We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

Last year Hunger Games social media accounts made shocking news when they announced there would be a new book and movie in the series. Shortly afterward, Collins released the novel on March 18, 2025 where it promptly sold 1.2 million copies in its first week in the U.S.—three times more than what Mockingjay, which closed out Collins’ original Hunger Games trilogy, did in the same time frame.  Sunrise on the Reaping follows Peeta and Katniss’ mentor, Haymitch Abernathy, when he is chosen to compete in the 50th Hunger Games, which due to the anniversary means there will be double the amount of tributes. The novel tells the story of Haymitch’s life in District 12 and his rebellion against the Capitol, which led him to become the unfriendly mentor we know from the original series.  This is the second prequel Collins has released after The Ballad of Songbirds and Snakes, which followed a young Coriolanus Snow on his journey to becoming the ruthless president in the original trilogy. The Ballad of Songbirds and Snakes movie grossed $349 million worldwide, and Collins and Lionsgate are likely eager to repeat that success at the box office with a Sunrise on the Reaping film.  The most successful movie in the franchise has been The Hunger Games: Catching Fire with a worldwide box office gross of almost $845 million. Hunger Games hasn’t been able to recreate those numbers since. But the Sunrise on the Reaping movie will follow a character the audience already connects with (as opposed to despite like Coriolanus), which may encourage more casual fans to see it. The announcement of Sunrise on the Reaping release brought new life to the Hunger Games audience, with many fans speculating about casting and production choices for the already confirmed movie adaptation, which is set to release in November 2026.  The Sunrise on the Reaping movie starts production in July and reportedly has a budget of over $150 million, according to a Deadline report, which could make it the largest budget Hunger Games movie to date. Fans of the franchise have been eagerly awaiting information about the highly anticipated movie adaptation, and they won’t have to wait long to get it. Here’s a look at some of the casting choices so far and what the expectations are for the upcoming film.  Amazon Joseph Zada as Haymitch Abernathy There were many fan castings following the release of the book involving popular actors such as Outer Banks’ Rudy Pankow and Harris Dickinson from Babygirl. Instead the lead role went to industry newcomer Joseph Zada, who will bring a fresh perspective. Zada is an Australian actor who began his career in 2019 in a film directed by his father, Jeremy Cumpston. He continued acting and has only been involved in four projects before his casting in Hunger Games, two movies (Bilched and The Speedway Murders), one small role in the Australian TV show Total Control, and a lead role in the currently airing Australian show, Invisible Boys. The Sunrise on the Reaping movie will be Zada’s first Hollywood blockbuster role.    In Sunrise on the Reaping, Haymitch’s character suffers unimaginable loss and faces treacherous conditions in the arena, so it will be interesting to see what Zada brings to the emotional impact of his journey.  Zada will also be starring in another anticipated book-adaptation, We Were Liars, which is set to release in June. Also of note, at age 20, Zada is actually the appropriate age to be playing a 16-year-old, which differs from both fan casting and a franchise that previously has cast actors over 25 as teenagers. Photo by: Nick Morgulis Mckenna Grace as Maysilee Donner Maysilee is a fierce but kindhearted character, which is not uncommon ground for Mckenna Grace. Grace is one of the more well-known additions to the cast, having starred in Gifted alongside Chris Evans, Ghostbusters: Afterlife, and Ghostbusters: Frozen Empire. Many fans were in favor of this choice on social media as well.   Grace will have the task of conveying the multiple layers to Maysilee’s arc. At the start of the novel, the character is viewed as a stuck-up rich girl but as the story progresses, Haymitch realizes there is more to her that meets the eye, and the two characters form a strong bond. Grace’s performance will ride on her ability to capture Maysilee’s development in a way that will have audiences empathizing with her until the very end. Grace already has almost three million followers on Instagram and five million on TikTok because of her popularity with a Gen Z audience, which likely appealed to the Lionsgate marketing department as well. She’s also only 18 years old, making this another case of the filmmakers again avoiding the common Hollywood issue of folks pushing 30 playing teens.  A24 Jesse Plemons as Plutarch Heavensbee Plutarch is a recurring character in the original trilogy, having a pivotal role in Mockingjay where he helps Katniss take down President Snow and the Capitol. In the film version, he was played by Philip Seymour Hoffman in one of the actor’s final roles. In Sunrise on the Reaping, we see Plutarch’s rise to power and how he gained the trust of the president while also helping the rebel cause. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Jesse Plemons was cast to play a younger Plutarch in the upcoming movie. It will be hard to live up to Hoffman’s charisma and talent, but Plemons seems up for the job. In fact, Plemons and Hoffman have actually shared the screen together when Plemons played Hoffman’s son in the 2012 film The Master. Plemons has been in the industry for a while and, most notably, played a role in the popular TV series Breaking Bad. He was also nominated for an Oscar as a supporting actor in The Power of the Dog. Max/WBD Whitney Peak as Lenore Dove Whitney Peak was cast to play Lenore Dove, the musical, free-spirited girlfriend of Haymitch, who is a part of the traveling musical band in District 12, or the “Covey.” Peak is a relatively new actress, best known for her roles in teen dramas like Chilling Adventures of Sabrina on Netflix and the Gossip Girl reboot on Max.  We will see if Peak can capture the same wild, whimsical energy that Rachel Zegler did when she played a very similar role as Lucy Gray Baird in The Ballad of Songbirds and Snakes movie. Zegler captured the hearts of Hunger Games fans, helping her to land roles afterward like Y2K and the latest Broadway production of  Romeo and Juliet. Zegler has already expressed her support for Peak’s casting on social media, writing, “I know she’s gonna do the Baird name proud.” Searchlight Pictures Kelvin Harrison Jr. as Beetee Beetee is a major character in the second Hunger Games novel, Catching Fire, where he uses his intelligence and knowledge of the arena to help stop the Games. In Sunrise on the Reaping, we learn about his family and his previous involvement in the rebellion, making his actions in the original trilogy more impactful. Young Beetee will be played by Kelvin Harrison Jr. who has had roles in other major movies like Elvis, The Trial of Chicago 7, Luce, and Waves and has been acting since 2013.  