Rick and Morty remains a staggering work of chaotic creativity. Previewing a handful of episodes from season 8, which premieres Sunday, May 25 with a Matrix-themed story inspired by phone charger theft, I still had that brain-melty “How do they think of this stuff?” feeling from when the show premiered more than a decade ago. The characters aren’t all the same as they were back in 2013 (voice actors aside): Morty has an edge from being around the galactic block a few hundred times, and Rick, while still a maniac, seems to carry the weight of cloning his daughter Beth that one time.  But the sheer amount of wackadoo sci-fi comedy that creator Dan Harmon, showrunner Scott Marder, and their team of writers pack into each half-hour hasn’t lost the awe. This season, that includes everything from a body-horror spin on the Easter Bunny to a “spiritual sequel” (Harmon’s words) to season 3’s beloved Citadel episode “The Ricklantis Mixup.” So where does writing yet another season of Rick and Morty begin? And what does a new season need to accomplish at this point? Polygon talked to Harmon and Marder, who wrote seasons 8, 9, and 10 all in one go, about the tall-order task of reapproaching the Adult Swim series with so much madcap history behind them. Polygon: Where do you even start writing a new episode, when your show can zip in any fantastical direction, or go completely ham on its own mythology? Scott Marder: You might be surprised that we never start off a season with “What’s the canon we owe?” That’s the heavy lifting, and not necessarily how we want to start a season off. There are always people on staff that are hyper-aware of where we are in that central arc that’s going across the whole series, but it’s like any writers room — people are coming in with ideas they’re excited about. You can just see it on their faces. You can feel their energy and just spit it out, and people just start firing off things they’re excited about. We don’t try to have any rules or any setup. Sometimes there are seasons where we owe something from the previous season. In season 8, we didn’t, and that was luxurious. Dan Harmon: I always reference the Dexter season where they tried to save the revelation that a Fight Club was happening for the end, and after the first episode, all of Reddit had decoded it. I marked that moment as sort of “We are now in post-payoff TV.” As TV writers, we have to use what the audience doesn’t have, which is a TV writers room. That isn’t 10 people sitting around planning a funhouse, because they’re not going to plan as good a funhouse as a million people can plan for free by crowdsourcing.  But we can mix chocolate with giant machines that people can’t afford and don’t have in their kitchen. We can use resources and things to make something that’s delicious to watch. So that becomes the obligation when we sit down for seasons. We never go, “What’s going to be the big payoff? What’s going to be the big old twist? What are we going to reveal?” I think that that’s a non-starter for the modern audience. You just have to hope that the thing that ends up making headlines is a “How is it still good?” kind of thing — that’s the only narrative you can blow people’s minds with. Even if “lore” isn’t the genesis of a new season, Rick & Morty still exists in an interesting middle ground between episodic and serialized storytelling. Do you need the show to have one or the other when you want a season to have impact? Harmon: It’s less episodic than Hercules or Xena. It’s not Small Wonder or something where canon would defeat their own purpose. But it is way more episodic than Yellowjackets — I walked in on Cody [Heller, Harmon’s partner] watching season 2 of [Yellowjackets], and literally there wasn’t a single line of dialogue that made sense to me, and that was how she liked it. They were all talking about whatever happened in season 1.  Referencing The Pitt, I think is the new perfect example of how you can’t shake your cane at serialization. In a post-streaming marketplace, The Pitt represents a new opportunity for old showrunners, new viewers to do things you couldn’t do before, that you can now do with serialization, and issuing the time-slot-driven narrative model. Our show needs to be Doctor Who or Deep Space Nine. It comes from a tradition of, you need to be able to eat one piece of chocolate out of the box, but the characters need to, more so than a Saved by the Bell character, grow and change and have things about them that get revealed over time that don’t then get retconned. Marder: Ideally, the show’s evergreen, generally episodic. But we’re keeping an eye on serialized stuff, moments across each season that keep everyone engaged. I know people care about all that stuff. I think all of that combined makes for a