Cannes Lions, Design, Jessica Walsh, Spain, Creative Industry, Shortlist, International Festivals, Art and Design, Madrid --- ## A Glimpse into Cannes Lions 2025 Every year, the Cannes Lions festival shines a spotlight on the most innovative and impactful work in the creative industry. It is a sanctuary for creativity, where brilliance meets recognition. Yet, as we approach the Cannes Lions...

Key Takeaways on Ant PoopDo ants poop? Yes. Any creature that eats will poop and ants are no exception. Because ants live in close quarters, they need to protect the colony from their feces so bacteria and fungus doesn't infect their health. This is why they use toilet chambers. Whether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. But some ants find a use for that stuff. One such species is the leafcutter ant that takes little clippings of leaves and uses these leaves to grow a very particular fungus that they then eat.Like urban humans, ants live in close quarters. Ant colonies can be home to thousands, even tens of thousands of individuals, depending on the species. And like any creature that eats, ants poop. When you combine close quarters and loads of feces, you have a recipe for disease, says Jessica Ware, curator and division chair of Invertebrate Zoology at the American Museum of Natural History. “Ant poop can harbor bacteria, and because it contains partly undigested food, it can grow bacteria and fungus that could threaten the health of the colony,” Ware says. But ant colonies aren’t seething beds of disease. That’s because ants are scrupulous about hygiene.Ants Do Poop and Ant Toilets Are RealAnt colony underground with ant chambers. (Image Credit: Lidok_L/Shutterstock)To keep themselves and their nests clean, ants have evolved some interesting housekeeping strategies. Some types of ants actually have toilets — or at least something we might call toilets. Their nests are very complicated, with lots of different tunnels and chambers, explains Ware, and one of those chambers is a toilet chamber. Ants don’t visit the toilet when they feel the call of nature. Instead, worker ants who are on latrine duty collect the poop and carry it to the toilet chamber, which is located far away from other parts of the nest. What Does Ant Poop Look Like? This isn’t as messy a chore as it sounds. Like most insects, ants are water-limited, says Ware, so they try to get as much liquid out of their food as possible. This results in small, hard, usually black or brownish pellets of poop. The poop is dry and hard enough so that for ant species that don’t have indoor toilet chambers, the workers can just kick the poop out of the nest.Ants Use Poop as FertilizerWhether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. Well, at least most types of ants don’t. Some ants find a use for that stuff. One such species is the leafcutter ant. “They basically take little clippings of leaves and use these leaves to grow a very particular fungus that they then eat,” says Ware. “They don't eat the leaves, they eat the fungus.” And yep, they use their poop to fertilize their crops. “They’re basically gardeners,” Ware says. If you’d like to see leafcutter ants at work in their gardens and you happen to be in the New York City area, drop by the American Museum of Natural History. They have a large colony of fungus-gardening ants on display.Other Insects That Use ToiletsAnts may have toilets, but termites have even wilder ways of dealing with their wastes. Termites and ants might seem similar at first sight, but they aren’t closely related. Ants are more closely related to bees, while termites are more closely related to cockroaches, explains Aram Mikaelyan, an entomologist at North Carolina State University who studies the co-evolution of insects and their gut microbiomes. So ants’ and termites’ styles of social living evolved independently, and their solutions to the waste problem are quite different.“Termites have found a way to not distance themselves from the feces,” says Mikaelyan. “Instead, they use the feces itself as building material.” They’re able to do this because they feed on wood, Mikaelyan explains. When wood passes through the termites’ digestive systems into the poop, it enables a type of bacteria called Actinobacteria. These bacteria are the source of many antibiotics that humans use. (Leafcutter ants also use Actinobacteria to keep their fungus gardens free of parasites.) So that unusual building material acts as a disinfectant. Mikaelyan describes it as “a living disinfectant wall, like a Clorox wall, almost.”Insect HygieneIt may seem surprising that ants and termites are so tidy and concerned with hygiene, but it’s really not uncommon. “Insects in general are cleaner than we think,” says Ware. “We often think of insects as being really gross, but most insects don’t want to lie in their own filth.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:The American Society of Microbiology. The Leaf-cutter Ant’s 50 Million Years of FarmingAvery Hurt is a freelance science journalist. In addition to writing for Discover, she writes regularly for a variety of outlets, both print and online, including National Geographic, Science News Explores, Medscape, and WebMD. She’s the author of Bullet With Your Name on It: What You Will Probably Die From and What You Can Do About It, Clerisy Press 2007, as well as several books for young readers. Avery got her start in journalism while attending university, writing for the school newspaper and editing the student non-fiction magazine. Though she writes about all areas of science, she is particularly interested in neuroscience, the science of consciousness, and AI–interests she developed while earning a degree in philosophy.

