Catch This Year’s Strawberry Moon Lighting Up the Sky on June 11 The last full moon before summer kicks off is one of the lowest of the year in the Northern Hemisphere A full moon on June 28, 2018, as seen from Manchester, England. The reddish glow is likely due to the 2018 Saddleworth Moor wildfires.  Benjamin Shaw, CC BY-SA 4.0 via Wikimedia Commons Summer will officially begin with this year's solstice on June 20. And on Wednesday, June 11, comes a "strawberry moon," the last full moon of the Northern Hemisphere's spring. It will be at its brightest at 3:44 a.m. Eastern time in the United States. Its name, however, isn't related to the moon's color. The Old Farmer’s Almanac, which has charted everything from celestial bodies to the best time to plant vegetables since 1792, popularized useful nicknames for every month's full moon. According to the almanac, the name strawberry moon has been used by Native peoples, such as the Algonquian, Ojibwe, Dakota and Lakota, to mark the harvest time of “June-bearing” strawberries. "Mead moon" or "honey moon" are old European nicknames for June's full moon, according to National Geographic, and may have similarly been inspired by honey harvesting. In the Northern Hemisphere, the strawberry moon is one of the lowest full moons of the year. That's because June's full moon usually takes place closest to the summer solstice, which is when the Earth is in the lowest point of its tilted orbit around the sun, and thus the sun appears at its peak height in our skies. Full moons occur when they are opposite the sun in respect to Earth, so if the sun is in its highest point, the moon is in its lowest, as reported by Live Science's Jamie Carter. Earth will reach its aphelion—or the farthest point in its elliptical orbit around the sun—on July 3, making the strawberry moon one of the farthest full moons from our star, per Live Science. Earth's summer and winter solstices NASA Because of its position in the sky, June's full moon may live up to its nickname by appearing more colorful. According to NASA, when the moon hangs low, it "tends to have a more yellow or orange hue" than when it's high because its light has to travel through a thicker portion of the atmosphere to reach our view. This means a greater number of long red wavelengths survive the journey than short blue ones. Pollution, dust or wildfires can also make the moon appear more red. The strawberry moon is distinct from the blood moon, however, notes Fox61's Krys Shahin. Blood moons—like the one that graced our skies in March—occur during total lunar eclipses, when the sun, the Earth and the moon line up in a way that makes the Earth block most of the sun's light from reaching the moon. The light that manages to seep around our planet and still reach the moon has to filter through our atmosphere, meaning mostly red wavelengths make it through once again. Though the strawberry moon will reach its peak early Wednesday morning, the best time to see it will be when it rises over the horizon at dusk on Tuesday evening, per Live Science. As reported by Discover Magazine's Stephanie Edwards, Mars will also be visible on June 11. Get the latest stories in your inbox every weekday. More about: Moon Sky Watching Guide Sun

Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.  There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.  These emerging AI agents aren’t large language models themselves. Instead, they’re built on top of them, using a workflow-based structure designed to get things done. A lot of these systems also introduce a different way of interacting with AI. Rather than just chatting back and forth with users, they are optimized for managing and executing multistep tasks—booking flights, managing schedules, conducting research—by using external tools and remembering instructions.  China could take the lead on building these kinds of agents. The country’s tightly integrated app ecosystems, rapid product cycles, and digitally fluent user base could provide a favorable environment for embedding AI into daily life.  For now, its leading AI agent startups are focusing their attention on the global market, because the best Western models don’t operate inside China’s firewalls. But that could change soon: Tech giants like ByteDance and Tencent are preparing their own AI agents that could bake automation directly into their native super-apps, pulling data from their vast ecosystem of programs that dominate many aspects of daily life in the country.  As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Set the standard It’s been a whirlwind few months for Manus, which was developed by the Wuhan-based startup Butterfly Effect. The company raised $75 million in a funding round led by the US venture capital firm Benchmark, took the product on an ambitious global roadshow, and hired dozens of new employees.  Even before registration opened to the public in May, Manus had become a reference point for what a broad, consumer‑oriented AI agent should accomplish. Rather than handling narrow chores for businesses, this “general” agent is designed to be able to help with everyday tasks like trip planning, stock comparison, or your kid’s school project.  Unlike previous AI agents, Manus uses a browser-based sandbox that lets users supervise the agent like an intern, watching in real time as it scrolls through web pages, reads articles, or codes actions. It also proactively asks clarifying questions, supports long-term memory that would serve as context for future tasks. “Manus represents a promising product experience for AI agents,” says Ang Li, cofounder and CEO of Simular, a startup based in Palo Alto, California, that’s building computer use agents, AI agents that control a virtual computer. “I believe Chinese startups have a huge advantage when it comes to designing consumer products, thanks to cutthroat domestic competition that leads to fast execution and greater attention to product details.” In the case of Manus, the competition is moving fast. Two of the most buzzy follow‑ups, Genspark and Flowith, for example, are already boasting benchmark scores that match or edge past Manus’s.  Genspark, led by former Baidu executives Eric Jing and Kay Zhu, links many small “super agents” through what it calls multi‑component prompting. The agent can switch among several large language models, accepts both images and text, and carries out tasks from making slide decks to placing phone calls. Whereas Manus relies heavily on Browser Use, a popular open-source product that lets agents operate a web browser in a virtual window like a human, Genspark directly integrates with a wide array of tools and APIs. Launched in April, the company says that it already has over 5 million users and over $36 million in yearly revenue. Flowith, the work of a young team that first grabbed public attention in April 2025 at a developer event hosted by the popular social media app Xiaohongshu, takes a different tack. Marketed as an “infinite agent,” it opens on a blank canvas where each question becomes a node on a branching map. Users can backtrack, take new branches, and store results in personal or sharable “knowledge gardens”—a design that feels more like project management software (think Notion) than a typical chat interface. Every inquiry or task builds its own mind-map-like graph, encouraging a more nonlinear and creative interaction with AI. Flowith’s core agent, NEO, runs in the cloud and can perform scheduled tasks like sending emails and compiling files. The founders want the app to be a “knowledge marketbase”, and aims to tap into the social aspect of AI with the aspiration of becoming “the OnlyFans of AI knowledge creators”. What they also share with Manus is the global ambition. Both Genspark and Flowith have stated that their primary focus is the international market. A global address Startups like Manus, Genspark, and Flowith—though founded by Chinese entrepreneurs—could blend seamlessly into the global tech scene and compete effectively abroad. Founders, investors, and analysts that MIT Technology Review has spoken to believe Chinese companies are moving fast, executing well, and quickly coming up with new products.  Money reinforces the pull to launch overseas. Customers there pay more, and there are plenty to go around. “You can price in USD, and with the exchange rate that’s a sevenfold multiplier,” Manus cofounder Xiao Hong quipped on a podcast. “Even if we’re only operating at 10% power because of cultural differences overseas, we’ll still make more than in China.” But creating the same functionality in China is a challenge. Major US AI companies including OpenAI and Anthropic have opted out of mainland China because of geopolitical risks and challenges with regulatory compliance. Their absence initially created a black market as users resorted to VPNs and third-party mirrors to access tools like ChatGPT and Claude. That vacuum has since been filled by a new wave of Chinese chatbots—DeepSeek, Doubao, Kimi—but the appetite for foreign models hasn’t gone away.  Manus, for example, uses Anthropic’s Claude Sonnet—widely considered the top model for agentic tasks. Manus cofounder Zhang Tao has repeatedly praised Claude’s ability to juggle tools, remember contexts, and hold multi‑round conversations—all crucial for turning chatty software into an effective executive assistant. But the company’s use of Sonnet has made its agent functionally unusable inside China without a VPN. If you open Manus from a mainland IP address, you’ll see a notice explaining that the team is “working on integrating Qwen’s model,” a special local version that is built on top of Alibaba’s open-source model.  An engineer overseeing ByteDance’s work on developing an agent, who spoke to MIT Technology Review anonymously to avoid sanction, said that the absence of Claude Sonnet models “limits everything we do in China.” DeepSeek’s open models, he added, still hallucinate too often and lack training on real‑world workflows. Developers we spoke with rank Alibaba’s Qwen series as the best domestic alternative, yet most say that switching to Qwen knocks performance down a notch. Jiaxin Pei, a postdoctoral researcher at Stanford’s Institute for Human‑Centered AI, thinks that gap will close: “Building agentic capabilities in base LLMs has become a key focus for many LLM builders, and once people realize the value of this, it will only be a matter of time.” For now, Manus is doubling down on audiences it can already serve. In a written response, the company said its “primary focus is overseas expansion,” noting that new offices in San Francisco, Singapore, and Tokyo have opened in the past month. A super‑app approach Although the concept of AI agents is still relatively new, the consumer-facing AI app market in China is already crowded with major tech players. DeepSeek remains the most widely used, while ByteDance’s Doubao and Moonshot’s Kimi have also become household names. However, most of these apps are still optimized for chat and entertainment rather than task execution. This gap in the local market has pushed China’s big tech firms to roll out their own user-facing agents, though early versions remain uneven in quality and rough around the edges.  