perfect Rick and Morty season. How reactive is writing a new season of Rick and Morty? Does season 8 feel very 2025 to you, or is the goal timelessness? Harmon: The show has seen such a turbulent decade, and one of the cultural things that has happened is, TV is now always being watched by the entire planet. So people often ask “Is there anything that you’re afraid to do or can’t do?” The answer to that is “No.” But then at the same time, I don’t think the show has an edge that it needs to push, or would profit from pushing. It’s almost the opposite, in that the difficult thing is figuring out how to keep Rick from being Flanderized as a character that was a nihilist 10 years ago, where across an epoch of culture and TV, Rick was simply the guy saying, “By the way, God doesn’t exist” and having a cash register “Cha-ching!” from him saying that.  How do you keep House from not becoming pathetic on the 10th season of House if House has made people go, “I trust House because he’s such a crab-ass and he doesn’t care about your feelings when he diagnoses you!” I mean, you need to very delicately cultivate a House. So if you do care about the character, and value its outside perspective, it needs to be delicately changed to balance a changing ecosystem.  What a weird rambling answer to that question. But yeah, with Rick, it’s now like, “What if you’re kind of post-achievement? What if your nihilism isn’t going to pay the rent, as far as emotional relationships?” It’s not going to blow anyone’s mind, least of all his own. Where does that leave him? A new set of challenges. He’s still cynical, he’s still a nihilist. He’s still self-loathing, and filled with self-damage. Those things are wired into him. And yet he’s also acknowledged that other people are arbitrarily important to him. And so I guess we start there — that’s the only thing we can do to challenge ourselves.  Marder: I would say, just yes-anding Harmon, that’s sort of the light arc that runs through the season. Just kind of Rick living in a “retirement state.” What does he do now that this vendetta is over? He’s dealing with the family now, dealing with the Beths. That’s some of the stuff that we touch on lightly through it.  Which characters were you excited to see grow this season? Marder: I don’t think anyone had an agenda. It just kind of happened that we ended up finding a really neat Beth arc once Beth got split in two. It made her a way more intriguing character. One part of you literally gets to live the road less traveled, and this season really explores whether either of them are leading a happier life. Rick has to deal with being at the root of all that.  When we stumble onto something like a Jerry episode, like the Easter [one], that’s a treat, or Summer and the phone charger. She’s such an awesome character. It’s cool to see how she and Morty are evolving and becoming better at being the sidekick and handling themselves. It was cool watching her become a powerful CEO, then step back into her old life. We are very lucky that we’ve got a strong cast.  Are there any concepts in season 8 you’ve tried to get in the show for years and only now found a way? Harmon: My frustrating answer to that question is that the answer to that question is one that happens in season 9! [A thing] I’ve actually been wanting to do in television or in movies forever, and we figured out how to do it.  There are definitely things in every episode, but it’s hard to tell which ones. We have a shoebox of “Oh, this idea can’t be done now,” but it’s like a cow’s digestive system. Ideas for seasons just keep getting passed down. Marder: There are a few that are magnetic that we can’t crack, and that we kind of leave on the board, hoping that maybe a new guy will come in and see it comedically. I feel like every season, a new person will come in and see that we have “time loop” up on the board, and they’ll crack their knuckles and be like, “I’m going to break the time loop.” And then we all spend three days trying to break “time loop.” Then it goes back on the board, and we’re reminded why we don’t do time loops.  Harmon: That is so funny. That is the reality, and it’s funny how mythical it is. It’s like an island on a pre-Columbian map in a ship’s galley, and some new deckhand comes in going, “What’s the Galapagos?” And we’re like, “Yarr, you little piece of shit, sit down and I’ll tell you a tale!” And they’ll either be successfully warned off, or they’ll go, “I’m going to take it.” Marder: It’s always like, “I can’t remember why that one made it back on the board… I can’t remember why we couldn’t crack it…” And then three days later, you’re like, “I remember why we couldn’t crack it.” Now an eager young writer is seasoned and grizzled. “It was a mistake to go to the time loop.”