Donald Trump’s military parade in Washington this weekend — a show of force in the capital that just happens to take place on the president’s birthday — smacks of authoritarian Dear Leader-style politics (even though Trump actually got the idea after attending the 2017 Bastille Day parade in Paris).Yet as disconcerting as the imagery of tanks rolling down Constitution Avenue will be, it’s not even close to Trump’s most insidious assault on the US military’s historic and democratically essential nonpartisan ethos.In fact, it’s not even the most worrying thing he’s done this week.On Tuesday, the president gave a speech at Fort Bragg, an Army base home to Special Operations Command. While presidential speeches to soldiers are not uncommon — rows of uniformed troops make a great backdrop for a foreign policy speech — they generally avoid overt partisan attacks and campaign-style rhetoric. The soldiers, for their part, are expected to be studiously neutral, laughing at jokes and such, but remaining fully impassive during any policy conversation.That’s not what happened at Fort Bragg. Trump’s speech was a partisan tirade that targeted “radical left” opponents ranging from Joe Biden to Los Angeles Mayor Karen Bass. He celebrated his deployment of Marines to Los Angeles, proposed jailing people for burning the American flag, and called on soldiers to be “aggressive” toward the protesters they encountered.The soldiers, for their part, cheered Trump and booed his enemies — as they were seemingly expected to. Reporters at Military.com, a military news service, uncovered internal communications from 82nd Airborne leadership suggesting that the crowd was screened for their political opinions.“If soldiers have political views that are in opposition to the current administration and they don’t want to be in the audience then they need to speak with their leadership and get swapped out,” one note read.To call this unusual is an understatement. I spoke with four different experts on civil-military relations, two of whom teach at the Naval War College, about the speech and its implications. To a person, they said it was a step towards politicizing the military with no real precedent in modern American history.“That is, I think, a really big red flag because it means the military’s professional ethic is breaking down internally,” says Risa Brooks, a professor at Marquette University. “Its capacity to maintain that firewall against civilian politicization may be faltering.”This may sound alarmist — like an overreading of a one-off incident — but it’s part of a bigger pattern. The totality of Trump administration policies, ranging from the parade in Washington to the LA troop deployment to Secretary of Defense Pete Hegseth’s firing of high-ranking women and officers of color, suggests a concerted effort to erode the military’s professional ethos and turn it into an institution subservient to the Trump administration’s whims. This is a signal policy aim of would-be dictators, who wish to head off the risk of a coup and ensure the armed forces’ political reliability if they are needed to repress dissent in a crisis.Steve Saideman, a professor at Carleton University, put together a list of eight different signs that a military is being politicized in this fashion. The Trump administration has exhibited six out of the eight.“The biggest theme is that we are seeing a number of checks on the executive fail at the same time — and that’s what’s making individual events seem more alarming than they might otherwise,” says Jessica Blankshain, a professor at the Naval War College (speaking not for the military but in a personal capacity).That Trump is trying to politicize the military does not mean he has succeeded. There are several signs, including Trump’s handpicked chair of the Joint Chiefs repudiating the president’s claims of a migrant invasion during congressional testimony, that the US military is resisting Trump’s politicization.But the events in Fort Bragg and Washington suggest that we are in the midst of a quiet crisis in civil-military relations in the United States — one whose implications for American democracy’s future could well be profound.The Trump crisis in civil-military relations, explainedA military is, by sheer fact of its existence, a threat to any civilian government. If you have an institution that controls the overwhelming bulk of weaponry in a society, it always has the physical capacity to seize control of the government at gunpoint. A key question for any government is how to convince the armed forces that they cannot or should not take power for themselves.Democracies typically do this through a process called “professionalization.” Soldiers are rigorously taught to think of themselves as a class of public servants, people trained to perform a specific job within defined parameters. Their ultimate loyalty is not to their generals or even individual presidents, but rather to the people and the constitutional order.Samuel Huntington, the late Harvard political scientist, is the canonical theorist of a professional military. In his book The Soldier and the State, he