone that the younger actors can look up to as a mentor.  Of course Fiennes is no stranger to playing ruthless dictators either since his transformation into the role of Voldemort in the Harry Potter series is etched into the memories of generations. Fiennes will be playing the heartless president of Panem in Sunrise on the Reaping when he confronts Haymitch, the rebellion, and the 50th Hunger Games. There is no doubt that Fiennes will be able to portray Snow in the movie just as intimidating and coldhearted as fans have imagined him to be. Hulu Elle Fanning as Effie Trinket The most recent casting announcement has been Elle Fanning as the Capitol mentor Effie Trinket. Fanning was actually who many fans suggested should play the role, and it seems like the Hunger Games producers that request seriously. Fanning is the sister of the actress Dakota Fanning and has been in a number of popular films including A Complete Unknown, Maleficent, and The Great TV series.  Effie is a constant character throughout the original series (where she is played by Elizabeth Banks onscreen), and in Sunrise on the Reaping, we get to see how she obtained her position in District 12 and her first meeting with her fellow mentor Haymitch. Effie is sympathetic toward the district kids, but the Capitol propaganda prevents her from fully understanding their struggles. She thinks it’s sad they have to go into the Hunger Games but believes it’s necessary to keep the peace. Fanning will have to play the naïve and extravagant character who has a very ignorant outlook toward the real world. HBO Kieran Culkin as Caesar Flickerman  Caesar Flickerman is the charismatic entertainer and showman we see in the original trilogy interviewing the tributes before they enter the arena. In Sunrise on the Reaping, we get to see more of a younger Caesar conducting interviews before the 50th Hunger Games, but we also get some insight into how he can manipulate and sell a certain narrative to the Capitol audience. The character was previously played by Stanley Tucci who completely transformed himself into the role and really brought the preening media personality to life. And now Kieran Culkin has been cast for the upcoming prequel where he will get the chance to commit to the same eccentric hair, makeup, and outfits that Tucci made iconic.  Culkin is a seasoned actor and will almost certainly be up for the challenge. After all, he just won an Oscar for A Real Pain, and before that he won an Emmy (and was nominated for several more) due to his turn as Roman Roy on HBO’s Succession. Of course for a whole generation of movie watchers, he will always be Fuller from Home Alone. Molly McCann as Louella McCoy and Iona Bell as Lou Lou Louella and Lou Lou are two very similar looking characters who will each have to play very different roles. Louella will be played by Molly McCann who will have to play the sweet, innocent girl who Haymitch vows to protect when she is reaped in the Hunger Games at just 13. McCann is a young Irish actress who has already been a part of 19 projects, including movies and TV shows, and nominated for an Irish Film and TV award in 2021.  On the other hand, Iona Bell is cast as Lou Lou, who is an unknown girl from District 11 who was tortured by the Capitol and has been driven to almost insanity as a result. Bell is a British actress who has only been a part of one project before this casting. The teenage actress is currently filming in a few independent films, as well as a movie with Taika Waititi (Fing!) which will come out later this year. Her character in Sunrise on the Reaping is an odd one, but you can’t help but sympathize with her because of what she’s been through. 