ByteDance is testing Coze Space, an AI agent based on its own Doubao model family that lets users toggle between “plan” and “execute” modes, so they can either directly guide the agent’s actions or step back and watch it work autonomously. It connects up to 14 popular apps, including GitHub, Notion, and the company’s own Lark office suite. Early reviews say the tool can feel clunky and has a high failure rate, but it clearly aims to match what Manus offers. Meanwhile, Zhipu AI has released a free agent called AutoGLM Rumination, built on its proprietary ChatGLM models. Shanghai‑based Minimax has launched Minimax Agent. Both products look almost identical to Manus and demo basic tasks such as building a simple website, planning a trip, making a small Flash game, or running quick data analysis. Despite the limited usability of most general AI agents launched within China, big companies have plans to change that. During a May 15 earnings call, Tencent president Liu Zhiping teased an agent that would weave automation directly into China’s most ubiquitous app, WeChat.  Considered the original super-app, WeChat already handles messaging, mobile payments, news, and millions of mini‑programs that act like embedded apps. These programs give Tencent, its developer, access to data from millions of services that pervade everyday life in China, an advantage most competitors can only envy. Historically, China’s consumer internet has splintered into competing walled gardens—share a Taobao link in WeChat and it resolves as plaintext, not a preview card. Unlike the more interoperable Western internet, China’s tech giants have long resisted integration with one another, choosing to wage platform war at the expense of a seamless user experience. But the use of mini‑programs has given WeChat unprecedented reach across services that once resisted interoperability, from gym bookings to grocery orders. An agent able to roam that ecosystem could bypass the integration headaches dogging independent startups. Alibaba, the e-commerce giant behind the Qwen model series, has been a front-runner in China’s AI race but has been slower to release consumer-facing products. Even though Qwen was the most downloaded open-source model on Hugging Face in 2024, it didn’t power a dedicated chatbot app until early 2025. In March, Alibaba rebranded its cloud storage and search app Quark into an all-in-one AI search tool. By June, Quark had introduced DeepResearch—a new mode that marks its most agent-like effort to date.  ByteDance and Alibaba did not reply to MIT Technology Review’s request for comments. “Historically, Chinese tech products tend to pursue the all-in-one, super-app approach, and the latest Chinese AI agents reflect just that,” says Li of Simular, who previously worked at Google DeepMind on AI-enabled work automation. “In contrast, AI agents in the US are more focused on serving specific verticals.” Pei, the researcher at Stanford, says that existing tech giants could have a huge advantage in bringing the vision of general AI agents to life—especially those with built-in integration across services. “The customer-facing AI agent market is still very early, with tons of problems like authentication and liability,” he says. “But companies that already operate across a wide range of services have a natural advantage in deploying agents at scale.”

If, like me, you’re slightly addicted to your astrology app and love checking your daily horoscope, you may have wondered just how much stock you should put into it. Allow me to tell you that it may be more revealing than you think. Sure, your zodiac sign can give you guidance on when to make a big move or when to save a certain conversation for a better, star-blessed date. But, did you know it can also help you decorate? That’s right. Your astrological sign can give you insight into what no-regret color you should choose for your kitchen, living room, bedroom or if you *actually* should go all in on maximalism (looking at you, Virgo). To answer all your decorating questions, we sat down with astrologer Sam Manzella to chat about the impact astrology can have on how you decorate your home and to find out what she thinks are the best paint colors for each astrology sign.Want even more astrology content? Check out these stories.Meet Our AstrologerSam Manzella is a Brooklyn-based astrologer and multi-award winning journalist. She practices a Hellenistic tradition, working from ancient frameworks, including the Whole Sign house system, sect, and traditional rulerships. Additionally, her practice is based around the planetary rulers that were visible to the naked eye in the age before telescopes, also called the seven core planets, meaning that the outer planets of Uranus, Neptune, and Pluto won't be making an appearance in this article. The Signs, Their Rulers, and Their Color FamiliesLet’s start with the basics: There are 12 signs in Western astrology. You’ve probably heard of them—think Aries, Cancer, Libra, etc. While most modern mainstream astrology focuses heavily on the signs, it’s actually their relationship to the planets that has the biggest impact on your day-to-day. “In astrology, planets, not zodiac signs, are the main players,” says Sam. This more nuanced and wholistic approach to astrology uses planets to determine what will happen, while signs only dictate the how. “Pop astrology often relies too heavily on zodiac sign archetypes, in my opinion,” says Sam. “Place a planet in a specific sign? Now we’re cooking, baby.”When it comes to matching up planets and colors, millennia of traditional associations guide the way. Sam’s color coordination is based on two works: The Complete Picatrix, a Medieval text on astrological magic, and Hellenistic Astrology: The Study of Fate and Fortune, a traditional astrology manual written by storied astrologer Chris Brennan. Below, we’ll break down the seven core planets, the signs that correspond with them, and their traditional color associations.MarsSigns: Aries, ScorpioColor Associations: Strong, aged shades of red and rust. VenusSigns: Taurus, LibraColor Associations: Sumptuous natural shades, such as greens, pinks, whites, and pastels.MercurySigns: Gemini, VirgoColor Associations: Orange is a good color for Mercury, but mixes of patterns and colors also works well for these Mercurial signs. SunSigns: LeoColor Associations: Classic sunny shades, such as golds and yellows. MoonSigns: CancerColor Associations: Silvery shades and crisp whites. JupiterSigns: Sagittarius, Pisces. Color Associations: A mix of royally influenced shades, such as purples, blues, and yellows. SaturnSigns: Capricorn, AquariusColor Associations: Dark and moody shades, such as browns, blacks, and grays. How Can You Use Astrology to Help You Decorate? The best place to start is at the very beginning. Sam’s advice? Call your mom. “I highly recommend calculating your full birth chart—to do so, you’ll need the exact date, time, and location of your birth.” This will give you the proper framework from which you can build your astrologically inspired home. Once you have your complete birth chart, look at your various planetary alignments. While your sun sign can tell you a lot about who you are, it’s actually your Venus placement that Sam recommends consulting. “This planet governs art, beauty, and romance—if it’s sweet, enjoyable, or aesthetically pleasing, then it probably falls under Venus’s purview. Whatever zodiac sign this planet occupies in your birth chart can tell you a lot about the vibes, color palettes, and visual aesthetics you gravitate toward.” Not sure you have all the information you need for a full birth chart? No worries, we’ve pulled together the best paint color for you based on your zodiac sign and planetary ruler below. If you want to dive a little deeper, Sam recommends checking out the planetary placement in your Fourth House. “The Fourth House represents our home and family life. Whatever planet rules this house, and its placement by zodiac sign, reflects the energy that feels like home to you.”The Best Paint Colors for Every Zodiac Sign:

By CHRIS McGOWAN This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) shows stunning details of the majestic planet in infrared light. (Image courtesy of NASA, ESA and CSA) Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey (1968). Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studio (SVS) produces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging. A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studio (SVS) at the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award. This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.” —A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization Studio (SVS) About his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.” This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) The Gulf Stream and connected currents. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars. (Image courtesy of NASA’s Goddard Space Flight Center) WORKING WITH DATA While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.” He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.” Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) HOUDINI AND OTHER TOOLS “Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.” Satellite imagery from NASA’s Solar Dynamics Observatory (SDO) shows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.” While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between. (Image courtesy of ASA/JPL/Space Science Institute) The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar. (Image courtesy of DNEG and Paramount Pictures) Another visualization of the black hole Gargantua. (Image courtesy of DNEG and Paramount Pictures) INTERSTELLAR & GARGANTUA Christensen recalls working for DNEG on Interstellar (2014). “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet [in the film]. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.” He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.” Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.” The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) FURTHER CHALLENGES The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.” SVS also works closely with its NASA partner groups Conceptual Image Lab (CIL) and Goddard Media Studios (GMS) to publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public. An impact crater on the moon. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars. Hellas Basin can be seen in the lower right portion of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars slightly tilted to show the Martian North Pole. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.”