described optimal professionalization as a system of “objective control”: one in which the military retains autonomy in how they fight and plan for wars while deferring to politicians on whether and why to fight in the first place. In effect, they stay out of the politicians’ affairs while the politicians stay out of theirs.The idea of such a system is to emphasize to the military that they are professionals: Their responsibility isn’t deciding when to use force, but only to conduct operations as effectively as possible once ordered to engage in them. There is thus a strict firewall between military affairs, on the one hand, and policy-political affairs on the other.Typically, the chief worry is that the military breaches this bargain: that, for example, a general starts speaking out against elected officials’ policies in ways that undermine civilian control. This is not a hypothetical fear in the United States, with the most famous such example being Gen. Douglas MacArthur’s insubordination during the Korean War. Thankfully, not even MacArthur attempted the worst-case version of military overstep — a coup.But in backsliding democracies like the modern United States, where the chief executive is attempting an anti-democratic power grab, the military poses a very different kind of threat to democracy — in fact, something akin to the exact opposite of the typical scenario.In such cases, the issue isn’t the military inserting itself into politics but rather the civilians dragging them into it in ways that upset the democratic political order. The worst-case scenario is that the military acts on presidential directives to use force against domestic dissenters, destroying democracy not by ignoring civilian orders, but by following them.There are two ways to arrive at such a worst-case scenario, both of which are in evidence in the early days of Trump 2.0.First is politicization: an intentional attack on the constraints against partisan activity inside the professional ranks.Many of Pete Hegseth’s major moves as secretary of defense fit this bill, including his decisions to fire nonwhite and female generals seen as politically unreliable and his effort to undermine the independence of the military’s lawyers. The breaches in protocol at Fort Bragg are both consequences and causes of politicization: They could only happen in an environment of loosened constraint, and they might encourage more overt political action if gone unpunished.The second pathway to breakdown is the weaponization of professionalism against itself. Here, Trump exploits the military’s deference to politicians by ordering it to engage in undemocratic (and even questionably legal) activities. In practice, this looks a lot like the LA deployments, and, more specifically, the lack of any visible military pushback. While the military readily agreeing to deployments is normally a good sign — that civilian control is holding — these aren’t normal times. And this isn’t a normal deployment, but rather one that comes uncomfortably close to the military being ordered to assist in repressing overwhelmingly peaceful demonstrations against executive abuses of power.“It’s really been pretty uncommon to use the military for law enforcement,” says David Burbach, another Naval War College professor (also speaking personally). “This is really bringing the military into frontline law enforcement when. … these are really not huge disturbances.”This, then, is the crisis: an incremental and slow-rolling effort by the Trump administration to erode the norms and procedures designed to prevent the military from being used as a tool of domestic repression. Is it time to panic?Among the experts I spoke with, there was consensus that the military’s professional and nonpartisan ethos was weakening. This isn’t just because of Trump, but his terms — the first to a degree, and now the second acutely — are major stressors.Yet there was no consensus on just how much military nonpartisanship has eroded — that is, how close we are to a moment when the US military might be willing to follow obviously authoritarian orders.For all its faults, the US military’s professional ethos is a really important part of its identity and self-conception. While few soldiers may actually read Sam Huntington or similar scholars, the general idea that they serve the people and the republic is a bedrock principle among the ranks. There is a reason why the United States has never, in over 250 years of governance, experienced a military coup — or even come particularly close to one.In theory, this ethos should also galvanize resistance to Trump’s efforts at politicization. Soldiers are not unthinking automatons: While they are trained to follow commands, they are explicitly obligated to refuse illegal orders, even coming from the president. The more aggressive Trump’s efforts to use the military as a tool of repression gets, the more likely there is to be resistance.Or, at least theoretically.The truth is that we don’t really know how the US military will respond to a situation like this. Like so many of Trump’s second-term policies, their efforts to bend the military to their will are unprecedented — actions with no real parallel in the modern history of the American military. Experts can only make informed guesses, based on their sense of US military culture as well as comparisons to historical and foreign cases.For this reason, there are probably only two things we can say with confidence.First, what we’ve seen so far is not yet sufficient evidence to declare that the military is in Trump’s thrall. The signs of decay are too limited to ground any conclusions that the longstanding professional norm is entirely gone.