Imagine: China deploys hundreds of thousands of autonomous drones in the air, on the sea, and under the water—all armed with explosive warheads or small missiles. These machines descend in a swarm toward military installations on Taiwan and nearby US bases, and over the course of a few hours, a single robotic blitzkrieg overwhelms the US Pacific force before it can even begin to fight back.  Maybe it sounds like a new Michael Bay movie, but it’s the scenario that keeps the chief technology officer of the US Army up at night. “I’m hesitant to say it out loud so I don’t manifest it,” says Alex Miller, a longtime Army intelligence official who became the CTO to the Army’s chief of staff in 2023. Even if World War III doesn’t break out in the South China Sea, every US military installation around the world is vulnerable to the same tactics—as are the militaries of every other country around the world. The proliferation of cheap drones means just about any group with the wherewithal to assemble and launch a swarm could wreak havoc, no expensive jets or massive missile installations required.  While the US has precision missiles that can shoot these drones down, they don’t always succeed: A drone attack killed three US soldiers and injured dozens more at a base in the Jordanian desert last year. And each American missile costs orders of magnitude more than its targets, which limits their supply; countering thousand-dollar drones with missiles that cost hundreds of thousands, or even millions, of dollars per shot can only work for so long, even with a defense budget that could reach a trillion dollars next year. The US armed forces are now hunting for a solution—and they want it fast. Every branch of the service and a host of defense tech startups are testing out new weapons that promise to disable drones en masse. There are drones that slam into other drones like battering rams; drones that shoot out nets to ensnare quadcopter propellers; precision-guided Gatling guns that simply shoot drones out of the sky; electronic approaches, like GPS jammers and direct hacking tools; and lasers that melt holes clear through a target’s side. Then there are the microwaves: high-powered electronic devices that push out kilowatts of power to zap the circuits of a drone as if it were the tinfoil you forgot to take off your leftovers when you heated them up.  That’s where Epirus comes in.  When I went to visit the HQ of this 185-person startup in Torrance, California, earlier this year, I got a behind-the-scenes look at its massive microwave, called Leonidas, which the US Army is already betting on as a cutting-edge anti-drone weapon. The Army awarded Epirus a $66 million contract in early 2023, topped that up with another $17 million last fall, and is currently deploying a handful of the systems for testing with US troops in the Middle East and the Pacific. (The Army won’t get into specifics on the location of the weapons in the Middle East but published a report of a live-fire test in the Philippines in early May.)  Up close, the Leonidas that Epirus built for the Army looks like a two-foot-thick slab of metal the size of a garage door stuck on a swivel mount. Pop the back cover, and you can see that the slab is filled with dozens of individual microwave amplifier units in a grid. Each is about the size of a safe-deposit box and built around a chip made of gallium nitride, a semiconductor that can survive much higher voltages and temperatures than the typical silicon.  Leonidas sits on top of a trailer that a standard-issue Army truck can tow, and when it is powered on, the company’s software tells the grid of amps and antennas to shape the electromagnetic waves they’re blasting out with a phased array, precisely overlapping the microwave signals to mold the energy into a focused beam. Instead of needing to physically point a gun or parabolic dish at each of a thousand incoming drones, the Leonidas can flick between them at the speed of software. The Leonidas contains dozens of microwave amplifier units and can pivot to direct waves at incoming swarms of drones.EPIRUS Of course, this isn’t magic—there are practical limits on how much damage one array can do, and at what range—but the total effect could be described as an electromagnetic pulse emitter, a death ray for electronics, or a force field that could set up a protective barrier around military installations and drop drones the way a bug zapper fizzles a mob of mosquitoes. I walked through the nonclassified sections of the Leonidas factory floor, where a cluster of engineers working on weaponeering—the military term for figuring out exactly how much of a weapon, be it high explosive or microwave beam, is necessary to achieve a desired effect—ran tests in a warren of smaller anechoic rooms. Inside, they shot individual microwave units at a broad range of commercial and military drones, cycling through waveforms and power levels to try to find the signal that could fry each one with maximum efficiency.  On a live video feed from inside one of these foam-padded rooms, I watched a quadcopter drone spin its propellers and then, once the microwave emitter turned on, instantly stop short—first the propeller on the front left and then the rest. A drone hit with a Leonidas beam doesn’t explode—it just falls. Compared with the blast of a missile or the sizzle of a laser, it doesn’t look like much. But it could force enemies to come up with costlier ways of attacking that reduce the advantage of the drone swarm, and it could get around the inherent limitations of purely electronic or strictly physical defense systems. It could save lives. Epirus CEO Andy Lowery, a tall guy with sparkplug energy and a rapid-fire southern Illinois twang, doesn’t shy away from talking big about his product. As he told me during my visit, Leonidas is intended to lead a last stand, like the Spartan from whom the microwave takes its name—in this case, against hordes of unmanned aerial vehicles, or UAVs. While the actual range of the Leonidas system is kept secret, Lowery says the Army is looking for a solution that can reliably stop drones within a few kilometers. He told me, “They would like our system to be the owner of that final layer—to get any squeakers, any leakers, anything like that.” Now that they’ve told the world they “invented a force field,” Lowery added, the focus is on manufacturing at scale—before the drone swarms really start to descend or a nation with a major military decides to launch a new war. Before, in other words, Miller’s nightmare scenario becomes reality.  Why zap? Miller remembers well when the danger of small weaponized drones first appeared on his radar. Reports of Islamic State fighters strapping grenades to the bottom of commercial DJI Phantom quadcopters first emerged in late 2016 during the Battle of Mosul. “I went, ‘Oh, this is going to be bad,’ because basically it’s an airborne IED at that point,” he says. He’s tracked the danger as it’s built steadily since then, with advances in machine vision, AI coordination software, and suicide drone tactics only accelerating.  Then the war in Ukraine showed the world that cheap technology has fundamentally changed how warfare happens. We have watched in high-definition video how a cheap, off-the-shelf drone modified to carry a small bomb can be piloted directly into a faraway truck, tank, or group of troops to devastating effect. And larger suicide drones, also known as “loitering munitions,” can be produced for just tens of thousands of dollars and launched in massive salvos to hit soft targets or overwhelm more advanced military defenses through sheer numbers.  