The character was previously played by Jeffrey Wright in the original trilogy, who unsurprisingly did a good job of coming across as shy and dorky while simultaneously using his intelligence to take down the Capitol. Harrison will act as a mentor to young Haymitch in Sunrise on the Reaping and aid him in his rebellion against the Capitol, showing that just because he’s nerdy doesn’t mean he’s not dangerous.  Netflix Maya Hawke as Wiress  Wiress is one of Haymitch’s mentors in the novel who won the Hunger Games the year before by outsmarting the gamemakers and the other tributes. Wiress will be played by Maya Hawke, who is known for being the daughter of famous actors Ethan Hawke and Uma Thurman as well as her role in the popular TV series Stranger Things. Many fans of her and the franchise were satisfied with the charismatic choice.  Like Beetee, Wiress’s character is introduced in Catching Fire as the smart but mentally disturbed tribute from District 3. In Sunrise on the Reaping, we see that she used to be able to communicate normally before the Capitol tortured her for her involvement in the rebellion. She was played in the original movies by Amanda Plummer, who embodied her eccentric, odd demeanor well, but Hawke will be playing a more sane and coherent version of Wiress. She will have to embody the young, capable victor who encourages the District 12 kids to use their intelligence to succeed in the Hunger Games without having to kill.  Amazon Prime Lili Taylor as Mags The kind and loveable mentor Mags will be played by Lili Taylor. The American actress has had roles in many successful movies, including Mystic Pizza, The Conjuring, I Shot Andy Warhol and Dogfight. Mags was also introduced in Catching Fire as Finnick’s mentor and a sweet, maternal figure. We see more of her in Sunrise on the Reaping as she helps Haymitch and the District 12 tributes prepare and shows us what she was like before the Capitol’s influence on her.  Mags was played in the Catching Fire movie by Lynn Cohen, but she was nonverbal and frail after years of Capitol torment. The Mags in this movie will be different, more energetic and able-bodied while still retaining the same affectionate nature. We will see her taking care of the tributes and making them feel like human beings even though they are headed to almost certain death.  Sony Pictures Ben Wang as Wyatt Callow Wyatt Callow is one of the District 12 tributes and a mathematical genius. Wyatt is known to take bets on the Hunger Games and calculate the odds of each tribute for his father, which Haymitch doesn’t like. The two characters get off to a rocky start, but Haymitch eventually realizes Wyatt is a good person with how loyal he is to their group.  Ben Wang will be playing Wyatt in the upcoming adaptation. Wang is also about to star in Karate Kid: Legend and has also appeared in the Mean Girls remake and the Disney+ series American Born Chinese.  Wyatt is socially awkward, but kind-hearted, and Wang will have to portray the depth of his character beyond just his intelligence.  Focus Features Ralph Fiennes as President Snow The ruthless President Snow will be played by the legendary Ralph Fiennes. The British actor has received multiple Academy Award nominations for his roles in Schindler’s List, Conclave, and The English Patient. His legacy also extends to some of the most popular movies of the last 30 years, running the gamut from Skyfall to The Grand Budapest Hotel. Fiennes is one of the most veteran members of the cast and someone that the younger actors can look up to as a mentor.  Of course Fiennes is no stranger to playing ruthless dictators either since his transformation into the role of Voldemort in the Harry Potter series is etched into the memories of generations. Fiennes will be playing the heartless president of Panem in Sunrise on the Reaping when he confronts Haymitch, the rebellion, and the 50th Hunger Games. There is no doubt that Fiennes will be able to portray Snow in the movie just as intimidating and coldhearted as fans have imagined him to be. Hulu Elle Fanning as Effie Trinket The most recent casting announcement has been Elle Fanning as the Capitol mentor Effie Trinket. Fanning was actually who many fans suggested should play the role, and it seems like the Hunger Games producers that request seriously. Fanning is the sister of the actress Dakota Fanning and has been in a number of popular films including A Complete Unknown, Maleficent, and The Great TV series.  Effie is a constant character throughout the original series (where she is played by Elizabeth Banks onscreen), and in Sunrise on the Reaping, we get to see how she obtained her position in District 12 and her first meeting with her fellow mentor Haymitch. Effie is sympathetic toward the district kids, but the Capitol propaganda prevents her from fully understanding their struggles. She thinks it’s sad they have to go into the Hunger Games but believes it’s necessary to keep the peace. Fanning will have to play the naïve and extravagant character who has a very ignorant outlook toward the real world. HBO Kieran Culkin as Caesar Flickerman  Caesar Flickerman is the charismatic entertainer and showman we see in the original trilogy interviewing the tributes before they enter the arena. In Sunrise on the Reaping, we get to see more of a younger Caesar conducting interviews before the 50th Hunger Games, but we also get some insight into how he can manipulate and sell a certain narrative to the Capitol audience. The character was previously played by Stanley Tucci who completely transformed himself into the role and really brought the preening media personality to life. And now Kieran Culkin has been cast for the upcoming prequel where he will get the chance to commit to the same eccentric hair, makeup, and outfits that Tucci made iconic.  Culkin is a seasoned actor and will almost certainly be up for the challenge. After all, he just won an Oscar for A Real Pain, and before that he won an Emmy (and was nominated for several more) due to his turn as Roman Roy on HBO’s Succession. Of course for a whole generation of movie watchers, he will always be Fuller from Home Alone. Molly McCann as Louella McCoy and Iona Bell as Lou Lou Louella and Lou Lou are two very similar looking characters who will each have to play very different roles. Louella will be played by Molly McCann who will have to play the sweet, innocent girl who Haymitch vows to protect when she is reaped in the Hunger Games at just 13. McCann is a young Irish actress who has already been a part of 19 projects, including movies and TV shows, and nominated for an Irish Film and TV award in 2021.  On the other hand, Iona Bell is cast as Lou Lou, who is an unknown girl from District 11 who was tortured by the Capitol and has been driven to almost insanity as a result. Bell is a British actress who has only been a part of one project before this casting. The teenage actress is currently filming in a few independent films, as well as a movie with Taika Waititi (Fing!) which will come out later this year. Her character in Sunrise on the Reaping is an odd one, but you can’t help but sympathize with her because of what she’s been through. 