The report, Europe’s Moonshot Moment, found that the continent has over 280 software companies generating more than €100 million in annual recurring revenue (ARR). These scaleups include the likes of Spotify, Revolut, Adyen, and Vinted. However, European software businesses that reach the €100 million ARR threshold take 15 years on average to get there. That’s five years longer than their US peers, the report found. Europe also lags in birthing software giants. While 5–10% of US firms reaching €100 million in ARR subsequently scale to €1 billion, fewer than 3% of their European peers reach that milestone. The report highlighted some of the reasons for this stalled growth: fragmented markets, conservative corporate norms, and a slower flow of late-stage capital relative to early-stage investment. Turning point? Register Now Despite the hurdles, the report’s authors are confident that all the ingredients for Europe’s success in software are now in place. “Europe already holds the essentials to create the world’s next generation of software champions: deep talent pools, vibrant founder networks, and a rapidly maturing capital base,” said Ruben Schaubroeck, senior partner at McKinsey. While Europe lost out to Silicon Valley firms like Google and Microsoft in the early internet era, emerging technologies like AI may offer a new opening for the region’s tech startups. Geopolitical shifts could also drive governments to invest in local tech ecosystems and rethink digital sovereignty, said the report. “There’s no denying that European tech has faced structural barriers, but we’re at a genuine inflection point,” Phill Robinson, CEO and co-founder at Boardwave, told TNW. “New technology arenas, geopolitics, and an evolving operating environment are creating a unique opportunity for Europe to boost innovation.” Now Europe must turn that potential into profits, the report argues. To that end, it suggests five key interventions to boost Europe’s software ecosystem: Expand late-stage funding Encourage experienced founders to start new companies Make it easier for sales and marketing teams to work across borders and help startups grow faster Encourage more large firms in Europe to buy software from European startups by offering government support or financial incentives Strengthen public-private partnerships to de-risk new technologies Scaling up European tech The McKinsey/Boardwave report comes hot on the heels of the EU’s landmark Startup and Scaleup Strategy, launched last week. The plan set out several reforms designed to remove barriers to growth for the bloc’s early-stage companies. “If implemented boldly, and most importantly quickly, it can help Europe move from fragmented success stories to systemic, continent-wide scale; otherwise, we risk being left behind,” said Robinson, commenting on the new strategy. The EU’s proposal includes provisions for a long-awaited “28th regime,” which would allow companies to operate under a single set of rules across the 27 member states. It is intended to reduce headaches around taxes, employment rules, and insolvency. Robinson said he believes the EU’s new strategy will strengthen Europe’s software ecosystem by making it easier to operate across borders. “We need to act as one innovation ecosystem, not 27 different ones,” he said. “That’s what makes this Europe’s moonshot moment. If we connect and act now, we can lead. And not just in Europe, but globally.” Story by Siôn Geschwindt Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehic (show all) Siôn is a freelance science and technology reporter, specialising in climate and energy. From nuclear fusion breakthroughs to electric vehicles, he's happiest sourcing a scoop, investigating the impact of emerging technologies, and even putting them to the test. He has five years of journalism experience and holds a dual degree in media and environmental science from the University of Cape Town, South Africa. When he's not writing, you can probably find Siôn out hiking, surfing, playing the drums or catering to his moderate caffeine addiction. You can contact him at: sion.geschwindt [at] protonmail [dot] com Get the TNW newsletter Get the most important tech news in your inbox each week. Also tagged with

When George R.R. Martin crafted the world of Westeros back in the 90s, he probably didn’t think his words would go on to spawn graphic novels, TV shows, action figures, video games, and more. Moreover, I doubt the author expected his works to be adapted into a mobile-friendly action-RPG built to prioritize predatory microtransactions over the rich lore he’d spent decades perfecting. Yet in 2025, we have Game of Thrones: Kingsroad, a visually striking open-world exploration game that looks compelling in motion, but hones in more on menus and currency than fantasy adventure. And, as you push deeper into its sizable campaign to uncover a plethora of in-game currencies and progress-halting hurdles, the neo-medieval jaunt starts to feel more like a lesson in asset management than a thoughtful RPG. Kingsroad takes place during season four of the HBO TV series, putting you in the fur-lined boots of a northern-born bastard of House Tyre. With your father sickly and your inheritance caught up in the strict succession rules of the realm, the only hope for the safety of your people is to borrow, beg, and steal your way into the hearts of the lords and ladies of Westeros. Naturally, things aren’t as simple as just asking, and you’ll have to go round the houses (literally) to solve land disputes, find missing soldiers, and knock together the heads of vassal-house warriors on your way to earning your flowers. Alongside a cavalcade of curious NPCs, there are also White Walkers, mythical beasts, and traitorous Boltons to butt heads with. Thankfully, Westeros’ misfortune makes for an enticing landing pad for you to start from. PlayBefore you dive into the cobbled streets and open roads of Westeros, though, you’ll first need to pick a combat archetype to play as: a brutish Sellsword, a skilful Knight, or a nimble Assassin. Fuelled by my love of Brienne of Tarth and Dungeons & Dragons’ Barbarian class, I opted for the axe-wielding Sellsword, whose heavy strikes can easily wind gaggles of enemy forces. Indecisive? Good news: Kingsroad does allow you to switch between archetypes at any time, and your inventory is shared across your three possible characters, so you can boost your alts with your main’s hard-earned loot. That said, I was disappointed to find that once you finalise a character, you can’t delete them and start that class over, or change their name, a feature that bit me in the butt when testing how unsightly I could make my Knight. With your combat destiny chosen, Kingsroad’s decently impressive character creator lets you use a mixture of face-contorting sliders and colour-pickers to specialise your plucky hero. It doesn’t have the depth of something like Dragon’s Dogma 2 (although that’s an admittedly high bar), but I am glad I was able to bestow my characters with an identity that felt personal to me – which is to say moody, and tastefully adorned with smudgy eyeliner and edgy facial scars. You'll explore an impressively recreated map of Westeros.“Kingsroad wastes no time teaching you the basics of its combat and platforming with a tight but comprehensive tutorial, which takes you beyond the wall and back again. That’s where you’ll meet the first of many familiar faces for any fans of the show, as Jon Snow and Samwell Tarley do a decent job of filling in the narrative gaps for those in need of a season four recap. While the digital renditions of these well-known characters aren’t the most flattering, their conversations felt thoughtfully written and helped to establish my lowborn place within the setting. Soon enough, though, Kingsroad lets go of your hand and allows you to roam free across the countryside, providing a choice of campaign quests and side missions to follow, as well as plenty of points of interest to chase on your map. The open world of Kingsroad gave me the freedom to explore this (mostly) faithfully reimagined Westeros, and I enjoyed riding across snowy plateaus and uncovering the secrets of curious stone architecture nestled on the horizon. But the initial exhilaration of high fantasy galavanting wore off quickly as the edges of developer Netmarble’s fantasy panopticon started to show. For every delicate snowflake at Castle Black or butterfly dancing in Winterfell, there were plenty more low-poly fruit trees, bouncy grass patches, and possessed weapons to pick at the sheen. I admire the sheer scale of the open world Kingsroad is offering, but it’s lacking the visual consistency to make it realistic and immersive. As I soon noticed those cracks in the facade, Kingsroad started to feel like a game full of pulled punches, despite how promising it seemed at a distance.This lack of polish extends to your movement on both foot and horseback – ice skating would be the most fitting comparison. When exploring the frosty reaches of the North, this sensation is strangely fitting. However, it became wholly frustrating when it persisted while charting the sunny coastal areas near Highgarden, especially when attempting to complete the occasional platforming puzzles dotted around the icon-covered map. Typically, I was only one slip away from falling down an unscalable hillside, or worse, into a camp of fierce opponents with no way out. Up close, the animations also err on the eerie side in cutscenes. My character would often deliver a wide-eyed death stare, and I couldn't take them seriously as they’d burn holes in the townsfolk’s skulls as they explained their heart wrenching tragedies.Memorable characters surface as uncanny valley clones of themselves.