As a result, Miller, along with large swaths of the Pentagon and DC policy circles, believes that the current US arsenal for defending against these weapons is just too expensive and the tools in too short supply to truly match the threat. Just look at Yemen, a poor country where the Houthi military group has been under constant attack for the past decade. Armed with this new low-tech arsenal, in the past 18 months the rebel group has been able to bomb cargo ships and effectively disrupt global shipping in the Red Sea—part of an effort to apply pressure on Israel to stop its war in Gaza. The Houthis have also used missiles, suicide drones, and even drone boats to launch powerful attacks on US Navy ships sent to stop them. The most successful defense tech firm selling anti-drone weapons to the US military right now is Anduril, the company started by Palmer Luckey, the inventor of the Oculus VR headset, and a crew of cofounders from Oculus and defense data giant Palantir. In just the past few months, the Marines have chosen Anduril for counter-drone contracts that could be worth nearly $850 million over the next decade, and the company has been working with Special Operations Command since 2022 on a counter-drone contract that could be worth nearly a billion dollars over a similar time frame. It’s unclear from the contracts what, exactly, Anduril is selling to each organization, but its weapons include electronic warfare jammers, jet-powered drone bombs, and propeller-driven Anvil drones designed to simply smash into enemy drones. In this arsenal, the cheapest way to stop a swarm of drones is electronic warfare: jamming the GPS or radio signals used to pilot the machines. But the intense drone battles in Ukraine have advanced the art of jamming and counter-jamming close to the point of stalemate. As a result, a new state of the art is emerging: unjammable drones that operate autonomously by using onboard processors to navigate via internal maps and computer vision, or even drones connected with 20-kilometer-long filaments of fiber-optic cable for tethered control. But unjammable doesn’t mean unzappable. Instead of using the scrambling method of a jammer, which employs an antenna to block the drone’s connection to a pilot or remote guidance system, the Leonidas microwave beam hits a drone body broadside. The energy finds its way into something electrical, whether the central flight controller or a tiny wire controlling a flap on a wing, to short-circuit whatever’s available. (The company also says that this targeted hit of energy allows birds and other wildlife to continue to move safely.) Tyler Miller, a senior systems engineer on Epirus’s weaponeering team, told me that they never know exactly which part of the target drone is going to go down first, but they’ve reliably seen the microwave signal get in somewhere to overload a circuit. “Based on the geometry and the way the wires are laid out,” he said, one of those wires is going to be the best path in. “Sometimes if we rotate the drone 90 degrees, you have a different motor go down first,” he added. The team has even tried wrapping target drones in copper tape, which would theoretically provide shielding, only to find that the microwave still finds a way in through moving propeller shafts or antennas that need to remain exposed for the drone to fly.  EPIRUS Leonidas also has an edge when it comes to downing a mass of drones at once. Physically hitting a drone out of the sky or lighting it up with a laser can be effective in situations where electronic warfare fails, but anti-drone drones can only take out one at a time, and lasers need to precisely aim and shoot. Epirus’s microwaves can damage everything in a roughly 60-degree arc from the Leonidas emitter simultaneously and keep on zapping and zapping; directed energy systems like this one never run out of ammo. As for cost, each Army Leonidas unit currently runs in the “low eight figures,” Lowery told me. Defense contract pricing can be opaque, but Epirus delivered four units for its $66 million initial contract, giving a back-of-napkin price around $16.5 million each. For comparison, Stinger missiles from Raytheon, which soldiers shoot at enemy aircraft or drones from a shoulder-mounted launcher, cost hundreds of thousands of dollars a pop, meaning the Leonidas could start costing less (and keep shooting) after it downs the first wave of a swarm. Raytheon’s radar, reversed Epirus is part of a new wave of venture-capital-backed defense companies trying to change the way weapons are created—and the way the Pentagon buys them. The largest defense companies, firms like Raytheon, Boeing, Northrop Grumman, and Lockheed Martin, typically develop new weapons in response to research grants and cost-plus contracts, in which the US Department of Defense guarantees a certain profit margin to firms building products that match their laundry list of technical specifications. These programs have kept the military supplied with cutting-edge weapons for decades, but the results may be exquisite pieces of military machinery delivered years late and billions of dollars over budget. Rather than building to minutely detailed specs, the new crop of military contractors aim to produce products on a quick time frame to solve a problem and then fine-tune them as they pitch to the military. The model, pioneered by Palantir and SpaceX, has since propelled companies like Anduril, Shield AI, and dozens of other smaller startups into the business of war as venture capital piles tens of billions of dollars into defense. Like Anduril, Epirus has direct Palantir roots; it was cofounded by Joe Lonsdale, who also cofounded Palantir, and John Tenet, Lonsdale’s colleague at the time at his venture fund, 8VC. (Tenet, the son of former CIA director George Tenet, may have inspired the company’s name—the elder Tenet’s parents were born in the Epirus region in the northwest of Greece. But the company more often says it’s a reference to the pseudo-mythological Epirus Bow from the 2011 fantasy action movie Immortals, which never runs out of arrows.)  While Epirus is doing business in the new mode, its roots are in the old—specifically in Raytheon, a pioneer in the field of microwave technology. Cofounded by MIT professor Vannevar Bush in 1922, it manufactured vacuum tubes, like those found in old radios. But the company became synonymous with electronic defense during World War II, when Bush spun up a lab to develop early microwave radar technology invented by the British into a workable product, and Raytheon then began mass-producing microwave tubes—known as magnetrons—for the US war effort. By the end of the war in 1945, Raytheon was making 80% of the magnetrons powering Allied radar across the world. From padded foam chambers at the Epirus HQ, Leonidas devices can be safely tested on drones.EPIRUS Large tubes remained the best way to emit high-power microwaves for more than half a century, handily outperforming silicon-based solid-state amplifiers. They’re still around—the microwave on your kitchen counter runs on a vacuum tube magnetron. But tubes have downsides: They’re hot, they’re big, and they require upkeep. (In fact, the other microwave drone zapper currently in the Pentagon pipeline, the Tactical High-power Operational Responder, or THOR, still relies on a physical vacuum tube. It’s reported to be effective at downing drones in tests but takes up a whole shipping container and needs a dish antenna to zap its targets.) By the 2000s, new methods of building solid-state amplifiers out of materials like gallium nitride started to mature and were able to handle more power than silicon without melting or shorting out. The US Navy spent hundreds of millions of dollars on cutting-edge microwave contracts, one for a project at Raytheon called Next Generation Jammer—geared specifically toward designing a new way to make high-powered microwaves that work at extremely long distances. Lowery, the Epirus CEO, began his career working on nuclear reactors on Navy aircraft carriers before he became the chief engineer for Next Generation Jammer at Raytheon in 2010. There, he and his team worked on a system that relied on many of the same fundamentals that now power the Leonidas—using the same type of amplifier material and antenna setup to fry the electronics of a small target at much closer range rather than disrupting the radar of a target hundreds of miles away.  