What worked in The Witcher 3 and what didn't: looking back on a landmark RPG with CD Projekt Red "We learned a lot of lessons down the road." Image credit: CD Projekt Red Feature by Robert Purchese Associate Editor Published on May 31, 2025 Do you remember what you were doing when The Witcher 3: Wild Hunt was released? It came out on 19th May 2015. I remember because I was inside CD Projekt Red at the time, trying to capture the moment for you - a moment I'm unlikely to replicate there or anywhere else. I recall sitting in the studio's canteen in the small hours of the morning, after a midnight launch event in a mall in Warsaw, chewing on a piece of cold pizza and wondering out loud what would come next for the studio, because at the time, who could know? One era was ending and another was about to begin. Would it bring the fame and fortune CD Projekt Red desired? Today, more than 60 million sales of The Witcher 3 later, we know the answer is yes. The Witcher 3 became a role-playing classic. It delivered one of the most touchable medieval worlds we've explored, a rough place of craggy rocks and craggier faces, of wonky morales and grim realities, of mud and dirtiness. And monsters, though not all were monstrous to look at. It was a world of grey, of superstition and folklore, and in it stood we, a legendary monster hunter, facing seemingly impossible odds. The Witcher 3 took fantasy seriously. But the decade since the game's release has been turbulent for CD Projekt Red. The studio launched its big new sci-fi series in 2020 with Cyberpunk 2077, and though the game has now sold more than 30 million copies, making it monetarily a success, it had a nightmarish launch. The PS4 version had to be removed from sale. It brought enormous pressure, growing pains and intense scrutiny to the studio, and CD Projekt Red would spend a further three years patching and updating - and eventually releasing an expansion - before public opinion would mostly turn around. Today the studio returns to safer ground, back to The Witcher world with the new game The Witcher 4, and as we look forward to it we should also look back, to the game that catapulted the studio to fame, and see what has been learnt. The Witcher 3 is at version 4.04 today, a number that represents an enormously long period of post-release support.Watch on YouTube It all began with naivety, as perhaps any ambitious project should. It's easy to forget that 14 years ago, when The Witcher 3 was being conceived, CD Projekt Red had never made an open-world game before. The Witcher 1 and The Witcher 2 were linear in their approaches. It's also easy to forget that the people making the game were 14 years younger and less experienced. Back then, this was the studio's chance at recognition, so it aimed high in order to be seen. "The Witcher 3 was supposed to be this game that will end all other games," Marcin Blacha, the lead writer of the game, tells me. Simply make an open-world game that's also a story-driven game and release it on all platforms at the same time. How hard could it be? "When I'm thinking about our state of mind back in those days, the only word that comes to my mind is enthusiastic," Blacha says. "It was fantastic because we were so enthusiastic that we were full of courage. We were trying to experiment with stuff and we were not afraid. We were convinced that when we work with passion and love, it will pay off eventually." Every project has to begin somewhere and for Blacha, the person tasked with imagining the story, The Witcher 3 could only begin with Ciri, the daughter-of-sorts to The Witcher's central monster hunter character Geralt. As Blacha says, "The most important thing about Geralt and the most important thing about the books is the relationship between Geralt, Ciri and Yennefer. I already did two games with no sign of Ciri, no sign of Yennefer, and then we finally had a budget and proper time for pre-production, so for me, it was time to introduce both characters." It's a decision that would have major repercussions for the rest of The Witcher series at CD Projekt Red. Blacha didn't know it then, but Ciri would go on to become the protagonist of The Witcher 4. Had she not been the co-protagonist of The Witcher 3 - for you play as her in several sections during the game - who knows if things would have worked out the same way. It's an understandable progression as it is, though there is still some uncertainty among the audience about Ciri's starring role. But Ciri's inclusion came with complications, because the Ciri we see in the game is not the Ciri described in the books. That Ciri is much closer to the Ciri in the Netflix Witcher TV show, younger and more rebellious in a typical teenager way. She might be an important part of the fiction, then, but that doesn't mean she was especially well liked. "People were thinking that she's annoying," says Blacha, who grew up reading The Witcher books. CD Projekt Red, then, decided to make a Ciri of its own, aging her and making her more "flesh and bone", as Blacha puts it. He fondly recalls a moment in the game's development when reviewing the Ciri sections of the game, and saying aloud to studio director Adam Badowski how much he liked her. "I didn't know that she's going to be the protagonist of the next game," he says, "but I said to Adam Badowski, she's going to be very popular." Once Ciri had been earmarked for inclusion in The Witcher 3, the idea to have her pursued by the phantom-like force of the Wild Hunt - the members of which literally ride horses in the night sky, like Santa Claus' cursed reindeer - came shortly after. CD Projekt Red had introduced the Wild Hunt in The Witcher 2 so it made sense. The outline of the main story was then laid down as a one-page narrative treatment. Then it was expanded to a two-page treatment, a four page treatment, an eight page treatment and so on. At around 10 pages, it already had the White Orchard prologue, almost the entirety of the No Man's Land zone, and a hint of what would happen on Skellige and in Novigrad. When it was around 40 pages long, the quest design team was invited in. CD Projekt Red made their Ciri older than she is in the books. | Image credit: CD Projekt Red The quest design team's job is to turn a story into a game, and this was a newly created department for The Witcher 3, created because the old way of writers designing the quests wasn't working any more. "We were struggling a bit with making sure that every written story that we have prepared is also a story that we can play well," Paweł Sasko says. He joined CD Projekt Red to be a part of that quest design team. The quest design team carves up a narrative treatment, paragraph by paragraph, and expands those