“We have seen a few things that are potentially alarming about erosion of the military’s non-partisan norm. But not in a way that’s definitive at this point,” Blankshain says.Second, the stressors on this tradition are going to keep piling on. Trump’s record makes it exceptionally clear that he wants the military to serve him personally — and that he, and Hegseth, will keep working to make it so. This means we really are in the midst of a quiet crisis, and will likely remain so for the foreseeable future.“The fact that he’s getting the troops to cheer for booing Democratic leaders at a time when there’s actually [a deployment to] a blue city and a blue state…he is ordering the troops to take a side,” Saideman says. “There may not be a coherent plan behind this. But there are a lot of things going on that are all in the same direction.”See More: Politics

Pixar has been delighting audiences with its house animation style and world-building for three decades, and the Disney-owned animation studio is showing no signs of slowing down. And unlike Andy, they haven’t aged out of playing with their toys.  At the Annecy’s International Animation Film Festival, Pixar dropped a series of announcements, teasers, and special previews of their upcoming slate, including the much-anticipated first-look at Toy Story 5.  Den of Geek attended a private screening, with remarks from Pixar’s Chief Creative Officer, Pete Docter, in early June ahead of the festival. During the presentation to the press, Docter hinted at the company putting its focus and energy to its theatrical slate, a notable change after recent releases like Dream Productions, set in the Inside Out universe, and the original Win or Lose debuted in early 2025. It’s a telling sign for Disney’s shifting approach to Disney+. The studio’s latest film, Elio, hit theaters on June 20th. “Our hope is that we can somehow tap into the things that people remember about the communal experience of seeing things together,” Docter said. “It’s different than sitting at home on your computer watching something [compared to] when you sit with other human beings in the dark and watch the flickering light on the screen. There’s something kind of magic about that.”  Pixar is aiming to be back on a timeline of three films every two years, with Toy Story 5 and an original story titled Hoppers releasing in 2026, and another original, Gatto, hitting theaters in 2027.  Docter boldly stated that Pixar is “standing on one of the strongest slates we’ve ever had.” While bullish for a studio that has had an unprecedented run of success in the world of animated features, the early footage we saw leaves plenty of room for optimism. Is Pixar so back? Here’s what we learned from the presentation and footage…  Toy Story 5 – June 19, 2026  Woody, Buzz, Jesse and the gang will all be returning for the fifth feature film in one of Pixar’s most beloved franchises. Docter confirmed Tom Hanks, Tim Allen and Joan Cusack will reprise their respective roles. Written and directed by Andrew Stanton, who has worked on all of the films, and co-directed by McKenna Harris, Toy Story 5 catches up to our modern, tech-oriented world, and how that affects children’s interests. Bonnie, now eight, is given a brand new, shiny tablet, called a Lily Pad. The new tech allows Bonnie to stay connected and chat with all of her friends, slowly detaching her from her old toys. But just like all the other toys, Lily can talk, and she’s quite sneaky. Lily believes Bonnie needs to get rid of her old, childish toys completely. Feeling Bonnie slipping away, the toys call Woody for back up, but after not seeing Buzz for some time, the two go back to their old ways of constantly butting heads.  “With some films, you’ll struggle to find new things to talk about. And you know, this is [Toy Story 5]. We still are finding new aspects of what it is to be a toy… There’s more of a spotlight on Jesse, so there’s that’s a whole nother facet to it as well. And she’s just such a rich, wonderful character to see on screen,” Docter says. Pixar screened the opening scene for press, which saw a fresh pallet of new Buzz Lightyear figures washed up in a shipping container on a remote island. Think Toy Story meets Cast Away as the Lightyears band together to concoct a way to get home, wherever that might be, in an unexpectedly gripping start to the fifth installment. Join our mailing list Get the best of Den of Geek delivered right to your inbox! HOPPERS – © 2025 Disney/Pixar. All Rights Reserved. Hoppers – March 6, 2026  Preceding Toy Story 5 and kicking off 2026 for Pixar will be an all-new story, Hoppers.  