The similarity is not a coincidence: Two engineers from Next Generation Jammer helped launch Epirus in 2018. Lowery—who by then was working at the augmented-reality startup RealWear, which makes industrial smart glasses—joined Epirus in 2021 to run product development and was asked to take the top spot as CEO in 2023, as Leonidas became a fully formed machine. Much of the founding team has since departed for other projects, but Raytheon still runs through the company’s collective CV: ex-Raytheon radar engineer Matt Markel started in January as the new CTO, and Epirus’s chief engineer for defense, its VP of engineering, its VP of operations, and a number of employees all have Raytheon roots as well. Markel tells me that the Epirus way of working wouldn’t have flown at one of the big defense contractors: “They never would have tried spinning off the technology into a new application without a contract lined up.” The Epirus engineers saw the use case, raised money to start building Leonidas, and already had prototypes in the works before any military branch started awarding money to work on the project. Waiting for the starting gun On the wall of Lowery’s office are two mementos from testing days at an Army proving ground: a trophy wing from a larger drone, signed by the whole testing team, and a framed photo documenting the Leonidas’s carnage—a stack of dozens of inoperative drones piled up in a heap.  Despite what seems to have been an impressive test show, it’s still impossible from the outside to determine whether Epirus’s tech is ready to fully deliver if the swarms descend.  The Army would not comment specifically on the efficacy of any new weapons in testing or early deployment, including the Leonidas system. A spokesperson for the Army’s Rapid Capabilities and Critical Technologies Office, or RCCTO, which is the subsection responsible for contracting with Epirus to date, would only say in a statement that it is “committed to developing and fielding innovative Directed Energy solutions to address evolving threats.”  But various high-ranking officers appear to be giving Epirus a public vote of confidence. The three-star general who runs RCCTO and oversaw the Leonidas testing last summer told Breaking Defense that “the system actually worked very well,” even if there was work to be done on “how the weapon system fits into the larger kill chain.” And when former secretary of the Army Christine Wormuth, then the service’s highest-ranking civilian, gave a parting interview this past January, she mentioned Epirus in all but name, citing “one company” that is “using high-powered microwaves to basically be able to kill swarms of drones.” She called that kind of capability “critical for the Army.”  The Army isn’t the only branch interested in the microwave weapon. On Epirus’s factory floor when I visited, alongside the big beige Leonidases commissioned by the Army, engineers were building a smaller expeditionary version for the Marines, painted green, which it delivered in late April. Videos show that when it put some of its microwave emitters on a dock and tested them out for the Navy last summer, the microwaves left their targets dead in the water—successfully frying the circuits of outboard motors like the ones propelling Houthi drone boats.  Epirus is also currently working on an even smaller version of the Leonidas that can mount on top of the Army’s Stryker combat vehicles, and it’s testing out attaching a single microwave unit to a small airborne drone, which could work as a highly focused zapper to disable cars, data centers, or single enemy drones.  Epirus’s microwave technology is also being tested in devices smaller than the traditional Leonidas. EPIRUS While neither the Army nor the Navy has yet to announce a contract to start buying Epirus’s systems at scale, the company and its investors are actively preparing for the big orders to start rolling in. It raised $250 million in a funding round in early March to get ready to make as many Leonidases as possible in the coming years, adding to the more than $300 million it’s raised since opening its doors in 2018. “If you invent a force field that works,” Lowery boasts, “you really get a lot of attention.” The task for Epirus now, assuming that its main customers pull the trigger and start buying more Leonidases, is ramping up production while advancing the tech in its systems. Then there are the more prosaic problems of staffing, assembly, and testing at scale. For future generations, Lowery told me, the goal is refining the antenna design and integrating higher-powered microwave amplifiers to push the output into the tens of kilowatts, allowing for increased range and efficacy.  While this could be made harder by Trump’s global trade war, Lowery says he’s not worried about their supply chain; while China produces 98% of the world’s gallium, according to the US Geological Survey, and has choked off exports to the US, Epirus’s chip supplier uses recycled gallium from Japan.  The other outside challenge may be that Epirus isn’t the only company building a drone zapper. One of China’s state-owned defense companies has been working on its own anti-drone high-powered microwave weapon called the Hurricane, which it displayed at a major military show in late 2024.  It may be a sign that anti-electronics force fields will become common among the world’s militaries—and if so, the future of war is unlikely to go back to the status quo ante, and it might zag in a different direction yet again. But military planners believe it’s crucial for the US not to be left behind. So if it works as promised, Epirus could very well change the way that war will play out in the coming decade.  While Miller, the Army CTO, can’t speak directly to Epirus or any specific system, he will say that he believes anti-drone measures are going to have to become ubiquitous for US soldiers. “Counter-UAS [Unmanned Aircraft System] unfortunately is going to be like counter-IED,” he says. “It’s going to be every soldier’s job to think about UAS threats the same way it was to think about IEDs.”  And, he adds, it’s his job and his colleagues’ to make sure that tech so effective it works like “almost magic” is in the hands of the average rifleman. To that end, Lowery told me, Epirus is designing the Leonidas control system to work simply for troops, allowing them to identify a cluster of targets and start zapping with just a click of a button—but only extensive use in the field can prove that out. Epirus CEO Andy Lowery sees the Leonidas as providing a last line of defense against UAVs.EPIRUS In the not-too-distant future, Lowery says, this could mean setting up along the US-Mexico border. But the grandest vision for Epirus’s tech that he says he’s heard is for a city-scale Leonidas along the lines of a ballistic missile defense radar system called PAVE PAWS, which takes up an entire 105-foot-tall building and can detect distant nuclear missile launches. The US set up four in the 1980s, and Taiwan currently has one up on a mountain south of Taipei. Fill a similar-size building full of microwave emitters, and the beam could reach out “10 or 15 miles,” Lowery told me, with one sitting sentinel over Taipei in the north and another over Kaohsiung in the south of Taiwan. Riffing in Greek mythological mode, Lowery said of drones, “I call all these mischief makers. Whether they’re doing drugs or guns across the border or they’re flying over Langley [or] they’re spying on F-35s, they’re all like Icarus. You remember Icarus, with his wax wings? Flying all around—‘Nobody’s going to touch me, nobody’s going to ever hurt me.’” “We built one hell of a wax-wing melter.”  Sam Dean is a reporter focusing on business, tech, and defense. He is writing a book about the recent history of Silicon Valley returning to work with the Pentagon for Viking Press and covering the defense tech industry for a number of publications. Previously, he was a business reporter at the Los Angeles Times. This piece has been updated to clarify that Alex Miller is a civilian intelligence official. 