into playable questlines for the game. "It's basically something between game design and a movie scenario," Sasko says. There's no dialogue, just a description of what will happen, and even a one-paragraph prompt can balloon into a 20-30 page design. Among the paragraphs Sasko was given to adapt was a storyline in No Man's Land concerning a character known as the Bloody Baron. The Bloody Baron storyline is widely acclaimed and has become synonymous with everything Sasko and CD Projekt Red were trying to do with the game. It's a storyline that probes into mature themes like domestic abuse, fatherhood, and love and loss and grief. More importantly, it presents us with a flawed character and allows us time and space to perhaps change our opinion of them. It gives us layers many other games don't go anywhere near. When Sasko first encountered the storyline, there was only an outline. "It said that Geralt meets the Bloody Baron who asks Geralt to hunt a monster and look for his wife and daughter, and for that, he is going to share information about Ciri and tell Geralt where she went. That was pretty much it." And Sasko already knew a few things about what he wanted to do. He knew he wanted to show No Man's Land as a Slavic region bathed in superstitions and complex religious beliefs, one that had been ravaged by famine and war. He also knew the tone of the area was horror because this had been outlined by Blacha and the leaders of The Witcher 3 team. Says Blacha: "My opinion is that a successful Witcher game is a mix of everything, so you have a horror line, you have a romance, you have adventure, you have exploration. When we started to think about our hubs, we thought about them in terms of a show, so No Man's Land, the hub with the Bloody Baron, was horror; Skellige was supposed to be an adventure; and Novigrad was supposed to be a big city investigation." But there were key missing pieces then from the Bloody Baron sequence we know today. The botchling, for instance - the monstrous baby the quest revolves around. It didn't exist. It was an idea that came from Sasko after he read a Slavic bestiary. "Yes," he says, "the botchling idea came from me." The Bloody Baron. | Image credit: Eurogamer / CD Projekt Red He wanted the botchling to be the conduit through which more mature themes of the story could be approached - something overt to keep you busy while deeper themes sunk in. It's an approach Sasko says he pinched from Witcher author Andrzej Sapkowski, after deconstructing his work. "What he's doing is he's trying to find universal truths about human beings and struggles, but he doesn't tell those stories directly," Sasko says. "So for instance racism: he doesn't talk about that directly but he finds an interesting way how, in his world, he can package that and talk about it. I followed his method and mimicked it." This way the botchling becomes your focus in the quest, as the Baron carries it back to the manor house and you defend him from wraiths, but while you're doing that, you're also talking and learning more about who the Bloody Baron - who Phillip Strenger - is. "I wanted you to feel almost like you're in the shoes of that Bloody Baron," Sasko says. "Peregrination is this path in Christianity you go through when you want to remove your sins, and that's what this is meant to be. He's just trying to do it, and he's going through all of those things to do something good. And I wanted the player to start feeling like, 'Wow, maybe this dude is not so bad.'" It's a quest that leaves a big impression. An email was forwarded to Sasko after the game's release, written by a player who had lost their wife and child as the Baron once had. "And for him," he says, "that moment when Baron was carrying the child was almost like a catharsis, when he was trying so badly to walk that path. And the moment he managed to: he wrote in his letter that he broke down in tears." There's one other very significant moment in The Witcher 3 that Sasko had a large hand in, and it's the Battle of Kaer Morhern, where the 'goodies' - the witchers and the sorceresses, and Ciri - make a stand against the titular menace of the Wild Hunt. Sasko designed this section specifically to emotionally tenderise you, through a series of fast-paced and fraught battles, so that by the time the climactic moment came, you were aptly primed to receive it. The moment being Vesemir's death - the leader of the wolf school of witchers and father figure to Geralt. This, too, was Sasko's idea. "We needed to transition Ciri from being a hunted animal to becoming a hunter," he tells me, and the only event big enough and with enough inherent propulsion was Vesemir's death. Eredin, the leader of the Wild Hunt, breaks Vesemir's neck. | Image credit: Eurogamer / CD Projekt Red But for all of the successful moments in the game there are those that didn't work. To the team that made the game, and to the players, there are things that clearly stand out. Such as Geralt's witcher senses, which allow him to see scent trails and footsteps and clues in the world around him. Geralt's detective mode, in other words. Sasko laughs as he cringes about it now. "We've overdone the witcher senses so much, oh my god," he says. "At the time when we were starting this, we were like, 'We don't have it in the game; we have to use it to make you feel like a witcher.' But then at the end, especially in the expansions, we tried to decrease it so it doesn't feel so overloaded." He'd even turn it down by a further 10 to 20 per cent, he says. There were all of the question marks dotted across the map, luring us to places to find meagre hidden treasure rewards. "I think we all scratch our heads about what we were thinking when trying to build this," Sasko tells me. "I guess it just came from fear - from fear that the player will feel that the world is empty." This was the first time CD Projekt Red had really the player's hand go, remember, and not controlled where in the world you would be. Shallow gameplay is a criticism many people have, especially in the game's repetitive combat, and again, this is something Sasko and the team are well aware of. "We don't feel that the gameplay in Witcher 3 was deep enough," he says. "It was for the times okay, but nowadays when you play it, even though the story still holds really well, you can see that the gameplay is a bit rusty." Also, the cutscenes could have been paced better and had less exposition in them, and the game in general could have dumped fewer concepts on you at once. Cognitive overload, Sasko calls it. "In every second sentence you have a new concept introduced, a new country mentioned, a new politician..." It was too much. More broadly, he would also have liked the