AI’s grip on design forces us to reconsider our role in shaping perception, reality, and—most importantly—decision-making.Image composed in Figma using AI-generated assets.I love a good prototype.You know that old saying—a picture’s worth a thousand words? Well, a prototype is worth a million, especially if you’re a developer, a stakeholder, or a decision-maker trying to make sense of a complex idea with a lot of moving parts.A prototype compresses context. It gives form to the abstract. It invites feedback for iteration and improvement. I’ve built them my whole career, and I still believe they’re the most powerful artifacts in product design.But I’m also starting to worry.The old daysBack in the early days of the web, I used to prototype in hand-coded HTML. Not because I loved code, but because I cared about quality. Browsers were unpredictable animals. Netscape and IE rendered the same markup in wildly different ways. The best we could do was chase consistency through hours of trial and error—hoping somehow that one of us would find and document the answer for the rest.Then Jeffrey Zeldman came along, armed with his famous pop culture wit and transparent brilliance, rallying the web community behind standards and semantic code. And it worked. Slowly, thankfully, the browser makers listened. We built better websites with better languages. HTML became standardized and meaningful under the hood.That was craft.Not just the mechanics of markup, but the intentionality behind it. Craft, to me, is thoughtful execution learned over time. It’s the subtle accumulation of experience, taste, and judgment. It’s a uniquely human achievement.The new nowFast forward to today, and we’re surrounded by tools promising instant output. AI is the new rallying cry, and its promise is both thrilling and disorienting.Tools like Lovable, v0.dev, and Cursor offer prototyping at the speed of thought. With a single prompt, we can summon UI layouts, component libraries, even entire interaction flows. It’s an addictive sort of magic. And in a product world driven by speed and iteration, this kind of acceleration is a godsend.But there’s something quietly unsettling about the ease of it all.Because with great speed comes great risk—perhaps to our users and to our own hard-won standards. And ironically, those who seem to value “craft” as the standard bearers of the current definition—forged exclusively in the conventional tooling of Figma—seem to be the loudest proponents of the new speed.René Magritte, The Treachery of Images (1929). Los Angeles County Museum of Art.This is not a pipeMagritte once painted a pipe and wrote underneath, “Ceci n’est pas une pipe”—This is not a pipe.He was right. It’s just a painting of a pipe, a representation, not the object itself. Postmodern thinkers wasted many French brain cells expanding on this idea, which eventually made its way into popular culture via The Matrix film franchise.In UX, we live and breathe representations. Wireframes, mockups, user flows, prototypes—they’re all stand-ins for future experiences. And yet, stakeholders and product teams often quickly treat them as the final product. The flow becomes the experience. The mockup becomes the truth.Add AI to the mix, and the illusion intensifies exponentially.When an AI-generated interface looks authentic and clickable, it’s dangerously easy to accept it at face value. But what if it’s based on flawed assumptions? What if it reflects patterns that don’t serve our users? What if it simply looks finished, when it’s not even close to holding real value?The risk of satisficingHerbert Simon had a made-up word for this kind of decision-making: satisficing. A blend of “satisfy” and “suffice.” It means settling for a good-enough solution when the perfect one is too costly or too far out of reach.In AI-generated design, satisficing isn’t just a risk—it’s the default.The algorithm gives us something that looks fine, behaves fine, and maybe even tests fine. And in the absence of the right checkpoints for critical thought, we’re liable to ship it. Not because it’s right, but because it’s fast and frictionless.And that worries me.Because over time, we get complacent and stuck in our comfort zones. When that happens, design becomes more template-driven. Interfaces lose connectivity to the humans they’re supposed to serve. And worst of all, we stop asking why.Diagram inspired by Herbert Simon’s model of bounded rationality. Created by author.Shifting times (and how we respond)Now, there’s nothing inherently wrong about satisficed decision making. In fact, Simon viewed the term practically—recognizing that humans, limited in time, knowledge, and processing capacity, operate within what he called a “bounded rationality.”In agile product design, this is the whole point of an MVP.The problem arises when we’re out of sync with one another, when one discipline overrides the other with disregard, deciding that something is “good enough” without considering the wider trade offs.The optimist in me wants to believe we’re well-suited and prepared for this inevitability.I’m currently one of those displaced knowledge workers, looking for my next opportunity in UX / Product Design. I’ve seen the shift from using the term UX Designer to Product Designer in the job descriptions. Leaving the organizational debates and the shameful clickbait aside, this shift seems to signal a natural evolution—traditional UX design roles are moving deeper into product delivery.But if design and product are becoming equal partners in the organizational chart, then our collective vision should be to make decisions together, without being a consensus machine. That means mapping out our processes and synthesizing data into rational decisions within a new bounded reality—one that’s accelerated from the start.Because the point isn’t to eliminate satisficing. It’s to make it conscious, collaborative, and aligned. UX and design professionals need to be embedded in the conversation—not just reacting to outputs, but helping frame the questions and the goals. Otherwise, speed wins by default—leaving craft, context, and care lost in the latest sprint.The new frontierI’m not anti-AI. Quite the opposite. I’m genuinely excited about what these tools can unlock—especially in early design stages, where low fidelity and high experimentation are crucial. We should be moving faster. We should be looking at and testing more ideas. We should be using AI to remove blockers and free up energy for deeper thinking.But we also need to stay alert. We need to protect the human-centered insights and the basic fundamentals of context and critical thought that live outside the models.We can’t let the ease of generation become a substitute for our better judgment. We can’t let groupthink dictate taste. We can’t let empathy get stripped from the process just because the output looks like a viable product to the loudest person in the room.As designers, our job is not just to create. It’s to question. To inform. To shape. To provoke. To guide.And sometimes, to remind the team… This is not a pipe.This is not a pipe: UX, AI, and the risk of satisficed product design was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Korda (Benicio del Toro, tyrannical, avuncular) is unable to bridge the final inches with Leland and Reagan (Tom Hanks and Bryan Cranston, stone-faced). It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern prince (Riz Ahmed) can sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE.  