AlphaEvolve imagined as a genetic algorithm coupled to a large language model. Picture created by the author using various tools including Dall-E3 via ChatGPT. Large Language Models have undeniably revolutionized how many of us approach coding, but they’re often more like a super-powered intern than a seasoned architect. Errors, bugs and hallucinations happen all the time, and it might even happen that the code runs well but… it’s not doing exactly what we wanted. Now, imagine an AI that doesn’t just write code based on what it’s seen, but actively evolves it. To a first surprise, this means you increase the chances of getting the right code written; however, it goes far beyond: Google showed that it can also use such AI methodology to discover new algorithms that are faster, more efficient, and sometimes, entirely new. I’m talking about AlphaEvolve, the recent bombshell from Google DeepMind. Let me say it again: it isn’t just another code generator, but rather a system that generates and evolves code, allowing it to discover new algorithms. Powered by Google’s formidable Gemini models (that I intend to cover soon, because I’m amazed at their power!), AlphaEvolve could revolutionize how we approach coding, mathematics, algorithm design, and why not data analysis itself. How Does AlphaEvolve ‘Evolve’ Code? Think of it like natural selection, but for software. That is, think about Genetic Algorithms, which have existed in data science, numerical methods and computational mathematics for decades. Briefly, instead of starting from scratch every time, AlphaEvolve takes an initial piece of code – possibly a “skeleton” provided by a human, with specific areas marked for improvement – and then runs on it an iterative process of refinement. Let me summarize here the procedure detailed in Deepmind’s white paper: Intelligent prompting: AlphaEvolve is “smart” enough to craft its own prompts for the underlying Gemini Llm. These prompts instruct Gemini to act like a world-class expert in a specific domain, armed with context from previous attempts, including the points that seemed to have worked correctly and those that are clear failures. This is where those massive context windows of models like Gemini (even you can run up to a million tokens at Google’s AI studio) come into play. Creative mutation: The LLM then generates a diverse pool of “candidate” solutions – variations and mutations of the original code, exploring different approaches to solve the given problem. This parallels very closely the inner working of regular genetic algorithms. Survival of the fittest: Again like in genetic algorithms, but candidate solutions are automatically compiled, run, and rigorously evaluated against predefined metrics. Breeding of the top programs: The best-performing solutions are selected and become the “parents” for a next generation, just like in genetic algorithms. The successful traits of the parent programs are fed back into the prompting mechanism. Repeat (to evolve): This cycle – generate, test, select, learn – repeats, and with each iteration, AlphaEvolve explores the vast search space of possible programs thus gradually homing in on solutions that are better and better, while purging those that fail. The longer you let it run (what the researchers call “test-time compute”), the more sophisticated and optimized the solutions can become. Building on Previous Attempts AlphaEvolve is the successor to earlier Google projects like AlphaCode (which tackled competitive Programming) and, more directly, of FunSearch. FunSearch was a fascinating proof of concept that showed how LLMs could discover new mathematical insights by evolving small Python functions. AlphaEvolve took that concept and “injected it with steroids”. I mean this for various reasons… First, because thanks to Gemini’s huge token window, AlphaEvolve can grapple with entire codebases, hundreds of lines long, not just tiny functions as in the early tests like FunSearch. Second, because like other LLMs, Gemini has seen thousands and thousands of code in tens of programming languages; hence it has covered a wider variety of tasks (as typically different languages are used more in some domains than others) and it became a kind of polyglot programmer. Note that with smarter LLMs as engines, AlphaEvolve can itself evolve to become faster and more efficient in its search for solutions and optimal programs. AlphaEvolve’s Mind-Blowing Results on Real-World Problems Here are the most interesting applications presented in the white paper: Optimizing efficiency at Google’s data centers: AlphaEvolve discovered a new scheduling heuristic that squeezed out a 0.7% saving in Google’s computing resources. This may look small, but Google’s scale this means a substantial ecological and monetary cut! Designing better AI chips: AlphaEvolve could simplify some of the complex circuits within Google’s TPUs, specifically for the matrix multiplication operations that are the lifeblood of modern