open-world to be more closely connected to the game's story, rather than be, mostly, a pretty backdrop. "It's like in the theatre when you have beautiful decorations at the back made of cardboard and paper, and not much happens to them except an actor pulls a rope and it starts to rain or something." he says. It's to do with how the main story influences the world and vice versa, and he thinks the studio can be better at it. Ciri and Geralt look at a coin purse in The Witcher 3. This is, coincidentally, the same tavern you begin the game in, with Vesemir, and the same tavern you meet Master Mirror in. | Image credit: Eurogamer / CD Projekt Red One conversation that surprises me, when looking back on The Witcher 3, is a conversation about popularity, because it's easy to forget now - with the intense scrutiny the studio seems always to be under - that when development began, not many people knew about CD Projekt Red. The combined sales of both Witcher games in 2013 were only 5 million. Poland knew about it - the Witcher fiction originated there and CD Projekt Red is Polish - and Germany knew about it, and some of the rest of Europe knew about it. But in North America, it was relatively unknown. That's a large part of the reason why the Xbox 360 version of The Witcher 2 was made at all, to begin knocking on that door. And The Witcher 3, CD Projekt Red hoped, would kick that door open. "We knew that we wanted to play in the major league," says Michał Platkow-Gilewski, vice president of communications and PR, stealing a quote from Cyberpunk character Jackie. That's why The Witcher 3 was revealed via a Game Informer cover story in early 2013, because that was deemed the way to do things there - the way to win US hearts, Platkow-Gilewski tells me. And it didn't take long for interest to swell. When Platkow-Gilewski joined CD Projekt Red to help launch the Xbox 360 version of The Witcher 2 in 2012, he was handing out flyers at Gamescom with company co-founder Michał Kicinski, just to fill presentations for the game. By the time The Witcher 3 was being shown at Gamescom, a few years later, queues were three to four hours long. People would wait all day to play. "We had to learn how to deal with popularity during the campaign," Platkow-Gilewski says. Those game shows were crucial for spreading the word about The Witcher 3 and seeing first-hand the impact the game was having on players and press. "Nothing can beat a good show where you meet with people who are there to see their favourite games just slightly before the rest of the world," he says. "They're investing their time, money, effort, and you feel this support, sometimes love, to the IP you're working on, and it boosts energy the way which you can't compare with anything else. These human to human interactions are unique." He says the studio's leader Adam Badowski would refer to these showings as fuel that would propel development for the next year or so, which is why CD Projekt Red always tried to gather as many developers as possible for them, to feel the energy. It was precisely these in-person events that Platkow-Gilewski says CD Projekt Red lacked in the lead up to Cyberpunk's launch, after Covid shut the world down. The company did what it could by pivoting to online events instead - the world-first playtest of Cyberpunk was done online via stream-play software called Parsec; I was a part of it - and talked to fans through trailers, but it was much harder to gauge feedback this way. "It's easy to just go with the flow and way harder to manage expectations," Platkow-Gilewski says, so expectations spiralled. "For me the biggest lesson learned is to always check reality versus expectations, and with Cyberpunk, it was really hard to control and we didn't know how to do it." It makes me wonder what the studio will do now with The Witcher 4, because the game show sector of the industry still hasn't bounced back, and I doubt - having seen the effect Covid has had on shows from the inside of an events company - whether it ever will. "Gamescom is growing," Platkow-Gilewski says somewhat optimistically. "Gamescom is back on track." But I don't know if it really is. Michał Platkow-Gilewski cites this moment as one of his favourite from the Witcher 3 journey. The crew were at the game show PAX in front of a huge live audience and the dialogue audio wouldn't play. Thankfully, they had Doug Cockle, the English language voice actor of Geralt, with them on the panel, so he live improvised the lines. Watch on YouTube Something else I'm surprised to hear from him is mention of The Witcher 3's rocky launch, because 10 years later - and in comparison to Cyberpunk's - that's not how I remember it. But Platkow-Gilewski remembers it differently. "When we released Witcher 3, the reception was not great," he says. "Reviews were amazing but there was, at least in my memories, no common consensus that this is a huge game which will maybe define some, to some extent, the genre." I do remember the strain on some faces around the studio at launch, though. I also remember a tense conversation about the perceived graphics downgrade in the game, where people unfavourably compared footage of Witcher 3 at launch, with footage from a marketing gameplay trailer released years before it. There were also a number of bugs in the game's code and its performance was unoptimised. "We knew things were far from being perfect," Platkow-Gilewski says. But the studio worked hard in the years after launch to patch and update the game - The Witcher 3 is now on version 4.04, which is extraordinary for a single-player game - and they released showcase expansions for it. Some of Marcin Blacha's favourite work is in those expansions, he tells me, especially the horror storylines of Hearts of Stone, many of which he wrote. That expansion's villain, Master Mirror, is also widely regarded as one of the best in the game, disguised as he is as a plain-looking and unassuming person who happens to have incredible and undefinable power. It's not until deep into the expansion you begin to uncover his devilish identity, and it's this subtle way of presenting a villain, and never over explaining his threat, that makes Master Mirror so memorable. He's gathered such a following that some people have concocted elaborate theories about him. Lead character artist Pawel Mielniczuk tells me about one theory whereby someone discovered you can see Master Mirror's face on many other background characters in the game, which you can, and that they believed it was a deliberate tactic used by CD Projekt Red to underline Master Mirror's devilish power. Remember, there was a neat trick with Master Mirror in that you had already met him at the beginning of The Witcher 