Soulmask, a survival sandbox game developed by CampFire Studio and published by Qooland Games, has announced its first major cultural expansion, the free Golden Legend (Sanxingdui) DLC, coming on June 5. Inspired by ancient Sanxingdui Chinese civilization, the new DLC marks a turning point in Soulmask’s journey. What began in the primal chaos of rainforest survival pushes into uncharted territory, fusing ancient mythical symbolism with sandbox survival exploration systems. This DLC introduces new masks, exploration zones, and a collection of ornate bronze furnishings that allow players to shape their interpretations of a long-lost ritual civilization. The free Golden Legend DLC introduces The Golden Mask, an ornate ritual artifact adorned with copper eye protrusions and engraved Kui dragon patterns. Its powers include Divine Sight, where it detects threats and terrain changes from a distance; Heaven’s Watch, which can analyse enemy stats, specialities, and potential; Sunbird Blessing, which yields passive buffs that enhance movement and perception; and The Sunken Altar, where deep in the ocean lies you find a lost branch of Eastern civilization. It’s a new submerged zone that welcomes exploration, featuring shipwreck ruins, ritual relics, and ceremonial architecture wrapped in mythological symbolism. The DLC also features The Golden Legend Set, a new line of Bronze Age–themed furniture, mask displays, and ornamental props that let players transform their homesteads into stylized ancestral sanctuaries. Smarter survival through automation Soulmask players can explore The Golden Legend in free DLC. Coinciding with the DLC, Soulmask is rolling out core gameplay upgrades to the base game, focused on advancing automation in construction and logistics. This includes a building planning mode, where players can now record any custom-built structure plans. Tribesmen will automatically collect resources and rebuild them in other locations, dramatically improving the speed and efficiency of base expansion.It also has an automated logistics system where powered ziplines can be set up between homesteads and resource points, creating a flexible transport network for streamlined material delivery across the map. These features allow for faster, more organized tribe management and base development, especially for players aiming to build on a larger scale. Looking forward: 1.0, Egypt, and the future of civilization Soulmask’s update will offer a lot. The Golden Legend DLC arrives as a special gift to mark Soulmask’s first anniversary in Early Access – a thank-you to players who have shaped the world through feedback, exploration, and creativity. Soulmask will exit Early Access with its 1.0 release later this year, alongside a new Egypt-themed DLC. These milestones will continue to broaden the game’s cultural inspirations and deepen its automation systems, offering players new ways to build, govern, and survive across richly imagined ancient worlds. Producer Zima has described his long-term vision for Soulmask as “the intelligent multi-civilization survival sandbox,” where automation and cultural diversity form the foundation of a dynamic, player-driven experience. Daily insights on business use cases with VB Daily If you want to impress your boss, VB Daily has you covered. We give you the inside scoop on what companies are doing with generative AI, from regulatory shifts to practical deployments, so you can share insights for maximum ROI. Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

What's in a name? Well, in the Harry Potter universe, it turns out that there's actually quite a lot. J.K. Rowling didn't just assign them at random. Instead, she carefully constructed names containing hidden meanings, mythological references, and subtle clues about the characters who bear them.

Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home. This week, Mickey 17, the science fiction comedy from Oscar-winning Parasite writer-director Bong Joon Ho, starring Robert Pattinson as an expendable clone, gets copied onto HBO Max following its March theatrical debut. Netflix has a full slate of releases, with the Academy Award-winning Brazilian drama I’m Still Here and Fear Street: Prom Queen, the fourth horror flick in the franchise based on the R.L. Stein books. Guy Ritchie fans can check out his adventure film Fountain of Youth on Apple TV Plus, and you can rent Wolfs to watch George Clooney and Brad Pitt team up again. Here’s everything new that’s available to watch this weekend. New on Netflix Air Force Elite: Thunderbirds Genre: DocumentaryRun time: 1h 31mDirector: Matt Wilcox The documentary takes viewers inside the cockpit of the U.S. Air Force’s demonstration squadron, which has been touring the country since 1953 to perform feats of aerial acrobatics and family-friendly military propaganda. The Netflix original, produced by Barack and Michelle Obama, features interviews with the daredevil pilots, explaining how they train to show off the capabilities of the F-16 Fighting Falcon fighter jets with complex synchronized maneuvers. Fear Street: Prom Queen Genre: HorrorRun time: 1h 30mDirector: Matt PalmerCast: India Fowler, Suzanna Son, Fina Strazza There’s just two days to go until senior prom 1988, and the most popular girls at Shadyside High are fighting over the title of prom queen. But the race gets shaken up as candidates start disappearing. Expect a lot of gory kills. Matt Palmer (Calibre) co-writes and directs the slasher film, which is the fourth in a series based on R.L. Stein’s Fear Street books. I’m Still Here Genre: Political dramaRun time: 2h 15m Director: Walter SallesCast: Fernanda Torres, Selton Mello, Fernanda Montenegro As a military dictatorship takes over Brazil, congressman and father of five Rubens Paiva (Selton Mello) is arrested and disappears. His wife, Eunice (Fernanda Torres) spends decades searching for answers and justice. I’m Still Here won the Oscar for Best International Feature Film, and Torres won a Golden Globe and an Academy Award nomination for her performance. New on Apple TV Plus Fountain of Youth Genre: Action adventureRun time: 2h 5mDirector: Guy RitchieCast: John Krasinski, Natalie Portman, Stanley Tucci Guy Ritchie puts his spin on Indiana Jones in this Apple original, where estranged siblings Luke (John Krasinski) and Charlotte Purdue (Natalie Portman) go on a globe-trotting adventure to chase the legendary source of eternal life. The film was shot on location in London, Cairo, Vienna, and Bangkok, and is packed with chase scenes, gunfights, and puzzles. From our review: If Fountain of Youth kept up the simple fun of its first few scenes, it could have been a solid tribute to the adventure genre. But James Vanderbilt and Guy Ritchie’s attempt to find some profound meaning in the search for lost treasure never really works, because their characters are too thin to make their emotional catharsis meaningful. New on Hulu The Last Showgirl Genre: DramaRun time: 1h 25mDirector: Gia CoppolaCast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista After three decades of donning a sparkly costume and feathered crown to perform in Le Razzle Dazzle on the Las Vegas strip, Shelly Gardner (Pamela Anderson) learns the show will be closing in two weeks, pushing her to reassess her life and try to figure out her future. Anderson was nominated for a Golden Globe for her role in the melancholy film. New on HBO Max Mickey 17 Genre: Science fictionRun time: 2h 17mDirector: Bong Joon HoCast: Robert Pattinson, Naomie Ackie, Mark Ruffalo Desperate to get off Earth, Mickey Barnes (Robert Pattinson) volunteers to become an expendable, a crew member who is cloned over and over again to assist with space exploration in the latest science fiction film/vicious critique of capitalism from Oscar-winner Bong Joon Ho. Mark Ruffalo plays