The film follows Mabel (Piper Curda), a college student and nature enthusiast as she fights to save a beloved glade near her childhood home from a highway project that will bulldoze through it– brought forth by the greedy mayor voiced by Jon Hamm. With little support from those around her, Mabel enlists the help of “hoppers,” a clever group of scientists who’ve found a way to “hop” their minds into robots. When Mabel hops into the body of a beaver, she sets off to get other animals to return to the glade, hopefully halting construction. The animals take her to meet their rather conflict-avoidant leader, King George (Bobby Moynihan), and she soon learns that the animal world is a lot more complex than she had thought.  The footage screened saw Jon Hamm’s mayor abducted by beavers in a slapstick scene that corroborated Docter’s excitement for the project. Like Pixar’s highest highs, Hoppers appears to be charming and big-hearted, and it certainly won’t hurt merchandise sales at the Disney parks with the adorably designed animals in this film. Docter compared Hoppers to Mission Impossible meets Planet Earth. We’re locked in.  GATTO – © 2025 Disney/Pixar. All Rights Reserved. Gatto – Summer 2027  In maybe the most creatively intriguing announcement, a new film titled Gatto is in production from the team behind Luca. Gatto will employ the same classic Pixar animation-style, but with a painterly twist to match the artistic vibe of Venice. The art direction shown in short clips was stunning and unique spin on Pixar’s house style. The film is set in Venice, Italy, a destination popular for its stunning architecture and romantic ambience, that some only dream of visiting one day. It’s not so ideal, however, for Nero, the protagonist of the upcoming Pixar-original film, Gato. Nero is a black cat, who people turn the other way from because they fear he’s bad luck. With no other options, Nero turns to the seedier side of the stray cat scene in Venice, where he soon finds himself in hot water with Rocco, a cat mob boss. The heart of the film is Nero’s love for music, and his budding friendship with a street musician named Maya, who is also an outsider.

This is today’s edition of The Download, our weekday newsletter that provides a daily dose of what’s going on in the world of technology.Tech billionaires are making a risky bet with humanity’s future Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals, but their grand visions for the next decade and beyond are remarkably similar.They include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality (or something close to it); establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos.Three features play a central role with powering these visions, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits.In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker reveals how these fantastical visions conceal a darker agenda. Read the full story. —Bryan Gardiner This story is from the next print edition of MIT Technology Review, which explores power—who has it, and who wants it. It’s set to go live on Wednesday June 25, so subscribe & save 25% to read it and get a copy of the issue when it lands! Here’s what food and drug regulation might look like under the Trump administration Earlier this week, two new leaders of the US Food and Drug Administration published a list of priorities for the agency. Both Marty Makary and Vinay Prasad are controversial figures in the science community. They were generally highly respected academics until the covid pandemic, when their contrarian opinions on masking, vaccines, and lockdowns turned many of their colleagues off them. Given all this, along with recent mass firings of FDA employees, lots of people were pretty anxious to see what this list might include—and what we might expect the future of food and drug regulation in the US to look like. So let’s dive into the pair’s plans for new investigations, speedy approvals, and the “unleashing” of AI. —Jessica Hamzelou This article first appeared in The Checkup, MIT Technology Review’s weekly biotech newsletter. To receive it in your inbox every Thursday, and read articles like this first, sign up here. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 NASA is investigating leaks on the ISSIt’s postponed launching private astronauts to the station while it evaluates. (WP $)+ Its core component has been springing small air leaks for months. (Reuters)+ Meanwhile, this Chinese probe is en route to a near-Earth asteroid. (Wired $) 2 Undocumented migrants are using social media to warn of ICE raidsThe DIY networks are anonymously reporting police presences across LA. (Wired $)+ Platforms’ relationships with protest activism has changed drastically. (NY Mag $)  3 Google’s AI Overviews is hallucinating about the fatal Air India crashIt incorrectly stated that it involved an Airbus plane, not a Boeing 787. (Ars Technica)+ Why Google’s AI Overviews gets things wrong. (MIT Technology Review) 4 Chinese engineers are sneaking suitcases of hard drives into the countryTo