show some love for the losers Delightfully irreverent Underdogs isn’t your parents’ nature docuseries Ryan Reynolds narrates NatGeo's new series highlighting nature's much less cool and majestic creatures Jennifer Ouellette – Jun 15, 2025 3:11 pm | 5 The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Narrator Ryan Reynolds celebrates nature's outcasts in the new NatGeo docuseries Underdogs. Most of us have seen a nature documentary or two (or three) at some point in our lives, so it's a familiar format: sweeping majestic footage of impressively regal animals accompanied by reverently high-toned narration (preferably with a tony British accent). Underdogs, a new docuseries from National Geographic, takes a decidedly different and unconventional approach. Narrated by with hilarious irreverence by Ryan Reynolds, the five-part series highlights nature's less cool and majestic creatures: the outcasts and benchwarmers, more noteworthy for their "unconventional hygiene choices" and "unsavory courtship rituals." It's like The Suicide Squad or Thunderbolts*, except these creatures actually exist. Per the official premise, "Underdogs features a range of never-before-filmed scenes, including the first time a film crew has ever entered a special cave in New Zealand—a huge cavern that glows brighter than a bachelor pad under a black light thanks to the glowing butts of millions of mucus-coated grubs. All over the world, overlooked superstars like this are out there 24/7, giving it maximum effort and keeping the natural world in working order for all those showboating polar bears, sharks and gorillas." It's rated PG-13 thanks to the odd bit of scatalogical humor and shots of Nature Sexy Time Each of the five episodes is built around a specific genre. "Superheroes" highlights the surprising superpowers of the honey badger, pistol shrimp, and the invisible glass frog, among others, augmented with comic book graphics; "Sexy Beasts" focuses on bizarre mating habits and follows the format of a romantic advice column; "Terrible Parents" highlights nature's worst practices, following the outline of a parenting guide; "Total Grossout" is exactly what it sounds like; and "The Unusual Suspects" is a heist tale, documenting the supposed efforts of a macaque to put together the ultimate team of masters of deception and disguise (an inside man, a decoy, a fall guy, etc.).  Green Day even wrote and recorded a special theme song for the opening credits. Co-creators Mark Linfield and Vanessa Berlowitz of Wildstar Films are longtime producers of award-winning wildlife films, most notably Frozen Planet, Planet Earth and David Attenborough's Life of Mammals—you know, the kind of prestige nature documentaries that have become a mainstay for National Geographic and the BBC, among others. They're justly proud of that work, but this time around the duo wanted to try something different. Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A fireworm is hit by a cavitation bubble shot from the claw of a pistol shrimp defending its home. National Geographic/Hugh Miller As it grows and molts, the mad hatterpillar stacks old head casings on top of its head. Scientists think it is used as a decoy against would-be predators and parasites, and when needed, it can also be used as a weapon. National Geographic/Katherine Hannaford Worst parents ever? A young barnacle goose chick prepares t make the 800-foot jump from its nest to the ground. National Geographic An adult pearlfish reverses into a sea cucumber's butt to hide. National Geographic A vulture sticks its head inside an elephant carcass to eat. National Geographic A manatee releases flatulence while swimming to lose the buoyancy build up of gas inside its stomach, and descend down the water column. National Geographic/Karl Davies "There is a sense after awhile that you're playing the same animals to the same people, and the shows are starting to look the same and so is your audience," Linfield told Ars. "We thought, okay, how can we do something absolutely the opposite? We've gone through our careers collecting stories of these weird and crazy creatures that don't end up in the script because they're not big or sexy and they live under a rock. But they often have the best life histories and the craziest superpowers." Case in point: the velvet worm featured in the "Superheroes" episode, which creeps up on unsuspecting prey before squirting disgusting slime all over their food. (It's a handy defense mechanism, too, against predators like the wolf spider.) Once Linfield and Berlowitz decided to focus on nature's underdogs and to take a more humorous approach, Ryan Reynolds became their top choice for a narrator—the anti-Richard Attenborough. As luck would have it, the pair shared an agent with the mega-star. So even though they thought there was no way Reynolds would agree to the project, they put together a sizzle reel, complete with a "fake Canadian Ryan Reynolds sound-alike" doing the narration. Reynolds was on set when he received the reel, and loved it so much he recoded his own narration for the footage and sent it back. "From that moment he was in," said Linfield, and Wildstar Films worked closely with Reynolds and his company to develop the final series. "We've never worked that way on a series before, a joint collaboration from day one," Berlowitz admitted. But it worked: the end result strikes the perfect balance between scientific revelation and accurate natural history, and an edgy comic tone. That tone is quintessential Reynolds, and while he did mostly follow the script (which his team helped write), Linfield and Berlowitz admit there was also a fair amount of improvisation—not all of it PG-13.  "What we hadn't appreciated is that he's an incredible improv performer," said Berlowitz. "He can't help himself. He gets into character and starts riffing off [the footage]. There are some takes that we definitely couldn't use, that potentially would fit a slightly more Hulu audience."  Some of the ad-libs made it into the final episodes, however—like Reynolds describing an Aye-Aye as "if fear and panic had a baby and rolled it in dog hair"—even though it meant going back and doing a bit of recutting to get the new lines to fit. Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A male hippo sprays his feces at another male who is threatening to take over his patch. National Geographic A male proboscis monkey flaunts his large nose. The noses of these males are used to amplify their calls in the vast forest. National Geographic Dream girl: A blood-soaked female hyena looks across the African savanna. National Geographic A male bowerbird presents one of the finest items in his collection to a female in his bower. National Geographic The male nursery web spider presents his nuptial gift to the female. National Geographic Cue the Barry White mood music: Two leopard slugs suspend themselves on a rope of mucus as they entwine their bodies to mate with one another. National Geographic Despite their years of collective experience, Linfield and Berlowitz were initially skeptical when the crew told them about the pearl fish, which hides from predators in a sea cucumber's butt (along with many other species). "It had never been filmed so we said, 'You're going to have to prove it to us,'" said Berlowitz. "They came back with this fantastic, hilarious sequence of a pearl fish reverse parking [in a sea cucumber's anus)." The film crew experienced a few heart-pounding moments, most notably while filming the cliffside nests of barnacle geese for the "Terrible Parents" episode. A melting glacier caused a watery avalanche while the crew was filming the geese, and they had to quickly grab a few shots and run to safety. Less dramatic: cinematographer Tom Beldam had his smartphone stolen by a long-tailed macaque mere minutes after he finished capturing the animal on film. If all goes well and Underdogs finds its target audience, we may even get a follow-up. "We are slightly plowing new territory but the science is as true as it's ever been and the stories are good. That aspect of the natural history is still there," said Linfield. "I think what we really hope for is that people who don't normally watch natural history will watch it. If people have as much fun watching it as we had making it, then the metrics should be good enough for another season." Verdict: Underdogs is positively addictive; I binged all five episodes in a single day. (For his part, Reynolds said in a statement that he was thrilled to "finally watch a project of ours with my children. Technically they saw Deadpool and Wolverine but I don't think they absorbed much while covering their eyes and ears and screaming for two hours.") Underdogs premieres June 15, 2025, at 9 PM/8 PM Central on National Geographic (simulcast on ABC) and will be available for streaming on Disney+ and Hulu the following day.  You should watch it, if only to get that second season. Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments

With its comfortable, laid-back decorating vibes, no room says “come and sit awhile” or “aah, I’m home” quite like a beautifully inviting rustic and cozy living room. Whether you live in a farmhouse, cabin, cottage, a new-build in the suburbs, or even a city apartment—rustic living room ideas bring a certain homespun style that ranges from downright traditional to modern and chic.Here at Country Living, we’ve discovered that the very best classic and country rustic living room ideas begin with good ol’ tried-and-true character-rich decor. We're talking reclaimed wood, stone focal points (there are so many rustic style living room ideas with cozy fireplaces!), and a casual mix of natural textures and materials (think wood and woven furniture, perfectly worn leather sofas, vintage wool rugs laid atop natural sisal). More modern rustic living room ideas include a less-is-more approach with calming neutral color palettes and clean-lined furniture. Paint colors, fabrics, and accessories in grays, browns, and greens pulled from nature make for the just-right warmth—all simple rustic living room ideas at their finest. So relax and sink into our best country rustic living room ideas from some of our all-time favorite Country Living house tours!Here are more creative ways to make your home feel rustic and cozy:1Fill the Room With CharacterSean LitchfieldFrom floor to ceiling and wall to wall, this rustic living room packs in loads of character. Comfy leather and upholstered furniture, a vintage patterned rug, and a blue and yellow painted cupboard found on Facebook marketplace sit well together against a backdrop of rustic wood.2Source Local MaterialsLincoln BarbourIn this beautifully rustic Mississippi barn. the owners sourced local wood materials from a nearby military depot to clad the walls and ceiling, bringing maximum warmth and texture. Large windows let in loads of natural light during the day, while a chandelier and mounted sconces make for a romantic glow come nighttime.RELATED: These Wood Ceiling Ideas Bring Country Charm to Any RoomTOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below3Pick a Cozy Paint ColorAlpha Smoot for Country LivingThis cozy living room has a built-in warmth, thanks to saturated navy blue walls (“It’s sort of a gentleman’s navy,” says homeowner Justin Reis). Its handsomely worn floorboards, doors, mantel, and warming cabinet above the fireplace complement the dark blue beautifully. The fire and candlelight emit a magical glow.Get the Look:Wall Paint Color: Dark Navy by BehrTOUR THE ENTIRE HOUSE4Lay a Comfy RugSara Ligorria-TrampWhat's cozier than a roaring fire on a cool night? A soft, fuzzy rug in front of it! The fireplace features mantel made from a tree felled on-site and white Zellige tile. The artwork is a vintage find paired with a contemporary painting.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below5Embrace Log Cabin DetailsLisa FloodIn this stunning Wyoming log cabin, the family usually gathers in the wonderfully rustic great room. Its cozy factor is off the charts, thanks country decorating classics like unpainted log walls and beams, a woodburning stove, textural rugs, and a sweet swing that hangs from the ceiling. Get the Look:Swing: The Oak & Rope CompanyTOUR THE ENTIRE HOUSE6Wrap a Room in WoodMarta Xochilt PerezIn this rustic and cozy cabin, an original fieldstone fireplace creates the warmest welcome. A pair of cushy leather sofas piled with pillows blankets face off, anchoring the wood-wrapped space, and providing the perfect perches for game night. TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below7Build an Rustic Stone Accent WallMarta Xochilt Perez for Country LivingThis impressive wall of moss rock surrounds the fireplace. Chiseled stone corbels provide mantel supports. On cool nights, you can count on a roaring fire! Throughout the home, carved timbers, rough-cut stone, and walls of windows reflect a combination of the homeowners’ Scandinavian heritage and Irish roots.TOUR THE ENTIRE HOUSE8Go Big in a Small SpaceEmily FollowillThis tiny living room is