The biggest American film of the year so far, perhaps a little surprisingly, is A Minecraft Movie, the highly meme-able comedy based on the hugely popular series of Minecraft video games.So far, the film, directed by Jared Hess, has grossed over $950 million in theaters worldwide, nearly $150 million more than its closest competition. (That would be Lilo & Stitch.) With little else to prove in theaters, the movie is now headed to streaming, and will premiere on Max (soon to be HBO Max again) in one week.In the film, a former video game champion (Jason Momoa) and a troubled teenager (Sebastian Hansen) discover a magical object that leads them into the Minecraft world. There, they meet — who else? — Steve, played by Jack Black. The human heroes need to team up to save this strange, blocky universe from the evil Malgosha, a piglin from the fiery Nether realm.Warner Bros.Warner Bros.loading...The film’s quirky sense of humor and highly quotable dialogue (like “Chicken jockey!” and “I ... am Steve!”) helped A Minecraft Movie go viral even before it had hit theaters. Huge crowds of young teens flocked to the theater (something they don’t do all that often anymore, sadly) to scream the lines back at the screen, copying a trend they’d seen on TikTok. I witnessed it first-hand and, since I don’t use TikTok, I was totally baffled. (I’m so old.)Kids got so rowdy at some screenings that police had to be called to settle things down. (Warner Bros. later help special screenings where screaming back the screen was encouraged.) Now that Minecraft will be on Max, you can yell “Flint and steel!” to your heart’s content without having to worry about getting arrested (unless your neighbors are real narcs). Chicken jockeys ... start your, uh, chickens.A Minecraft Movie debuts on Max on June 20.Get our free mobile appThe 10 Worst TV Game Shows of All TimeFrom boring to overcomplicated to just plain offensive, we've plumbed the depths of the last few decades of reality game show television to bring you the worst of the worst.Gallery Credit: Emma Stefansky

Crypto criminals can’t hide The single largest cryptocurrency heist in history took place one day in late February, when hackers exploited system vulnerabilities in Bybit, a Dubai-based crypto exchange, siphoning off a whopping $1.5 billion in digital assets within minutes. Bybit’s security team immediately launched an investigation that would eventually involve the FBI and several blockchain intelligence companies. Among those involved from the beginning were the experts at TRM Labs, a San Francisco-based company of around 300 that analyzes the blockchain networks which power cryptocurrency transactions to investigate—and prevent—fraud and financial crimes. “Literally from the first minutes, we were involved,”  says Ari Redbord, the company’s global head of policy, “working with Bybit and law enforcement partners like the FBI to track and trace funds.” The attack was soon attributed to a North Korean state-sponsored hacker organization commonly known as Lazarus Group. Lazarus has been blamed for a series of high-profile cybercrimes in recent years, including the 2014 hack on Sony Pictures Entertainment, the 2016 digital heist from the Bangladeshi central bank and, more recently, billions of dollars in digital currency thefts. TRM was among the first to attribute the Bybit attack after detecting an overlap between the blockchain resources used here and those used in Lazarus’s previous thefts. Since then, the company has harnessed its expertise in tracking crypto to keep law enforcement abreast of where the stolen funds are headed, following them from blockchain to blockchain and through clever concealment mechanisms. “We were very much built for an investigation like this,” Redbord says. Today, TRM’s investigators probe cryptocurrency thefts, ransomware attacks, and phishing scams. They help investigate other crimes that involve digital currencies, from child pornography to drug trafficking. The company’s free, public platform Chainabuse, launched in 2022, helps people report fraud, hacking, blackmail, and other crypto-related crimes. Clients in the cryptocurrency and finance industries harness the company’s software and data about blockchain transactions to identify funds associated with criminal activity and to flag suspicious transactions. Law enforcement agencies around the world enlist TRM’s tools—and sometimes even the company’s own investigators. Demand for such investigators is growing. TRM—which stands for Token Relationship Management—has raised about $150 million in total funding to date, from notable backers that include the venture arms of PayPal, American Express, and Citi, as well as Goldman Sachs. The investment bank led TRM’s most recent, late-stage funding round, which closed in January for an undisclosed amount, according to the research firm PitchBook. Meanwhile, the crypto ecosystem is likely to experience positive growth throughout 2025, according to a recent analysis by PitchBook. So too will crypto crimes: Illicit operations took $40 billion worth of crypto last year, according to Chainalysis, another blockchain security company—far more than the roughly $10 billion in venture capital funding that flowed into the above-board crypto sector in the same span, and more even than crypto’s 2022 VC funding peak of $29.8 billion. Roles like TRM’s will become more urgent if the government continues to abdicate its regulatory duties. Last month, the Trump administration shuttered a Justice Department unit that targeted crypto-related crimes. Yet crypto sits at the nexus of so many of the president’s domestic interests—fentanyl, counterterrorism, border security, and fraud. For TRM and rivals like Chainalysis and Elliptic, all of which have already won millions of dollars in federal contracts, the future is bright. From NFTs to crypto fraud One paradox of Bitcoin, Ethereum, and other cryptocurrency systems is that while they’re widely thought to provide anonymity, with users exchanging funds based not on real names and physical addresses, but on so-called digital addresses—unique and lengthy strings of alphanumeric characters that serve as a given account’s sole identifier—the records of those transactions are still public. A common ledger logs every payment, tying each transaction to those that came before, all the way back to the tokens’ minting. And once information becomes known about one transaction and the people or organizations behind the addresses involved, it becomes possible to trace those funds back and forth through time and from address to address. That allows clever observers to follow the money and deduce where funds came from, who other counterparties may be, and which transactions likely involved some of the same parties, like how investigators might piece together who used an anonymous burner phone based on the numbers they called. It’s a limitation to anonymity that Bitcoin’s pseudonymous creator Satoshi Nakamoto alluded to in the groundbreaking paper describing cryptocurrency’s underpinnings. And it’s one that computer scientist Sarah Meiklejohn and colleagues at the University of California San Diego showed to be a reality in a widely cited 2013 paper that demonstrated concretely how Bitcoins could be grouped by likely common owner—and how those owners could sometimes be identified from a database of known addresses. And that database, Meiklejohn and colleagues showed, could be assembled by a determined researcher simply doing ordinary business on the blockchain and recording the addresses used by the various vendors, exchanges, and other parties they transact with. While not the first company to run with Meiklejohn’s ideas on tracking the transfer of cryptocurrencies—rival Chainalysis, for one, launched in 2014—TRM offered the first-ever platform compatible with the Ethereum blockchain, widely used both for its own