“Speaking of the citizens of Westeros, their heads and eyes wobble around like strange marionettes during conversations, which dampens the atmosphere considerably. It’s a shame, because their dialogue does a great job of affirming the grim, corrupt cloud that hangs over the continent as winter approaches. I felt particularly bad laughing when an old lady thanked me for saving her daughter from being eaten by Ramsay Bolton’s dogs. Unfortunately, the most egregious offenders are often Kingsroad’s recreations of characters from the show. Memorable players, like Nymeria Sand and Varys, surface as uncanny valley clones of their likenesses. I’ll be seeing yassifed Cersei in my nightmares for many moons to come…Beyond exploration, the bulk of your time in Kingsroad is split between investing in complex resource management systems at your homestead and completing multi-stage quests and battles out in the world. As such, you can find a plethora of challenges that boost both of these areas, like dungeon crawls, bandit camps, occupied villages, and giant mythical beasts, all of which reward you handsomely for spilling blood by the gallon. How efficiently you blend your time between these two aspects is integral to maintaining a solid pace within the grind-heavy progression system – alas, a lack of technical balance makes succeeding in this endeavour profoundly painful.Game of Thrones: Kingsroad Gameplay ScreenshotsThe trouble begins with the combat, which is a total mixed bag. While your actions feel pleasantly grounded, and rugged blows always arrive with flashy particle-heavy animations, the process begins to feel overfamiliar fast. Despite the solid variety of moves available – light, heavy, and special attacks, as well as decent dodge and parry options – inaccurate hit boxes consistently hampered my attempts at strategy. Occasionally, I would need to use my head a little and skulk around an area to remove edge threats, though those tactical moments arrived few and far between. It says something unflattering that Kingsroad feels almost identical at 60 hours as it did at 20. You can specialise and upgrade your moveset in combat with traits and skill trees, too, but they do little to impact how the combat feels in motion. Kingsroad gives the impression of having useful Traits by putting options like learning to parry and crafting arrows up at the top of the trees, but as you work your way down, many of the lower options offer small percentage-based improvements to defense and attack that barely make a dent. So as your sparkly slashes lose their lustre, you’re often left cycling through the same few enemies and combos until the battle is won. It seems as though the architecture of a solid combat system is there, but much like the rest of Kingsroad, it’s all facade with no foundation. What hampers the fun most are the frequent and appropriately-named Momentum roadblocks.“Still, what hampers the fun of Kingsroad most of all are the frequently appearing and appropriately-named Momentum roadblocks. Similar to Destiny’s Gear Score, Kingsroad tallies up the quality of all your equipment, accessories, and skills into one neat number called your Momentum Score. These pesky little digits are the cruel gatekeepers of story content, forcing you to scour the map for dull side objectives that can juice the numbers and shuffle you towards the next episode. While I’m more than happy to invest in grind-heavy games like World of Warcraft Classic and no stranger to mobile-minded progress gating, the Momentum system in Kingsroad is a particularly brutish arbiter that doesn’t allow you to get crafty or punch above your weight by taking on more challenging enemies. Instead, imposing forces appear with a skull icon over their head, their damage and health ratings untouchably high. But as soon as you inch over the Momentum line, the fight shifts dramatically in your favour. This black and white process neutralises any sense of gamesmanship, and frequently forced me into hours of toil to get back to the story I was, for the most part, enjoying. Sarah's favourite fantasy jauntsSee AllWhen you’re ready to take some time out from the combat, you can invest more in the slower-paced aspects of Kingsroad, namely the tedious Estate Management side game. As the last remaining heir to Lord Tyre, his homestead, Renan’s Rest, becomes your project. As is to be expected, helping this dilapidated village flourish rewards you with the tools necessary to beef up your arsenal, and gives you a place to spend all those resources you’ve been hoarding by completing missions – though the process of cleaning up this town is about as much fun as cleaning your actual room.While the jeweller and the forge are convenient additions that allow you to craft wearable items, the most valuable activity is embarking on gacha-based Artefact Expeditions. You’ll spend resources to hire workers and send them into the wild to find more resources, as well as historical items called Relics you can then leverage to further bolster your Momentum. Similar to other gacha game systems, you’re guaranteed a high-quality item after a set amount of runs, but a standard expedition takes eight actual hours to complete, which is a frustrating turnaround when not every run guarantees a good haul. That is, unless you’re willing to pay real money to speed things up. The Story Continues - Live Service UpdatesPlayWhile it took me roughly 60 hours to complete the story missions that were available at Game of Thrones: Kingsroad’s 1.0 launch (in part thanks to the benefit of the Ultimate Founder’s Pack code we were provided for this review), once you finish up, it doesn’t really “end” and you can seek out the plethora of side quests and repeatable combat challenges across the map. While there isn’t an official roadmap for what’s on the horizon, Netmarble announced during its 1.0 release Dev Note that the team will continue to add content and make technical improvements as time goes on. Alongside the Battle Pass, there are also timed Events that offer additional goalposts and ask you to complete a series of challenges to earn further rewards. Continued support is always good, and here’s hoping things like the floaty movement and inconsistent animations might eventually get the polish they need, but I’m skeptical that much can be done to fix Kingsroad’s biggest issues without a complete rework of its economy and progression. For example, the new quests that were already added post-launch should’ve been enticing, but instead they pushed the finish line absurdly far out of sight – by my rough estimate, I would need to play more than twice what I already have just to reach the Momentum Score required to take them on (without spending any money), and that’s despite the fact that this new content seems to follow the exact same loop of mission types already used across the rest of the campaign. Thanks, but I’m good.That brings us to the elephant in the room. Almost every activity in Kingsroad can be expedited with the use of cold hard cash, which translates to Iron Bank Marks in-game. Of course, you can pay to complete an aforementioned expedition early, or buy higher-rarity expedition wagons by the dozen that don’t take time to complete. Stuck behind a Momentum block? Just purchase Gold to speedrun your jewellery maker’s upgrades and smelt higher-rated necklaces and rings to jolt your score. Typically, you can only fast travel by making your way to a special signpost first, and there’s a copper fee for each warp – but you can fast travel from anywhere for free if you pay for the premium option. Behind nearly every aggravating system in Kingsroad is a far more user-friendly one, but only if you’re willing to cough up the dough. It seems intent to toe the line between being intentionally frustrating and passably functional, subtly egging you on to pay up rather than sit through the repetitive, time-consuming activities necessary to proceed. While it’s to be expected that there will be premium aspects in a free-to-play game available on mobile devices (in addition to Steam), the overwhelming flood of paid subscriptions, resource packs, and confounding currencies feels like a heartbreaking affront to Game of Thrones fans, like myself, who have been begging for a fully-fledged Westeros RPG similar to this. Across the 60 hours I’ve played so far, I’ve felt guilty for slashing down innocent defectors and filled with joy for feeding the starving smallfolk. It's clear Netmarble wants you to feel like you’re making a difference in this world, but it’s also just as keen to remind you that you can make a difference quicker if you’re willing to enter your credit card details first. It’s sad to see so much effort put into the underlying concept of a Game of Thrones adventure like this only for it to be tarnished by microtransactions and the repetitive gameplay loops that enable them.