Want something sexy, silly, and scandalous? Then you'll treasure Honey Don't!, the latest collaboration between married filmmakers Ethan Coen and Tricia Cooke. The pair, who've been collaborating since the 1990 Coen Bros movie Miller's Crossing, brought audiences the madcap mayhem of Drive-Away DollsDrive-Away Dolls star Margaret Qualley reunites with Coen and Cooke, playing a title character once more. Honey O'Donahue is a small-town private eye who keeps her cards close to her chest. When a new client turns up dead in a suspicious car crash, she quips to the crumpled police detective on the scene (Charlie Day, perfectly cast as an affable dope), but won't give up a single observation. Unspoken, this is her mystery to solve. Over the course of this murder investigation, she'll cross paths with a moped-riding femme fatale (Lera Abova), a surly sapphic cop (Aubrey Plaza), and an ultra-vain cult leader (Chris Evans). It's a wild ride with twists, sex, and murder!  You May Also Like Margaret Qualley is dynamite in Honey Don't!While this is the second offering in Coen and Cooke's proposed lesbian trilogy, Honey Don't! doesn'tDrive-Away Dolls. The key to both films is Qualley, who sets the tone. In the first film, she was a chaotically comical masc with a Southern accent as thick as molasses and a libido as powerful as the sun. The movie followed her frenzied energy through pacing and plotting, taking wild turns with madcap energy. In Honey Don't!, click-clacking heels, pencil skirts or tailored flowing slacks with tidy but never bland dress shirts — reflects these old-school inspirations. So does her frankness; she carries a Katharine Hepburn attitude without the Mid-Atlantic accent. So when the aforementioned police detective flirts with her, she says, smooth as butter, "I like girls." (To which Day replies with a cheery bemusement, "You always say that!") Whether playing the cool gay aunt to a small army of nieces and nephews, uncovering a kinky clue, or hooking up with a one-night stand, Honey is suave and sharp, but also warm. This temperament sets her apart from the fleets of male detectives who've come before her, all swagger and steely glares. Plus, her attitude reflects the atmosphere of Honey Don't!'s setting: Bakersfield, California, a sunny place with a dark appetite.   Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Honey Don't! is a raw and refreshing caper.  Writer Tricia Cooke, actor Margaret Qualley and writer/director Ethan Coen on the set of their film "Honey Don't!" Credit: Karen Kuehn / © 2025 FOCUS FEATURES LLC The screenplay by Coen and Cooke is committed to dark humor, offering gleeful jokes about kinky sex, gruesome death, and the general idiocy of crooks and con men. As Coen directs Honey Don't!, it's tempting to look for comparisons in his shared filmography with his brother, Joel. Is Honey Don't! more Raising Arizona or The Big Lebowski? Burn After Reading or No Country for Old Men? But engaging in this debate risks overlooking the exciting exploration of crime stories that Coen and Cooke are building with their trilogy. Her stamp is clear and important here as the film's co-writer, producer, and editor. Yes, Honey Don't! pulls from film noir inspirations, as do several previous Coen Bros movies… and hundreds of other movies before that. But this crusty California setting gives fresh air to tropes like the femme fatale or the double cross. Where Drive-Away Dolls dug into the rich Americana and queer culture to be found in road trip attractions and lesbian bars, Honey Don't! embraces a less-familiar clutch of gnarly characters, sunbaked and deranged. Chris Evans is hilarious, freed from Disney constraints. Thank goodness that Chris Evans' MCU era has ended. Now the actor who has proven to be a sensational bastard in Knives Out can cut loose with characters who aren't remotely role models.  