currency and assets like non-fungible tokens, or NFTs. At the time, “all of these blockchain intelligence companies had built their entire data architecture on the Bitcoin blockchain,” Redbord says, “because Bitcoin was entirely synonymous with cryptocurrency, and vice versa.” TRM began in 2018 as CEO Esteban Castaño and CTO Rahul Raina’s effort to capitalize on NFTs’ trendiness. After demoing an easy-to-use analytics tool they’d built to help understand NFT market movement to a friend with his own blockchain-based startup, Castaño and Raina decided to pivot. Their creation could be its own product with wide appeal—the same blockchains which track NFTs also manage cryptocurrencies—Castaño says that while “nobody had ever gotten excited about any of the other NFT applications we were building,” this was different. Describing their friend and his employees’ reactions, he says, “it was the first time they’d seen on-chain activity visualized in a way they could understand.” Talking to potential customers soon revealed a critical use case beyond basic customer analytics: understanding the flow of funds on the blockchain to avoid unwittingly participating in money laundering. A now-pivoted TRM publicly launched in 2019 with a tool it planned to sell to blockchain businesses looking to comply with anti-money-laundering regulations. But a more proactive use case soon arose that suggested even bigger opportunities. A friend reached out to say he’d fallen victim to a cryptocurrency hack and wanted to know if TRM could help find the missing money. With the company’s tool, “we could see in clear daylight where the money was,” Castaño says. “So we got in touch with the Secret Service, we got in touch with the FBI, and that was the initial pull into that market.” By the time TRM Labs emerged from Y Combinator, in 2019, fighting and preventing fraud and other crime had become its primary focus. ‘They’re threat hunters’ Many TRM senior leaders and investigators honed their expertise over years in law enforcement, working at police agencies across the world. Redbord, the global policy head, served for more than a decade as a U.S. federal prosecutor and spent two years working on money laundering and national security at the Treasury Department before joining the company. Chris Janczewski, head of global investigations, previously served as a special agent at IRS Criminal Investigations, where he was instrumental in recovering cryptocurrency stolen in the infamous 2016 hack on the Bitfinex exchange; in the time between theft and recovery, the digital coins’ value had ballooned to $3.6 billion, making it the largest federal government seizure in history. The laptop Janczewski used in the investigation is now in the Smithsonian’s permanent collection. “They’re threat hunters,” Redbord says of TRM’s investigators. “Our terror financing expert is out there communicating on password-protected Telegram channels with mujahideen, who will send him a crypto address. He’ll take that address and label it terror financing, and then we use AI and machine learning to build on that attribution.” With investigators around the globe, the company is able to track illicit funds around the clock. “Things like Bybit, you can’t have just one investigator doing that,” says TRM senior investigator Jonno Newman. Being based in Australia, in a time zone close to that of North Korea, made it easy for Newman to help out in the early days of the still-ongoing Bybit investigation. It also helped that he had previously led TRM’s investigation into an earlier hack attributed to North Korea, in 2023, where more than $100 million in cryptocurrency was reported stolen from thousands of blockchain addresses on the digital coin storage tool Atomic Wallet. Then, Newman says, the hackers began obfuscating the stolen funds’ origins and ultimate destination, shuffling their plunder between different virtual addresses and cryptocurrencies. They relied on so-called mixers, which hold and combine coins from multiple sources before disbursing them to new addresses, and cross-chain bridges, which let users convert funds from one cryptocurrency to another. Hackers would later use a similar playbook in moving the Bybit funds. As a result of TRM’s automated fund tracker across bridges, a service it has offered since 2022—an industry first, CEO Castaño says—investigators were able to closely monitor where the Atomic Wallet funds headed, tipping off law enforcement as needed about opportunities to freeze or seize them. “It was early mornings and late nights trying to keep up with the laundering process.” says Newman of the investigation. The former head of South Australia Police’s cybercrime training and prevention unit and author of a recent children’s book about the crypto world, he says “it becomes this almost cat-and-mouse game about where they are going to go next.” TRM’s products at least make the game playable. “When you’re following the money, it used to be that you would reach a dead end when the money went to a different blockchain,” Castaño says. “But with TRM, tracing across blockchains is seamless.” Cautious optimism for blockchain security Not everyone believes TRM’s tech can fully deliver on its promise, at least from a legal perspective. J.W. Verret, an associate professor at George Mason University’s Antonin Scalia Law School who has testified as an expert witness in crypto-related matters, cautions that most testimony based on blockchain forensics tools should be viewed as potentially fallible, “They are useful for developing leads at the start of an investigation,” he says, but can be overly relied on like “the long history of junk forensic science—handwriting analysis, bitemark analysis, stuff that’s all kind of later proven to be unreliable.” For its part, Verret says, TRM Labs offers tools that are less prone than some of its competitors to false positives because the company is more careful about how it establishes associations between blockchain addresses and criminal activity. Meanwhile, last September, TRM announced the creation of the T3 Financial Crime Unit, a partnership with the organizations behind the Tron blockchain and Tether stablecoins to combat the use of those technologies for money laundering. By January, TRM said the partnership had helped freeze more than $100 million in USDT—Tether’s stablecoin pegged in value to the U.S. dollar—found to be tied to criminal activity. That figure has since more than doubled, with the total now including nearly $9 million linked to the massive Bybit heist. “In the seven months since launch, T3 has worked with law enforcement to freeze over $200 million linked to illicit activity ranging from terror financing to money laundering to fraud,” Castaño says. “And when you think about how much crime is financially motivated, adding a $200 million expense to criminals’ balance sheet is a huge win for deterring crime.” But even as TRM jockeys for pole position in a competitive industry, cybercriminals continue to develop new methods of stealing and hiding funds through complex blockchain machinations, often by taking advantage of crypto efficiency gains that make it easier to move more money faster. That will only continue as criminals deploy AI to automate scams and potentially even money laundering—and investigators use new AI and machine learning techniques, along with ever-growing blockchain datasets, to track them more efficiently and coordinate with law enforcement to stop them and seize their funds. And since blockchain ledgers last forever, crypto criminals are risking more than perhaps they realize, according to Castaño. “You’re betting not only that TRM and law enforcement won’t be able to identify your illicit activity today, but that we won’t be able to do it in the future,” he says. “Because the record is permanent.” And that’s the most powerful advantage investigators possess.