3 base game, long before the expansion was ever developed, in a tavern in White Orchard. If CD Projekt Red could foreshadow him as far back as that, the theory went, then it could easily put his face on other characters in the game to achieve a similar 'did you see it?' effect. The real villain in the Hearts of Stone expansion, Gaunter O'Dimm. Better known to many as Master Mirror. There's a reason why he has such a plain-looking face... | Image credit: CD Projekt Red The truth is far more mundane. Other characters in the game do have Master Mirror's face, but only because his face is duplicated across the game in order to fill it out. CD Projekt Red didn't know when it made the original Witcher 3 game that this villager would turn into anyone special. There was a tentative plan but it was very tentative, so this villager got a very villager face. "We just got a request for a tertiary unimportant character," says Mileniczuk. "We had like 30-40 faces for the entire game so we just slapped a random face on him." He laughs. And by the time Hearts of Stone development came around, the face - the identity - had stuck. Expansions were an important part of cementing public opinion around The Witcher 3, then, as they were for cementing public opinion around Cyberpunk. They've become something of a golden bullet for the studio, a way to creatively unleash an already trained team and leave a much more positive memory in our heads. Exactly what went wrong with Cyberpunk and how CD Projekt Red set about correcting it is a whole other story Chris Tapsell told recently on the site, so I don't want to delve into specifics here. Suffice to say it was a hard time for the studio and many hard lessons had to be learned. "The pressure was huge," Platkow-Gilewski says, "because from underdogs we went to a company which will, for sure, deliver the best experience in the world." But while much of the rhetoric around Cyberpunk concerns the launch, there's a lot about the game itself that highlights how much progress the studio made, in terms of making open-world role-playing games. One of my favourite examples is how characters in Cyberpunk walk and talk rather than speak to you while rooted to the spot. It might seem like a small thing but it has a transformative and freeing effect on conversations, allowing the game to walk you places while you talk, and stage dialogue in a variety of cool ways. There's a lot to admire about the density of detail in the world, too, and in the greater variety of body shapes and diversity. Plus let's not forget, this is an actual open world rather than a segmented one as The Witcher 3 was. In many ways, the game was a huge step forward for the studio. Cyberpunk wasn't the only very notable thing to happen to the Witcher studio in those 10 years, either. During that time, The Witcher brand changed. Netflix piggybacked the game's popularity and developed a TV series starring Henry Cavill, and with it propelled The Witcher to the wider world. Curiously, CD Projekt Red wasn't invited to help, which was odd given executive producer Tomek Baginski was well known to CD Projekt Red, having directed the intro cinematics for all three Witcher video games. But beyond minor pieces of crossover content, no meaningful collaboration ever occurred. "We had no part in the shows," Pawel Mileniczuk says. "But it's Hollywood: different words. I know how hard it was for Tomek to get in there, to convince them to do the show, and then how limited influence is when the production house sits on something. It's many people, many decision makers, high stakes, big money. Nobody there was thinking about, Hey, let's talk to those dudes from Poland making games. It's a missed opportunity to me but what can I say?" The debut trailer for The Witcher 4.Watch on YouTube Nevertheless, the Netflix show had a surprisingly positive effect on the studio, with sales of The Witcher 3 spiking in 2019 and 2020 when the first season aired. "It was a really amazing year for us sales wise," Platkow-Gilewski says. This not only means more revenue for the studio but also wider understanding; more people are more familiar with The Witcher world now than ever before, which bodes very well for The Witcher 4. Not that it influenced or affected the studio's plans to return to that world, by the way. "We knew already that we wanted to come back to The Witcher," Platkow-Gilewski says. "Some knew that they wanted to tell a Ciri story while we were still working on Witcher 3." But, again, with popularity also comes pressure. "We'll have hopefully millions of people already hooked in from the get-go but with some expectations and visions and dreams which we have to, or may not be able to, fulfil," Platkow-Gilewski adds. You can already sense this pressure in comments threads about the new game. Many people already have their ideas about what a new Witcher game should be. The Witcher 4 might seem like a return to safer ground, then, but the relationship with the audience has changed in the intervening 10 years. "I think people are again with us," Platkow-Gilewski says. "There are some who are way more careful than they used to be; I don't see the hype train. We also learned how to talk about our game, what to show, when to show. But I think people believe again. Not everyone, and maybe it's slightly harder to talk with the whole internet. It's impossible now. It's way more polarised than it used to be. But I believe that we'll have something special for those who love The Witcher." Here we are a decade later, then, looking forward to another Witcher game by CD Projekt Red. But many things have changed. The studio has grown and shuffled people around and the roles of the people I speak to have changed. Marcin Blacha and Pawel Mielniczuk aren't working on The Witcher 4, but on new IP Project Hadar, in addition to their managerial responsibilities, and Pawel Sasko is full-time on Cyberpunk 2. It's only really Michał Platkow-Gilewski who'll do a similar job for The Witcher 4 as on The Witcher 3, although this time with dozens more people to help. But they will all still consult and they're confident in the abilities of The Witcher 4 team. "They really know what they're doing," says Sasko, "they are a very seasoned team." "We learned a lot of lessons down the road," Platkow-Gilewski says, in closing. "I started this interview saying that we had this bliss of ignorance; now we know more, but hopefully we can still be brave. Before, we were launching a rocket and figuring out how to land on the moon. Now, we know the dangers but we are way more experienced, so we'll find a way to navigate through these uncharted territories. We have a map already so hopefully it won't be such a hard trip."