AI. This improves calculation speeds and again contributes to lower ecological and economical costs. Faster AI training: AlphaEvolve even turned its optimization gaze inward, by accelerating a matrix multiplication library used in training the very Gemini models that power it! This means a slight but sizable reduction in AI training times and again lower ecological and economical costs! Numerical methods: In a kind of validation test, AlphaEvolve was set loose on over 50 notoriously tricky open problems in mathematics. In around 75% of them, it independently rediscovered the best-known human solutions! Towards Self-Improving AI? One of the most profound implications of tools like AlphaEvolve is the “virtuous cycle” by which AI could improve AI models themselves. Moreover, more efficient models and hardware make AlphaEvolve itself more powerful, enabling it to discover even deeper optimizations. That’s a feedback loop that could dramatically accelerate AI progress, and lead who knows where. This is somehow using AI to make AI better, faster, and smarter – a genuine step on the path towards more powerful and perhaps general artificial intelligence. Leaving aside this reflection, which quickly gets close to the realm of science function, the point is that for a vast class of problems in science, engineering, and computation, AlphaEvolve could represent a paradigm shift. As a computational chemist and biologist, I myself use tools based in LLMs and reasoning AI systems to assist my work, write and debug programs, test them, analyze data more rapidly, and more. With what Deepmind has presented now, it becomes even clearer that we approach a future where AI doesn’t just execute human instructions but becomes a creative partner in discovery and innovation. Already for some months we have been moving from AI that completes our code to AI that creates it almost entirely, and tools like AlphaFold will push us to times where AI just sits to crack problems with (or for!) us, writing and evolving code to get to optimal and possibly entirely unexpected solutions. No doubt that the next few years are going to be wild. References and Related Reads Deepmind’s blog post and white paper on AlphaEvolve A Google Colab notebook with the mathematical discoveries of AlphaEvolve outlined in Section 3 of the paper! Powerful Data Analysis and Plotting via Natural Language Requests by Giving LLMs Access to Functions New DeepMind Work Unveils Supreme Prompt Seeds for Language Models www.lucianoabriata.com I write about everything that lies in my broad sphere of interests: nature, science, technology, programming, etc. Subscribe to get my new stories by email. To consult about small jobs check my services page here. You can contact me here. You can tip me here. The post Google’s AlphaEvolve Is Evolving New Algorithms — And It Could Be a Game Changer appeared first on Towards Data Science.

Lena Dunham–following the success of her 2012 comedy-drama series Girls–is my Roman Empire. Everyone knows the story: the published essays dissecting the sudden end of her long-term relationship with producer Jack Antonoff; the widespread criticisms of Girls for its lack of diversity; the poorly received comments about abortion. We witnessed the public turn on Dunham, branding her one of the most controversial writers of her time. But what was she feeling during that wave of backlash?  On July 10, Dunham and her husband, Luis Felber, will offer a loose interpretation of what life was like when they first met in 2021. If it’s anything like her past work, the series will be packed with comedy, emotional honesty and sharp introspection. As Dunham put it in a Variety interview about meeting Felber: “When I met my husband, I was dazzled by just how much baggage two people could bring to the table.” The highly anticipated series, Too Much, co-written by Dunham and Felber, premieres on Netflix on July 10.  “Co-created by Dunham and Luis Ferber, Too Much centers on Jessica (Meg Stalter) a New York workaholic in her mid-thirties, reeling from a broken relationship that she thought would last forever and slowly isolating everyone she knows. When every block in New York tells a story of her own bad behaviour, the only solution is to take a job in London, where she plans to live a life of solitude like a Bronte sister. But when she meets Felix (Will Sharpe) – a walking series of red flags – she finds that their unusual connection is impossible to ignore, even as it creates more problems than it solves. Now they have to ask themselves: do Americans and Brits actually speak the same language?” Read more at Deadline A period romance about two young artists that fall in love in Paris just before becoming recognized as cultural icons– yes, please; plus, the Bill Pohlad directed project, Miles and Juliette, will be produced by none other than Mick Jagger– double yes!  