Pentagram partners Jody Hudson-Powell and Luke Powell have created a dynamic equine identity for AI video company TwelveLabs. Based between San Francisco and Seoul, TwelveLabs describes itself as “the world’s most powerful video intelligence platform.” Unlike generative video tools which help users create videos from scratch, TwelveLabs uses AI analysis to help people understand their existing videos at a very granular level, which makes them more searchable. Co-founder and CEO Jae Lee explains that communicating this difference – between video generation and video understanding – was at the heart of their work with Pentagram. “In the middle of last year our models were improving pretty rapidly, and we thought we needed to up our game in terms of our storytelling, why we matter, and to match the design, the tone, and the messaging to our ambition,” he says. Lee described the previous branding as “straight out of Silicon Valley” and they chose Hudson–Powell and his team due to their tech-savvy design practice. In creating a new identity, it was important not to be “lumped in” with other generative AI video companies, Lee says, but also to differentiate themselves from other video analysis tools. “Our competitors essentially do frame-by-frame analysis, but we look at it temporally,” lead product designer Sean Barclay explains. “That’s what differentiates us, and we wanted to convey that secret sauce.” “On the first call, they had me at temporal reasoning,” Hudson-Powell laughs. His team had to avoid the visual cliches AI tools tend to embrace – “it’s a very noisy category with lots of sparkles.”  But they also had to capture and communicate TwelveLabs’ offering in a way that was accessible and exciting, but not dumbed down. “We had a distinct stream of work that wasn’t strategic or creative – it was just understanding the technology,” Hudson-Powell says. “We kept asking them, could we imagine your technology to look something like this? Or this? “We were trying to put some kind of conceptual apparatus around the technology, to see if we could find a visual communication language that we could start to build on.” “Jody was very good at pulling out those threads about what video looks like in our brains,” Lee says. Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs The Pentagram team homed in on the core idea of “video as volume” rather than a timeline, and they built a series of thread-based diagrams to help explain how it works. This visual motif could be scaled across the touchpoints, from product pages to sales and branding. “You get this graphic stretch, so you’re speaking to different audiences with the same concept,” Hudson-Powell explains. The horse logo was grounded in what Hudson-Powell calls TwelveLabs’ existing “lore” – Lee says they were inspired by Eadweard Muybridge’s famous 1887 animation of a horse, and he likes the metaphor of a user as a jockey steering their technology. The logo – which has 12 layers in a nod to the company’s name – is often used in motion, galloping across a screen. “We worked a lot of animation into the identity,” Hudson-Powell says. “Animation can be quite frivolous, but we did it really intentionally. The logo gives you this feeling of perpetual motion, this rhythm at the heart of the brand, which is really important.” https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/01_TL_Logo_Gradient_16x9_60fps_10s_LOW.mp4 The team chose Milling for the typeface for its combination of “technicality and soft edges” and the visual identity uses the LCH colour system, which, compared to RGB, represents colour in a more similar way to how our eyes perceive colour. “You can match any two colours and they’ll be harmonious, which you don’t get with RGB,” Hudson-Powell says. “We can find infinite combinations.” There were also three colour subsets for TwelveLabs’ three key features – pink-purple for search, orange-yellow for generate and green-blue for embed. Pentagram’s Luke Powell and Jody Hudson Powell’s new colour palette for TwelveLabs Lee says the new identity has resonated with investors, employees and most importantly, customers. “It’s given them this confidence that they’re working with not only a super-technical team, but also a team that cares deeply about video,” he says. “So we can communicate with our science community, but also with the people who are building the content we love consuming. There’s a duality which feels really connected.” Barclay agrees, and adds that it helps people grasp what TwelveLabs does – and what it might do for them – more quickly. “It’s definitely improved our website tremendously in terms of telling a better story,” he says. “Before it took a lot of time to comprehend what TwelveLabs is, and what we’re offering. We have definitely shortened that.” Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new logo for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new icons for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs

Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel. Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever (what the company calls the “perpetual” version of the suite), or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee. When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models. This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years. (If you’re looking for Excel tips for the perpetual-license Office suite, see our Office 2021 and 2024 cheat sheet.) We’ll periodically update this story as new features roll out. In this article Use the Ribbon Search to get tasks done quickly Explore Excel’s advanced chart types Collaborate in real time Take advantage of linked data Make your own custom views of a worksheet Create dynamic arrays and charts Use AutoSave to provide a safety net as you work Review or restore earlier versions of a spreadsheet Try out Microsoft 365 Copilot in Excel — but don’t expect too much Other new features to check out Use keyboard shortcuts Use the Ribbon The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more. Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has. Preston Gralla / Foundry Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on. (The tabs above the Ribbon — File, Home, Insert, and so on — stay visible.) To make the commands reappear, press Ctrl-F1 again or click any tab name. You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options icon (a down arrow) on the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options: Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen. Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon. Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them. Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add. You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon.  Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app. There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or Save a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which. Click the Add a service dropdown to add another cloud storage account. Preston Gralla / Foundry Search to get tasks done quickly Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in. To use it, click in the Search box — it’s above the Ribbon in the green title area. (Keyboard fans can instead press Alt-Q.) Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first. The search box makes it easy to perform just about any task in Excel. Preston Gralla / Foundry If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics. Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command. Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well. Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel. (See the Microsoft Search support page for more details about all it can do.) Explore Excel’s advanced chart types Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram (frequently used in statistics), a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data. Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them. To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart. (For help using charts, see our guide to charts and sparklines in Excel.) Excel includes several advanced chart types, including waterfall. Preston Gralla / Foundry These are the new chart types: Treemap. This chart type creates a hierarchical view of your data, with top-level categories (or tree branches) shown as rectangles, and with subcategories (or sub-branches) shown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?quality=50&strip=all 830w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=300%2C191&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=768%2C489&quality=50&strip=all 768w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=264%2C168&quality=50&strip=all 264w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=132%2C84&quality=50&strip=all 132w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=753%2C480&quality=50&strip=all 753w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=565%2C360&quality=50&strip=all 565w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=392%2C250&quality=50&strip=all 392w" width="830" height="529" sizes="(max-width: 830px) 100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view. Preston Gralla / Foundry Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on. Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories. A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart. Preston Gralla / Foundry Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value. A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value. Preston Gralla / Foundry Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore. Histograms are good for showing frequencies, such as number of books sold at various price points. Preston Gralla / Foundry Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned (defective, priced incorrectly, and so on). The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues. Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto. In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems. Preston Gralla / Foundry Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers” (the lines extending up and down from the box) show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x. Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel. Funnel charts let you display values at multiple stages in a process. Preston Gralla / Foundry When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel. Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data. You can compare data across different locations with a map chart. Preston Gralla / Foundry To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in. Collaborate in real time For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.” Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen. To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet. Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions. Preston Gralla / Foundry Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people. One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses. Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears. (If you use a business, enterprise, or education edition of Office, your IT department may have set up different sharing permissions on these two screens, such as an option to allow anyone within your organization to edit the document. You may also need to click a Link settings button — a gear icon — to access the “Link settings” pane.) On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected. On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply. Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document. Your collaborators will get an email like this when you share a spreadsheet. Preston Gralla / Foundry (If you’d rather send recipients a copy of the file as an Excel file instead of a link, and thus not allow real-time collaboration, click Send a copy at the bottom of the “Send link” screen.) There’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above. To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration. As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make. You can easily see where collaborators are working in a shared worksheet. Preston Gralla / Foundry Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color. To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane. You can make see comments that other people make, and make comments yourself. Preston Gralla / Foundry Take advantage of linked data Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online source (Bing) that automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more. To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle. (If you had typed in geographic names such as countries, states, or cities, you would instead select Geography.) Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker. Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on. You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?quality=50&strip=all 620w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=300%2C293&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=172%2C168&quality=50&strip=all 172w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=86%2C84&quality=50&strip=all 86w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=491%2C480&quality=50&strip=all 491w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=368%2C360&quality=50&strip=all 368w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=256%2C250&quality=50&strip=all 256w" width="620" height="606" sizes="(max-width: 620px) 100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated. Preston Gralla / Foundry Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing. Make your own custom views of a worksheet Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it. Note: To use this feature, your spreadsheet must be stored in OneDrive. Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK. To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it. Here’s a sheet view with data sorted from highest to lowest costs. Preston Gralla / Foundry Now apply whatever sorting and filtering you like to the data. (If you need help, see the “How to sort and filter data” section of our Excel tables guide.) To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black. To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current view (it will say Default if you’re viewing the spreadsheet without a sheet view applied) to open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet. Create dynamic arrays and charts Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves. To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column. So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row. Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function: =FILTER(A2:B9, B2:B9 < 2000) This tells Excel to show only the items that cost less than $2,000 in the array. The FILTER function created a data array showing only the items with costs below $2,000. Preston Gralla / Foundry Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under $2,000 to the table, the dynamic array will enlarge itself and include those new items. In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data. (Read about more ways to use the FILTER, SORT, and UNIQUE functions from Microsoft support.) You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated. Use AutoSave to provide a safety net as you work If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive. AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned. AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it off (or back on again) for a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > Save and uncheck the box marked AutoSave files stored in the Cloud by default on Excel. Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using Save As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > Save a Copy (which replaces Save As when AutoSave is enabled) to create a new version. If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version. Review or restore earlier versions of a spreadsheet There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version. To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved. (Alternatively, you can select the File tab on the Ribbon, click Info from the menu on the left, and then click the Version History button.) Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version. Preston Gralla / Foundry In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button. Try out Microsoft 365 Copilot in Excel — but don’t expect too much For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription. To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself. Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table. Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more. Preston Gralla / Foundry In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transform() function, and gave confusing advice on how I could do it — it wouldn’t do the task itself. (Eventually, I gave up.) When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it. I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect. Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all. In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does. Preston Gralla / Foundry What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated. Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee. Other features to check out Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform. Get an instant data analysis If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly. The Quick Analysis feature gives you a variety of tools for analyzing your data instantly. Preston Gralla / Foundry Translate text You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it. Easily find worksheets that have been shared with you It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDrive (both Personal and Business) and SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account. Predict the future with Forecast Sheet Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones. To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart. (Your original worksheet will be unchanged.) The Forecast Sheet feature can predict future results based on historical data. Preston Gralla / Foundry Manage data for analysis with Get & Transform This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality. Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia. Get & Transform helps you pull in and shape data from a wide variety of sources. Preston Gralla / Foundry You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.” Make a 3D map Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps. Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.” If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it. With 3D Maps you can plot geospatial data in an interactive 3D map. Preston Gralla / Foundry Automate tasks If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details. Insert data from a picture into Excel There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet. In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.   Use keyboard shortcuts Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites. This article was originally published in August 2019 and most recently updated in May 2025. More Excel tutorials: Excel basics: Get started with tables Excel basics: Get started with charts and sparklines How to use PivotTables and PivotCharts in Excel How to use slicers in Excel How to use Excel formulas and functions How (and why) to use conditional formatting in Excel How to use Excel macros to save time and automate your work