packed with so much character. Designer James Farmer added decorative oomph with a large tobacco basket, an art-forward fireplace screen, and natural design elements like plants. Details like arranging the paneling on the diagonal to “point” upward enhance the vertical space. Says James, “Tall ceilings, bold plant arrangements, and large light fixtures have even more impact in a small home. Play with scale to find what feels right.” Advertisement - Continue Reading Below9Mix and Match FurnitureLincoln BarbourFor the ultimate collected-over-time vibe, forgo matching furniture. Here, a wingback chair and a spool chair look right at home in this living room. Other period-appropriate decor found in this 100-year-old home: painted paneled walls, exposed ceiling beams, and a rustic mantel wood.TOUR THE ENTIRE HOUSE 10Let There Be Light (Wood)Christopher DibbleWe put this family room in the “rustic light” category. For a top-to-bottom cabin-like feel, designer Max Humphrey wrapped the space in eight-foot knotty pine planks on the ceiling and walls. A clear coat of polyurethane protects the wood while letting its natural color shine through (a stain would’ve darkened the room). Colorful national park posters, globes, camp grounds signage, and a linen modern sectional create a hip yet homey living space.Advertisement - Continue Reading Below11Customize a Focal PointHomeowners Victoria and Marcus Ford’s vision of a custom wood fireplace surround included open shelves and striking floor-to-ceiling firewood nooks (our favorite detail!). “We figured go big or go home,” says Victoria. Brass sconces provide a library-like touch, and a custom frame has the TV looking picture-perfect above the mantel.Get the Look:Wall and Trim Paint: Endless Sea by Sherwin-WilliamsCeiling Paint: Oyster White by Sherwin-WilliamsTOUR THE ENTIRE SPACE12Incorporate Rustic Furniture FindsAnnie SchlechterTopped with a plaid cushion, a rustic yellow daybed nestled in the corner makes for the coziest spot to take in lake views. The 22-foot cathedral ceilings are clad in wood, warming up this lofty open-concept space designed by Amy Meier that also includes a dining area and kitchen.TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below13Paint the FloorsDane Tashima for Country LivingWhile the homeowners of this New Jersey dairy barn were able to salvage the structure’s original knotty beams, the walls and floors in the soaring 25-foot-high space needed to be replaced. Simple poplar planks painted white got the job done affordably. A new cast-iron pellet stove warms the space with a rustic, authentic look. Get the Look:Wall and Floor Paint Color: Alabaster by Sherwin-WilliamsTOUR THE ENTIRE HOUSE14Tell the BackstorySean LitchfieldWhere possible, the original Eastern Hemlock posts and beams of this 1819 Maine barn were carefully preserved when, in 1999, the structure was disassembled and then reassembled several miles down the road. Hand-split slabs of Maine granite (some from the barn's original foundation) and brick were used to fabricate the massive woodburning fireplace. The walls and floors are lined in rough-hewn, nonuniform wood planks. The sofa table, made from an old piece of barn wood found on the farm, shows off collections of books, ceramics, and shells.Advertisement - Continue Reading Below15Use Old Materials for New BuildsBrie WilliamsIn this new build, reclaimed materials create instant patina for a warm and welcoming family room. Here’s what makes it rustic: reclaimed beams came from an 1800s mill in Massachusetts mill; log skins salvaged from old Midwest barns; North Carolina stone on the fireplace. A soft palette for the furniture and window treatments was inspired by the antique rug that covers the ottoman.TOUR THE ENTIRE HOUSE 16Balance Natural Wood with ColorNick JohnsonA pretty blue on the fireplace and in the fabrics balances the overall rustic vibe in this country house. “I wanted this room to feel rich and cozy and warm—the kind of place you’d sit by the fire to read a book,” says Erica Harrison of Detroit-based design firm Hudson and Sterling.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below17Make It WorkHelen NormanDespite the renovation challenges, this cozy sitting area situated just off the open kitchen works. The fireplace, which had to be rebuilt from the inside, was covered in stucco to balance all the exposed brick that was discovered underneath damaged drywall. For attic access, a ladder that was found in a barn on the property gets the job done in lieu of stairs. On the other side of the fireplace, a sturdy wooden bookshelf replaces an existing one that was crumbling.18Paint It WhiteZIO AND SONSFor the ultimate modern farmhouse vibe, start with an all-white palette, like in this home of designer Anthony D’Argenzio. This allows you to layer in character-rich architectural elements, like wide-planked wood floors and ceiling beams. A comfy sectional piled with pillows balances perfectly with hard elements, like the wood-and-iron coffee table, handmade oak stump side table, and a round iron chandelier. The hanging chair in the corner provides a wink to this serene design. RELATED: The Best Warm White Paint Colors For Every Room in Your HouseAdvertisement - Continue Reading Below19Leave Materials NaturalJames MerrellRustic meets cozy in this cabin that features walls constructed of hand-hewn logs, a stone fireplace, exposed ceiling beams, and a pair of comfy armchairs. Leaving all materials in their natural finish and unpainted contributes to the overall homespun feel.RELATED: The Best Places to Find or Buy Reclaimed Wood Near You20Choose Neutral FurnishingsSeth SmootIn this California living room, a comfortable collection of neutral furnishings complements the home’s rustic redwood walls. The solid sofa and barrel chairs that are upholstered in linen leave room for visual delights, like the wicker and fringe lamps, an antique rug, a patterned ottoman, and piles of pillows.Jennifer KopfJennifer Kopf is the Executive Editor of Country Living. She also covers antiques and collecting.Amy MitchellManaging EditorAmy Mitchell is the managing editor for VERANDA and Country Living, where she writes articles on a variety of topics—decorating and design, gardens, and holidays. Amy’s experience in the shelter magazine category spans more than 20 years, as she’s previously held positions at Coastal Living and Cottage Living. Her personal pursuits include cooking, gardening, and hunting her favorite tag sale spots for the next piece of Pyrex for her prized collection.