covertly train advanced AI models. (WSJ $)+ The US is cracking down on Huawei’s ability to produce chips. (Bloomberg $)+ What the US-China AI race overlooks. (Rest of World) 5 The National Hurricane Center is joining forces with DeepMindIt’s the first time the center has used AI to predict nature’s worst storms. (NYT $)+ Here’s what we know about hurricanes and climate change. (MIT Technology Review) 6 OpenAI is working on a product with toymaker MattelAI-powered Barbies?! (FT $)+ Nothing is safe from the creep of AI, not even playtime. (LA Times $)+ OpenAI has ambitions to reach billions of users. (Bloomberg $) 7 Chatbots posing as licensed therapists may be breaking the lawDigital rights organizations have filed a complaint to the FTC. (404 Media)+ How do you teach an AI model to give therapy? (MIT Technology Review) 8 Major companies are abandoning their climate commitmentsBut some experts argue this may not be entirely bad. (Bloomberg $)+ Google, Amazon and the problem with Big Tech’s climate claims. (MIT Technology Review) 9 Vibe coding is shaking up software engineeringEven though AI-generated code is inherently unreliable. (Wired $)+ What is vibe coding, exactly? (MIT Technology Review) 10 TikTok really loves hotdogs And who can blame it? (Insider $) Quote of the day “It kind of jams two years of work into two months.” —Andrew Butcher, president of the Maine Connectivity Authority, tells Ars Technica why it’s so difficult to meet the Trump administration’s new plans to increase broadband access in certain states. One more thing The surprising barrier that keeps us from building the housing we needIt’s a tough time to try and buy a home in America. From the beginning of the pandemic to early 2024, US home prices rose by 47%. In large swaths of the country, buying a home is no longer a possibility even for those with middle-class incomes. For many, that marks the end of an American dream built around owning a house. Over the same time, rents have gone up 26%.The reason for the current rise in the cost of housing is clear to most economists: a lack of supply. Simply put, we don’t build enough houses and apartments, and we haven’t for years. But the reality is that even if we ease the endless permitting delays and begin cutting red tape, we will still be faced with a distressing fact: The construction industry is not very efficient when it comes to building stuff. Read the full story. —David Rotman We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet ’em at me.) + If you’re one of the unlucky people who has triskaidekaphobia, look away now.+ 15-year old Nicholas is preparing to head from his home in the UK to Japan to become a professional sumo wrestler.+ Earlier this week, London played host to 20,000 women in bald caps. But why? ($)+ Why do dads watch TV standing up? I need to know.

By TREVOR HOGG Images courtesy of Pixar. The character design of Glordon is based on a tardigrade, which is a microscopic water bear. Rather than look at the unknown as something to be feared, Pixar has decided to do some wish fulfillment with Elio, where a lonely adolescent astrophile gets abducted by aliens and is mistaken as the leader of Earth. Originally conceived and directed by Adrian Molina, the coming-of-age science fiction adventure was shepherded by Domee Shi and Madeline Sharafian, who had previously worked together on Turning Red. “Space is often seen as dark, mysterious and scary, but there is also so much hope, wonder and curiosity,” notes Shi, director of Elio. “It’s like anything is ‘out there.’ Elio captures how a lot of us feel at different points of our lives, when we were kids like him, or even now wanting to be off of this current planet because it’s just too much. For Elio, it’s a rescue. I feel that there’s something so universal about that feeling of wanting to be taken away and taken care of. To know that you’re not alone and somebody chose you and picked you up.” The character design of Glordon is based on a tardigrade, which is a microscopic water bear. There is a stark contrast between how Earth and the alien world, known as the Communiverse, are portrayed. “The more we worked with the animators on Glordon and Helix, they began to realize that Domee and I respond positively when those [alien] characters are exaggerated, made cute, round and chubby,” states Sharafian, director of Elio. “That automatically started to differentiate the way the Earth and space feel.” A certain question had to be answered when designing the United Nations-inspired Communiverse. “It was coming from a place of this lonely kid who feels like no one wants him on Earth,” Shi explains. “What would be heaven and paradise for him? The Communiverse was built around that idea.” A sense of belonging is an important theme. “It’s also inspired by Adrian Molina’s backstory, and our backstories too, of going to animation college,” Sharafian remarks. “For the first time, we said, ‘This is where everybody like me is!’” Green is the thematic color for Elio. Visual effects are an important storytelling tool. “Especially, for our movie, which is about this boy going to this crazy incredible world of the Communiverse,” Shi observes. “It has to be dazzling and look spectacular on the big screen and feel like paradise. Elio is such a visual feast, and you do feel like, ‘I want to stay here no matter what. I can’t believe that this place even exists.’ Visual effects are a powerful tool to help you feel what the characters are feeling.” A wishlist became a reality for the directors. “Claudia Chung Sanii [Visual Effects Supervisor] gave Domee and me carte blanche for wish fulfillment for ourselves,” Sharafian remarks. “What do you want Elio’s outfit in space to look like? It was a difficult costume, but now when we watch the movie, we’re all so proud of it. Elio looks fabulous, and he’s so happy to be wearing that outfit. Who would want to take that off?” The Communiverse was meant to feel like a place that a child would love to visit and explore. Methodology rather than technology went through the biggest change for the production. “The Communiverse is super complex and has lots of moving pieces. But there’s not much CG can’t do anymore,” notes Claudia Chung Sanii. “Elemental did effects characters. We did long curly hair, dresses, capes, water and fire. What we hadn’t done before was be a part of that design process. How do we get lighting into layout? How do we see the shaders in animation in layout? The tools department was working on a software called Luna which does that. I went to the tools department and asked, ‘Can I play around with it?’ They were like, ‘Okay. But it’s not ready yet.’ Tools will basically be bringing RenderMan and an interactive lighting workflow to the pipeline across all of these DCCs. Because we light in Katana, you can’t get back upstream. The conceit that we were dipping our toe in on Elio was, ‘Whatever you do in lighting, anyone on the pipeline can see it.’” The influence of microscopic forms and macro photography grounded the Communiverse in natural phenomena. The variety in the Communiverse is a contrast to the regimented world on the military base. There were no departmental borders, in particular with cinematography. “We had our layout and lighting DPs start on the same day. Derek Williams wouldn’t shoot anything without Jordan Rempel, our lighting DP, seeing it,” Sanii states. “Jordan would drop in lighting and start doing key lighting as Derek’s team was laying out. It wasn’t like you had to hit the render button, wait for the render to come up and go, ‘Oh, my god, it’s dark! I didn’t know that it was nighttime.’” A new term was adopted. “Meredith Hom [Production Manager] and I pulled the entire crew and leadership into this mental concept that we called the ‘college project.’ For some of us, college was a time when we didn’t have titles and crafts. You begged, borrowed and stole to hit that deadline. So much of our world has become linear in our process that I wanted to break that down to, ‘No. We’re all working together. The scope of this film is too large for us to wait for each other to finish our piece. If this person is slammed, fine. Figure out a different idea to do it with what tools you have.’” Directors Domee Shi and Madeline Sharafian are drawn to chubby, exaggerated and cute characters. Forgoing the word ‘no’ led to the technology breaking down. “I remember times when crowds [department] is dressing all of the aliens and because of forgetting to constrain it to the Communiverse, they all show up at the origin, and you’re going, ‘Why is there a whole party going on over there?’” Sanii laughs. “On Elio, it was always forward. There were no rules about locking things down or not installing over the weekend. It was always like, ‘Put it all in, and we’ll deal with it on Monday.’ There would be some funny stuff. We never QC’d something before walking it into the room. Everyone saw how the sausage was made. It was fun and not fun for Harley Jessup [Production Designer] because sometimes there would be a big thing in the middle screen, and he would say, ‘Is that finished?’ There was no way we could get through this film if we kept trying to fix the thing that broke.” An aerial image of Elio as he attempts to get abducted by aliens. Part of the design of the Coummuniverse was inspired by Chinese puzzle balls. A former visual effects art director at ILM, Harley Jessup found his previous experiences on projects like Innerspace to be helpful on Elio. “I liked that the directors wanted to build on the effects films from the 1980s and early 1990s,” reflects Jessup. “I was there and part of that. It was fun to look back. At the time, the techniques were all practical, matte paintings and miniatures, which are fun to work with, but without the safety net of CG. One thing Dennis Muren [VES] was keen on, was how people see things like the natural phenomenon you might see in a microscopic or macro photography form. We were using that. I was looking at the mothership of Close Encounters of the Third Kind, which Dennis shot when he was a young artist. It was nice to be able to bring all of that history to this film.” Earth was impacted by a comment made by Pete Docter (CCO, Pixar). “He said, ‘The military base