Apple Music (for iPhone)4.5 ExcellentBottom LineApple Music’s radio stations, curated playlists, lossless playback, Dolby Atmos support, and excellent music-related content make it one of the best streaming audio services.US Street Price$10.99Learn MoreApple Music ReviewVSSpotify4.5 ExcellentBottom LineSpotify leads the streaming music pack with its deep music well, countless podcasts, early album access, collaborative playlists, and AI-powered curation.US Street Price$11.99Learn MoreSpotify Review (Credit: Apple/Spotify/PCMag)Plans and PricesApple Music's Individual plan ($10.99 per month) and Family plan ($16.99 per month, covering six people) cost slightly less than Spotify's equivalent tiers ($11.99 and $19.99 per month, respectively). Both services offer a discounted Student rate for $5.99 per month. These premium packages lack ads and offer unlimited skips per hour. You'll enjoy offline playback on mobile, too. That's where the price similarities end.Spotify has a Duo package ($16.99 per month) aimed at couples that saves a few bucks if you don't need a full Family plan. Don't want to spend any money on streaming music? Check out the ad-supported Spotify Free, which limits your skips per hour and only lets you listen to shuffled songs—you can't play tracks on demand.Apple Music, on the other hand, lacks a free tier. It's a subscription or bust. However, you get a free three-month trial upon purchasing AirPods, an iPhone, or another eligible Apple hardware.If free sounds good, Spotify is a worthwhile choice. If an ad-free subscription with a lower price than Spotify's premium offerings is more your speed, go with Apple Music. Winner: Tie(Credit: Apple Music/Spotify/PCMag)Content: Music, Video, Podcasts, and AudiobooksApple Music and Spotify have more than 100 million songs on their platforms, plus many playlists and videos. That means no matter the service you select, you'll have a lifetime's worth of tunes. So, it's the other content that may sway you in one direction or the other.Apple Music offers live radio, which Spotify lacks. That includes local stations and six dedicated Apple stations. However, Spotify trounces Apple Music with nearly seven million podcasts and 250,000 audiobooks. Those are huge numbers. Apple Music features just two million podcasts and zero audiobooks. Simply put, Spotify has more entertainment variety.Winner: Spotify(Credit: Spotify/PCMag)Music DiscoveryAny streaming music service worth its salt must have a good search engine and recommendation system. Spotify is the older and more experimental of the two platforms, giving you many ways to find content. For example, its For You page has a fantastic, easy-to-read layout that displays playlists and recently played albums. Scrolling up or down spotlights the latest releases from your favorite artists and related music acts.Recommended by Our EditorsSpotify's algorithms auto-generate playlists based on your listening preferences. For example, the Discover Weekly playlist is a cool, weekly mixtape of new music and deep cuts catered to your listening preferences. In addition, AI playlists are a cutting-edge feature that Spotify is exploring. Although still in beta, it lets you generate playlists via text prompts and even emoji. It’s a fantastic way to discover new music if you’re in an adventurous mood. However, if you're more of a hands-off listener, fire up Spotify's AI-powered disc jockey, DJ X, who queues your favorite tracks and adds new ones for variety. Of course, Spotify has curated playlists that cover a wide gamut of musical genres. Like Spotify, Apple Music's Home tab gives you quick access to new and familiar songs. The service also lets you create Stations, which are essentially endless queues of music based on whatever you’re listening to at the moment. Apple Music's Discovery Station is similar to Spotify's Discover Weekly playlist, as it features a music queue based on your listening habits. Apple Music features many curated playlists across different genres, just like Spotify.Both services have a search-by-lyric feature. So, if you can't quite remember a song title but you remember the hook, you can use those words to prompt a search. For example, type, "I said, 'Hey what’s going on,'" into the search box and you'll get results for the song "What’s Up?" by 4 Non Blondes (as well as the arguably superior Slackcircus cover). Apple Music's discovery and recommendation systems are good, but Spotify's AI-powered DJ and playlists top them.Winner: Spotify(Credit: Apple/PCMag)Music Streaming QualitySpotify supports audio streams of up to 320kbps. The audio is serviceable for casual listening and could potentially save you money due to its lower data usage compared with Apple Music. That said, Apple Music has better quality audio, no question. Apple Music streams range between 16-bit/44.1 kHz (CD Quality) and lossless 24-bit/192kHz audio files, which is crisp, high-definition audio. The service also supports spatial audio with Dolby Atmos. Not every track supports it, but many do. Apple even provides extensive playlists with music that takes advantage of this audiophile-centric format. Keep in mind that this audio disparity may not affect your day-to-day listening experience, depending on how you consume music. This is especially true if you listen via Bluetooth headphones. Bluetooth streaming comes with audio compression and bandwidth limitations, so you won't enjoy the depth and richness Apple Music delivers. Wired connections are a different story. So, audiophiles with high-quality headphones may pick up Apple Music's sonic superiority.Winner: Apple Music

The first Mission: Impossible film came out in 1996 when star Tom Cruise was 34 years old. Fast-forward to Memorial Day weekend 2025: Cruise is 62, and there’s speculation that Mission: Impossible—The Final Reckoning could be the last movie in the franchise. Is this just a marketing ploy to get fans in theaters to kick off the summer blockbuster season? Who knows. Let’s take a look at the history of these films, their box-office earning power, and what Cruise himself has said about the movies over the years. A brief history of the Mission: Impossible franchise The Mission: Impossible films are based on the 1966 TV series of the same name, which was created by Bruce Geller. Peter Graves, who played Jim Phelps on the series, didn’t appear in the first film and was in fact very disappointed with it because his character was made to be the villain in the story, as CNN reported. Actor Jon Voight took the role. Even though this move upset other actors from the series and some fans, the box office numbers proved that fans soon got over this reversal of the source material. The franchise’s first four installments had different directors, while the last four were helmed by Christopher McQuarrie. Cruise has been among the producers of the films from the beginning. How does it stack up against other action franchises? The Mission: Impossible films continue to jockey for the title of highest-grossing Tom Cruise movie, according to Screen Rant. Each new installment tends to beat the previous contender. According to Box Office Mojo, the seven films in the franchise have earned a domestic lifetime gross of $1.3 billion, making Mission: Impossible the 23rd most-valuable movie franchise by that measure. To put that in perspective, the Marvel superhero franchise—No. 1 on the list—has earned $12.8 billion, followed by Star Wars ($5.1 billion), Disney live-action reimaginings ($3.5 billion), and Spider-Man ($3.3 billion). Compared to pure action-movie franchises, Mission: Impossible falls below James Bond ($2.3 billion) and the cars and costars of The Fast and the Furious ($2 billion), but it beats out Indiana Jones ($1.1 billion) and Tom Cruise’s own Top Gun franchise ($899 million). Why do fans think this might be the last Mission: Impossible movie? Originally, the latest two Mission: Impossible films were supposed to be a two-part story shot back-to-back. The second film was initially called Mission: Impossible—Dead Reckoning Part Two, with the name change being announced in October 2023. Part One was loved by critics but had a disappointing box office return. Further complicating the matter, Final Reckoning’s budget kept growing because of delays due to the COVID-19 pandemic and the actors’ and writers’ strikes. These setbacks caused tension in the production process and may have even accelerated conversations of the film becoming a more definitive conclusion to the franchise. While the creative team has not publicly spoken out about the stress of the delays, the title change signals to fans this might be the last time Ethan Hunt saves the world. “It is, I hope, the satisfying conclusion to a 30-year story arc,” director McQuarrie said in an interview with Empire in February. “I’m pretty confident that people are going to feel that the title was appropriate.” Cruise also seemed to confirm the end of an era on the red carpet at the New York premiere. “It’s the final! It’s not called ‘final’ for nothing,” he commented to The Hollywood Reporter. Two years ago he told the same publication he would make Mission: Impossible movies into his 80s. When asked about this, he clarified: “I actually said I’m going to make movies into my 80s; actually, I’m going to make them into my 100s.” Since everything eventually seems to get a reboot these days, it is not far-fetched to believe audiences might see Ethan Hunt again, especially if the box office numbers are impressive. No spoilers here, but several reviewers, including Clint Gage for IGN, point out that the plot of the film leaves room for future storytelling opportunities. Cruise has several film projects in development over the next several years, so it does appear that it is goodbye—at least for now—to the beloved franchise. Mission: Impossible—The Final Reckoning hits theaters in the United States on Friday, May 23.