By TREVOR HOGG Images courtesy of Netflix. Unlike North America where episodes tend to be no longer than an hour, it is not uncommon in Britain to have feature-length episodes, which explains why the seasons are shorter. Season 7 of Black Mirror has six episodes with the first sequel for the Netflix anthology series that explores the dark side of technology having a run time of 90 minutes. “USS Callister: Into Infinity” comes eight years after “USS Callister” went on to win four Emmys as part of Season 4 and expands the tale where illegally constructed digital clones from human DNA struggle to survive in a multiplayer online video game environment. Returning creative talent includes filmmaker Toby Hayness, writers Charlie Brooker and William Bridges, and cast members Cristin Milioti, Jimmi Simpson, Osy Ikhile, Milanka Brooks, Paul Raymond and Jesse Plemons. Stepping into the Star Trek-meets-The Twilight Zone proceedings for the first time is VFX Supervisor James MacLachlan, who previously handled the digital augmentation for Ted Lasso. “[For the planet where the digital clone of James Walton is found]… We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine. The copper mine was absolutely stunning. … You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. … It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” —James MacLachlan, Visual Effects Supervisor Taking advantage of the reflective quality of the bridge set was the LED wall utilized for the main viewscreen. Dealing with a sequel to a critically-acclaimed episode was not a daunting task. “It’s almost like I have a cheat code for what we need to do, which I quite like because there’s a language from the previous show, so we have a certain number of outlines and guidelines,” MacLachlan states. “But because this was set beyond where the previous one was. it’s a different kind of aesthetic. I didn’t feel the pressure.” No assets were reused. “We were lucky that the company that previously did the USS Callister ship packaged it out neatly for us, and we were able to take that model; however, it doesn’t fit in pipelines anymore in the same way with the layering and materials. It was different visual effects vendors as well. Union VFX was smashing out all our new ships, planets and the Heart of Infinity. There was a significant number of resources put into new content.” Old props were helpful. “The Metallica ship that shows up in this episode is actually the Valdack ship turned backwards, upside down, re-textured and re-modeled off a prop I happened to wander past and saw in Charlie Brooker’s and Jessica Rhoades’ office.” MacLachlan notes. Greenscreens were placed outside of the set windows for the USS Callister. “USS Callister: Into Infinity” required 669 visual effects shots while the other five episodes totaled 912. “Josie Henwood, the Visual Effects Producer, sat down with a calculator and did an amazing job of making sure that the budget distribution was well-weighted for each of the scripts,’ MacLachlan remarks. “We shot this one third and posted it all the way to the end, so it overlapped a lot with some of the others. It was almost an advantage because we could work out where we were at with the major numbers and balance things out. It was a huge benefit that Toby had directed ‘USS Callister’. We had conversations about how we could approach the visual effects and make sure they sat within the budget and timeframe.” Working across the series were Crafty Apes, Jam VFX, Jellyfish Pictures, Magic Lab, One of Us, Stargate Studios, Terraform Studios, Union VFX, and Bigtooth Studios.  “We had a spectrum of vendors that were brilliant and weighted so Union VFX took the heavy load on ‘USS Callister: Into Infinity,’ One of Us on ‘Eulogy’ and Jam VFX on ‘Hotel Riverie’ while the other vendors were used for all the shows.” “[W]e had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace, outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.” —James MacLachlan, Visual Effects Supervisor Miranda Jones looked after the production design and constructed a number of practical sets for the different sections of the USS Callister. A clever visual effect was deployed when a digital clone of Robert Daly (Jesse Plemmons) is in his garage crafting a new world for Infinity, which transforms from a horizontal landscape into a spherical planetary form. “A lot of it was based off current UI when you use your phone and scroll,” MacLachlan remarks. “It is weighted and slows down through an exponential curve, so we tried to do that with the rotational values. We also looked at people using HoloLenses and Minority Report with those gestural moments. It has a language that a number of people are comfortable with, and we have gotten there with AR.” Union VFX spent a lot of time working on the transition. “They had three levels of detail for each of the moments. We had the mountain range and talked about the Himalayas. Union VFX had these moments where they animated between the different sizes and scales of each of these models. The final one is a wrap and reveal to the sphere, so it’s like you’re scaling down and out of the moment, then it folds out from itself. It was really nice.” For safety reasons, weapons were digitally thrown. “We had a 3D prop printed for the shuriken and were able to get that out in front of the camera onstage,” MacLachlan explains. “Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible, so it worked well. Cristin did a convincing job of yanking the shuriken out. We added some blood and increased the size of the wound on her top, which we had to do for a couple of other scenes because blood goes dark when its dry, so it needed to be made redder.” Nanette Cole (Cristin Milioti) throws a ceremonial knife that hits Robert Daly directly in the head. “That was a crazy one. We had the full prop on the shelf in the beginning that she picks up and throws. The art department made a second one with a cutout section that was mounted to his head. Lucy Cain [Makeup & Hair Designer] and I constructed a cage of hair clips and wire to hold it onto his head. Beyond that, we put tracking markers on his forehead, and we were able to add all of the blood. What we didn’t want to do was have too much blood and then have to remove it later. The decision was made to do the blood in post because you don’t want to be redressing it if you’re doing two or three takes; that can take a lot of time out of production.” “USS Callister: Into Infinity” required 669 visual effects shots. A digital clone of Robert Daly placed inside the game engine is responsible for creating the vast worlds found inside of Infinity. “We had a 3D prop printed for the shuriken [hidden hand weapon]… Then we decided to have it stand out more, so as [the Infinity Player] throws it, it intentionally lights up. On set we couldn’t throw anything at Cristin, so some tracking markers were put on her top where it needed to land. Then we did that in CGI. When she is pulling it off her chest with her hand, the shuriken is all CGI. Because of the shape of the shuriken, we were able to have it poke through the fingers and was visible… Cristin did a convincing job of yanking the shuriken out.” —James MacLachlan, Visual Effects Supervisor A cross between 2001: A Space Odyssey and Cast Away is the otherworldly planet where the digital clone of James Walton (Jimmi Simpson) is found. “We got on a train and went to the middle of Anglesey [island in Wales] to a copper mine,” MacLachlan recounts. “The copper mine was absolutely stunning. It’s not as saturated. You’re a good 50 meters down, and there were little tunnels and caves where over the years things have been mined and stopped. We found moments that worked for the different areas. It was shot there, and we augmented some of it to help sell the fact that it wasn’t Earth. We put in these big beautiful arches of rock, Saturn-like planets up in the sky, a couple of moons, and clean-up of giveaways.” The blue teleportation ring was practically built and digitally enhanced. Set pieces were LiDAR scanned. “What was interesting about the ice planet [was that] the art department built these amazing structures in the foreground and beyond that we had white drapes the whole way around, which fell off into darkness beautifully and naturally because of where the light was pulled by Stephan Pehrsson [Cinematographer],” MacLachlan states. “On top of that, there was the special effects department, which was wafting in a lot of atmospherics. Some of the atmospherics were in-camera and others were augmented to even it out and boost it in places to help the situation. We did add foreground snow. There is a big crane shot in the beginning where Unreal Engine assisted in generating some material. Then we did matte painting and set extensions beyond that to create a larger scale and cool rock shapes that were on an angle.” The jungle setting was an actual location. “That’s Black Park [in England], and because of the time of year, there are a lot of protected plants. We had a couple of moments where we weren’t allowed to walk in certain places. There is one big stunt where Nanette steps on a mine, and it explodes her back against a tree. That was a protected tree, so the whole thing was wrapped in this giant stunt mat while the stunt woman got thrown across it. Areas would be filled in with dressed plants to help the foreground, but we got most of the background in-camera. There were bits of clean-up where we spotted crew or trucks.” Large-scale and distinct rock shapes were placed at an angle to give the ice planet more of an alien quality. An exterior space shot of the USS Callister that is entirely CG. Twin versions of Nanette Cole and James Walton appear within the same frame. “Literally, we used every trick in the book the whole way through. Stephan and I went to see a motion control company that had a motion control camera on a TechnoDolly. Stephan could put it on his shoulder and record a move on a 20-foot crane. Once Stephan had done that first take, he would step away, then the motion control guys would do the same move again. You get this handheld feel through motion control rather than plotting two points and having it mechanical. You get a wide of a scene of clone Nanette in a chair and real Nanette standing in white, and you’ll notice the two Waltons in the background interacting with one another. Those shots were done on this motion control rig. We had motion control where we could plot points to make it feel like a tracking dolly. Then we also had our cameraman doing handheld moves pushing in and repeating himself. We had a wonderful double for Cristin who was excellent at mirroring what she was achieving, and they would switch and swap. You would have a shoulder or hair in the foreground in front of you, but then we would also stitch plates together that were handheld.” The USS Callister approaches the game engine situated at the Heart of Infinity. A homage to the fighter cockpit shots featured in the Star Wars franchise. USS Callister flies into the game engine while pursued by other Infinity players. A major story point is that the game engine is made to look complex but is in fact a façade. A copper mine served as the location for the planet where the digital clone of James Walton (Jimmi Simpson) is found. Principal photography for the jungle planet took place at Black Park in England. The blue skin of Elena Tulaska (Milanka Brooks) was achieved with practical makeup. Assisting the lighting were some cool tools such as the teleportation ring. “We had this beautiful two-meter blue ring that we were able to put on the ground and light up as people step into it,” MacLachlan remarks. “You get these lovely reflections on their visors, helmets and kits. Then we augmented the blue ring in visual effects where it was replaced with more refined edging and lighting effects that stream up from it, which assisted with the integration with the teleportation effect because of their blue cyan tones.” Virtual production was utilized for the main viewscreen located on the bridge of the USS Callister. “In terms of reflections, the biggest boon for us in visual effects was the LED wall. The last time they did the big screen in the USS Callister was a greenscreen. We got a small version of a LED screen when the set was being built and did some tests. Then we had a matte painter at Territory Studio create some generic space looks like exteriors of planets in pre-production. We gave those to Union VFX who animated them so the stars gently drifted and the planets would slowly rotate. Everything in that set was chrome, so no matter where the camera was pointing, when we went to hyperspace or outside planets or in space, there were all of these beautiful reflections all over the surfaces of the USS Callister. What I did not anticipate is when the actors came onto the set not knowing it was going to be a LED wall. Their reaction was enough to say that we had made the right choice.”