Pictured Above: Designer Amber Lewis balances New England charm with old-world sophistication with a half Calacatta Vagli marble backsplash in the kitchen of this Martha's Vineyard home. To backsplash or not to backsplash? That is the question. Or is it? Because if anyone’s ever told you “you shouldn’t do anything halfway,” they clearly haven’t heard of the half backsplash. This twist on a design mainstay makes a compelling case for stopping short. So maybe the real question is: to backsplash or to half backsplash?Lately, we’ve seen more and more designers going for the latter. “A trend these days is to use 1/2 or 2/3 stone backsplashes with a six- to nine-inch ledge,” says designer Jennifer Gilmer. “This is typically used behind a range and adds interest as well as softening the overall look.” It’s not just aesthetic—it’s strategic functionality. “The ledge is useful for salt and pepper shakers, olive oil, and other items,” she adds. Ahead, we break down everything to know about half backsplashes and why this kitchen trend is gaining traction in the design world.Related StoriesWhat Is a Half Backsplash?Lisa PetroleMagnolia’s director of styling, Ashley Maddox, enlisted the help of designer Hilary Walker to create her midcentury-modern dream home in Waco, Texas. Complete with walnut kitchen cabinetry topped with a Topzstone countertop continued into a partial backsplash.“A half backsplash or 1/3 backsplash is when the material stops at a point on the wall determined by the design,” explains designer Isabella Patrick. This makes it distinct from a “built-out or existing element, such as upper cabinets, a ceiling, soffit, or some other inherent element of the space.” In other words, it’s intentional, not just the result of running out of tile.Courtesy of JN Interior SpacesTaking the ceiling height into consideration, JN Interior Spaces decided a half backsplash would be suitable for this sleek, modern kitchen.While traditional backsplashes typically reach the bottom of upper cabinetry or span the entire wall, partial backsplashes usually stop somewhere around four to 25 inches up, depending on the look you’re going for.And while it may sound like a design compromise, it’s actually quite the opposite.Related StoryWhy Designers Are Loving the Half-Height LookOpting for a half backsplash is a clever way to balance proportion, budget, and visual interest. “If the design does not have upper cabinets, we would opt for a half backsplash to create visual interest,” Patrick says. “A full wall of the same tile or stone could overwhelm the space and seem like an afterthought.”Shannon Dupre/DD RepsIsabella Patrick experimented with this concept in her own kitchen, mixing materials for a more layered half backsplash look.Instead, Patrick often mixes materials—like running Cambria quartzite up from the counter to a ledge, then switching to Fireclay tile above. “This is a great example of how a singular material would have overwhelmed the space but also may have felt like an afterthought,” she explains. “Mixing materials and adding in details and personal touches is what good design is.”Another bonus? It lets the rest of the kitchen sing. “In another design, we eliminated the upper cabinets in favor of a more open and airy look so that the windows were not blocked—and so you were not walking right into a side view of cabinetry,” Patrick says. “No upper cabinets also makes the kitchen feel more of a transitional space and decorative, especially since it opens right into a dining room.”krafty_photos
copyright 2021This kitchen from JN Interior Spaces proves that a partial backsplash can still make a big impact. They chose to use an iridescent, almost-patina tile in this Wyoming kitchen.For Jill Najinigier of JN Interior Spaces, the choice is just as much about form as it is function. “It's all about how the backsplash interacts with the architecture,” she explains. “Wall height, windows, the shape of the hood, upper cabinets, or open shelves—where do they start and terminate?”In one standout project, Najinigier used a luminous tile just tall enough to tuck under a tapered plaster hood, topped with a narrow stone ledge carved from the same slab as the counter. The result? “Clean lines that make a stunning statement.”Mixing materials and adding in details and personal touches is what good design is.It’s Decorative and FunctionalHeather TalbertDesigner Kate Pearce installed a statement-making marble backsplash. Bringing it only halfway up allows its beauty to be appreciated while giving the other aesthetic elements in the space room to breathe.Don’t underestimate what that ledge can do. Designer Kate Pearce swears by hers: “I love my little five-inch-deep marble shelf that allows me to style some vintage kitchenware in the space,” she says. “And I think the shelf (and the pieces styled on it) is exactly what gives the kitchen an approachable feel—versus having a full backsplash of marble, which would have given the space a more serious vibe.”Stylish ProductionsPrioritizing visually continuity, Italian designer Federica Asack of Masseria Chic used the same leathered sandstone, a natural material that will develop a wonderful patina, for both the counters and the backsplash.Designer Federica Asack of Masseria Chic used a leathered sandstone for both her countertop and half backsplash, adding a ledge that’s just deep enough to style. “It allows for a splash-free decorating opportunity to layer artwork and favorite objects,” she says.Designer Molly Watson agrees: “The simple shelf is just deep enough for some special items to be on display,” she notes of a project where carrying the countertop stone up the wall helped keep things visually calm and scaled to the space. Related StoryThe Verdict on Half BacksplashesErin Kelly"Keeping materials simple in this kitchen was important for scale," says designer Molly Watson. "Carrying the countertop up the wall as a backsplash allowed the space to feel larger."Half backsplashes are having a major design moment, but not just because they’re practical. They’re a blank canvas for creativity. From floating ledges and mixed materials to budget-conscious decisions that don’t skimp on style, they’re a smart (and stylish) way to make your kitchen feel lighter, livelier, and totally considered.So, go ahead—do it halfway.Follow House Beautiful on Instagram and TikTok.