should feel like a parking lot,” Jessup reveals. “You should know why Elio wants to be anywhere else. And the Communiverse needs to be inviting. We built a lot of contrast into those two worlds. The brutalist architecture on the military base, with its hard edges and heavy horizontal forms close to the earth, needed to be harsh but beautiful in its own way, so we tried for that. The Communiverse would be in contrast and be all curves, translucent surfaces and stained-glass backlit effects. Things were wide open about what it could be because each of the aliens are from a different climate and gravity. There are some buildings that are actually upside down on it, and the whole thing is rotating inside like clockwork. It is hopefully an appealing, fun world. It’s not a dystopian outer space.” Exploring various facial expressions for Elio. A tough character to get right was Aunt Olga, who struggles to be the guardian of her nephew. Character designs of Elio and Glordon. which shows them interacting with each other. Architecture was devised to reflect the desired tone for scenes. “In the Grand Assembly Hall where each alien has a desk and booth, the booth is shaped like an eyelid that can close or open,” Jessup explains. “It increases the feeling that they’re evaluating and observing Elio and each of the candidates that have come to join the Communiverse.” A couple of iconic cinematic franchises were avoided for aesthetic reasons. “As much as I love Star Wars and Star Trek, we wanted to be different from those kinds of aliens that are often more humanoid.” Ooooo was the first alien to be designed. “We did Ooooo in collaboration with the effects team, which was small at that time. She was described as a liquid supercomputer. We actually used the wireframe that was turning up and asked, what if it ended up being this network of little lights that are moving around and can express how much she was thinking? Ooooo is Elio’s guide to the Communiverse; her body would deform, so she could become a big screen or reach out and pluck things. Ooooo has an ability like an amoeba to stretch.” Flexibility is important when figuring out shot design. “On Elio, we provided the layout department with a rudimentary version of our environments,” states David Luoh, Sets Supervisor. “It might be simple geometry. We’re not worried necessarily about shading, color and material yet. Things are roughly in place but also built in a way that is flexible. As they’re sorting out the camera and testing out staging, they can move elements of the set around. Maybe this architectural piece needs to be shifted or larger or smaller. There was a variation on what was typically expected of set deliveries of environments to our layout department. That bar was lowered to give the layout department something to work with sooner and also with more flexibility. From their work we get context as to how we partner with our art and design department to build and finalize those environments.” Regional biomes known as disks are part of the Communiverse. “There are aquatic, lush forest, snow and ice, and hot lava disks,” Luoh remarks. “The hot disk is grounded in the desert, volcanic rock and lava, while for the lush disk we looked at interesting plant life found in the world around us.” The Communiverse is a complex geometric form. “We wanted these natural arrangements of alien districts, and that was all happening on this twisting and curving terrain in a way that made traditional dressing approaches clunky. Oftentimes, you’re putting something on the ground or mounted, and the ground is always facing upward. But if you have to dress the wall or ceiling, it becomes a lot more difficult to manipulate and place on something with that dynamic and shape. You have stuff that casts light, is see-through and shifting over time. Ooooo is a living character that looks like electronic circuitry that is constantly moving, and we also have that element in the walls, floors and bubble transport that carry the characters around.” Sets were adjusted throughout the production. “We try to anticipate situations that might come up,” Luoh states. “What if we have a series of shots where you’re getting closer and closer to the Communiverse and you have to bridge the distance between your hero and set extension background? There is a partnership with story, but certainly with our layout camera staging department. As we see shots come out of their work, we know where we need to spend the time to figure out, are we going to see the distant hills in this way? We’re not going to build it until we know because it can be labor-intensive. There is a responsiveness to what we are starting to see as shots get made.” Combining the familiar into something unfamiliar was a process. “There was this curation of being inspired by existing alien sci-fi depictions, but also reaching back into biological phenomena or interesting material because we wanted to ground a lot of those visual elements and ideas in something that people could intuitively grasp on to, even if they were combined or arranged in a way that is surprising, strange and delightful.”