the buffoonish leader of a planned colony, whose ambitions come into conflict with the creatures living on the frozen planet. New on Shudder The Surrender Genre: HorrorRun time: 1h 35mDirector: Julia MaxCast: Colby Minifie, Kate Burton, Chelsea Alden The Surrender starts as a family drama with Megan (Colby Minifie of The Boys) returning home to help her mother Barbara (Kate Burton) care for her terminally ill father and deal with the issues that drove them apart. But when Robert (Vaughn Armstrong) finally dies, Barbara plans a resurrection ritual instead of a funeral, and the horror really begins. New to digital The Legend of Ochi Genre: Fantasy adventureRun time: 1h 36mDirector: Isaiah SaxonCast: Helena Zengel, Finn Wolfhard, Emily Watson, Willem Dafoe A24’s family-friendly movie used complex puppetry to bring its titular adorable monkey-like creature to life. Set in a remote area of the Carpathian mountains, the film follows lonely 12-year-old Dasha (Emily Watson), who goes on a quest to return a baby ochi to its family, defying her father Maxim (Willem Dafoe), who thinks the mythological creatures are vicious beasts that should be hunted down. The Trouble with Jessica Genre: Dark comedyRun time: 1h 29mDirector: Matt WinnCast: Shirley Henderson, Alan Tudyk, Rufus Sewell Cash-strapped Sarah (Shirley Henderson) and Tom (Alan Tudyk) are having one last dinner party for their old friends before selling their London home, but one of those friends, Jessica (Indira Varma) almost ruins everything when she hangs herself in the garden. Two couples band together to try to cover up the death and avoid spooking the buyer as things get increasingly out of hand. Until Dawn Genre: HorrorRun time: 1h 43mDirector: David F. SandbergCast: Ella Rubin, Michael Cimino, Odessa A’zion A teen investigating her sister’s disappearance leads a group of her friends to a mysterious mansion in an abandoned mining town, and they get stuck in a time loop where they’re brutally murdered in a different way each night. Reminiscent of The Cabin in the Woods, David F. Sandberg’s love letter to the horror genre (and only very lose adaptation of the 2015 video game Until Dawn) builds tension as the group puzzles together how to survive the night. The film is only available for digital purchase as of May 23, with no date set yet for digital rental. From our review: There’s way too much going on in Until Dawn. Director David F. Sandberg tried to make a faithful-ish adaptation of the popular 2015 video game, a Groundhog Day-style repeating-day movie, a comedy, a drama with something to say about trauma, and a love letter to every horror subgenre ever, all at the same time. But the byproduct of all this ambition is a movie that never quite finds an identity, and winds up feeling more generic than inspired. Wolfs Genre: Action comedyRun time: 1h 48mDirector: Jon WattsCast: Brad Pitt, George Clooney, Amy Ryan Spider-Man: No Way Home director Jon Watts reunites George Clooney and Brad Pitt as a pair of lone-wolf fixers who both get called in to dispose of the same body. But when the job gets messier than expected, they’re forced to grudgingly work together to survive the night.

A rumored Elden Ring movie became a little more of a reality on Thursday night when Bandai Namco announced that Alex Garland (Civil War, Ex Machina) was set to direct a film adaptation of the FromSoftware action role-playing-game for indie-studio darling A24. George R.R. Martin, who provided game director Hidetaka Miyazaki with a murky amount of mythological foundation for the original game, will serve as a producer on the film. Garland might look like an odd choice for Elden Ring based on his filmography; the writer-director has never made a fantasy epic, nor has he orchestrated the kind of medieval combat that would make him an obvious choice to bring Miyazaki’s tough-as-hell boss fights to live action. But Garland’s “gamer cred” is indisputable and an understanding of play is core to much of his work. Hot take time: I’d say his 2012 film Dredd is the greatest video game movie that isn’t actually based on a video game ever made. Starting out as a novelist before pivoting to screenwriting and directing, Garland has made his gaming inspirations known throughout his career. He has said that his time outrunning zombie dogs in Resident Evil was the direct inspiration for the fast zombies in 28 Days Later, which he wrote for director Danny Boyle. When he and Boyle teamed up to adapt Garland’s own novel, The Beach, the collaboration resulted in the closest thing we will ever get to Leonardo DiCaprio’s Banjo-Kazooie movie. In 2005, riding high off 28 Days Later’s success, Garland was tasked by Microsoft with adapting Halo into a feature film — a project that stalled out and sat on a shelf for so long that streaming television was invented and Halo became a decent Paramount Plus show instead. He also went on to collaborate on actual video games: He worked with Ninja Theory and Bandai Namco on 2010’s Enslaved: Odyssey to the West, and he served as a story supervisor on 2013’s DmC: Devil May Cry. At some point around that time, he played and fell hard for The Last of Us. (In fact, Garland thinks TLOU is better than 28 Days Later, but hey, none of us are right about everything.) Garland’s gaming tastes are all over the map — in 2020 he aggressively kept up an Animal Crossing island like the rest of us — but his visible influences veer toward the AAA action experience. His adaptation of Jeff VanderMeer’s Annihilation has the pace and encounters of an open-world game. His FX show Devs seems right up the alley of anyone looking for Deus Ex or Control vibes. Both Civil War and his 2025 film Warfare bring audiences closer to the kind of tactical military action that we rarely see in movies, but that is all over multiplayer shooters. But for my money, his off-the-leash translation of video game aesthetics and experience in cinematic form happened with Dredd. Written and produced by Garland and technically directed by Pete Travis (Vantage Point), Dredd drops the classic 2000 AD comic antihero, played by The Boys’ Karl Urban, into a The Raid-esque action scenario: To stop a violent drug lord (Lena Heady), the Judge must blast his way through 200 stories of a highly barricaded Mega-City One high-rise. Between the slo-mo effects induced by the illicit drug (appropriately named “Slo-Mo”) and the psychic abilities of Dredd’s sidekick Cassandra, Dredd is a dizzying array of action beats that plunges viewers into a bullet hell without resorting to any gimmicky first-person shooting. By all accounts, the making of Dredd was a fraught experience for all involved, with the studio losing enough faith in Travis that Garland remained on set for the entire shoot and supervised the edit. Urban even claims Garland “actually directed the movie.” When you see it, that makes sense — even the Slo-Mo effects feel specifically like a bullet-time mechanic rather than a complete acid trip. Will Garland make a great Elden Ring movie? What does that even look like? The good news is he’s probably been thinking about it for years, as a fan of FromSoft games. In interviews over the years, the filmmaker has cited Dark Souls as a particular favorite franchise, and even offered an explanation for why an adaptation would be such a challenge. “The Dark Souls games seem to have this embedded poetry in them,” Garland told Gamespot in 2020. “You’ll be wandering around and find some weird bit of dialogue with some sort of broken song with a bit of armor outside a doorway and it feels like you’ve drifted into some existential dream. That’s what I really love about Dark Souls. These spaces are so imaginative and they seem to flow into each other and flow out of each other. It’s very dreamlike […] I can’t imagine how that would [be adapted]. The quality that makes Dark Souls special is probably unique to video games.” The joy Garland finds in Dark Souls games isn’t far off from what Elden Ring offers him as a director — in the end, a successful adaptation will ride on mood and pace and some wicked fights. That’s what Dredd nails, even without a game as actual source material. Dredd broods without relying on too much exposition. Cassandra’s ethereal psychic powers thread a bit of innocence and whimsy into a heavy-metal dystopia. The action is brutal to the point that it often feels like a horror movie (a style Garland pushed to even more gut-wrenching, realistic extremes in Warfare).  “Elden Ring from the guy who brought us Dredd” makes a lot of sense. Now to find an actor with eight arms…