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”

Key Takeaways Dell and Nvidia will together provide architecture for the next set of supercomputers, named Doudna, for the US Department of Energy. Dell will focus more on sustainable hardware and cooling systems, while Nvidia will provide its AI architecture, including the Vera Rubin AI chips. The US Department of Energy wants to focus more on the sustainable development of AI, hence the choice of environment-conscious companies. The US Department of Energy said that Dell’s next batch of supercomputers will be delivered with Nvidia’s ‘Vera Rubin’ AI chips, marking the beginning of a new era of AI dominance in research. The said systems are expected to be 10x faster than the current batch of supercomputers, which HP provided. The supercomputer will be named ‘Doudna,’ after Jennifer Doudna, a Nobel Prize winner who made key contributions in CRISPR gene-editing. Supercomputers have been instrumental in key scientific discoveries in the last few decades and also played a big role in the design and maintenance of the U.S. nuclear weapons arsenal. And now, with the introduction of artificial intelligence, we’re heading towards a new decade of faster and more efficient scientific research. It (supercomputers) is the foundation of scientific discovery for our country. It is also a foundation for economic and technological leadership. And with that, national security – Nvidia CEO, Jensen Huang Dell Going All in on AI This isn’t the first time Dell and Nvidia have come together to develop newer AI solutions. Back in March 2024, Dell announced the Dell AI Factory with NVIDIA, an end-to-end enterprise AI solution designed for businesses.  This joint venture used Dell’s infrastructure, such as servers, storage, and networking, combined with NVIDIA’s AI architecture and technologies such as GPUs, DPUs, and AI software. Image Credit – Dell For instance, the Dell PowerEdge server uses NVIDIA’s full AI stack to provide enterprises with solutions required for a wide range of AI applications, including speech recognition, cybersecurity, recommendation systems, and language-based services. The demand for Dell’s AI servers has also increased, reaching $12.1B in the first quarter of 2025, with a total backlog of $14.4B, which suggests a strong future demand and order book. The company has set a bold profit forecast between $28.5B and $29.5B, as against the analysts’ prediction of $ 25.05 B. With Doudna, Dell is well-positioned to lead the next generation of supercomputers in AI research, invention, and discoveries. Focus on Energy Efficiency Seagate has warned about the unprecedented increase in demand for AI data storage in the coming few years, which is a significant challenge to the sustainability of AI data centers. Global data volume is expected to increase threefold by 2028.  Image Credit – DIGITIMES Asian The data storage industry currently produces only 1-2 zettabytes (1 zettabyte equals 1 trillion gigabytes) of storage annually, which is much lower than what would be required in the next 4-5 years. At the same time, Goldman Sachs predicts that power requirements will also go up by 165% by 2030 due to increasing demand for AI data centers. This calls for a more sustainable approach for the supercomputing industry as well.  Dell will use its proprietary technologies, such as Direct Liquid Cooling, the PowerCool eRDHx, and Smart Flow design in the Doudna, ensuring energy efficiency. Direct Liquid Cooling (DLC) increased computing density by supporting more cores per rack, which reduces cooling costs by as much as 45%. Dell’s PowerCool eRDHx is a self-contained airflow design that can capture 100% of the heat generated by IT systems. This reduces the dependency on expensive chillers, as eRDHx can work in usual temperatures of 32 and 36 degrees Celsius, leading to 60% savings in cooling energy costs. Lastly, the Dell Smart Flow design improves airflow within IT components and reduces the fan power by 52%. This leads to better performance with fewer cooling requirements. Besides this, Dell plans to incorporate Leak Sense Technology. If a coolant leak occurs, the system’s leak sensor will log an alert in the iDRAC system so that swift action can be taken. As per a report titled ‘Energy and AI’ by the IEA, the data center electricity demand will increase to 945 terawatt-hours (TWh) by 2030. For comparison, this is more than the total electricity consumption of Japan today. The US alone will consume more electricity in 2030 for processing data than for manufacturing all energy-intensive goods combined, including aluminum, steel, cement, and chemicals. Therefore, the need to develop sustainable AI data centers and supercomputers cannot be highlighted enough. Dell’s technology-focused, sustainable approach can be a pivotal point in how efficiently we use AI in the next decade. The US Department of Energy’s choice of Dell also seems to be a conscious move to shift towards companies that give importance to sustainability and can vouch for the long-term viability of research-intensive AI setups. Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide. A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setup (including a 29-inch LG UltraWide) that’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.

The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds. PROJECT The Butterfly + First Baptist Church Complex ARCHITECT Revery Architecture PHOTOS Ema Peter When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades.  The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague (Frank Gehry with Vlado Milunić, 1996); others the Absolute Towers in Mississauga (MAD with Burka Varacalli Architects, 2009). But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching.  On each floor, semi-private sky gardens offer an outdoor place for residents to socialize. Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it.  The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower?  A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen. Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need.  The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming. The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake?  Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale.  The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites. Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.   The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect. After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition.  The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects call (a little ambitiously) a “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high.  The suites feature a custom counter with a sculptural folded form. Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control. The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice.  A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof. The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.   The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era. Adele Weder is a contributing editor to Canadian Architect. Screenshot CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov (MRAIC), Bing Thom (FRAIC, deceased 2016), Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Group (Design) w/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc. (Landscape Architect of Record) | INTERIORS Revery Architecture | CONTRACTOR Icon West Construction (new construction); The Haebler Group (heritage) | LIGHTING ARUP (Design) & Nemetz (Engineer of Record) | SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025 ENERGY USE INTENSITY (PROJECTED) 106 kWh/m2/year | WATER USE INTENSITY (PROJECTED) 0.72 m3/m2/year As appeared in the June 2025 issue of Canadian Architect magazine The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect.