The Days of Play celebration comes to PlayStation Store, featuring numerous games all available at discount for a limited time*, starting May 28! You can get a preview of just some of the titles** that’ll be included ahead of the promotion’s go-live time right here. The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (15% off), The Last of Us Part II Remastered (20% off) and Red Dead Redemption 2 (75% off).  The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (17% off) and The Last of Us Part II Remastered (20% off).  The full list will include the likes of Call of Duty: Black Ops 6 – Cross-Gen Bundle (45% off), WWE 2K25 Standard Edition (30% off), Astro Bot (17% off) and The Last of Us Part II Remastered (20% off).  And there are many more games beyond the titles listed below. When the dedicated promotion page goes live on PlayStation Store on May 28, head there to see the full list and find out your regional discount pricing.  And there’s plenty more Days of Play related-celebrations to enjoy! Check out the full range of activities, offers and more in the Days of Play announcement post.  A Plague Tale: Innocence A Plague Tale: Requiem After the Fall® – Complete Edition Agatha Christie – Murder on the Orient Express Age of Mythology: Retold Standard Edition Age of Wonders 4 AI LIMIT AI LIMIT Deluxe Edition AI: THE SOMNIUM FILES AI: THE SOMNIUM FILES – nirvanA Initiative Airport Police Contraband Simulator – Border Patrol Akimbot Alan Wake 2 Deluxe Edition Alan Wake Remastered Alien: Isolation – THE COLLECTION Alien: Rogue Incursion VR Deluxe Ambulance Life: A Paramedic Simulator Amerzone – The Explorer’s Legacy ANIMAL WELL Another Crab’s Treasure Arcade Paradise Arizona Sunshine® 2 Deluxe Edition Arizona Sunshine® Remake Arma Reforger Assassin’s Creed Valhalla Deluxe Assassin’s Creed Valhalla Ragnarök Edition Assassin’s Creed® IV Black Flag™ Assassin’s Creed® Mirage Deluxe Edition Assassin’s Creed® Odyssey Deluxe Edition Assassin’s Creed® Odyssey Gold Edition Assetto Corsa 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Last month, Donald Trump pushed the boundaries of government and financial ethics by announcing a contest: whoever bought and held the highest amount of the $TRUMP meme coin for an entire month would win an invite to a private dinner with the President. That dinner took place on Thursday at the Trump National Golf Course in Virginia, with attendees reportedly dropping nearly $394 million on $TRUMP in order to win the privilege. According to an analysis by The Guardian of the winners’ wallets, over half of them lost money participating in this contest. But that’s only if you’re analyzing the wallets visible on the contest site’s leaderboard. The real money was being made elsewhere.“Bet you 10 percent of dinner participants are doing this”I interviewed an enthusiastic crypto trader who figured out how to win the contest without losing any money: buy enough $TRUMP to get onto the leaderboard — and then in a separate wallet on a separate exchange, buy $TRUMP perpetual futures that would be profitable if (or as he saw it, when) the value of $TRUMP dropped. Yes, he did The Big Short, except with Donald Trump’s meme coin. “Bet you 10 percent of dinner participants are doing this,” he told me before the contest ended. “Everyone knows $TRUMP price will fall inevitably as more supply comes online in the future and gets dumped on retail.” When I spoke to him again after the dinner, he told me that “the majority of people I spoke with, particularly the crypto traders and folks who are very close to the crypto ecosystem, are like, ‘Yeah, I dumped this. I already sold the coin.’” “A lot of people put on the same hedge trade as I did, because they didn’t wanna take risk on the coin,” he added.I can’t reveal his name, his position on the leaderboard, how much he spent, or the dates of specific trades he made. I can say that he did this for shits and giggles. But as he told me, when there’s such a clear and obvious set of financial incentives behind the $TRUMP dinner contest, it’s worth making the gamble.Did it pay off? “Um, I basically was flat,” he said. “I originally wanted to make some money, but I think the shorting I did — it was okay?” He did, however, get a free dinner out of it. The following interview has been edited for clarity.Let’s just start from the beginning. What made you want to enter this? I think meme coins have a lot of staying power because humans just want things to gamble on. What was fascinating when the Trump token launched in January right before the inauguration, was that it effectively was like a black hole that sucked money away from all these other tokens in the ecosystem. That’s why the Trump token ran up to some preposterous number immediately after it was dropped. When I saw this competition launch, it was clear that there was going to be a tremendous amount of grift in this space, and the presidential family was only interested in self-enrichment and all that. 
It was clear that there was going to be a tremendous amount of grift in this spaceBut putting that aside, I’ve just been interested in the Trump token and I think I’ve just been structurally bearish, because the Trump token has a bunch of supply that’s currently controlled by, effectively, the Trump family and the associates. It’s only a matter of time before the supply unlocks. When that supply unlocks, in the crypto community, people call this dumping: they’ll just dump it onto retail and that’s how they get their exit liquidity. So that’s one way the Trump family can make money. The other way is obviously whenever there’s trades that happen, the trading fees also accrue to the family. I know that the Trump token is going to go down. If you put a gun into my head and ask, what will the price be two years from now? It’s going to be much lower than where it is today. When this contest launched, I was like, okay, this is clearly a way for the affiliates and the Trump family to find a way to drive up the price temporarily. And having been in this space for a while, it’s clear that these events only drive the price up for a period of time and then people lose interest. Unless you feed them something else, it’s going to drop. Everyone expects the token to dumpThey launched the contest right around when the first tranche of Trump tokens were going to unlock, which was supposed to be 90 days after the launch of the token back in January. And so this whole contest was kind of timed at an apt moment where it’s like, okay, supply’s going to unlock. Everyone expects the token to dump. But then, on Twitter, they agreed to delay the unlock for another 90 days. But once the unlock happens and they start dumping, that’s when the price is going to drop a lot. 
So this contest was interesting. I was like, okay, well, I feel like I can put on a trade here where I’m not taking on any real risk and I think it’ll be cool to meet random people at this dinner and see who else is interested. It seems like there are a lot of folks from out of the country who are flying in to attend the dinner, and a lot of crypto whales. There’s one that I follow, he’s mentioned in his Telegram that he’s one of the big holders. He’s talked these last few days about how he’s preparing for this dinner. So talk me through how you generated the funds to buy the Trump coin. Did you use your own personal funds?I use my personal funds. All the crypto trading I do is with my personal funds. Some of the trading I do is on Coinbase through a centralized exchange. And the rest of the trading I do is on chain through self-custody wallets. When this opportunity came up, the only way you can actually be in a position to be in the top 220 is if you own $TRUMP tokens in a self-custody wallet. Some of the exchanges, including Coinbase, allow you to buy the $TRUMP token, but that would not count towards this contest. What I did was I moved stablecoins like USDC to my Solana wallet, and then I used a decentralized exchange to buy the $TRUMP token. The way the contest works is you have to register your wallet before you are counted towards the ranking system. And unfortunately, I did that like a couple days late, so I had to size up a little bit more to ensure that I could catch up to the people who had registered a couple days prior. But that’s a nuance. So explain the process of shorting $TRUMP coin on a secondary market. Like how does one do that? I am a dumb person who only understands shorting markets through watching The Big Short. Basically when you short, you’re hoping that the price goes down, right? And the mechanism of shorting here is slightly different than shorting stocks, but we don’t need to go into the specifics here. The way to short [crypto] is, you can do it in two ways. One is through a centralized exchange that offers, effectively, shorting services. And what I mean here by shorting services is, there is a “perpetual future” that is offered at these exchanges. When I talk about exchanges that offer this, it’s mostly going to be like Binance or Bybits and some of the bigger exchanges outside of the US. Coinbase is very far behind when it comes to offering derivative products that goes above and beyond just buying the token. I couldn’t do it through Coinbase, and I can’t short through an exchange like Binance, because there’s a lot of restrictions around who can actually use Binance. I’m in the US and Binance has very strict VPN rules. I can’t just open a Binance account and short. The only real way for me was to short on a decentralized exchangeSo the only real way for me was to short on a decentralized exchange, which has actually become really popular in the last year or so. It’s like the same concept as shorting on Binance, but you can do it on chain. I use a service called Hyper Liquid, which is a very popular decentralized exchange. And on this exchange, they offer derivative products that basically track the movement of different tokens. And so they offer, effectively, $TRUMP perpetual futures, and you can effectively initiate a short position through that. I’m happy to go into the details if you want, but that’s like the high level. Yeah, yes, please please tell me these details. So that is basically how to set up the short position. Conceptually, there’s a few things to keep in mind. First thing is: because I’m shorting in a separate wallet that’s completely detached from $TRUMP, 
I have to put up additional capital in another wallet to do this. It’s not like I can just use my $TRUMP tokens as collateral and use the same pool of money to short. And the way shorting works and the way perpetual futures work in general is you put up a certain margin. So let’s keep it simple: say I put up $100k in margin and I choose to short the $TRUMP token. Now, if $TRUMP goes up in price, then I’m hurting, because I’m betting on the token falling. If the $TRUMP token doubles in price, well, then I will have lost a hundred thousand dollars in which case, my margin gets wiped out and this [futures] contract will have to be closed because I’ve lost all my money. If the token goes down in price, that’s when I profit — as long as I close out the position in the green. So you basically are juggling two wallets. One is the wallet in which you’re holding all this $TRUMP coin. 