Like the alluring mythological creatures from which it draws its name, Netflix's Sirens wears a tempting facade, but conceals something darker at its core.That facade draws on the pleasures of shows like Big Little Lies and The White Lotus: great actors — Julianne Moore! Meghann Fahy! Milly Alcock! — facing off against a backdrop of picturesque mansions and beaches. As in those series, showrunner Molly Smith Metzler (Maid) also looks to tackle thornier topics of class and trauma. Yet these subjects rarely get the depth they deserve, brushed over by a haphazard plot that delivers soapy fun, if not much else.What's Sirens about? Meghann Fahy and Milly Alcock in "Sirens." Credit: Macall Polay / Netflix Sirens kicks off with the world's most misguided edible arrangement. Devon (Fahy), fresh off her second DUI and learning her father (Bill Camp) has early-onset dementia, has appealed to her absent younger sister Simone (Alcock) for help. Simone's response? A basket of melon and berries, and a card telling Devon to "keep your chin up." The subpar gift and empty platitude are enough to make Devon travel several hours, rotting fruit in hand, to the luxurious island where Simone works as assistant to wealthy philanthropist Michaela "Kiki" Kell (Moore). You May Also Like Simone doesn't just manage the staff who run Michaela's lavish Cliff House estate. The working relationship between the two is deeply personal — and frankly, creepy. Boundaries don't exist for them: Simone drafts Michaela's sexts to her husband Peter (Kevin Bacon). The pair share gum in order to have fresh breath. If this is raising red flags for you, you're not alone: Devon is horrified by Simone's bond with her boss, and she's ready to drag her sister kicking and screaming from Michaela's grasp. But as a scrappy working-class interloper in Michaela's wealthy world — over the all-important, party-filled Labor Day weekend, no less — Devon is at a major disadvantage. As she attempts to protect her sister, dark secrets about their past (and dark rumors about Michaela's) come to light, prompting a whirlwind of dramatic revelations that ultimately don't hold the weight they should. Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Julianne Moore, Meghann Fahy, and Milly Alcock are great in Sirens, but is it enough? Julianne Moore in "Sirens." Credit: Macall Polay / Netflix Sirens is at its best when it's a dark comedy with a touch of soap opera, and much of that comes down to Moore, Fahy, and Alcock's performances. Moore and Alcock make a perfect pair, channeling Stepford Wives creepiness in their pastel getups and matching athleisure sets. Alcock's Simone simpers and preens for her boss, while Moore commits fully to Michaela's frigid cult leader vibes. (Whether Michaela's bird preservation society is actually a cult is one of the mysteries Sirens presents, even if the resolution isn't particularly satisfying.)Fahy's Devon, meanwhile, is a wonderfully prickly contrast to Simone and Michaela's rich girl acts. She's raw and unapologetic, unafraid to call out Michaela's bizarro rituals. When she and Simone are together, that rawness rubs off on Simone, too, highlighting their sisterly connection and the pain the two shared during their traumatic upbringing. Related Stories Discussion of that trauma results in some of Sirens' biggest tonal swings, as the show ranges from send-ups of the superficial rich — Glenn Howerton excels as Michaela and Peter's sleazeball neighbor, for example — to clichéd explorations of mental health, like Simone's panic attacks. Also predictable? Sirens' examination of unbalanced, predatory power dynamics within relationships. As soon as Bacon's Peter shows up on the scene, it's clear what will play out between him, Michaela, and Simone. The show treats this arc as culminating in a revelatory plot twist, but it feels more tired than anything.Sirens isn't without interesting ideas. In keeping with the "sirens" motif, all three women are treated as monstrous at some point in the show's five-episode run, even though they're often at a disadvantage. (Especially Devon and Simone.) The mythological theme extends to a solid running joke in which two of Devon's loser suitors follow her around, as if lured by her siren song, despite her annoyed rejections of them. These contrasts between people perceiving Sirens' leads as near-mythic beings versus their actual, unfulfilling realities result in the show's most fascinating moments. But with only five episodes, Sirens fails to probe these contrasts as much as it could, and its song ultimately falls flat.Sirens is now streaming on Netflix. Topics Netflix

16 Greek Fonts That Channel Ancient Wisdom & Modern Style Jack Nolan • May 14, 2025 In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.There’s something absolutely captivating about letterforms that carry thousands of years of history. Whether you’re designing for a philosophy class, creating logos for Mediterranean restaurants, or adding an authentic touch to academic presentations, Greek fonts bring a unique blend of classical elegance and timeless sophistication to any project. But here’s the thing – not all Greek fonts are created equal. Some capture the genuine essence of ancient inscriptions, while others simply evoke that Greek aesthetic we’re all drawn to. And that’s perfectly fine! Sometimes you need authentic Greek letterforms, other times you just want that Mediterranean vibe. Cultural Note: While some fonts on this list feature authentic Greek characters and historical accuracy, others are stylistic interpretations that capture the “Greek feel” without being linguistically correct. We’ve noted which is which throughout this article to help you choose appropriately for your project. You might also be looking for Aztec Fonts, Medieval Fonts, or Viking Fonts—some of which have a similar look. In this comprehensive guide, we’ll explore the best Greek fonts available in 2025, from historically accurate typefaces to modern interpretations that simply look fantastic. Let’s embark on this typographic odyssey together! 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »My Favorite 16 Greek-Style Fonts I’ve curated this list based on versatility, authenticity, and pure visual appeal. Here are my top picks for Greek fonts that’ll make your designs shine: Hunger – Ancient Greek Font Hunger is a sans-serif font that captures the essence of ancient Greek typography. Its bold, clean lines make it ideal for logos and headlines, offering a modern twist on classical aesthetics.