It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure. Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt. (The industrialist’s pilots fare less happily from his habit of falling out of the sky.) He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Liesl (Mia Threapleton) has a tough time with forgiveness, especially when it comes to a would-be patriarch or patron. She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire (hence the aforementioned HORSE of fate). Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn (a chipper Michael Cera doing an accent about three clicks south of the Muppets’ Chef). Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body. From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdad (1940) and That Hamilton Woman (1941). Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob (Mathieu Amalric). And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well. But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was. The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient. Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjorn (again, Cera is having too much fun) and the would-be buy-offs of an absentee father. The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall. The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration (just wait until you see who he cast as God). For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over. The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

On the right bank of the Naviglio Grande, a canal that runs through Italy’s Lombardy region some 20 miles from Milan, the landscape alternates between industrial warehouses and cultivated fields. Along the historic waterway system which dates from the 12th century, there are a series of patrician residences, pleasure villas, and elegant rural farmhouses that still stand, along with what remains of their parks and gardens, side-by-side with more recent houses.The entrance gate of Villa Clari-Monzini, the oldest and largest of the villas on the right bank of the Naviglio canal, to which it was once connected via a tree-lined avenue that continued on the opposite side of the waterway to the nearby Piazza del Teatro. Arriving in Cassinetta di Lugagnano after traveling along the Naviglio bike path, one finds one of the richest towns in the region in terms of its architectural legacy. When the Barlaam family made that same journey, they couldn’t help but notice the Villa Clari-Monzini: “It was in very bad condition, but it was still beautiful and shortly thereafter it was renovated and divided into apartments. We decided to move there, to the main floor of the villa, far from the stress and hassles of the big city,” says Riccardo, Simone’s father. The younger Barlaam is a Paralympic swimming champion who won four gold medals between the recent games in Tokyo and Paris.Cosmos coffee table by Jeffrey Bernett (B&B Italia). Logo lamp, a Chinese checkers board by Joe, and Lawrence ottoman (all Armani/Casa). Simone Barlaam leans against a handcrafted crystal table in the living room of his home. Clothes by Armani. “I grew up here, among the frescoed walls and coffered ceilings of the large ballroom that has become our living room, and ever since I was a child I’ve always felt this house was welcoming. When we lived in Milan I might have dared to scribble on the walls—I was a creative kid—but here I was never tempted to do so,” says Simone, who returns here on weekends to recharge.In the living room, LC4 chaise longue by Le Corbusier (Cassina), handcrafted crystal table, Plywood chairs by Charles and Ray Eames (Vitra). Taraxacum 88 chandelier by Achille Castiglioni (Flos). “When the world shuts down, I find some quiet time to draw. It’s something I do for myself, which makes me feel similar to how I do when I’m in the water.”—Simone BarlaamLate at night, Barlaam invents his alternative heroes inspired by the art he is surrounded by and the Italian comic books by his side during childhood, from Diabolik to Zerocalcare. “When the world shuts down, I find some quiet time to draw. It’s something I do for myself, which makes me feel similar to how I do when I’m in the water when I’m training. It’s an isolation that makes me focus on my body, on lightness, on harmony; I always feel a bit awkward on dry land but in the water I become agile and graceful,” Barlaam says.Dozens and dozens of sheets of paper can be found in the family’s home, essential material for this self-taught drawing talent. Illustrations from the Italian children’s story “Road to Cortina” can also be found in the flat. “In high school I reproduced one of the frescoes in the villa. I recreated it in color, although I usually prefer to work in black and white.” It’s part of his effort to engage an ever-growing audience, and to recount his journey to the 2026 Winter Olympics.Snow, the family’s Samoyed. The kitchen is by Binova, with Corian countertop. Venetian terrazzo floor. In one of the rooms, a reclaimed wood door. Rondò armchair (Armani/Casa). Beside the fireplace, double Parentesi lamp by Achille Castiglioni and Pio Manzù (Flos). Outside, evening descends over the Lombardy countryside and the beautiful back garden. The floors inside of the 17th-century villa are now a light, uniform Venetian terrazzo that highlights the thresholds of doors with a slightly darker hue. (The villa once operated as a spinning mill which irreparably damaged its original floors.) The doors themselves were recovered from the middle of fields where they had been discarded, covered with several layers of varnish. They have now been cleaned and left unfinished, beyond a light wax treatment, giving them their original appearance.