Just in time for the recent wave of buzz surrounding new movies during the Cannes Film Festival, Damson Idris, who is currently filming opposite Brad Pitt in Paramount’s upcoming fantasy film Children of Blood and Bone, has been set to play Miles Davis, alongside Anamaria Vartolomei as Juliette Gréco in Pohlad’s latest project.  “According to the project’s description, Miles & Juliette follows ‘22-year-old Miles Davis (Idris) on a transformative trip to Paris in 1949, where he falls into a passionate romance with Juliette Gréco (Vartolomei), the French singer, actress, and Left Bank icon. What begins as an intimate affair blossoms into a profound connection between two young artists — just before they became cultural legends.’” Read more at The Hollywood Reporter On Sunday, Sony Pictures Television was able to secure global distribution rights to Jennifer Ames and Steve Turner’s relationship comedy series, The Miniature Wife.  The series features a star-studded cast of regulars and recurring characters, with Elizabeth Banks and Emmy-winner Matthew Macfadyen in the leading roles. You’re probably thinking: What do Ames and Turner mean by the miniature wife? The Media Res produced comedy series is actually based off of author Manuel Gonzalez’s short story of the same name about a man who accidentally shrinks his wife.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! “The relationship comedy series explores the shifting power dynamics between spouses as a technological mishap triggers the ultimate marital crisis, pitting them against each other in a battle for dominance. It will air on Peacock in the U.S.”  Read more at Variety Tuesday marked the start of the 2025 Cannes Film Festival. Long-awaited projects from Wes Anderson and Ari Aster are set to premiere as well as six female directed films in the Official Competition.  Last year, Sean Baker snagged the Palme d’Or (Golden Palm), which is the highest prize awarded to the director of the Best Feature Film of the Official Competition, for Anora– which later won the Academy Award for Best Picture on March 2. Who will win this year’s Palm d’Or, and will the films featured at Cannes be an early indicator for the 2026 awards season like last year? We’ll have to see, but for now, even if you can’t attend the festival, keep a close eye on the daily happenings in Cannes over the next two weeks.  “Pundits complained last year’s Cannes was a light affair, but that had to do with the bottleneck created by the strikes, for one. Many auteurs return to the Croisette this year to make for a highly anticipated festival.” Read more at IndieWire The film that I’m the most excited to hear about following its premiere at the 2025 Cannes Film Festival is by far Ethan Coen’s upcoming dark comedy, Honey Don’t! The film follows Margaret Qualley as Honey O’Donahue, a small-town private investigator, who looks into strange deaths tied to a mysterious church. Who’s the priest of that deadly church? Captain America, of course!  Though it’s not in competition, the film will premiere in Cannes on the final day of the festival, as part of the midnight screenings. Though I’ll have to wait until Aug. 22 to see the dark comedy in theaters, I have a feeling there will be a lot of buzz surrounding the film following its premiere.  “Once again starring Margaret Qualley, this time as a lesbian private investigator on the trail of a cultist played by former Captain America Chris Evans, Ethan Coen’s latest, co-written alongside longtime collaborator and wife Tricia Cooke, looks to be a dark comedy through and through, firmly of a piece with Drive-Away Dolls.”  Read more at Empire Watch the trailer of HONEY, DON’T! below:

It’s been nearly 15 years since Final Destination 5, the most recent installment in the horror-movie franchise where someone responds to a premonition about deadly disaster by saving the victims, who death then jealously pursues in the order they should have died, through a series of ridiculous contrivances. The series revives with Final Destination: Bloodlines, which puts a new twist on the gimmick: This time around, one survivor of the original disaster staved off death long enough to have kids and grandkids, so death chases them down too, in order of birth.  For a lot of filmmakers, that time gap would be a reason to start from scratch as much as possible, to revamp and update the franchise. Directors Adam B. Stein and Zach Lipovsky (who also made the fascinating 2018 sci-fi puzzlebox movie Freaks, now on Netflix) certainly do some of that — including using their framing for an IMAX version of the movie they say will never be seen in any other format. But they also told Polygon that they went back to study the franchise’s previous films in obsessive detail, to capture everything that made these movies work. “There are key shots in the previous movies that are iconic,” Lipovsky told Polygon via Zoom. “We just were so inspired by them. We even took it to the next level — we analyzed every single death set piece in all the previous movies, and built this incredibly complex