On Thursday, President Donald Trump will sit down for an intimate evening at his Northern Virginia golf club with 220 of his favorite people in the world: a group of cryptocurrency speculators who have spent an estimated $148 million on Trump’s eponymous memecoin, making the president and his associates millions of dollars in the process. Even by Trump’s standards, this dinner will be the culmination of one of the most cartoonish episodes of executive-branch graft in recent memory. Last month, Trump announced that at the end of a predetermined period, he would host an “unforgettable Gala DINNER” for the top 220 holders of $TRUMP, allowing winners to discuss the future of the industry with the “Crypto President” himself. The top 25 token holders would also get to attend an “Exclusive Reception” with Trump, along with a “Special VIP White House Tour.” (Hours after the contest went live, its website was quietly edited to promise the top 25 finishers only a “Special VIP Tour,” with no location specified. It remains unclear whether that event will indeed take place at the White House, or at a golf resort facility of the president’s choice.) The contest’s organizer, a Trump-affiliated LLC called Fight Fight Fight, maintained an online leaderboard of those jockeying for position during the sweepstakes, which ended on May 12. The website also includes helpful information about the dress code (black tie optional) and the plus-one policy (none, because “if you earned a seat at the table, it’s because you earned it”). For Trump, the logistical details were far less important than the chance to juice the market for $TRUMP, which had cratered after launching in January but then spiked by more than 50% when he announced the contest. In the two days that followed, the Trump Organization and its affiliates, which together control roughly 80% of the token’s supply, took in nearly $1 million in trading fees; by the end of the sweepstakes, that number had jumped to $3 million, according to a Washington Post analysis.  In all, the Post estimates that since the coin’s debut four months ago, Trump and company have made $312 million from crypto sales and $43 million in fees. As it turns out, one of the perks of being the person in charge of U.S. cryptocurrency policy is the freedom to profit off of cryptocurrency without fear of meaningful consequences. The details of the frenzy to secure a spot on the leaderboard make clear just how for sale the federal government is right now. Making the top 220, according to Wired, required holding or buying more than 4,000 $TRUMP tokens worth about $55,000 altogether; those who made the VIP list held an average of 325,000 tokens worth a collective $4.3 million. Many of the people who made the cut made their purchases on exchanges that suggest they are non-U.S. residents who jumped at the chance to bend the U.S. president’s ear in a semiprivate setting. Sure enough, although the leaderboard identifies winners only by username and alphanumeric crypto wallet address, among the confirmed attendees are Justin Sun, a Chinese crypto speculator who is, in a wild coincidence, trying to settle civil fraud charges with the U.S. Securities & Exchange Commission; an Australian crypto entrepreneur who hopes to pitch Trump on adopting an even more industry-friendly regulatory stance; and a to-be-determined representative of MemeCore, a Singapore-based crypto collective that told New York magazine that whomever it sends hopes to ask Trump, “Are you a meme, or the result of one?”  Fight Fight Fight calculated the value of contestants’ holdings based on both the amount of $TRUMP in a wallet and the length of time they’d held it, thus rewarding early investors for their commitment to padding the president’s bottom line. That said, earlier this month, the journalist Molly White found that of the wallets on the leaderboard at the time, 62% started buying $TRUMP only after he dangled the dinner invitation. Once acquiring a floundering memecoin came with a shot at a sit-down with the literal President of the United States, people who were previously uninterested apparently decided to reevaluate their investment priorities. Since the event is closed to the press, there will be no independent coverage of what Trump says to attendees, or what the attendees say to Trump, or even who the attendees are. The entire spectacle amounts to an off-the-record jam session between a bunch of people who have already gotten rich off crypto, brainstorming ways to keep getting rich off crypto. For Trump, the event is only the latest celebration of his whirlwind romance with crypto, which he spent years disparaging before realizing that embracing it could help fast-track his return to the Bloomberg Billionaires Index. He positioned himself as the pro-crypto candidate on the campaign trail last year, promising to create a national crypto stockpile and appoint industry luminaries to prominent administration roles. In another wild coincidence, around the same time, his adult sons helped launch World Liberty Financial, a crypto project structured to funnel 75% of revenue to the Trump family. WLF was basically a hedge against the results of the 2024 election: Even if Trump lost, he would at least have a new source of income to pay his legal bills. The fact that Trump won that election, of course, has made this alliance even more successful for everyone involved. In the hours before his inauguration, the price of Bitcoin spiked to nearly $110,000, then an all-time high. Demand for World Liberty Financial’s coins exploded, too, especially from foreign investors whom federal law bars from giving directly to presidential campaigns or inaugural funds. (Sun, who will attend Thursday’s dinner, has spent nearly $75 million on WLF tokens, making him its single largest known investor.) More recently, Abu Dhabi announced that it would use a WLF-issued stablecoin, USDI1, for its state-backed investment firm’s $2 billion deal with the crypto exchange Binance—a choice that just so happens to put tens of millions of dollars in the Trump family’s pockets.  In an interview with the New York Times earlier this year, Eric Trump spoke of the family’s pivot to crypto in glowing terms, describing World Liberty Financial as “one of the more successful things we’ve ever done.” The numbers bear this out: In March, Fortune estimated that Trump’s crypto holdings were worth $2.9 billion—not bad for an asset he was dismissing as “not money,” “highly volatile,” and “based on thin air” a few years earlier. Pundits often describe Trump’s involvement in crypto as “unprecedented,” and in a sense, this is right: Given Washington’s enduring obsessions with political scandals and conflicts of interest, traditionally, sitting presidents have not developed active side hustles in industries they have the power to regulate. But Trump has never cared about adhering to norms like this one, because he has always viewed the power of the office he holds primarily in terms of its potential to make him wealthier. He agreed to shake hands with a couple hundred crypto enthusiasts this week for the only reason he has ever done anything: He saw a chance to make money, and no one stopped him from taking it.