Related Stories In Honey Don't!, he plays Reverend Drew, a preacher who leads a congregation of dedicated minions who will grant any wish of sex or violence his twisted heart desires. Honey Don't! offers an array of beloved character actors, like Plaza, Day, Billy Eichner, and acclaimed theater performer Gabby Beans. And they are all game for whatever damned thing Cooke and Coen throw their way. Where Qualley plays the straight man to this cluster of kooky clowns, Evans is a ringmaster of his own circus. From the moment he flashes a comically insincere smile, there's a thrill of excitement. Playing punchlines with a gleeful obliviousness, Evans creates a sharp satire of a certain brand of religious leader who believes too much in his own bullshit. His physicality is suitably absurd. Whether he's barking orders in the nude or giving the most hysterical delivery of the word "oui" ever committed to screen, he moves like a cartoon caricature of an arrogant buffoon. Props to Evans for finding a new and fantastic way to continue being America's ass. What's most thrilling about Honey Don't! is perhaps also what's most frustrating about it. Coen and Cooke set up a mystery with a form that seems vaguely familiar at the start. But as Honey chases down the suspects and confounding clues, this story is anything but what you'd expect. And that comes down to the finale, which is sure to divide critics and audiences. Personally, I relished the final surprise of the film, as it suggests this story is bigger than one movie and maybe even one setting can contain. Instead of closure, Honey Don't! offers a taste of something sweet and wild, with the potential for more. And I'm not mad at that. Honey Don't! was reviewed out of the Cannes Film Festival. It will open in theaters on Aug. 22. Topics Film

With Prince of Persia, Resident Evil, Minecraft Legends and more, Argos' latest sale on PS5 titles is well worth a look for all kinds of gamer — here are our picksTech17:19, 21 May 2025Updated 17:35, 21 May 2025This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn moreLost Crown was one of the best games of 2024While yesterday we showed you a great deal on the Xbox Series S/X wireless controller, this time we're switching our focus to PlayStation, which is still out in front in the current generation of consoles (and gaining another exclusive from Team Green).Argos has a deal going right now which offers a pair of PS5 games for just £25, and while you may be expecting shovelware, there are some absolute bangers in here.From Far Cry, to Dragon Ball, Assassin's Creed to Warhammer, there's plenty to keep you busy this summer, and with some of them coming in at £20 on their own, it's a big saving, too.Here are some of the best games we've found.Resident Evil 3 is a fun, if short, adventureYou can find the full list at Argos here, and you'll just need to look for that red '2 for £25' label.While there are some kid-friendly titles like Peppa Pig World Adventures and a Fortnite Transformers pack if you're keen, there are some bonafide great games on offer, too.Far Cry 6, for example, is the latest in the open-world shooter series and features Breaking Bad and The Mandalorian star Giancarlo Esposito as its main antagonist Anton Castillo, while you can also grab fellow Ubisoft titles like Assassin's Creed: Valhalla, Skull and Bones, or Prince of Persia: The Lost Crown—the latter of which was one of the best games of 2024.Fishing with a side of cosmic horror? Count us inElsewhere, madcap multiplayer restaurant game Overcooked's All You Can Eat edition is included, as well as spooky fishing game Dredge.Sticking with horror, Resident Evil 3 and Resident Evil 4 Remake are included, meaning you can grab both for £25. In fact, Resident Evil 4 Remake is at its lowest price, while elsewhere Resident Evil 2, Resident Evil 7, and Devil May Cry 5 are part of the deal which means you can add even more games to your Capcom collection.Kids obsessed with the Minecraft movie? We can relate, but thankfully not only is Minecraft included, but Minecraft Legends is, too.Article continues belowRounding up the games that go well together are three Dragon Ball games you can pick and choose between. There's 2D fighter Dragon Ball FighterZ, the action-packed Dragon Ball Xenoverse 2, and the retelling of Goku's story with Dragon Ball Z: Kakarot.For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.‌

Salvador Dalí’s Surrealist Screenplay ‘Giraffes on Horseback Salad’ Was Never Made. Can A.I. Bring It to Life? The Dalí Museum is collaborating with an advertising agency to “reawaken” the Spanish artist’s failed script, which studio executives rejected nearly 90 years ago A still from the Giraffes on Horseback Salad trailer Goodby Silverstein & Partners In 1937, Salvador Dalí conceived of a movie that would star the Marx Brothers against a bizarre, romantic dreamscape filled with animals and fire. But when the Spanish artist brought his drawings and notes for Giraffes on Horseback Salad, as he called it, to Metro-Goldwyn-Mayer, the studio decided it would be impossible to produce. Now, nearly 90 years later, Dalí’s abandoned film is finally coming together—produced not by MGM, but