spreadsheet with how many omens they had, what type of death it was, and what the other deaths were that came after it, to see what the pattern of death was, and which ones worked really well, and which ones didn’t. We really analyzed the key DNA pieces, the set pieces we could best learn from and bring into our movie.” He says previous Final Destination movies showed death’s impending arrival on a scene in a variety of ways, “whether that’s through wind, or the way the camera moves, or the way water drips, or things like that,” which the directors picked up for Bloodlines. “But even the fun they had with the way they transition from one scene to the next, we were really inspired by that as well. One of our all-time favorite shots is when [2006’s Final Destination 3] cuts from the two tanning beds to the two coffins. It’s cinematic, but it also has an irony and a fun to it. That’s the tone you’re always trying to capture.” The “arrival of death” tipoffs in a Final Destination movie also include creepy music cues, and ominous shots of the various mundane objects that are about to self-assemble into a murderous Rube Goldberg device leading to a messy death. But with Bloodlines, Stein says, the team added in IMAX camera cues. “Because we got to work with the IMAX team, to film it for IMAX with their cameras and their specs, they really encouraged us to see if there was a way we could use the IMAX aspect ratio shift as a creative tool,” Stein says. “And that got us really excited to use it almost as a omen in itself. In the IMAX version of this movie, there is a specific shot where we have a creepy push-in for each death sequence that we designed to be the moment where we expand to the IMAX aspect ratio right as death arrives. It’s the harbinger of death.” That effect won’t be visible at all for people in regular theaters, or watching the film later in home formats, Stein says. “It’s only in the IMAX version of the movie, which you can only see opening week in IMAX theaters. It’ll never be released on home video or on streaming. So for audiences that don’t know that’s what’s happening, they’ll just feel it as a bit of an increase in the intensity in those moments, as they get sucked into that bigger aspect ratio. And for the IMAX fans who have a keen eye, who are looking out for it, they’ll be able to see those particular shots where death arrives and leaves each scene.” Stein and Lipovsky’s enthusiasm for the franchise shows through when they talk about the details of their plot, with the central family facing death one by one. But they light up even more when talking about the filmmaking process. “Final Destination is the ultimate treat for a filmmaker to shoot, because there is no personified antagonist,” Lipovsky said. “There’s no monster, there’s no man with a knife, no nothing. It’s just shots of objects and the wind, and the way the camera rotates slightly and pushes in. Ultimately, it’s really the filmmaking that’s coming for these characters, and all the clever ways these objects are misdirecting them and moving around them — which is ultimately us. “So basically, Adam and I got to be death, to build all these crazy machines and use all the tools of cinema we delight in to create tension. And that’s a really just a beautiful gift as a filmmaker to indulge yourself with, and to play with all the incredible technicians we collaborated with, to just give the sense that there’s an evil force there, even though you don’t see anything.” Stein says that dynamic — getting to “play death” in every sequence — made the project fun for him and Lipovsky in a way that they hope carries over to the audience. “A lot of people assume horror movie sets are very bleak, but there’s a great sense of playfulness and fun in horror,” he said. “Because you’re letting loose with your dark sense of humor, and all the technicians are having so much fun with being covered in fake blood, and having fake bodies being torn apart by puppeteers. All those practical effects bring a lot of fun to the set, as everyone’s figuring out how to do all this stuff. “And I think that comes across on screen, especially in a tone like Final Destination’s. We always said we wanted to create a movie where you have to watch it through your fingers ’cause it’s so intense, but you’re also laughing at the same time. And when you see this movie in a packed theater with an audience that is really coming into the audience experience in that way — everyone is horrified, and they have to look away. But they’re also laughing uproariously, which I think surprises some people when they really see this movie in a packed theater.” Final Destination: Bloodlines opens in theaters on May 16.