The other one is like, how would you describe it? Is that the money that you’re generating in order to pay for participating in the contest? The most important wallet here is the Solana wallet with the $TRUMP tokens, because that’s what’s being used by the contest organizers to determine who makes the top 220. But as I mentioned earlier, I am structurally bearish on the $TRUMP token and I wouldn’t want to go for dinner and like, see my money go down when the $TRUMP token goes down in price. I decided I wanted to basically put on a hedge, where, using the other wallet and the short position, I’m basically agnostic to any sort of price movement. That’s the reason why I set up the other wallet. I could have taken on the price risk, but that’s pretty risky, because typically what happens with these events is that as we get close to the end of the contest date, people start dumping the $TRUMP tokens. The value of the $TRUMP token will have gone down — let’s say it went down to 90,000 — it would be offset by the short wallet, which would be like 110,000. And then they add up to 200,000, which is how much I hypothetically put in from the start. 
Did you make money off of this?Um, I basically was flat. I originally wanted to make some money, but I think the shorting I did — it was okay? I basically just broke even on this entire tradeLet me take a step back.
So initially I shorted the same amount as the token. But then as the time went on, as we got close to the contest end date, I decided to increase the size of the short position, because I thought that based on the thesis I had, people are going to start selling because there’s nothing to look forward to. And so I increased that size. But it just so happened that towards the end of the contest was also when the crypto markets started ripping after May 8th. So net-net, I think I basically just broke even on this entire trade.Define the crypto markets “ripping.”May 8th was basically the Thursday right before that weekend when the US representatives were going to meet the Chinese representatives in Switzerland [for tariff negotiations]. That day was also when the UK deal announcement was made. And so the market basically took that as a bullish sign, and then that got parlayed into the positive euphoria of the US-China negotiations. Everything started going up. Okay. So every market just started getting bullish. 
Yeah, all the tokens ran up a lot. If you look at the token price, $TRUMP coin on May 7th was roughly 11 bucks, and then on May 9th it was like 14 bucks. Over time that token has come down in price. But yeah, it ran up 40 percent in the span of like two days.What was the strategy going into the end game? 
Because it sounds like it was super volatile around the end and that’s why you needed to increase your short position. I thought that towards the end, I could opportunistically make some profits by shorting more than I owned, if that makes sense.[The previous week, the contest organizers announced a new incentive for winners to not sell the coin before the dinner: a rare “TRUMP DIAMOND HANDS” NFT.]What is the point of encouraging people to go diamond hands by offering this NFT? So I think this goes back to the incentives of Trump’s affiliates, right? They have a lot of supply that they own. Last I looked, they own eighty percent of the supply. But all of that, as with many other [crypto] projects, gets locked up and only gets released over time, so that you don’t have all this supply pressure on day one. Because then no one wants to buy the token. The whole point of the NFT and this subsequent rewards program that they’ve talked about, but haven’t given the details for, is to incentivize people to hold the token longer. The longer people hold the token, then the price arguably would not fall as much. 
The only way to keep the price high is if you introduce all these little games to keep retail engagedThe eventual setup, I’m sure, whether that’s in three months or in a year or two, is that the affiliates will then have their supply unlock, and they will want to sell. They obviously want to sell at a higher price. And the only way to keep the price high is if you introduce all these little games to keep retail engaged and interested in holding tokens. How do you get the NFT now? Do you have to rebuy all the coin?Yeah, my understanding based on that tweet they sent is, they basically look at your wallet holdings on the day of the dinner and compare that to your wallet holdings on the last day of the contest. And so if those match or if you own more, then they’ll give you an NFT. I was kind of dumb. What I should have done was, right before the 1:30PM cut off, I should have sold like, 90 percent of my tokens. In this way, on the dinner day, I would only have to buy 10 percent of what I bought previously, and I think I would qualify for this NFT. 
Wow. Have people done that? Well, the NFT hasn’t been dropped yet.
I don’t know the specifics. There are definitely people who sold before the end of the deadline, and that’s clear from even looking at that leaderboard page, right? There’s one column with current holdings and a bunch were zeroed out, but they are still in the top 220 because it’s a time-weighted calculation.Why did they do time-weighted calculations rather than like, just a cumulative amount of money you held at the end? I think this goes back to solving not only how much do you hold, but how long do you hold it for, and rewarding people differently. So if you held $60 over the entire stretch of the contest, you should be rewarded more than someone who held like $200 for one day on the last day. I think the time-weighted calculation effectively is trying to normalize for that. They also gave me a call the same day, which I thought was spam for a secondHow have the organizers been in their interactions with you for the contest and for the dinner and everything?They emailed me the day of, as soon as the
contest ended, saying that I had made it into the top 220. And they also gave me a call the same day, which I thought was spam for a second. But when the voicemail thing came up, I’m like, oh, this is actually a real thing. So I picked up the phone and then they just confirmed that I got the email and that I would have to do a KYC [Know Your Customer check, part of anti-money laundering regulatory compliance for banks, crypto exchanges, and other entities] in order to qualify for the dinner. Please give us your data, references, whatever. 
Yeah, nothing that sophisticated. They outsourced it to another party and I just provided my name, my nationality, where I live. No social security number or anything like that. Plus my birthday. and I think they just ran like an external check to make sure that I wasn’t a criminal or anything like that. I feel like it was pretty light vettingHow thoroughly do you think they’re been vetting you, how professional has the process been? I feel like it was pretty light vetting. I talked to someone about, let’s say, getting into the White House and it’s a lot more strict in terms of, you have to show your passport and all that. And here, you don’t really have to do that. You just have to show your ID at the door. At least that’s what they said. And as long as your ID matches the information you gave, you’re fine. So I don’t think the security is that strict, per se, but it’s good enough, I guess. Have you participated in any contests like this or heard of anything similar? No, I have not.That’s wild. This is rather innovative if one thinks about it in a “divorced from most governmental ethics” manner. Did you read about how it’s possible that Trump just doesn’t show up to this?I did see something that basically said, yeah, based on the terms and conditions, the president does not have to be there, I think. Honestly, I think a lot of people aren’t really there to see Trump. I could be totally wrong, but I get the sense from, let’s say, like looking at the crypto whales’ Telegram, that [they’re] more interested in just meeting other crypto folks so that [they] can network. If Justin Sun is there, that’s pretty good, right? Like being able to talk to him and maybe, you know, get his contact information and all that. RelatedThe many escapes of Justin SunI think for me and probably other people, we’re more interested in seeing if there’s any other interesting news that comes out of this dinner. I will have my wallet ready, and if some great news gets dropped at the dinner, that could potentially positively influence the $TRUMP token price or any other token price, I will buy it on the spot and try to profit. This is something that other attendees are thinking about doing too?I can’t say with certainty, but based on that one Telegram guy, it seemed like it was implied. Like, if they announced a rewards program for a Trump thing – say, the NFT will be used for this, and then the rewards will give you some really impressive thing in three months, that could probably move the price. Then I would take on a short-term trade literally at the dinner table. That’s why after the $TRUMP token dropped right before inauguration, I finally decided to download Truth SocialThat’s a first mover advantage right there.In crypto, half of it is just being a first mover advantage. That’s why after the $TRUMP token dropped right before inauguration, I finally decided to download Truth Social. I only follow Trump. He’s the only guy I follow and I have notifications on, which actually served me well. Was it April 9th when he sent out that tweet saying that tariffs are now delayed for 90 days? That was first out on Truth Social and I saw that immediately, and I’m like, oh, time to trade my equities, because I will be first to the news. So he’s dropped some nuggets for sure on his account. So the dinner itself is a good money making opportunity?Possibly. It’s hard to say, but in the event that it does, there is some information that gets dropped, that could be actionable.Is there anything you’re particularly proud of about the process of executing this short?I don’t know if there’s anything I’d really brag about or be like, super proud of.
I think this hedge trade, for someone who’s pretty involved in crypto, would be fairly obvious. Net-net, I think I broke even because I did basically go a bit big around my short towards the end of the contest. So that made up for some of the fees I had to pay and whatnot. I’m pretty happy.
I feel like I didn’t take on any risk and I’m able to go to this dinner. That’s probably a win in my books. One thing is, if I had real capital, I would have tried to make the top 25. That requires a lot of money, which I don’t have. I don’t really care about seeing Trump at all. I care more about seeing who else is there, of the top 25I think it’s like a couple million.I think you’d have to have 200,000 tokens, so yeah, roughly like two, three million USD. 