by artificial intelligence. The Dalí Museum in Florida is partnering with Goodby Silverstein & Partners, a San Francisco-based advertising agency, to bring the project to life using Dalí’s surviving notes and Google’s A.I. tools. While the film is still in development, a trailer was released on YouTube in April. “Salvador Dalí said that he would be remembered for the words he wrote even more than for his paintings,” says Hank Hine, director of the Dalí Museum, in a statement. “This technology, in the respectful hands of artists, allows Dalí’s imagined world, locked in language, to erupt into visibility.” Giraffes on Horseback Salad, Inspired by Salvador Dalí's Screenplay | Official Trailer Watch on Best known for his melting clocks in the painting The Persistence of MemorySurrealist artist and filmmaker. Working with the Spanish director Luis Buñuel, he wrote the screenplays for several Surrealist films, including An Andalusian Dog (1929) and The Golden Age (1930). In 1936, Dalí met Harpo Marx in Paris, where the American comedian was in the midst of a publicity tour. Even though they didn’t speak the same language, the two men quickly connected. Dalí began working on Giraffes on Horseback Salad with the Marx Brothers in mind. In 1937, he flew to the United States to pitch the idea. Harpo’s son, Bill Marx, was a small child when he stumbled upon a copy of the script. As he told NPR’s Peter Breslow in 2019, “I started reading it, and I really couldn’t make heads or tails of it.” The story follows a Spanish businessman named Jimmy who falls in love with a faceless “Surrealist woman” who “draws him into her universe, one that is vibrant, chaotic and boundless,” according to the Dalí Museum. “But as their worlds begin to merge, so does the conflict—blurring the line between imagination and destruction. Like Dalí’s own time, it is a story where beauty and chaos collide, where the limits of reality are shattered, and where creation and annihilation go hand in hand.” Salvador Dalí in 1936, around the time he met Harpo Marx Bettmann via Getty Images When Dalí and Harpo pitched the idea to MGM producer Louis B. Mayer, the meeting “did not go well,” according to Josh Frank and Tim Heidecker’s 2019 graphic novel adaptation of the script. The studio rejected the script for its impracticality, while Groucho Marx rejected it for lack of humor, saying, “It won’t play,” per NPR’s Etelka Lehoczky. Could Giraffes on Horseback Salad play for a 21st-century audience? The new film pulls from Dalí’s surviving notes and sketches. “Bringing this vision to life required not only advanced technology, but also a deep understanding of Dalí’s artistic language,” says the museum in the statement. “Every surreal element had to be carefully reconstructed to reflect his original intent, ensuring that what was once fragmented and forgotten now comes together as a cohesive cinematic experience.” The new film was announced in early April. Goodby Silverstein & Partners However, Ben Davis, a critic for Artnet, writes that the new A.I. interpretation is full of “chintzy sub-sub-Surrealist imagery” that has “little to do with Dali’s original vision.” For example, Dalí’s script says the face of the “Surrealist woman” is never revealed. But in the new trailer, as a narrator says “Surrealist woman,” a female face fills the screen. Davis cites visual errors in the trailer—like a misshapen human ear, a harp string passing through a finger and incorrect Roman numerals on a clock—and argues that “the madcap feeling of Dalí’s idea … has been processed into something with the feeling of a vacuous fashion shoot.” Giraffes on Horseback Salad isn’t the first collaboration between the Dalí Museum and Goodby Silverstein & Partners. Last year, they announced a project called “Ask Dalí,” a functional replica of the artist’s famous lobster telephone at the museum. When visitors picked up the phone, they could speak with an A.I. version of Dalí, which was trained on old writings and archival audio. In late 2022, the two groups released “Dream Tapestry,” which generated Surrealist art based on visitors’ descriptions of their dreams. The new film is their latest attempt to build on Dalí’s work through emerging technology. “Dalí imagined a film so surreal, so untethered from convention, that it couldn’t exist in his lifetime,” says Jeff Goodby, the agency’s co-chairman, in the statement. “We’ve been able to help bring that vision to life—not as a replica, but as a reawakening.” Get the latest stories in your inbox every weekday.