Remember the banana peels, apple cores, and leftover pizza you recently threw in the garbage? Today, your food waste—and your neighbors’—is emitting climate-warming greenhouse gases as it decomposes in a nearby municipal landfill. Buried food scraps and yard waste at 51 dumps across Colorado generate an amount of methane equivalent to driving 1 million gasoline-powered cars for a year. About 80 times as potent as carbon dioxide as a greenhouse gas over a period of 20 years, methane accounts for 11% of global emissions that scientists say are warming the atmosphere and contributing to more intense and severe weather, wildfires, and drought. Landfills are the third-largest source of methane pollution in Colorado, after agriculture and fossil fuel extraction. Draft methane rules released last month by the state’s Department of Public Health and Environment would, for the first time, require some dump operators to measure and quantify methane releases and to fix leaks. The proposal mandates that waste managers install a gas collection system if their dump generates a certain amount of the climate-warming gas.  It also addresses loopholes in federal law that allow waste to sit for five years before such systems are required—even though science has shown that half of all food waste decays within about three and a half years. The draft rule surpasses U.S. Environmental Protection Agency standards in the amount of landfill area operators must monitor for emissions. It’s set to be heard by the state’s Air Quality Control Commission in August. Proposed regulations require the elimination of open gas flares—burning emissions directly into the atmosphere—and urge the use of biocovers and biofilters, which rely on bacteria to break down gases. The 70-page draft also calls for more routine and thorough monitoring of a dump surface with advanced technologies like satellites, which recently recorded large plumes of methane escaping from a Denver-area landfill. “We’ve had our eyes opened thanks to technology that has made the invisible, visible—now we know the extent of the problem, which is much greater than what estimates have portrayed,” said Katherine Blauvelt, circular economy director at Industrious Labs, a nonprofit working to decarbonize industry.  “When landfill operators fail to control leaks, we know harmful pollutants are coming along for the ride.” Cancer-causing volatile organic compounds, such as benzene and toluene, escape with methane leaching from landfills. These chemicals also contribute to the formation of lung-damaging ozone pollution, an increasing problem for the 3.6 million people who live in the greater Denver metropolitan area. Indeed, the region along the eastern slope of the Rocky Mountains ranked sixth in the nation for the most polluted air—with unhealthy ozone levels reported on one out of every 10 days, on average, according to the American Lung Association’s 2025 “State of the Air” report. The state is also woefully behind in its compliance with federal air quality standards. State officials and environmental advocates agree that reducing methane emissions from landfills, which are easier to mitigate than cow burps, for example, is one of the quickest and most efficient ways to slow warming in the short term. “Waste deposited in landfills continues producing methane for decades as it breaks down—and it’s one sector where Colorado has yet to directly take action to reduce these greenhouse gases,” said Tim Taylor, a supervisor in the state’s air pollution control division, in an online hearing last February on the proposed landfill methane rules. Colorado’s draft regulations are similar to those in California, Oregon, Maryland, and Washington, he added. More than 10 landfills in the state are already required under federal rules to have gas collection and control systems. Yet even with such technology in place, disposal facilities routinely exceed federal methane emissions caps. The state’s health department has also identified a dozen municipal solid waste landfills, based on a preliminary analysis, that would be required to put such systems in place under the proposed rules, Zachary Aedo, an agency spokesman, said in an email to Capital & Main. Many of these facilities are operated by counties, some of which expressed concerns about their ability to pay for such systems. “We are a small rural county, and a multimillion-dollar containment system is going to be more than we can build,” testified Delta County Commissioner Craig Fuller at the February hearing. “The financial equation of this whole thing is absolutely mind-boggling—we are struggling as it is to provide health and human services.” Other county officials embraced the proposed tightening of rules. “Landfills across Colorado, including in Eagle County, are leading sources of methane pollution,” said Eagle County Commissioner Matt Scherr in a March 6 statement. “As a local elected official I support a robust rule that embraces advanced technologies to cut pollution, protect public health and help the methane mitigation industry thrive.” For larger landfill companies, like Waste Management, which operates 283 active disposal sites nationwide, figuring out which technology works to best monitor emissions from a dump’s surface is proving a complex challenge. The company is testing technologies at facilities with different topographies and climate fluctuations to understand what causes emissions releases, said Amy Banister, Waste Management senior director of air programs. “Landfills are complicated, emissions vary over time, and we have emissions 24/7,” said Banister at an online meeting last September of a technical group created by Colorado health department officials. “Drones produced a lot of false positives—and we need more work understanding how fixed sensors can be applied in a landfill environment.” State health officials suggested municipalities could offset the costs of installing gas collection systems at disposal sites by converting methane into energy. Several landfill operations in Colorado currently have such waste-to-energy systems—which send power they generate to the state’s power grid. “We are mindful of the costs of complying with this rule and how tipping fees may be impacted,” said Taylor, an air quality supervisor, at the February hearing. “Analyses conducted in other states of their landfill methane rules found there wasn’t an increase in tipping fees as a result of regulations over time.” Tipping fees are paid by those who dispose of waste in a landfill. If operators passed on compliance costs to households, a state analysis found, the yearly average annual fee would increase $22.90 per household. Colorado’s push comes as the EPA issued an enforcement alert in September that found “recurring Clean Air Act compliance issues” at municipal solid waste landfills that led to the “significant release of methane,” based on 100 inspections conducted over three years.  Such violations included improper design and installation of gas collection and control systems, failure to maintain adequate “cover integrity,” and improper monitoring of facilities for emissions. To address gaps in federal regulations, which require operators to measure emissions four times a year by walking in a grid pattern across the face of the landfill with a handheld sensor, Colorado’s draft rules require third-party monitoring. Such measurements must be conducted offsite by an entity approved by the state’s air pollution control division that uses a satellite, aircraft or mobile monitoring platform. The infrequency of such grid walks—which skip spots that operators deem dangerous—contributes to the undercounting of methane emissions from landfills, according to a satellite-based analysis. An international team of scientists estimated potent greenhouse gas emissions from landfills are 50% higher than EPA estimates. Satellites like one operated by nonprofit Carbon Mapper found large methane plumes outside the quarterly monitoring periods over the Tower Landfill in Commerce City, northeast of Denver. The satellite allowed scientists to see parts of the landfill not accessible with traditional monitoring—measurements that found that such landfills are underreporting their methane emissions to state regulators, said Tia Scarpelli, a research scientist and waste sector lead at Carbon Mapper. “Landfill emissions tend to be quite persistent—if a landfill is emitting when it’s first observed, it’s likely to be emitting later on,” she added. Scarpelli cautioned that it’s important for regulators to investigate with operators what was happening on the landfill surface at the time the leak was measured. Tower Landfill’s operator, Allied Waste Systems of Colorado, provided reasons for such large methane releases in a January 2024 report to the state’s health department, including equipment malfunctions. The fix for about 22 emissions events over the federal methane limits detected in August 2023 by surface monitoring: “Soil added as cover maintenance.” Like many dumps across Colorado and the nation, the Tower Landfill is located near a community that’s already disproportionately impacted by emissions from industrial activities. “These landfills are not only driving climate change, they are also driving a public health crisis in our community,” said Guadalupe Solis, director of environmental justice programs at Cultivando, a nonprofit led by Latina and Indigenous women in northern Denver. “The Tower Landfill is near nursing homes, clinics, near schools with majority Hispanic students.” Physicians in the state warned that those who live the closest to dumps suffer the worst health effects from pollutants like benzene and hydrogen sulfide, which are linked to cancer, heart, and other health conditions. “People living near landfills, like myself, my family and my patients, experience higher exposure to air pollution,” testified Dr. Nikita Habermehl, a specialist in pediatric emergency medicine who lives near a landfill in Larimer County, at the February 26 public hearing, “leading to increased rates of respiratory issues and headaches and asthma worsened by poor air quality.” —By Jennifer Oldham, Capital & Main This piece was originally published by Capital & Main, which reports from California on economic, political, and social issues.