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Office of the Architects of the Judicial Branch of Santa Fe has completed a morgue designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems (power capacity and unique filters). It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe / (Architect Adelia Sebastián - Architect Carreras Luis - Tech. Gonzalez Javier - Architect Batlle Casas Barbara - Basualdo Gonzalo - Tech. Grippaldi Bruno - Architect Soriano Sebastián)Architect(s) in charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: Institutional (Judicial Morgue)All images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Office of the Architects of the Judicial Branch of Santa Fe has completed a morque designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems (power capacity and unique filters). It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe / (Architect Adelia Sebastián - Architect Carreras Luis - Tech. Gonzalez Javier - Architect Batlle Casas Barbara - Basualdo Gonzalo - Tech. Grippaldi Bruno - Architect Soriano Sebastián)Architect(s) in charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: Institutional (Judicial Morgue)All images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe

NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist

Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. When we think about homes, we tend to picture familiar ideas: comfort, privacy, function — spaces designed to suit many people at once (and, if all goes well, let at least two household members agree on where the sofa and TV should go). But sometimes, architects are asked to design something more specific: a place shaped not by broad assumptions, but by one particular life, habit or need. Across settings and scales, the homes in this collection respond to unusual briefs with equal parts function and imagination. Some are built around creative work, like a house organized entirely around a vlogger’s daily routines. Others offer comfort through significant life transitions, from aging in place with Alzheimer’s to carving out a personal retreat in the wake of loss. From spaces where dogs and humans live as equals to playful structures prioritizing a child’s sense of freedom, each project shows how architecture can leave generalizations behind and create homes that fit real lives — quirks included! Vlogger Aguai’s Home By LZA, Baoshan, Shanghai, China Popular Choice Winner, 12th Annual A+Awards, Residential Interiors (< 3000 sq ft) This home rethinks the boundary between living and working to meet the needs of a growing online career. Centered around a custom scrapbooking workbench, the layout branches outward, organizing both private life and professional activity in one flexible environment. Curved pathways guide movement through the house, reflecting the layered flow of daily routines and creative work. Materials and spaces are carefully chosen to support content creation: the studio incorporates Aguai’s hobbies into its design, incubating inspiration and offering a welcoming backdrop for videos and workshops. By merging personal passion with professional needs, the home supports both focused work and relaxed living without drawing a hard line between them. Dog / Human By EKAR, Thailand Designed to nurture the relationship between dogs and humans, this house in Thailand adapts both its scale and function for its four-legged residents. A low, agricultural-style roof signals zones for walking, sitting and resting, while wide column bases are shaped to fit sleeping dogs. The house includes a dog hotel and salon, allowing other dogs to share the facilities and creating a social space for both pets and owners. Swimming pool steps are carefully sized for dogs to easily climb in and out; the roof intentionally lets rainwater fall freely to the ground. Every detail is shaped by mutual respect between species — a place where dogs and people live, grow and connect. Light Path By Bohlin Cywinski Jackson, Pennsylvania  Built for longtime clients preparing to age in place with Alzheimer’s, this home prioritizes clarity, safety and connection to nature. A simple cross-shaped layout helps with orientation and memory by offering clear, predictable pathways. Wide hallways, accessible bathrooms and same-level entry anticipate future mobility challenges. A 92-foot (28-meter) skylight and expansive windows flood the interiors with daylight, aiding wayfinding and stabilizing circadian rhythms. Natural materials like reclaimed pine and bluestone create a low-contrast, familiar environment, reducing visual confusion. Custom door handles and lowered counters offer easier grip and access, supporting physical independence as needs change over time. The Nearby House By Asooarch Company, Garmsar, Iran The Nearby House creates a shared meeting point for a brother and sister living apart, providing a simple, playful space between their homes. Set in an orchard, the tiny house is shaped by the needs of short visits and childlike exploration — from its curved brick walls that bend around existing trees to the blue-tiled water features that invite play. Every element is designed to support connection, whether through picking fruit, chasing light and shadow or gathering around shared spaces. The