And if you want to not take on the risk of the token price moving, you’d want to take a short position of roughly the same size. It would be like a four or five million dollar capital outlay to make it happen. But the benefit of being in the top 25 is you get to meet Trump, and also get to be in a more intimate networking session, which I would actually enjoy being at. I don’t really care about seeing Trump at all. I care more about seeing who else is there, of the top 25. What was the minimum size of the wallet that made 220, do you know? It’s hard to say because what someone could have done is they could have bought a lot initially, and then halfway through they sold most of them, because they were pretty confident that they would make the top 220, because it’s time weighted. [Calculating out loud omitted.] I guess only fifty thousand [if you held the total amount from day one through the end].Honestly, that’s not a lot. It’s not. 
Realistically that number is probably higher. The thing is, this is not like a $50,000 disbursement where you’re never seeing that money again. After the dinner, you could choose to sell your token. Now, maybe the price will have moved from when you first bought it to when you sold it, but the actual loss, or potentially profit, is not obvious.Oh, that makes this some really interesting campaign finance implications. I guess the one thing I’ll say is, the Trump team probably won’t sell for a couple months at very least. And so whatever happens between now and then theoretically doesn’t really impact the team, right? Because if they had not launched this dinner contest and they did nothing, and then right before the unlock happens, they launch another campaign or they do something weird like this, then that will immediately pump up the price because crypto is so reflexive. And they can then sell into the strength of the price movement, theoretically. But here, I think what they want to do is actually show that this $TRUMP token has utility, and that it’s actually useful rather than just being a meme coin. And this is one way of making the $TRUMP token worth holding, because it’s not just a meme. If you buy it, you can go to dinner, you can earn points. You can get an NFT. It’s basically the playbook that a lot of folks will potentially run if they’re launching a meme coin with utility value. Oh, utility value is definitely a good way of saying it. Yeah, utility value in the sense that yeah, you can go to dinner, you can get an NFT, you can earn points that will get you something in the future. But yeah, this is a little bit different from memes like Pepe or Doge or Shiba Inu. Those have zero utility values. They’re literally just a meme. You can’t go to a dinner if you own a lot of it. It’s just a meme. The morning after the dinner:How are you? How was your crazy night out?It was good. And yeah, there was a sponsor who wanted to do an afterparty afterwards. They basically rented out the rooftop bar on top of the Marriott. I stayed out until 1 AM. But it was good. The actual event was quite interesting. The protests outside the dinner obviously were just kind of off-putting. I was like, damn, should I really walk into this thing?Activists staged an “America Is Not For Sale” protest while President Trump hosted the winners of his meme coin contest at the Trump National golf club. Getty ImagesI’ve actually never been to the Trump National. How is it as a venue? It’s on the Potomac River. When you are in the club you can see the really nice golf course and then the river is right there. The room was long and the podium was right up in the front and the tables were almost set up in a way where there were many rows of tables, but not that many columns, if it makes sense.I didn’t recognize this until maybe like, after an hour in, but people started taking seats because they wanted to be closer to the podium. And eventually, I’m like, damn, I gotta get a seat. But all that didn’t end up mattering because when Trump walked in, basically like a celebrity, everyone rushed up to the front and pulled out their phones and started recording. Who did you meet that was interesting or fun?Justin Sun was there, it was just that everyone wanted to talk to him. I guess the only thing I could do was just say hi to him. There were a bunch of international folks. A few folks were from Poland, who came all the way here from Portugal, where they now live. There was a lot of Asian people there. I met some folks from South Korea. Some guys from France, Italy. There was this hedge fund manager from Croatia who came just to check this out. Some guy from Sweden.There were also some market-making firms, like really big in crypto, like Wintermute. And then another guy who works at Kronos Research. The organizers also brought some folks, like the founder of the Moonshot app. I guess Moonshot had partnered with folks with the $TRUMP launch back in January. He said he didn’t buy any tokens because none of the employees are allowed to trade [the meme coins on their own platform, because it would be a conflict of interest], and so he was just invited by the organizers.[According to Crunchbase, Moonshot, an app that enables users to purchase meme coins, was acquired by Jupiter, a Solana trading platform. No named individuals appear to be publicly associated with either enterprise, although Jupiter’s founder is apparently someone going by the name “Meow.” The guest interviewed by The Verge did not recognize Meow from photos. – Ed.]There were a bunch of folks in the crypto ecosystem, now that I think about it, who actually had effectively insider knowledge that Trump was gonna launch a coin. They didn’t know exactly what that was gonna be, but they knew it was coming and it was gonna be a real coin.
For the first hour or two [after the announcement], people were wondering if Trump’s account got hacked. I just thought that was interesting, that it was effectively prewired to a lot of folks. Ah, so like: if those people knew, then they had that first mover advantage for that full hour – that it was a legitimate coin?Yeah, the public didn’t know whether it was an intentional drop or if some hackers hacked the Twitter account. I ended up meeting one of the top winners, and he was telling me how he hedged his tradeDid you find any really diehard MAGA people there?I’m sure that there were a couple of folks.
I just never got a chance to speak with someone who’s like, super pro-Trump. I’d say the majority of people I spoke with, particularly the crypto traders and folks who are very close to the crypto ecosystem are like, yeah, I dumped this. I already sold the coin. A lot of people put on the same hedge trade as I did, because they didn’t wanna take risk on the coin. I ended up meeting one of the top winners, and he was telling me how he hedged his trade. So effectively, he was taking on no price risk. Now the only thing is when you short these tokens, there’s a funding cost, but because he had such a big position the funding was actually pretty significant. 
So he said he paid, I don’t know, like $50,000 in funding costs, but to him it was still worth it, especially since he got a watch that’s supposedly worth $100,000 if you’re in the top four. Wait, they gave out watches?
Yeah. When Justin went up and gave the speech, after that, he got the watch.Honestly $50,000 to meet the president and get a watch that’s twice that amount, is a pretty good deal. Yeah. I had no idea yet that there’s a TrumpWatches.com. I think the host referenced this — like, if you want a watch, just go on the website. I was like, this is real? And then I actually went on the website and it turned out it is. Swiss-made chrono movement – oh my God, there are so many watches. Do you see that one on the very front page? They gave out two of those as prizes for raffle winners. Oh, that’s only $500, man.Yeah, I know, right?Lame. I guess you can’t yet buy the $100,000 watch on this website. They were specially designed and they only were able to have two ready for the event, and the other two will get shipped to the winners. 
[The website currently lists the “Crypto President Tourbillon Watch” for pre-order, claiming that “only 10” have been made. – Ed.]A commemorative hat.Did people post photos or selfies, or was there a sense of discretion?There were obviously crypto traders who didn’t wanna give their real names, and some folks who were trying to be camera shy and avoid the limelight, but I feel like for the most part, people were taking selfies and they were just having a good time. And there were photographers walking around taking photos of everyone. And then at the end, this was after Trump and after all the gifts were given out, the host was like, everyone put on your hat that you got — it’s in my bag,
it’s a Trump meme dinner hat — let’s all put it on and take a photo and then hashtag “trumpmemedinner” or whatever.[The White House is refusing to release the guest list with names of attendees. The New York Times has since said that it has acquired a copy of that list.Although photos of the gifted hats have circulated on social media, no related hashtag seems to have taken off. – Ed.] Oh, okay, so they actually encouraged you to put it on the Internet. 
I guess the host took the photo and it was like a selfie or something. The other funny moment was during the Trump speech. For the most part, it was just him talking about his campaign, and about how he beat Biden, and blah, blah, blah, how we were in a terrible place with crypto before he got elected and now we’re in a great place. That sounds exactly like a thing Trump would say. That was pretty accurate. At one point, the microphone made a cracking sound and then he was like, whoops, my ear. and he made a joke referencing the assassination attempt. A poster promoting the afterparty.How did you figure out about the afterparty? Was it the official afterparty? 
A lot of folks were saying there was gonna be some afterparty exclusive to VIPs, like the top 25 holders. There were a few folks who were trying to get into this party, but then it turns out it was actually not that exclusive. This MemeCore group, the number two holder, they rented out space at the rooftop of this Marriott and effectively invited everyone. So when you were leaving the venue, they had a couple buses that would come every 10 minutes and they were like, yeah, feel free to take this bus and we’ll take you to the after-party. A lot of people ended up going. 
[On TikTok, an attendee wearing a giant mask of what appears to be the MemeCore mascot, was accused of covering his face “to hide their identities” at “Trump’s crypto bribery event.” – Ed.] How was the afterparty? Was it well funded? They had an open bar, free drinks. It was fine, nothing like that noteworthy.
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