Best of the rest Research roundup: 7 stories we almost missed Also: drumming chimpanzees, picking styles of two jazz greats, and an ancient underground city's soundscape Jennifer Ouellette – May 31, 2025 5:37 pm | 4 Time lapse photos show a new ping-pong-playing robot performing a top spin. Credit: David Nguyen, Kendrick Cancio and Sangbae Kim Time lapse photos show a new ping-pong-playing robot performing a top spin. Credit: David Nguyen, Kendrick Cancio and Sangbae Kim Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more It's a regrettable reality that there is never time to cover all the interesting scientific stories we come across each month. In the past, we've featured year-end roundups of cool science stories we (almost) missed. This year, we're experimenting with a monthly collection. May's list includes a nifty experiment to make a predicted effect of special relativity visible; a ping-pong playing robot that can return hits with 88 percent accuracy; and the discovery of the rare genetic mutation that makes orange cats orange, among other highlights. Special relativity made visible Credit: TU Wien Perhaps the most well-known feature of Albert Einstein's special theory of relativity is time dilation and length contraction. In 1959, two physicists predicted another feature of relativistic motion: an object moving near the speed of light should also appear to be rotated. It's not been possible to demonstrate this experimentally, however—until now. Physicists at the Vienna University of Technology figured out how to reproduce this rotational effect in the lab using laser pulses and precision cameras, according to a paper published in the journal Communications Physics. They found their inspiration in art, specifically an earlier collaboration with an artist named Enar de Dios Rodriguez, who collaborated with VUT and the University of Vienna on a project involving ultra-fast photography and slow light. For this latest research, they used objects shaped like a cube and a sphere and moved them around the lab while zapping them with ultrashort laser pulses, recording the flashes with a high-speed camera. Getting the timing just right effectively yields similar results to a light speed of 2 m/s. After photographing the objects many times using this method, the team then combined the still images into a single image. The results: the cube looked twisted and the sphere's North Pole was in a different location—a demonstration of the rotational effect predicted back in 1959. DOI: Communications Physics, 2025. 10.1038/s42005-025-02003-6  (About DOIs). Drumming chimpanzees A chimpanzee feeling the rhythm. Credit: Current Biology/Eleuteri et al., 2025. Chimpanzees are known to "drum" on the roots of trees as a means of communication, often combining that action with what are known as "pant-hoot" vocalizations (see above video). Scientists have found that the chimps' drumming exhibits key elements of musical rhythm much like humans, according to  a paper published in the journal Current Biology—specifically non-random timing and isochrony. And chimps from different geographical regions have different drumming rhythms. Back in 2022, the same team observed that individual chimps had unique styles of "buttress drumming," which served as a kind of communication, letting others in the same group know their identity, location, and activity. This time around they wanted to know if this was also true of chimps living in different groups and whether their drumming was rhythmic in nature. So they collected video footage of the drumming behavior among 11 chimpanzee communities across six populations in East Africa (Uganda) and West Africa (Ivory Coast), amounting to 371 drumming bouts. Their analysis of the drum patterns confirmed their hypothesis. The western chimps drummed in regularly spaced hits, used faster tempos, and started drumming earlier during their pant-hoot vocalizations. Eastern chimps would alternate between shorter and longer spaced hits. Since this kind of rhythmic percussion is one of the earliest evolved forms of human musical expression and is ubiquitous across cultures, findings such as this could shed light on how our love of rhythm evolved. DOI: Current Biology, 2025. 10.1016/j.cub.2025.04.019  (About DOIs). Distinctive styles of two jazz greats Jazz lovers likely need no introduction to Joe Pass and Wes Montgomery, 20th century guitarists who influenced generations of jazz musicians with their innovative techniques. Montgomery, for instance, didn't use a pick, preferring to pluck the strings with his thumb—a method he developed because he practiced at night after working all day as a machinist and didn't want to wake his children or neighbors. Pass developed his own range of picking techniques, including fingerpicking, hybrid picking, and "flat picking." Chirag Gokani and Preston Wilson, both with Applied Research Laboratories and the University of Texas, Austin, greatly admired both Pass and Montgomery and decided to explore the underlying the acoustics of their distinctive playing, modeling the interactions of the thumb, fingers, and pick with a guitar string. They described their research during a meeting of the Acoustical Society of America in New Orleans, LA. Among their findings: Montgomery achieved his warm tone by playing closer to the bridge and mostly plucking at the string. Pass's rich tone arose from a combination of using a pick and playing closer to the guitar neck. There were also differences in how much a thumb, finger, and pick slip off the string:  use of the thumb (Montgomery) produced more of a "pluck" compared to the pick (Pass), which produced more of a "strike." Gokani and Wilson think their model could be used to synthesize digital guitars with a more realistic sound, as well as helping guitarists better emulate Pass and Montgomery. Sounds of an ancient underground city Credit: Sezin Nas Turkey is home to the underground city Derinkuyu, originally carved out inside soft volcanic rock around the 8th century BCE. It was later expanded to include four main ventilation channels (and some 50,000 smaller shafts) serving seven levels, which could be closed off from the inside with a large rolling stone. The city could hold up to 20,000 people and it  was connected to another underground city, Kaymakli, via tunnels. Derinkuyu helped protect Arab Muslims during the Arab-Byzantine wars, served as a refuge from the Ottomans in the 14th century, and as a haven for Armenians escaping persecution in the early 20th century, among other functions. The tunnels were rediscovered in the 1960s and about half of the city has been open to visitors since 2016. The site is naturally of great archaeological interest, but there has been little to no research on the acoustics of the site, particularly the ventilation channels—one of Derinkuyu's most unique features, according to Sezin Nas, an architectural acoustician at Istanbul Galata University in Turkey.  