architecture remains low, tactile and open to nature, offering a familiar backdrop for memory-making. Rather than formal programs, the design prioritizes casual, spontaneous moments of togetherness, giving the siblings a place that belongs equally to both. Softie By OPA, Mill Valley, California Softie transforms a strict Modernist house into a place of private release, responding to a client’s wish for a free, light and untethered environment. Rather than reworking the structure, the architects introduced a series of soft, cloud-like forms that drift through the home. These interventions dissolve the rigid grid with curved entries, softened stairs and floating shapes that blur traditional spatial boundaries. Materials and details are kept deliberately fluid and irregular, allowing movement through the house to feel loose and intuitive. Even the terrace holds a “trapped cloud” above it, creating small, unexpected encounters with softness. By scattering these moments throughout all three levels, the design makes space for variation, daydreaming and quiet escape from external pressures. LÂM’s home By AD+studio, Vinh Long, Vietnam This project was created as a midday retreat for a mother and daughter, designed around a child’s sense of freedom and play. Built on a narrow 10-by-33-foot (3×10-meter) plot, the house uses a single structural element—the “tree”—to anchor the design. The branching structure carries floors, forms stairs, shades the interior and creates spaces for small tasks, all while maximizing openness. Communal areas are prioritized to strengthen the bond between mother and daughter, with flexible spaces that shift between play and daily routines. Combining functions rather than dividing them makes the house feel expansive despite its size. The light, playful structure echoes the daughter’s name, Lâm and the spirit of movement and growth it represents. Mourning Dovecote By S^A | Schwartz and Architecture, Sonoma, California Created as a quiet retreat for a homeowner navigating grief and change, this 390-square-foot addition focuses on intimacy, memory and connection to nature. Designed to support a slower, more reflective way of living, the compact space draws on simple, tactile materials and close ties to its surroundings. Openings frame the landscape while muffled sounds, like the calls of nearby doves, filter in to mark the passing hours. Rather than expanding outward, the design turns inward, offering a personal, enduring refuge. Built during the pandemic and following personal loss, the project prioritizes familiarity, ritual and small, everyday moments over formal gestures or size. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. The post Oddly Specific: 7 Homes Designed for Very Particular Client Briefs appeared first on Journal.

AI evolution Google DeepMind creates super-advanced AI that can invent new algorithms AlphaEvolve has already made Google's data centers more efficient and improved Tensor chips. Ryan Whitwam – May 14, 2025 5:01 pm | 17 Credit: Google DeepMind Credit: Google DeepMind Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Google's DeepMind research division claims its newest AI agent marks a significant step toward using the technology to tackle big problems in math and science. The system, known as AlphaEvolve, is based on the company's Gemini large language models (LLMs), with the addition of an "evolutionary" approach that evaluates and improves algorithms across a range of use cases. AlphaEvolve is essentially an AI coding agent, but it goes deeper than a standard Gemini chatbot. When you talk to Gemini, there is always a risk of hallucination, where the AI makes up details due to the non-deterministic nature of the underlying technology. AlphaEvolve uses an interesting approach to increase its accuracy when handling complex algorithmic problems. According to DeepMind, this AI uses an automatic evaluation system. When a researcher interacts with AlphaEvolve, they input a problem along with possible solutions and avenues to explore. The model generates multiple possible solutions, using the efficient Gemini Flash and the more detail-oriented Gemini Pro, and then each solution is analyzed by the evaluator. An evolutionary framework allows AlphaEvolve to focus on the best solution and improve upon it. Many of the company's past AI systems, for example, the protein-folding AlphaFold, were trained extensively on a single domain of knowledge. AlphaEvolve, however, is more dynamic. DeepMind says AlphaEvolve is a general-purpose AI that can aid research in any programming or algorithmic problem. And Google has already started to deploy it across its sprawling business with positive results. The team turned AlphaEvolve loose on Google's Borg cluster management system for its data centers. The AI suggested a change to the scheduling heuristics, which has been implemented to save Google 0.7 percent on its computing resources globally. For a company the size of