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. Greek Freak – Gaming Font Greek Freak is a decorative font designed specifically for gaming applications. Its strong, friendly characters evoke a sense of adventure and excitement, perfect for game titles and promotional materials.Roman Greek – Display Serif Font Roman Greek is a serif font that combines classical Roman and Greek typographic elements. Its vintage-inspired design makes it suitable for projects requiring a touch of historical elegance and retro charm.Greek Myth Decorative Display Font Greek Myth is a decorative display font that draws inspiration from ancient Greek mythology. Its ornate characters and vector-based design allow for versatile use in various graphic design projects, especially those with a mythological theme.Daewon – Greek Font Style Daewon is a decorative font that emulates ancient Greek writing styles. Its unique character set offers designers a way to infuse their projects with a distinct Hellenic flavor, suitable for both modern and classical-themed designs.Grave Party | A Handwritten Greek Font Grave Party is a handwritten font with a Greek twist. Its playful yet eerie style makes it perfect for Halloween-themed designs or projects that require a touch of spooky charm. More scary fonts here.Farley – Ancient Greek Font Farley is a decorative font inspired by ancient Greek typography. Its bold characters and clean lines make it excellent for logos and headlines, offering a modern interpretation of classical Greek letterforms.Nakoa – Ancient Greek Font Nakoa is a decorative font that draws inspiration from ancient Greek inscriptions. Its distinctive characters are ideal for creating eye-catching logos and headlines with a historical flair.Greek Meswax Font Greek Meswax is a decorative font with a unique blend of Greek-inspired design and tropical vibes. Its spring-like freshness makes it suitable for projects that require a fusion of classical and contemporary aesthetics.Greek Rubone – Ancient Greek Font Greek Rubone is a sans-serif font that combines ancient Greek influences with a modern marker-style aesthetic. Its bold strokes make it particularly suitable for sports-related designs, especially those with a baseball theme.Greek Reford – Unique Typeface Font Greek Reford is a decorative font that offers a unique twist on traditional Greek typography. Its condensed characters and sporty feel make it ideal for athletic-themed designs and projects requiring a bold, compact typeface.Valerine Modern Serif Font Valerine is a modern serif font that combines classical elegance with contemporary design principles. Its refined characters offer a fresh take on traditional serif typography, suitable for a wide range of design applications.CyberGreek CyberGreek is a futuristic sans-serif font that merges Greek-inspired design with cyberpunk aesthetics. Its bold, angular characters make it perfect for sci-fi themed projects and designs requiring a strong, futuristic display typeface.Leviathans – Decorative Gaming Font Leviathans is a decorative gaming font that combines pixel art with medieval-inspired design. Its unique character set is ideal for creating eye-catching titles and text in fantasy-themed games and related media.Victorius – Gaming font Victorius is a decorative sans-serif font designed specifically for gaming applications. Its bold, energetic characters convey a sense of triumph and excitement, making it perfect for game logos, titles, and promotional materials.Yacote – Display Sans Font Yacote is a modern display sans-serif font with clean, geometric lines. Its sleek design makes it highly legible and versatile, suitable for a wide range of design projects requiring a contemporary sans-serif typeface.Understanding Greek Typography: History Meets Design Greek typography isn’t just about pretty letters – it’s a window into one of humanity’s most influential civilizations. The Greek alphabet, which emerged around 800 BCE, gave birth to countless other writing systems and continues to influence modern design. When we talk about Greek fonts today, we’re usually referring to one of three categories: Authentic Greek Fonts: These feature actual Greek letters (alpha, beta, gamma, etc.) and are perfect for academic work, religious texts, or when you need to type in modern Greek. Greek-Inspired Latin Fonts: These use regular Latin letters but incorporate design elements reminiscent of ancient Greek inscriptions – think carved stone aesthetics and classical proportions. Decorative Greek-Style Fonts: These might include Greek-looking ornaments or simply evoke the Mediterranean aesthetic without being linguistically accurate. What Makes Greek Fonts So Compelling? There’s something undeniably powerful about Greek typography. Maybe it’s the connection to ancient wisdom, or perhaps it’s the visual weight these fonts carry. Here’s what gives Greek fonts their distinctive appeal: Historical Gravitas: Greek fonts automatically lend credibility and sophistication to any design. There’s an immediate association with scholarship, philosophy, and timeless knowledge. Architectural Inspiration: Many Greek fonts echo the proportions found in classical architecture – think Parthenon columns translated into letterforms. Carved Stone Aesthetics: The best Greek fonts often mimic the look of text carved into marble or stone, complete with subtle imperfections that add character. Mathematical Precision: Greek letters are fundamental to mathematics and science, so Greek fonts often embody that precise, systematic quality. Perfect Uses for Greek Fonts Greek fonts aren’t just for ancient history textbooks. Here are some fantastic applications I’ve seen work brilliantly: Academic and Educational Design: Perfect for university materials, scholarly publications, philosophy courses, or any content dealing with classical studies. Restaurant and Food Branding: Especially effective for Greek restaurants, Mediterranean cuisine, or any establishment wanting to evoke that authentic Hellenic atmosphere. Luxury and High-End Branding: The sophistication of Greek fonts works wonderfully for upscale brands, particularly those wanting to convey heritage and tradition. Architectural and Construction: Given the connection to classical architecture, these fonts work well for architectural firms or construction companies specializing in traditional styles. Wellness and Philosophy Brands: Perfect for yoga studios, meditation apps, or any brand focused on ancient wisdom and mindfulness. How to Choose the Right Greek Font Selecting the perfect Greek font depends on several key factors: Authenticity Needs: Do you need actual Greek characters, or are you after the aesthetic? This determines whether you need a genuine Greek typeface or a Greek-inspired design. Context and Audience: Academic audiences might appreciate historically accurate fonts, while restaurant patrons might respond better to stylized versions that simply look “Greek.” Readability Requirements: Some ornate Greek fonts are gorgeous but challenging to read at small sizes. Consider where your text will appear. Cultural Sensitivity: If you’re using Greek fonts for commercial purposes, especially in food or tourism, ensure you’re representing Greek culture respectfully and accurately. Greek Font Alternatives and Pairings Sometimes a full Greek font might be overkill for your project. Here are some alternatives that can give you that Mediterranean feel: Classical Serif Fonts: Fonts like Trajan or Optima capture classical proportions without being specifically Greek. Carved/Engraved Fonts: Look for fonts that mimic stone carving – they often evoke ancient Greek inscriptions. Architectural-Inspired Fonts: Fonts based on architectural lettering can give you that classical feel. When pairing Greek fonts with other typefaces, stick to simple, clean fonts that won’t compete. A classic sans-serif or traditional serif often works beautifully as a supporting font. Cultural Considerations and Best Practices Using Greek fonts comes with responsibility. Here are some guidelines to keep in mind: Respect the Source: Greek culture and language have deep significance. Avoid using Greek fonts in ways that might be considered appropriation or misrepresentation. Accuracy Matters: If you’re using authentic Greek fonts, ensure your Greek text is correct. Gibberish Greek can be offensive to native speakers. Context is Key: Greek