By AJ Dellinger Published May 23, 2025 | Comments (0) | President Trump speaking at the Bitcoin 2024 Conference © Brett Carlsen/Bloomberg Last night, Donald Trump hosted 220 of the biggest suckers you know for dinner. As part of a promotion for his cryptocurrency memecoin $TRUMP, the President of the United States let the top bag holders of his coin come hang out, including offering a private VIP reception with the 25 biggest “investors.” According to the Wall Street Journal, the 220 who received invites spent a cumulative $148 million buying up $TRUMP before the event. The event, which was held at the Trump National Golf Club Washington DC in Potomac Falls, Virginia, was a real who’s who of people who make you go “I think I’ve heard of that person.” Perhaps the most famous person in the room was former NBA player Lamar Odom, who is now promoting his own memecoin. Others at the dinner included Brendan McCafferty, a guy CNN rather savagely called a “self-described media executive,” and Jeffrey Zirlin of the failed Axie Infinity game that got hacked for $600 million. The Wall Street Journal noted that many of the attendees were foreigners, many of whom are big players in the crypto space. Others were looking to influence American policy—like Javier Selgas, the CEO of shipping company Freight Technologies, who made headlines by announcing plans to buy up $TRUMP to get a seat next to the president and try to advocate for easing tariffs. The biggest mark of the night, though, was Justin Sun, a Chinese-born crypto mogul who has made himself a bit of a central figure in the Trump crypto cinematic universe. Sun faced charges from the U.S. Securities and Exchange Commission for allegedly manipulating the price of his cryptocurrency $TRON. Earlier this year, Sun purchased $75 million worth of tokens from World Liberty Financial, the “decentralized finance protocol” run by Trump’s kids, and found his charges dropped. Sun was identified as the top holder of $TRUMP at the dinner event, holding about $18 million worth of the memecoin, and was awarded a “Trump Golden Tourbillion” watch, according to CNN. By all accounts, the attendees did not get their money’s worth out of the event. YouTuber CoffeeZilla, an investigative journalist in the crypto space, said he was told by attendees that the event was disappointing and “wack.” Christoph Heuermann, a “serial entrepreneur” who attended the event, said in an Instagram post that Trump gave a 20-minute speech and “didn’t interact with the crowd other than enjoying being celebrated. Even VIP token holders (I know some) couldn’t speak or even shake hands with the president.” Don’t worry, though: If you thought that was meant as a criticism of the whole charade, it wasn’t. “It was still well worth it to experience the president live and watch his mightily secured arrival and departure,” Heuermann wrote. Trump’s short speech—which he made in front of the official presidential seal despite the White House claiming it was a “private” event—seemed to be a classic rambling “weave” of an address, recounting his 2024 presidential election victory and bragging about closing the southern border in between the occasion bit of red meat tossed to the crypto crowd, according to CNN. “The Biden administration persecuted crypto innovators, and we’re bringing them back into the USA where they belong,” he told the audience, per Fox News. As Trump welcomed the folks who are actively lining his pockets, protesters stood outside the gates of the Trump National Golf Club, denouncing the event as evidence of corruption and demanding the full guest list be released, according to the New York Times. Democrats have launched several efforts to force the President (and other politicians) to divest from cryptocurrency so they cannot use their office to profit through promotions like this. But until one of those bills actually goes somewhere, it seems like there are still plenty of people out there willing to give Trump money in exchange for little more than clout (and maybe a pardon down the line, if needed). Daily Newsletter You May Also Like By Vanessa Taylor Published May 23, 2025 By Lucas Ropek Published May 23, 2025 By Matt Novak Published May 22, 2025 By AJ Dellinger Published May 22, 2025 By Matt Novak Published May 22, 2025 By Ellyn Lapointe Published May 21, 2025

In The Electric State, based on a graphic novel by Swedish artist Simon Stålenhag, after a robot uprising in an alternative version of the 1990s, an orphaned teenager goes on a quest across the American West, with a cartoon-inspired robot, a smuggler, and his sidekick, to find her long-lost brother. Adapting this sci-fi adventure for Netflix were Joe and Anthony Russo; their film stars Millie Bobbie Brown, Chris Pratt, Stanley Tucci, Giancarlo Esposito and a cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria, and Anthony Mackie.  Overseeing the visual effects, which surpassed what the Russos had to deal with during their halcyon MCU days, was Matthew Buttler, who turned to the venerable Digital Domain. As the main vendor, the studio was responsible for producing 61 character builds, 480 assets, and over 850 shots. “It was one of the biggest projects that I’ve done in terms of sheer volumes of assets, shots and characters,” states Joel Behrens, VFX Supervisor, Digital Domain.  “Our wonderful asset team did the 61 characters we were responsible for and had to ingest another 46 characters from other facilities.  We didn’t do any major changes. It was pushing our pipeline to the limits it could handle, especially with other shows going on. We took up a lot of disk space and had the ability to expand and contract the Renderfarm with cloud machines as well.” In researching for the show, Digital Domain visited Boston Dynamics to better understand the technological advancements in robotics, and what structures, motions, and interactions were logical and physically plausible.  “There is a certain amount of fake engineering that goes into some of these things,” notes Behrens.  “We’re not actually building these robots to legitimately function in the real world but have to be visibly believable that they can actually pull some of this stuff off.”  The starting point is always the reference material provided by the client.  “Is there a voice that I need to match to?” notes Liz Bernard, Animation Supervisor, Digital Domain.  “Is there any physical body reference either from motion reference actors in the plate or motion capture? We had a big mix of that on the show.  Some of our characters couldn’t be mocapped at all while others could but we had to modify the performance considerably.  We were also looking at the anatomy of each one of these robots to see what their physical capabilities are.  Can they run or jump?  Because that’s always going to tie tightly with the personality.  Your body in some ways is your personality.  We’re trying to figure out how do we put the actor’s voice on top of all these physical limitations in a way that feels cohesive.  It doesn’t happen overnight.”  The character design of Cosmo was retained from the graphic novel despite not being feasible to engineer in reality.  “His feet are huge,” laughs Bernard.  “We had to figure out how to get him to walk in a way that felt normal and put the joints in the right spots.” Emoting was mainly achieved through physicality.  “He does have these audio clips from the Kid Cosmo cartoon that he can use to help express himself verbally, but most of it is pantomime,” observes Bernard.  “There is this great scene between Cosmo and Michelle that occurs right after she crashes the car, and Cosmo is still trying to convince her who he is and why she should go off on this great search for her brother across the country.   We were trying to get some tough nuanced acting into these shots with a subtle head tilt or a little bit of a slump in the shoulders.”  A green light was inserted into the eyes.  “Matthew Butler likes robotic stuff and anything that we could do to make Cosmo feel more grounded in reality was helpful,” observes Behrens.  “We also wanted to prevent anyone from panicking and giving Cosmo a more animated face or allowing him to speak dialogue. We started off with a constant light at the beginning and then added this twinkle and glimmer in his eye during certain moments. We liked that and ended up putting it in more places throughout the film. Everybody says that the eyes are the windows to the soul so giving Cosmo something rather than a dark black painted spot on his face assisted in connecting with that character.”  Coming in four different sizes that fit inside one another - like a Russian doll - is Herman. Digital Domain looked after the eight-inch, four-foot and 20-foot versions while ILM was responsible for the 60-foot Herman that appears in the final battle.   “They were scaled up to a certain extent but consider that the joints on the 20-foot version of Herman versus the four-foot version need to be more robust and beefier because they’re carrying so much more weight,” remarks Bernard.  “We were focusing on making sure that the impact of each step rippled through the body in a way that made it clear how heavy a 20-foot robot carrying a van across a desert would be.  The smaller one can be nimbler and lighter on its feet.  There were similar physical limitations, but that weight was the big deal.”  Incorporated into the face of Herman is a retro-futuristic screen in the style of the 1980s and early 1990s CRT panels. “It has these RGB pixels that live under a thick plate of glass like your old television set,” explains Behrens.  “You have this beautiful reflective dome that goes over top of these cathode-ray-looking pixels that allowed us to treat it as a modern-day LED with the ability to animate his expressions, or if we wanted to, put symbols up. You could pixelized any graphical element and put it on Herman’s face.  We wanted to add a nonlinear decay into the pixels so when he changed expressions or a shape altered drastically you would have a slow quadratic decay of the pixels fading off as he switched expressions. That contributed a nice touch.” One member of the robot cast is an iconic Planters mascot.  “Everybody knows who Mr. Peanut is and what he looks like, at least in North America,” observes Behrens.  “We had to go through a lot of design iterations of how his face should animate. It was determined that as a slightly older model of robot he didn’t have a lot of dexterity in his face. We were modelling him after Chuck E. Cheese and ShowBiz Pizza animatronics, so it was like a latex shell over the top of a mechanical under structure that drove his limited expressions. It allowed him to open and close his mouth and do some slight contractions at the corners, leaving most of the acting to his eyes, which did not have as many restrictions. The eyes had the ability to move quickly, and dart and blink like a human.”  The eyebrows were mounted tracks that ran up and down a vertical slot on the front of the face.  “We could move the eyebrows up and down, and tilt them, but couldn’t do anything else,” states Bernard.  “It was trying to find a visual language that would get the acting across with Woody Harrelson’s amazing performance backing it up.  Then a lot of pantomime to go with that.”  Mr. Peanut moves in a jerky rather than smooth manner.  “Here is a funny little detail,” reveals Bernard.  “If you think about a peanut shell, he doesn’t have a chest or hips that can move independently.  We realized early on that in order to get him to walk without teeter-tottering everywhere, we were going to have to cut his butt off, reattach it and add a swivel control on the bottom.  We always kept that peanut silhouette intact; however, he could swivel his hips enough to walk forward without looking silly!”  Other notable robots are Pop Fly and Perplexo; the former is modelled on baseball player, the latter on a magician.  “We decided that Pop Fly would be the clunkiest of all robots because he was meant to be the elder statesman,” states Behrens.  “Pop Fly was partially falling apart, like his eye would drift, the mouth would hang open and sometimes he’d pass out for a second and wake back up.  Pop Fly was the scavenger hunter of the group who has seen stuff in the battles of the wasteland. We came up with a fun pitching mechanism so he could actually shoot the balls out of his mouth and of course, there was his trusty baseball bat that he could bat things with.” An interesting task was figuring out how to rig his model.  “We realized that there needed to be a lot of restrictions in his joints to make him look realistic based on how he was modelled in the first place,” notes Bernard.  “Pop Fly couldn’t rotate his head in every direction; he could turn it from side to side for the most part.  Pop Fly was on this weird structure with the four wheels on a scissor lift situation which meant that he always had to lean forward to get going and when stopping, would rock backwards.  It was fun to add all that detail in for him.”  Serving as Perplexo’s upper body is a theatrical box that he pops in and out of.  “Perplexo did not have a whole lot going on with his face,” remarks Bernard.  “It was a simple mechanical structure to his jaw, eyes, and eyelids; that meant we could push the performance with pantomime and crazy big gestures with the arms.”               A major adversary in the film is The Marshall, portrayed by Giancarlo Esposito, who remotely controls a drone that projects the face of operator onto a video screen.  “We started with a much smaller screen and had a cowboy motif for awhile, but then they decided to have a unifying design for the drones that are operated by humans versus the robots,” remarks Behrens.  “Since the artist Simon Stålenhag had done an interesting, cool design with the virtual reality helmets with that long duckbill that the humans wear in the real world, the decision was made to mimic that head style of the drones to match the drone operators. Then you could put a screen on the front; that’s how you see Ted [Jason Alexander] or The Marshall or the commando operators. It worked out quite nicely.”   There was not much differentiation in the movement of the drones.  “The drones were meant to be in the vein of Stormtroopers, a horde of them being operated by people sitting in a comfortable room in Seattle,” observes Bernard. “So, they didn’t get as much effort and love as we put into the rest of the robots which had their own personalities. But for The Marshall, we have great mocap to start from Adam Croasdell. He played it a little bit cowboy, which was how Giancarlo Esposito was portraying the character as well, like a Western sheriff style vibe. You could hear that in the voice.  Listening to Giancarlo’s vocal performance gives you a lot of clues of what you should do when you’re moving that character around.  We put all of that together in the performance of The Marshall.”   Many environments had to either be created or augmented, such as the haunted amusement park known as Happyland. “The majority of the exterior of Happyland was a beautiful set that Dennis Gassner and his crew built in a parking lot of a waterslide park in Atlanta,” states Behrens.  “We would go there at night and freeze our butts off shooting for a good two and a half weeks in the cold Atlanta winter.  Most of our environmental work was doing distance extensions for that and adding atmospherics and fog.  