Google, that's a significant financial benefit. AlphaEvolve may also be able to make generative AI more efficient, which is necessary if anyone is ever going to make money on the technology. The internal workings of generative systems are based on matrix multiplication operations. The most efficient way to multiply 4×4 complex-valued matrices was devised by mathematician Volker Strassen in 1969, and that held for decades, but DeepMind says AlphaEvolve has discovered a new algorithm that's even more efficient. DeepMind has worked on this problem before with narrowly trained AI agents like AlphaTensor. Despite being a general AI, AlphaEvolve came up with a better solution than AlphaTensor. Google's next-generation Tensor processing hardware will also benefit from AlphaEvolve. DeepMind reports that the AI created a change to the chip's Verilog hardware description language that dropped unnecessary bits to increase efficiency. Google is still working to verify the change but expects this to be part of the upcoming processor. So far, only Google has been able to tinker with AlphaEvolve. While it uses fewer computing resources than AlphaTensor did, it's still too complex to provide publicly. That may change in the future, but the evaluation approach that makes it so capable could also be integrated with smaller AI tools for research. Ryan Whitwam Senior Technology Reporter Ryan Whitwam Senior Technology Reporter Ryan Whitwam is a senior technology reporter at Ars Technica, covering the ways Google, AI, and mobile technology continue to change the world. Over his 20-year career, he's written for Android Police, ExtremeTech, Wirecutter, NY Times, and more. He has reviewed more phones than most people will ever own. You can follow him on Bluesky, where you will see photos of his dozens of mechanical keyboards. 17 Comments

The old school action movie hero, like the old school movie star, is a dying breed. Tom Cruise is acutely aware of this since pretty much all of his franchised efforts in the 2020s have been about the glories of the fading old days and ways. Top Gun: Maverick, for example, explained why we still needed Cruise up on that wall, protecting us with one piece of superb blockbuster cinema at a time. But in the interim between Mission: Impossible – Dead Reckoning and this month’s long anticipated Mission: Impossible – The Final Reckoning, even the rare company he keeps on those ramparts has shrunk. Indiana Jones is again retired (and presumably for good after the box office receipts for Dial of Destiny came in); and not only has James Bond died onscreen with the last of the Daniel Craig movies, but perhaps off as well since the franchise’s “one at a time” bespoke family business model was consigned to the dustbin of movie history. Still, there remains Cruise and his handful of beloved onscreen personas, who are only too cognizant of how lonely they are high up on their barricade against the rising tide. And it appears to at last be getting to them in Final Reckoning, the allegedly last Mission: Impossible movie that feels the weight of the world on its shoulders, and a lot less of the deft spontaneity that previously made this franchise among the best in the Hollywood canon. Just to clear, there is yet quite a bit to enjoy in Mission: Impossible – The Final Reckoning, our eighth and most interconnected adventure with Cruise’s Ethan Hunt to date. Ever since filmmaker Christopher McQuarrie took over the directorial duties of the franchise beginning in 2015’s Rogue Nation, and even beforehand as a writer via Ghost Protocol, the series has widely been recognized for its creative ingenuity, emotional intelligence, and of course eye-popping spectacle and stunt work wherein Cruise channels his inner Buster Keaton or Douglas Fairbanks by putting his life on the line for our amusement. Those elements stay at play in Final Reckoning, but there is just a lot less playfulness to it in a film that ostensibly asks us to treat its story as a grand finale to Ethan Hunt’s impact on cinema—even as the film simultaneously and awkwardly resists that impulse. Less of a full-stop for the series than a trailing off question mark, Final Reckoning fights against itself and the notion of closing the book or bidding farewell to almost anything, especially Cruise, which makes its ever-growing bombast as much of a hindrance as help in this reluctant swan song. From the opening recap of his assignment, wherein Ethan receives the choice to accept or decline his mission via an appropriately ‘90s VHS cassette tape, Final Reckoning is intent on celebrating the past while turning the screws of self-importance in the present. Consider that this time Ethan’s mission brief is delivered not only by a familiar voice, but the newly elected President of the United States (Angela Bassett’s welcome return as Erika Sloane). The former CIA director turned commander-in-chief is heard pleading with Ethan to come in and deliver the cruciform key from the last