News Sapphire 2025: BASF evolves business with move to SAP S/4Hana Germany-based global chemical giant BASF has elected to move its SAP IT estate to S/4Hana private cloud to evolve its business in uncertain times By Brian McKenna, Enterprise Applications Editor Published: 29 May 2025 15:30 Chemical industry giant BASF is moving its SAP IT estate to the supplier’s S/4Hana enterprise resource planning (ERP) system as part of a business modernisation strategy, it was announced at the SAP Sapphire user and partner conference in Madrid. Petra Scheithe, senior vice-president of digitalization of services and ERP platforms at BASF Business Services, outlined the latest development in the company’s long-standing relationship with SAP. BASF, which employs around 112,000 people, has been an SAP customer for 40 years. Its headquarters in Ludwigshafen are a half-hour drive from SAP’s in Walldorf. According to a joint SAP/BASF statement, the chemical firm “adopted a hybrid system landscape to integrate SAP S/4Hana Cloud into BASF’s vast system and reduce the complexity of on-premise management. With a clean core strategy in place, any new customisations and functional extensions will be cloud-ready, allowing simplified system maintenance and operations in the long run.” BASF also intends to use SAP’s artificial intelligence (AI) and sustainability software.   The first of its new systems on S/4Hana, in its coatings business, is already live. BASF has four “core businesses”, in chemicals, materials, industrial solutions, and nutrition and care, and four standalone business units in agriculture and surface technologies, catalysts and metals, battery materials, and coatings. BASF is also using SAP’s Joule copilot for initial use cases in SAP’s SuccessFactors HR system, and is looking at other cases for core business processes. “We signed a new strategic partnership with SAP in December 2024,” said Scheithe, in an interview at Sapphire. “This includes Rise [with SAP], which we did not have before.” Rise is a so-called business transformation as a service programme that is fundamentally about cloud migration, and getting customers, new and existing, onto a cloud-delivered version of its S/4Hana ERP system based on its in-memory database, Hana. BASF’s existing SAP estate is one single global instance. “That has brought some challenges with it because over the last decade, we have really grown that system to a point where we said ‘this is difficult to manage’,” said Scheithe. “We have a very broad product portfolio, from our agricultural business, our coatings business, catalysts, battery materials, and copper and metals,” she said. “Combining all of those requirements in one SAP system led to the point that we have more than 300,000 custom objects in the system, so it’s huge and monolithic. The transition to S/4Hana is a chance to clear that up.” The idea is to back up the BASF strategy, called Winning Ways, with a modernised ERP system. The overall corporate strategy has the goal of BASF being “the preferred chemical company to enable our customers’ green transformation”. It includes a €10bn investment in what the company calls a Verbund site in Zhanjiang in China. At these sites, production plants, energy and material flows, logistics, and site infrastructure are all integrated, according to the company. There are currently six worldwide. In relation to the SAP environment, Scheithe said they decided to split the one instance into several business-related ones. The new company strategy, minted in 2024, means there is a pillar dedicated to “differentiated steering with different market requirements”, she added. Read more about SAP customers Rise with SAP offers a path to the cloud for SAP customers, but adoption is still hindered by customer concerns over costs, flexibility and SAP's cloud-only innovation strategy. SAP sales tactic fuels IT disconnect. SAP customer unrest: How did we get here? BASF started to build an S/4Hana instance in 2022 for the coatings business, with “a greenfield approach using clean core strategy”. This went live in March of this year, “on time and on budget, which I am super proud of”, said Scheithe. The firm is now implementing S/4 for the battery materials division and piloting for the agricultural business. “Clean core” in an SAP context means keeping the core system as standard as possible, with minimal custom modifications.  They also opted for SAP’s Rise programme so that their systems are as close as possible to standard SAP and to leverage the IT supplier’s innovations in AI. Scheithe said she’s very interested to explore the use of the technology from SAP’s 2024 acquisition, WalkMe. This is a digital adoption platform technology that is increasingly associated with the use of SAP’s GenAI assistant, Joule. WalkMe sits on top of an organisation’s IT applications layer and determines where users might experience difficulties such as getting stuck when performing a process or task. WalkMe then provides guidance and automated processes that help the user complete the task. BASF is not using it as yet. It’s using Joule for HR tasks, in SuccessFactors, and Sheithe is especially interested in its use for developers. “We are not so naïve as to believe now that with implementing S/4 we will cover all our business requirements that we had in the past,” she said. “We have more than 300,000 custom objects in our system, and those were not done just because developers like to develop, but for business requirements. If we can’t get rid of those, we don’t want them in our core system, so it will be helpful if we have tools on hand that make our developers more efficient. This why I’m so excited about Joule for developers.” Thomas Saueressig, a member of the executive board of SAP for customer services and delivery, said: “We are proud to partner with BASF on this transformative journey. “By choosing SAP S/4Hana Cloud, BASF is laying a strong foundation for future growth and innovation,” he said. “The ability to leverage a clean core and standardised processes will provide BASF with the agility and resilience needed to thrive in today’s dynamic business environment.” In The Current Issue: UK government outlines plan to surveil migrants with eVisa data Why we must reform the Computer Misuse Act: A cyber pro speaks out Download Current Issue FinOps Foundation lays down 2025 Framework for Cloud+ cost control – Open Source Insider Bit Cloud offers Hope AI for developers  – CW Developer Network View All Blogs

Even at first glance, there’s something off about the body on the street. The white sheet it’s under is a little too clean, and the officers’ movements are totally devoid of purpose. “We need to clear the street,” one of them says with a firm hand gesture, though her lips don’t move. It’s AI, alright. But here’s the kicker: my prompt didn’t include any dialogue.Veo 3, Google’s new AI video generation model, added that line all on its own. Over the past 24 hours I’ve created a dozen clips depicting news reports, disasters, and goofy cartoon cats with convincing audio — some of which the model invented all on its own. It’s more than a little creepy and way more sophisticated than I had imagined. And while I don’t think it’s going to propel us to a misinformation doomsday just yet, Veo 3 strikes me as an absolute AI slop machine.AI generated video: Made with Veo 3Google introduced Veo 3 at I/O this week, highlighting its most important new capability: generating sound to go with your AI video. “We’re entering a new era of creation,” Google’s VP of Gemini, Josh Woodward, explained in the keynote, calling it “incredibly realistic.” I wasn’t completely sold, but then, a few days later, I had Veo 3 generate a video of a news anchor announcing a fire at the Space Needle. All it took was a basic text prompt, a few minutes, and