We made all the scavenger robots that inhabit Happyland, which are cannibalistic robotics that upgrade and hot rod themselves from random parts taken from the robots that they kill.  Once we get into the haunted house and fall into the basement, that’s where Dr. Amherst has his lab, which was modelled off a 1930s Frankenstein set, with Tesla coils, beakers, and lab equipment.  That was initially a set build we did onstage in Atlanta. But when we got into additional photography, they wanted to do this whole choreographed fight with The Marshall and Mr. Peanut. Because they didn’t know what actions we would need, we ended up building that entire lower level in CG.”   At one point, all the exiled robots gather at the Mall within the Exclusion Zone.  “We were responsible for building a number of the background characters along with Storm Studios and ILM,” remarks Behrens.  “As for the mall, we didn’t have to do much to the environment.  There were some small things here and there that had to be modified.  We took over an abandoned mall in Atlanta and the art department dressed over half of it.” The background characters were not treated haphazardly. “We assigned two or three characters to each animator,” explains Bernard.  “I asked them to make a backstory and figure out who this guy is, what does he care about, and who is his mama?!  Put that into the performance so that each one feels unique and different because they have their own personalities.  There is a big central theme in the movie where the robots are almost more human than most of the humans you meet.  It was important to us that we put that humanity into their performances. As far as the Mall and choreography, Matthew, Joel and I knew that was going to be a huge challenge because this is not traditional crowd work where you can animate cycles and give it to a crowds department and say, ‘Have a bunch of people walking around.’  All these characters are different; they have to move differently and do their own thing.  We did a first pass on the big reveal in the Mall where you swing around and see the atrium where everybody is doing their thing.  We essentially took each character and moved them around like a chess piece to figure out if we had enough characters, if the color balanced nicely across all of them, and if it was okay for us to duplicate a couple of them.  We started to show that early to Matthew and Jeffrey Ford [Editor, Executive Producer], and the directors to get buyoff on the density of the crowd.”    Considered one of the film’s signature sequences is the walk across the Exclusion Zone, where 20-foot Herman is carrying a Volkswagen van containing Michelle, Cosmo and Keats on his shoulder.  “We did a little bit of everything,” notes Behrens.  “We had plate-based shots because a splinter unit went out to Moab, Utah and shot a bunch of beautiful vistas for us.  For environments, there were shots where we had to do projections of plate material onto 3D geometry that we built. We had some DMPs that went into deep background. We also had to build out some actual legitimate 3D terrain for foreground and midground because a lot of the shots that had interaction with our hero characters rocking and back forth were shot on a bluescreen stage with a VW van on a large gimbal rig.  Then Liz had the fun job of trying to tie that into a giant robot walking with them.  We had to do some obvious tweaking to some of those motions. The establishing shots, where they are walking through this giant dead robot skeleton from who knows where, several of those were 100 percent CG. Once they get to the Mall, we had a big digital mall and a canyon area that had to look like they were once populated.”  Modifications were kept subtle.  “There were a couple of shots where we needed to move the plate VW van around a little bit,” states Bernard.  “You can’t do a lot without it starting to fall apart and lose perspective.”  “The biggest challenge was the scale and sheer number of characters needed that played a large role interacting with our human actors and creating a believable world for them to live in,” reflects Behrens.  “The sequence that I had the most fun with was the mine sequence with Herman and Keats, as far as their banter back and forth. Some of our most expansive work was the Mall and the walk across the Exclusion Zone.  Those had the most stunning visuals.”  Bernard agrees with her colleague.  “I’m going to sound like a broken record.  For me, it was the scale and the sheer number of characters that we had to deal with and keeping them feeling that they were all different, but from the same universe.  Having the animators working towards that same goal was a big challenge.  We had quite a large team on this one.  And I do love that mine sequence.  There is such good banter between Keats and Herman, especially early on in that sequence.  It has so much great action to it.  We got to drop a giant claw on top of The Marshall that he had to fight his way out of.  That was a hard shot.  And of course, the Mall is stunning.  You can see all the care that went into creating that environment and all those characters.  It’s beautiful.”      Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.