movie, which is the secret to unlocking the source code to a world-ending AI threat called the Entity. Yes, despite the title change, Final Reckoning is very much Dead Reckoning Part 2, albeit now with the stakes clearly having been tinkered with off-screen. In the last movie, the Entity represented the abstract but insidious threat of AI and the internet itself, with a sentient algorithm commandeering the power to shape truth and our perceptions of reality. Well, in Final Reckoning, it has apparently decided to go full Skynet. President Sloane reveals the evil AI has corrupted the hydrogen bomb capabilities of most of the nuclear powers in the world, and within three days will have the ability to destroy all life on Earth for no discernible reason. However, should Ethan go rogue and attempt to turn off the Entity without surrendering control over the AI’s source code back to the American government, it could kill the internet and plummet the world into an economic dark age. It’s grim, technologically complex stuff, but in practice is actually incredibly simple. The world will literally end if either the Entity or any government gets its way. So it is all up to Ethan Hunt and his beloved team—which consists here of Luther (Ving Rhames), Benji (Simon Pegg), and recent additions Grace (Hayley Atwell) and Paris (Pom Klementieff)—to save the world via some spectacularly unsafe looking stunts and poker-faced brinksmanship. Ethan indeed has to enter into multiple staring contests with various admirals, generals, and presidents when they dare question whether he really is the smartest guy in the room. The fools. However, for all the press about this being the most expensive Mission ever made, Final Reckoning is arguably more intimate in scale than the last couple of entries. There is plenty of globe-trotting, but other than a jaw-dropping climax involving two biplanes that wouldn’t have looked out of place in 1933’s Flying Down to Rio, and the long teased underwater sequence in which Ethan discovers the wrecked SevastopolTop Gun territory. As in Maverick, Cruise once again has steely tete-a-tetes with various naval officers on what appears to be the real frigid waters of the Bering Sea. This unfortunately undercuts a bit of the travelogue fun of so many spy movies, including the previous Dead Reckoning which was at its best when Cruise and Atwell got to flirt in Rome while smashing a banana-colored Fiat along the Spanish Steps, or Cruise and the missed-but-not-forgotten Rebecca Ferguson simply smoldered in the Arabian deserts outside Dubai while trashing an army of NPCs. In an attempt to reach for the rhapsody of other blockbuster swan songs like The Dark Knight Rises or No Time to Die, Final Reckoning foregoes the lighter touch and mischievousness that made Fallout and Rogue Nation such all-time crowdpleasers. Yet McQuarrie’s play-it-by-ear looseness and story structure clashes with the dour-faced histrionics of Final Reckoning’s setup, particularly during the film’s multiple exposition dumps where characters spew utter nonsense about what the Entity wants at each other, or what to do about what remains one of the worst villains in the franchise, Esai Morales’ exhausting Gabriel. He’s back, and his cackling dastardliness is louder than ever. It also still feels beneath the amount of emotional trauma the film wishes to credit him with inflicting on Ethan. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Still, it would be a disservice to what is ultimately an entertaining popcorn flick to dwell only on the shortcomings. This remains a Tom Cruise stunt spectacular that for the most part maintains McQuarrie’s uncanny ear for sharp, knowingly grandiloquent dialogue and clever shorthand characterization. When Cruise and McQ are focused on the smaller beats, like the interplay between Ethan and a team of deep sea divers, or the endlessly endearing bickering between teammates like Benji and Luther, it never ceases to charm. Grace and Paris likewise prove worthy permanent additions to the team. The chemistry between Atwell and Cruise during one arctic sequence is particularly giddy. Furthermore, there is a wonderful callback to the first Mission: Impossible that I will not spoil here, but it’s better than any simple cameo or easter egg. It retroactively adds McQuarrie’s humanist optimism from these later movies to De Palma’s ‘90s era cheeky chic. And did I mention that IMAX biplane sequence that’s all over the trailers and posters? It really cannot be oversold. It’s only when the sum of these sequences are compared to the taller heights the franchise has recently scaled, particularly in Fallout, which Final Reckoning not so covertly attempts to remake during the third act, that it’s left a little wanting. The film might be marketed as the final Mission: Impossible Mission: Impossible: The Final Reckoning opens on Friday, May 23. Learn more about Den of Geek’s review process and why you can trust our recommendations here.