She gave a talk at a meeting of the Acoustical Society of America in New Orleans, LA, about her work on the site's acoustic environment. Nas analyzed a church, a living area, and a kitchen, measuring sound sources and reverberation patterns, among other factors, to create a 3D virtual soundscape. The hope is that a better understanding of this aspect of Derinkuyu could improve the design of future underground urban spaces—as well as one day using her virtual soundscape to enable visitors to experience the sounds of the city themselves. MIT's latest ping-pong robot Robots playing ping-pong have been a thing since the 1980s, of particular interest to scientists because it requires the robot to combine the slow, precise ability to grasp and pick up objects with dynamic, adaptable locomotion. Such robots need high-speed machine vision, fast motors and actuators, precise control, and the ability to make accurate predictions in real time, not to mention being able to develop a game strategy. More recent designs use AI techniques to allow the robots to "learn" from prior data to improve their performance. MIT researchers have built their own version of a ping-pong playing robot, incorporating a lightweight design and the ability to precisely return shots. They built on prior work developing the Humanoid, a small bipedal two-armed robot—specifically, modifying the Humanoid's arm by adding an extra degree of freedom to the wrist so the robot could control a ping-pong paddle. They tested their robot by mounting it on a ping-pong table and lobbing 150 balls at it from the other side of the table, capturing the action with high-speed cameras. The new bot can execute three different swing types (loop, drive, and chip) and during the trial runs it returned the ball with impressive accuracy across all three types: 88.4 percent, 89.2 percent, and 87.5 percent, respectively. Subsequent tweaks to theirrystem brought the robot's strike speed up to 19 meters per second (about 42 MPH), close to the 12 to 25 meters per second of advanced human players. The addition of control algorithms gave the robot the ability to aim. The robot still has limited mobility and reach because it has to be fixed to the ping-pong table but the MIT researchers plan to rig it to a gantry or wheeled platform in the future to address that shortcoming. Why orange cats are orange Credit: Astropulse/CC BY-SA 3.0 Cat lovers know orange cats are special for more than their unique coloring, but that's the quality that has intrigued scientists for almost a century. Sure, lots of animals have orange, ginger, or yellow hues, like tigers, orangutans, and golden retrievers. But in domestic cats that color is specifically linked to sex. Almost all orange cats are male. Scientists have now identified the genetic mutation responsible and it appears to be unique to cats, according to a paper published in the journal Current Biology. Prior work had narrowed down the region on the X chromosome most likely to contain the relevant mutation. The scientists knew that females usually have just one copy of the mutation and in that case have tortoiseshell (partially orange) coloring, although in rare cases, a female cat will be orange if both X chromosomes have the mutation. Over the last five to ten years, there has been an explosion in genome resources (including complete sequenced genomes) for cats which greatly aided the team's research, along with taking additional DNA samples from cats at spay and neuter clinics. From an initial pool of 51 candidate variants, the scientists narrowed it down to three genes, only one of which was likely to play any role in gene regulation: Arhgap36. It wasn't known to play any role in pigment cells in humans, mice, or non-orange cats. But orange cats are special; their mutation (sex-linked orange) turns on Arhgap36 expression in pigment cells (and only pigment cells), thereby interfering with the molecular pathway that controls coat color in other orange-shaded mammals. The scientists suggest that this is an example of how genes can acquire new functions, thereby enabling species to better adapt and evolve. DOI: Current Biology, 2025. 10.1016/j.cub.2025.03.075  (About DOIs). Not a Roman "massacre" after all Credit: Martin Smith In 1936, archaeologists excavating the Iron Age hill fort Maiden Castle in the UK unearthed dozens of human skeletons, all showing signs of lethal injuries to the head and upper body—likely inflicted with weaponry. At the time, this was interpreted as evidence of a pitched battle between the Britons of the local Durotriges tribe and invading Romans. The Romans slaughtered the native inhabitants, thereby bringing a sudden violent end to the Iron Age. At least that's the popular narrative that has prevailed ever since in countless popular articles, books, and documentaries. But a paper published in the Oxford Journal of Archaeology calls that narrative into question. Archaeologists at Bournemouth University have re-analyzed those burials, incorporating radiocarbon dating into their efforts. They concluded that those individuals didn't die in a single brutal battle. Rather, it was Britons killing other Britons over multiple generations between the first century BCE and the first century CE—most likely in periodic localized outbursts of violence in the lead-up to the Roman conquest of Britain. It's possible there are still many human remains waiting to be discovered at the site, which could shed further light on what happened at Maiden Castle. DOI: Oxford Journal of Archaeology, 2025. 10.1111/ojoa.12324  (About DOIs). Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 4 Comments