Deliver at All Costs casts you as a delivery driver in the late 1950s, and it looks fantastic in motion. Almost everything on the map can be destroyed, and there is immediate fun to be had from causing merry mayhem with your truck, clattering through deckchairs on the beach or driving straight through the middle of a diner and watching it collapse spectacularly behind you. But there is a void at the heart of this game where the core hook should have been.We get a glimpse of its potential during a mission that sees you racing to catch up with a rival’s delivery truck before it can reach its destination. The aim is to manoeuvre alongside, and hold down a button so the crane on the back of your own truck can sneakily lift the package off their vehicle and on to yours. All the while, rival trucks are attempting to ram you off the road, and after you grab the package, you then have to deliver it while fending off the attentions of these other drivers. It leads to some wonderfully comic scenes in which a hotel owner thanks you profusely for a consignment while standing in front of the ruins of his newly destroyed establishment: a casualty of the violent act of delivery.Keep on truckin’ … Deliver at All Costs. Photograph: KonamiThis one frantic mission is by far the best part of the game, and if the rest of Deliver at All Costs followed a similar path – a Crazy Taxi-style mad dash against the clock between pickup and delivery, with whole neighbourhoods razed in pursuit of logistical efficiency – then there would no doubt be a few more stars stuck to this review. Instead each mission varies wildly in content and quality. Some are passably enjoyable, including one that involves taking photos of a UFO while avoiding its laser beam. Others are simply dull, such as one in which you deliver balloons tied to the back of your truck, which intermittently cause it to rise into the air: more irritating than entertaining. Zany does not equal fun.If all of that kind of thing had been confined to side missions while the main game was about zipping parcels back and forth as quickly as possible, it might have worked. But these hit and miss escapades are all we get, and by the final third, the concept of delivering things is ditched completely. Instead Deliver at All Costs tells a dim-witted story through relentless dull cut scenes, with writing and acting that veer from passable to downright rotten. Protagonist Winston Green is a man with a murky past who ends up at loggerheads with his boss, Donovan, before the game jumps the shark entirely and veers off into po-faced sci-fi nonsense. It doesn’t help that the permanently angry Winston is one of the most unlikable video game protagonists ever created.As in Grand Theft Auto, you can hop out of your car and explore, but here there’s hardly anything to find, save for a few viewpoints (which are just that) and a tiny handful of side missions. These range from fun (race a parachutist down a mountain) to boring (find a man who looks like the mayor). There is the occasional unique car to discover, but as you have to use your delivery truck for most missions, doing so is largely pointless. The novelty of driving around in, say, a hot dog van wears off in seconds. There are crates full of cash to find too, but there’s little of note worth buying. The shop sells spare parts you can use to assemble gadgets for your truck, but apart from the boost-giving jet engine, they’re mostly superfluous.It’s all so frustrating. Deliver at All Costs offers up a beautiful destructible playground, then barely utilises it, instead focusing on a bizarre, half-baked story that somehow ends in a courtroom drama. It feels like being invited to a glittering champagne reception, then getting collared by a conspiracy theorist who insists on describing the plot of his hokey sci-fi novel for the next eight hours. What a criminal waste.

Requisition #: 16649 Our Mission: Powering Innovation That Drives Human Advancement When visionary companies need to know how their world-changing ideas will perform, they close the gap between design and reality with Ansys simulation. For more than 50 years, Ansys software has enabled innovators across industries to push boundaries by using the predictive power of simulation. From sustainable transportation to advanced semiconductors, from satellite systems to life-saving medical devices, the next great leaps in human advancement will be powered by Ansys. Innovate With Ansys, Power Your Career. Summary / Role PurposeThe Senior R&D Documentation Specialist writes, edits, and creates a variety of Ansys documentation deliverables. They review all work for organization, content, technical accuracy, and style. This role requires effective planning, scheduling, research, writing, and editing skills. The Senior Documentation Specialist participates as a member of development teams, keeping informed of product development activities to determine the need for new documentation as well as revisions, corrections, and changes in previously released materials. This position does not qualify for immigration sponsorship.Key Duties and ResponsibilitiesDetermines audience needs to create HTML and PDF end user documentation, Getting Started Guides, scripting API documentation, tutorials, and videos for Ansys HFSSUpdates and revises previously released