Interviews A Minecraft Movie: Piotr Karwas (VFX Supervisor) & Elizabeth “Liz” Bernard (Animation Supervisor) – Digital Domain By Vincent Frei - 20/05/2025 With 20+ years in film and advertising, Piotr Karwas has supervised VFX for top directors including David Fincher and Tim Burton. His recent work includes The Electric State, Elevation, he’s here today to talk about the Digital Domain work on A Minecraft Movie. After discussing The Electric State with us a few months ago, Elizabeth ‘Liz’ Bernard is back—this time to talk about her work on A Minecraft Movie. How did you and Digital Domain get involved on this show? Piotr Karwas: We were approached by the Warner Bros. VFX team as they were looking to bring on an additional vendor to help complete the remaining visual effects work. It was also an opportunity to be the best dad ever, since both of my kids are huge Minecraft fans. How was the collaboration with Director Jared Hess and VFX Supervisor Dan Lemmon? Piotr Karwas: I’ve known Dan Lemmon since our time working together at Digital Domain. We collaborated on several projects in the early 2000s, so it was a great opportunity to team up again. As for Jared, I’ve been a fan of his work ever since his first feature, Napoleon Dynamite. Years ago, I also had the chance to briefly work on his film Gentlemen Broncos. The blend of Jared’s signature humor with the global phenomenon of Minecraft was simply too exciting to pass up. I knew I wanted to be involved. Although Digital Domain joined the project later in the production process, we quickly got up to speed and delivered our work on time, despite some challenges. What are the sequences made by Digital Domain? Piotr Karwas: Our primary focus was the final battle sequence, but we also contributed to several fully live-action shots featuring set extensions and some CG animation, primarily around the entrance to the mine. Could you walk us through the process of creating the 500+ Piglins and Iron Golems clashing in that 360° battlefield? What were some of the major technical challenges in making that sequence come to life? Piotr Karwas: One of the key creative challenges was striking the right balance between honoring the iconic look and feel of the game while delivering a cinematic, action-packed experience. The goal was to blend a sense of realism through the movement and design of characters and environments with the charm and style of the Minecraft universe. Under the guidance of Jared and Dan, and in close collaboration with the other vendors, we were able to craft something truly unique. The battle unfolds during the Piglin invasion, as the sunny atmosphere of the Overworld begins to transform into a darker, more menacing environment reminiscent of the Nether. The entire battlefield was designed to function seamlessly in both visual states, capturing the warmth and cheer of the original Overworld, while also supporting its dramatic shift into a hellish landscape filled with fire and gloom. Additionally, the stylized world of Minecraft presented some technical hurdles, especially in large scale crowd sequences. The characters’ unconventional anatomy, limited range of motion, and signature fighting styles added an extra layer of complexity but also pushed us to be creative and innovative. Liz Bernard: We started out with 10 piglins, each of which had 2-6 costumes, plus 8 weapons and 2 torches. We were able to get a lot of variety out of that for our piglin horde. The golem army was smaller and more uniform, and golems are too powerful to be messing around with weapons. Instead, they prefer to use their iron arms to smash through their opponents, so we didn’t have as many different iterations, costumes, and such for the iron golems. In Animation, we moved as fast as possible to clean up and modify a big pile of motion capture so that we could provide our Crowds team with over 300 unique animation cycles and clips. Those clips included everything from golems doing windmill arm attacks, to piglins hacking at golem legs with axes and swords, to baby piglins running around in circles, freaking out. Although we started with motion capture for most of the piglin actions, transferring those actions from a full sized human mocap actor onto 10 different blocky piglins with giant angular heads and different body proportions meant each mocap clip needed a lot of adjustment. For example, piglins cannot raise their square little arms very high because their shoulders will quickly crash into the head. Once we had ploughed through that chunk of work, our Crowds team strung those actions together in Autodesk’s Golaem software to create the crowds seen in the backgrounds of our shots. In the mid-ground, we animated a custom set of longer battle vignettes that we could reuse in a number of shots by reorienting them to camera and offsetting their timing. And of course, there was quite a lot of hero animation to fill in the foreground and tell the story of the ebb and flow of battle. Minecraft is known for its blocky aesthetic. How was the animation rigging approached to stay true to that while enhancing the characters’ performance for live action? Liz Bernard: The piglins, hoglins, and wolves were rigged as pretty standard fleshy characters. The wolves had blocky chests and hips, which our Rigging team kept relatively stiff to preserve the original block shape even when we posed the characters in action. Because we were in a hurry on this fast-paced show, we needed to get rigs into Animation’s hands as quickly as possible, so we ended up relying on our shot modeling/sculpting team to adjust some of the characters’ bodies after animation was approved. They paid special attention to the final look of their shoulders, elbows, and knees, to make sure that the bend at each joint stayed as blocky as possible. The iron golems were a lot trickier to get right because they were made of stiff blocks of metal, had no deforming parts, and their joints were extremely simple. We discovered right away that making an iron golem walk meant instant intersections where the legs attach to the hips and the arms attach to the shoulders. So, to solve that problem and get the golems engaged in the battle, we had to give the animators complete control over every body part. This is not something we typically do because it’s easy to go overboard and end up “off model,” but in this scenario, it was absolutely required. This level of control gave the animators the option to offset body parts to achieve the necessary range of movement without visible intersections on screen or gaps in silhouette. Houdini was used to procedurally generate environments for the film. What were some of the most challenging aspects of creating such vast, dynamic landscapes? Piotr Karwas: The environments posed a unique challenge, not just because of their blocky nature, but because it was essential to make the Overworld feel like a tangible, real place. Some design choices were influenced by physical sets that had been built, while others drew inspiration from the real world. We focused on introducing a sense of natural imperfection, subtle elements like slightly uneven lines, worn edges, scuff marks, scattered debris, dirt, and even touches of realistic vegetation. All of this had to be carefully integrated into the strict, grid-based aesthetic of the Minecraft universe. Our environment team rose to the challenge and delivered a highly detailed immersive location, while working under a demanding production schedule. What were the biggest challenges in adapting Minecraft’s creatures and characters into a live-action setting while retaining their iconic charm? Liz Bernard: Because we came onto the project towards the end of shot production, we were able to use other vendors’ work as a rough guide for how our characters should move and behave. The Iron Golems in particular were a fun challenge, and although Sony had a few shots that we could refer to for the overall movement, it was up to us to establish their combat style. We researched how the golems fight in the game, which, as it turns out, is quite simple. We stuck with the game’s stiff legged walk, simple straight arm swings and skyward scoops to match the game’s iron golem attack style as closely as we could. However, purely matching the game wasn’t going to look quite right in a live action environment with human actors. So, on top of the simple performance, we layered weight shifts to counterbalance the heavy arms. We also added some additional step patterns to get them into position to attack piglins so that they would appear clever and more agile without straying too far from the game aesthetic. We also improved the contacts between the golems’ arms and each piglin to really sell the sense of effort and weight in each attack and hit. The destruction of the Overworld Portal seems like a monumental task. How was such an epic scene created, and what role did the environment and FX teams play in bringing it to life? Piotr Karwas: One of the biggest challenges was figuring out the mechanics of how large-scale destruction would play out in the Minecraft world. We had to carefully determine which elements would follow real-world physics and which could behave in