fonts work best when there’s a genuine connection to Greek culture, classical themes, or Mediterranean concepts. Quality Over Gimmick: Use Greek fonts to enhance your message, not as a novelty. The goal should always be effective communication. Common Greek Font Questions Answered Can I type actual Greek with these fonts? Only with authentic Greek fonts that include the complete Greek character set. Many “Greek-style” fonts only feature Latin letters designed to look Greek. What’s the difference between ancient and modern Greek fonts? Ancient Greek fonts often feature more angular, carved-stone aesthetics, while modern Greek fonts are optimized for contemporary readability and digital use. Are Greek fonts free to use commercially? It depends on the specific font and its license. Many are free for personal use but require licensing for commercial projects. Always check the license before using. What’s the best Greek font for beginners? Start with something readable and versatile. Look for fonts that balance authenticity with modern usability. Conclusion: Embracing the Timeless Appeal of Greek Typography Greek fonts offer a unique opportunity to connect our modern designs with ancient wisdom and classical beauty. Whether you’re seeking authentic Greek characters for academic work or simply want to capture that Mediterranean aesthetic, there’s a Greek font perfect for your project. Remember, the best Greek font is one that serves your design goals while respecting the rich cultural heritage these letterforms represent. Take time to understand the history behind the typography, choose fonts that align with your project’s needs, and always prioritize quality and authenticity over flashy gimmicks. As you explore the wonderful world of Greek fonts, you’ll discover that these aren’t just letterforms – they’re links to a civilization that gave us democracy, philosophy, and so much of our mathematical and scientific foundation. Use them wisely, and they’ll add depth, sophistication, and timeless appeal to any design. Which Greek font speaks to you? Whether you’re channeling ancient philosophy or modern Mediterranean style, there’s something magical about typography that carries thousands of years of human wisdom. Start experimenting with these fonts, and let the classics inspire your next great design! Jack Nolan Jack Nolan is a freelance graphic designer with over 10 years of experience helping brands stand out through bold, impactful design. Specializing in logo design, visual identity, and digital illustrations, Jack has worked with startups, small businesses, and global clients to bring creative ideas to life. His passion for clean, timeless design is matched only by his commitment to understanding client needs and delivering work that exceeds expectations. When he's not designing, Jack enjoys hiking, experimenting with photography, and exploring the latest trends in design. How Fonts Influence Tone and Clarity in Animated VideosAudiences interact differently with messages based on which fonts designers choose to use within a text presentation. Fonts shape how...15 Indian Fonts That Capture the Beauty of IndiaIndian typography tells stories through shapes—curves that dance, lines that flow with centuries of cultural meaning. The scripts of India...40 Nature Fonts That Bring the Outdoors Into Your Designs in 2025Nature-inspired fonts bring the outdoors into your designs, capturing organic beauty through typography. From delicate leaf motifs to rugged branch-like...

New Research By Shoving a Bed Frame Against the Door, This Pompeii Family Tried to Survive Mount Vesuvius’ Eruption Archaeologists are learning new details about the four individuals’ futile attempt to hide inside an ancient residence called the House of Helle and Phrixus A bed frame shoved against the door served as a makeshift barricade. Pompeii Archaeological Park In 79 C.E., Mount Vesuvius erupted, spewing ash and small volcanic pellets known as lapilli over the city of Pompeii. Nearly 1,950 years later, archaeologists are still sifting through the layers of debris and making remarkable discoveries about life—and death—in the ancient city. Researchers recently discovered four members of a family, including a child, who attempted to escape the eruption by barricading themselves inside a bedroom, according to a statement from the Pompeii Archaeological Park. Though their efforts were futile, their remains provide remarkable insight into the doomed city’s final moments. When the eruption began, most residents of Pompeii “had no clue what was happening,” Gabriel Zuchtriegel, director of the park and co-author of a new study published in the journal Scavi di Pompei, tells the New York Times’ Sara Novak. “Many thought the end of the world had come.” A majority of the 15,000 to 20,000 residents of Pompeii and nearby Herculaneum fled and survived the eruption. The four family members were among the roughly 2,000 Pompeians who remained when the city was destroyed. As Helle struggles in the sea, Phrixus reaches out to his sister from atop a flying ram. Pompeii Archaeological Park Archaeologists found the family’s remains in a small but stately residence known as the House of Helle and Phrixus, named after a fresco of the mythological siblings discovered on the dining room wall. In Greek myth, the siblings survive their stepmother’s attempt to sacrifice them to the gods by flying away on a ram with a golden fleece. While Phrixus escapes, Helle falls off the ram into the sea. The fresco captures the siblings reaching out to each other—Helle in the sea, Phrixus on the ram—in a fittingly futile attempt at rescue. The architectural features of the house may have accelerated the family’s demise. Like many Roman houses, the House of Helle and Phrixus featured an open-roofed atrium, intended to aid rainwater collection. But as lapilli fell from the sky during the first phase of the eruption, the rock debris, which reached up to nine feet in some locations, quickly flooded the house through the atrium. At first, the archaeological evidence shows, the four individuals tried to protect themselves by packing into a small room. They even pushed a wooden bed frame against the door, hoping that it would prevent the lapilli from entering.When that failed, the researchers think they pulled back the barricade and attempted to escape. Based on the location of the remains, they only got as far as the triclinium, or dining room. “This house, with its decorations and its objects, shows us people who tried to save themselves,” says Zuchtriegel in the statement, per a translation by La Brújula Verde’s Guillermo Carvajal. “They didn’t succeed, but their story is still here, beneath the ashes.” Over the centuries, the ash preserved the remains of the family, the wooden bed frame and other items, including a bronze amulet known as a bulla and a stash of amphorae filled with garum, a popular Roman fish sauce. Ash and lapilli flooded into through the open-roofed atrium, burying the house in up to nine feet of debris. Pompeii Archaeological Park Researchers don’t know that this particular family owned the House of Helle and Phrixus. The group may have taken refuge there after the owners fled, as Marcello Mogetta, an archaeologist and Roman art historian at the University of Missouri who wasn’t involved in the study, tells the Times. Still, the recovered objects offer a glimpse into Pompeian family life. For instance, the child was likely the one wearing the bronze bulla, as tradition dictated that boys wear such amulets for protection until adulthood. Additionally, traces of masonry materials suggest that the house was under renovation. As Zuchtriegel says in the statement, “Excavating Pompeii means confronting the beauty of art, but also the fragility of life.” Get the latest stories in your inbox every weekday.