documentation to current specificationsAttains a high level of knowledge about both Ansys products and Ansys documentation tools, processes, and procedures Works closely with HFSS development team and Ansys ACE team to implement technological requirements for Ansys documentationRequires minimal supervisionMay mentor other documentation specialistsMinimum Education/Certification Requirements and ExperienceBS in Technical Writing, Technical Communication, Computer Science, English, or Engineering with 5 years' experience, or MS with 3 years' experienceFluency in English, along with excellent written and spoken communication skillsSkilled at gathering and analyzing technical and product information from various sources, and paying close attention to detail Proven experience determining the best method in which to present information and then developing user-centric documentation high in quality, consistency, and accuracyAdept at managing multiple tasks and priorities simultaneously in a fast-paced, deadline-driven, geographically diverse environmentSolid understanding of HTML, CSS, XMLImage and video editing experiencePreferred Qualifications and SkillsFamiliarity with Ansys HFSS or similar 3D simulation softwareExperience using MadCap Flare, oXygen, and Adobe Acrobat ProPython knowledgeExperience with the concepts of documentation authoring, common project management software (ADO), version control (Git), structured documentation, and agile development methodologies At Ansys, we know that changing the world takes vision, skill, and each other. We fuel new ideas, build relationships, and help each other realize our greatest potential. We are ONE Ansys. We operate on three key components: our commitments to stakeholders, our values that guide how we work together, and our actions to deliver results. As ONE Ansys, we are powering innovation that drives human advancementOur Commitments:Amaze with innovative products and solutionsMake our customers incredibly successfulAct with integrityEnsure employees thrive and shareholders prosperOur Values:Adaptability: Be open, welcome what's nextCourage: Be courageous, move forward passionatelyGenerosity: Be generous, share, listen, serveAuthenticity: Be you, make us strongerOur Actions:We commit to audacious goalsWe work seamlessly as a teamWe demonstrate masteryWe deliver outstanding resultsVALUES IN ACTIONAnsys is committed to powering the people who power human advancement. We believe in creating and nurturing a workplace that supports and welcomes people of all backgrounds; encouraging them to bring their talents and experience to a workplace where they are valued and can thrive. Our culture is grounded in our four core values of adaptability, courage, generosity, and authenticity. Through our behaviors and actions, these values foster higher team performance and greater innovation for our customers. We're proud to offer programs, available to all employees, to further impact innovation and business outcomes, such as employee networks and learning communities that inform solutions for our globally minded customer base. WELCOME WHAT'S NEXT IN YOUR CAREER AT ANSYSAt Ansys, you will find yourself among the sharpest minds and most visionary leaders across the globe. Collectively, we strive to change the world with innovative technology and transformational solutions. With a prestigious reputation in working with well-known, world-class companies, standards at Ansys are high - met by those willing to rise to the occasion and meet those challenges head on. Our team is passionate about pushing the limits of world-class simulation technology, empowering our customers to turn their design concepts into successful, innovative products faster and at a lower cost. Ready to feel inspired? Check out some of our recent customer stories, here and here .At Ansys, it's about the learning, the discovery, and the collaboration. It's about the "what's next" as much as the "mission accomplished." And it's about the melding of disciplined intellect with strategic direction and results that have, can, and do impact real people in real ways. All this is forged within a working environment built on respect, autonomy, and ethics.CREATING A PLACE WE'RE PROUD TO BEAnsys is an S&P 500 company and a member of the NASDAQ-100. We are proud to have been recognized for the following more recent awards, although our list goes on: Newsweek's Most Loved Workplace globally and in the U.S., Gold Stevie Award Winner, America's Most Responsible Companies, Fast Company World Changing Ideas, Great Place to Work Certified (China, Greece, France, India, Japan, Korea, Spain, Sweden, Taiwan, and U.K.).For more information, please visit us at Ansys is an Equal Opportunity Employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, veteran status, and other protected characteristics.Ansys does not accept unsolicited referrals for vacancies, and any unsolicited referral will become the property of Ansys. Upon hire, no fee will be owed to the agency, person, or entity.Apply NowLet's start your dream job Apply now Meet JobCopilot: Your Personal AI Job HunterAutomatically Apply to Remote Full-Stack Programming JobsJust set your preferences and Job Copilot will do the rest-finding, filtering, and applying while you focus on what matters. Activate JobCopilot

Josh Holloway takes the wheel.