a more stylized, game inspired way. We also spent considerable time designing the post-collapse remains to ensure they were visually compelling and cohesive for the staging of the shots that followed. The portal destruction sequence, in particular, appeared in the two widest shots of the entire sequence. These moments required both armies to be on screen, complete with fallen Iron Golems, defeated or pork-chopped Piglins, and digital doubles for every actor. It was a massive technical, logistical, and creative undertaking. We worked on these shots all the way to the final hour. Can you describe the bespoke zombification transformation pipeline developed for the Piglins? How did this process differ from traditional character transformations? Piotr Karwas: By the time we joined the project, the zombification effect had already been largely developed by Weta FX. One of our main challenges was matching their established look while ensuring visual consistency across both their shots and ours. At the same time, we knew we had to push the effect further. After all, this was the grand finale, where the evil army was being defeated. We also wanted the transformation to feel distinct, especially when applied to large numbers of Piglins. To achieve that, we went as far as building complete skeletal systems that could be revealed during the transformation. How was lighting handled to simulate firelit nighttime chaos? What tools or techniques were critical in creating that atmosphere? Piotr Karwas: To achieve the most realistic look, we used actual fire simulations to drive the lighting on both the characters and the environment. We initially started with just a few fires, but Jared was drawn to the striking visual accents and the warm hues they cast on the characters. As a result, we ended up populating the scenes with hundreds of fires. The air was also filled with atmospheric elements like smoke, ash, and embers, all contributing to a richly textured, apocalyptic feel in every shot. To manage this across numerous shots, we developed semi-automated methods to batch simulate the effects efficiently. How was humor incorporated into the animation, especially with subtle gags like pork chops dropping onto the battlefield or background antics? What approach was used to time these moments? Liz Bernard: We had a good time adding easter eggs and gags into this epic battle scene! Piotr let me know early on that Jared would welcome goofy touches, especially on background characters, so I made sure to pass that information on to my team of animators. What did I get back? Nose picks, butt scratches, belly slaps, and all sorts of goofy behaviour in the background. We usually didn’t center those things in the action unless it was called for in the script (in fact, Jared and Dan had to pull us back a few times), but if you look carefully, you’ll find maximum silliness all over the place. And, of course, I have to mention the Great Hog here. He was probably our funniest character and the most challenging to animate. His style of movement was dictated by his unusual proportions, in particular, his itty-bitty legs and long chunky arms. Those stumpy legs meant his stride was super short unless he broke out into a full quadruped gallop, which our team animated with extra oomph and effort to get a good laugh. The Great Hog’s low rider pants took a dive after one particularly strenuous sprint across the battlefield to attack Natalie. When he rose up on hind legs in anticipation of smashing her with his giant blocky fists, Jared wanted to make sure that the audience could see clearly the gag that his butt crack was showing. In VFX, we traditionally call a gradient of options that we would pitch to the client a “wedge.” In this case, we needed to get a read on how low to go with the pants before we simulated them in CFX, so we sent over a “wedge” for the pants and butt crack for Jared to pick from. In this case, I guess it was actually…a wedgie. How was the visual humor seamlessly integrated into the more intense action sequences, and was there a particular moment that captured this balance perfectly? Liz Bernard: The visual humour was baked into the action from the get-go, from game to storyboards to previsualization. I mean, there’s something inherently funny about dozens of piglins in shorts getting smacked high up into the air and then poof! turning into porkchops. When I welcomed each animator to the show, I made a point of mentioning that they were a little more free to tell jokes with pantomime on this show than they might be used to on more realistic productions. Because we were always in a mindset to make each shot as funny as possible without distracting from the story points, the flavour in animation dailies was always funny. My team pitched piglins getting run over by the Great Hog by accident, baby piglins riding on an iron golem attempting to attack its head, some utterly hilarious slow-mo action with exaggerated overlap a la Baywatch, a hoglin and piglin rider mugging for the camera as they gallop by in the foreground, wolves clamped on by their teeth to the waistband of the Great Hog, and a whole lot of over-acted melodramatic writhing as the piglins zombified after the portal collapsed. You don’t have to tell animators twice to be silly. With such a large-scale project, how did the animation and VFX teams collaborate to maintain a cohesive style across both departments? Were there any specific moments where this collaboration stood out? Liz Bernard: This was a ripsnorter of a project timeline, so all departments were hitting the ground running and developing their parts of the project concurrently. That’s always challenging and requires a lot of communication to pull off. We had a bullpen of experienced folks in our show leadership, and knowing what each other’s departments could and couldn’t do saved us a lot of time as we ramped up. For example, we were able to establish a single groundplane early in our animation schedule, which helped us avoid having to adjust the character’s feet contacts to an evolving environment even as artists were still building the overworld battlefield. The Environments team did a great job set dressing the environment after we had placed our animation and crowds’ characters, so that we did not need to worry about running through plants, pebbles, fires, or corpses. The FX department established a workflow with the Crowds team to “porkchop” any crowds piglin that got smacked by crowds’ iron golems. Setting these rules and criteria helped each department streamline their processes. And, our production team did an absolutely incredible job making sure that every department stayed on target, communicated their roadblocks and breakthroughs effectively downstream (and sometimes upstream!), and adjusted the schedule to compensate. I think the moment where this collaboration really shone was when we saw all of the zombification shots at the end of the sequence starting to fall into place. One day, it felt like we had all of them left to tackle, and the next, we had our methodology kinks worked out and they all started to drop like dominoes. Piotr Karwas: As Liz mentioned, the schedule was extremely tight, especially for executing the film’s grand finale. We had to move quickly and strategically, knowing that things would evolve and change throughout production. I’m incredibly grateful to our amazing team at Digital Domain. Across all four locations, Los Angeles, Vancouver, Montreal, and Hyderabad, our artists worked around the clock to bring it all to life. Yes, there were long hours, high stress, and the usual frustrations with technology that doesn’t always behave but in the end, it was all absolutely worth it. Seeing kids enjoy the movie so much made everything worthwhile. Chicken Jockey! Looking back on the project, what aspects of the visual effects are you most proud of? Piotr Karwas: Without a doubt, the Great Hog’s butt crack was the highlight for me. Liz Bernard: Just the sheer scale of this thing is wild. This is one of those “more is more” kinds of projects that don’t come around so often in our world of photorealistic visual effects. Nothing was supposed to be “real” here, everything was exaggerated, every frame we produced was chock full of crazy action, over the top humor, and easter eggs. I’m very proud of our animation team for embracing this hilarious show in a more cartoony style that we don’t often have the opportunity to tackle. And, man, it tickles me that the fans got such a huge kick out of it all when the movie hit theatres. What else can you ask for? How long have you worked on this show? Piotr Karwas: About six months Liz Bernard: Just six months from start to finish. What’s the VFX shots count? Piotr Karwas: Digital Domain delivered 187 shots not including omits. What is your next project? Piotr Karwas: A Minecraft Movie I hope. Jokes aside, I’m looking at a whole slate of different projects. Liz Bernard: All I can say right now is that it’s a science fiction film that comes out in 2026. Stay tuned! A big thanks for your time. WANT TO KNOW MORE?Digital Domain: Dedicated page about A Minecraft Movie on Digital Domain website. © Vincent Frei – The Art of VFX – 2025