an expensive subscription to Google’s AI Ultra plan. And you know what? Woodward wasn’t exaggerating. It’s realistic as hell.I tried the news anchor prompt after seeing what Alejandra Caraballo, a clinical instructor at Harvard Law School’s Cyberlaw Clinic, was able to produce. One of her clips features a news anchor announcing the death of US Secretary of Defense Pete Hegseth. He is not dead, but the clip is incredibly convincing. A post including a string of videos with AI-generated characters protesting the prompts used to create them has 50,000 upvotes on Reddit. The scenes include disasters, a woman in a hospital bed using a breathing tube, and a character being threatened at gunpoint — all with spoken dialogue and realistic background sounds. Real lighthearted stuff!Maybe I’m being naive, but after playing around with Veo 3 I’m not quite as concerned as I was at first. For starters, the obvious guardrails are in place. You can’t prompt it to create a video of Biden tripping and falling. You can’t have a news anchor announce the assassination of the president, or even generate a video of a T-shirt-and-chain-wearing tech company CEO laughing while dollar bills rain down around him. That’s a start.That said, you can generate some troubling shit. Without any clever workarounds I prompted Veo 3 to create a video of the Space Needle on fire. Starting with my own photo of Mount Rainier, I generated a video of it erupting with smoke and lava. Coupled with a clip of a news anchor announcing said disaster, I can see how you could seed some mischief real easily with this tool.AI generated video: Made with Veo 3Here’s the better news: it doesn’t seem like a ready-made deepfake machine. I gave it a couple of photos of myself and asked it to generate a video with specific dialogue and it wouldn’t comply. I also asked it to bring a pair of giant boots in a photo to life and have them walk out of the scene; it managed one boot stomping across the sidewalk with some comical crunching noises in the background.AI generated video: Made with Veo 3I had an easier time generating videos when my prompts were less specific, which is how I confirmed something my colleague Andrew Marino pointed out: Veo 3 is excellent at creating the kind of lowest-common-denominator YouTube content aimed at kids.If you’ve never been subjected to the endless pit of garbage on YouTube Kids, let me enlighten you. Imagine watching the worst 3D rendering of a monster truck driving down a ramp, landing in a vat of colored paint. Next to it, another monster truck drives down another ramp into another vat of paint — this time, a different color. Now watch that again. And again. And again. There are hours of this stuff on YouTube designed to mesmerize toddlers. These videos are usually harmless, just empty calories designed to rack up views that make Cocomelon look like Citizen Kane. In about 10 minutes with Veo 3, I threw together a clip following the same basic formula — complete with jaunty background music. But the clip that’s even more troubling to me is the two cartoon cats on a pier.AI generated video: Made with Veo 3I thought it would be funny to have the cats complain to each other that the fish aren’t biting. In just a couple of minutes, I had a clip complete with two cats and some AI-generated dialogue that I never wrote. If it’s this easy to make a 10-second clip, stretching it out to a seven-minute YouTube video would be trivial. In its current form, clips revert to Veo 2 when you try to extend them into longer scenes, which removes the audio. But the way that Google has been pushing these tools forward relentlessly, I can’t imagine it’ll be long before you can edit a full feature-length video with Veo 3.Honestly, I wonder if this sort of use for AI-generated video is a feature and not a bug. Google showed us some fancy AI-generated video from real filmmakers, including Eliza McNitt, who is working with Darren Aronofsky on a new film with some AI-generated elements. And sure, AI video could be an interesting tool in the right hands. But I think what we’re most likely to see is a proliferation of the kind of bland imagery that AI is so good at generating — this time, in stereo.See More:

Even at first glance, there’s something off about the body on the street. The white sheet it’s under is a little too clean, and the officers’ movements are totally devoid of purpose. “We need to clear the street,” one of them says with a firm hand gesture, though her lips don’t move. It’s AI, alright. But here’s the kicker: my prompt didn’t include any dialogue.Veo 3, Google’s new AI video generation model, added that line all on its own. Over the past 24 hours I’ve created a dozen clips depicting news reports, disasters, and goofy cartoon cats with convincing audio — some of which the model invented all on its own. It’s more than a little creepy and way more sophisticated than I had imagined. And while I don’t think it’s going to propel us to a misinformation doomsday just yet, Veo 3 strikes me as an absolute AI slop machine.AI generated video: Made with Veo 3Google introduced Veo 3 at I/O this week, highlighting its most important new capability: generating sound to go with your AI video. “We’re entering a new era of creation,” Google’s VP of Gemini, Josh Woodward, explained in the keynote, calling it “incredibly realistic.” I wasn’t completely sold, but then, a few days later, I had Veo 3 generate a video of a news anchor announcing a fire at the Space Needle. All it took was a basic text prompt, a few minutes, and an expensive subscription to Google’s AI Ultra plan. And you know what? Woodward wasn’t exaggerating. It’s realistic as hell.I tried the news anchor prompt after seeing what Alejandra Caraballo, a clinical instructor at Harvard Law School’s Cyberlaw Clinic, was able to produce. One of her clips features a news anchor announcing the death of US Secretary of Defense Pete Hegseth. He is not dead, but the clip is incredibly convincing. A post including a string of videos with AI-generated characters protesting the prompts used to create them has 50,000 upvotes on Reddit. The scenes include disasters, a woman in a hospital bed using a breathing tube, and a character being threatened at gunpoint — all with spoken dialogue and realistic background sounds. Real lighthearted stuff!Maybe I’m being naive, but after playing around with Veo 3 I’m not quite as concerned as I was at first. For starters, the obvious guardrails are in place. You can’t prompt it to create a video of Biden tripping and falling. You can’t have a news anchor announce the assassination of the president, or even generate a video of a T-shirt-and-chain-wearing tech company CEO laughing while dollar bills rain down around him. That’s a start.That said, you can generate some troubling shit. Without any clever workarounds I prompted Veo 3 to create a video of the Space Needle on fire. Starting with my own photo of Mount Rainier, I generated a video of it erupting with smoke and lava. Coupled with a clip of a news anchor announcing said disaster, I can see how you could seed some mischief real easily with this tool.AI generated video: Made with Veo 3Here’s the better news: it doesn’t seem like a ready-made deepfake machine. I gave it a couple of photos of myself and asked it to generate a video with specific dialogue and it wouldn’t comply. I also asked it to bring a pair of giant boots in a photo to life and have them walk out of the scene; it managed one boot stomping across the sidewalk with some comical crunching noises in the background.AI generated video: Made with Veo 3I had an easier time generating videos when my prompts were less specific, which is how I confirmed something my colleague Andrew Marino pointed out: Veo 3 is excellent at creating the kind of lowest-common-denominator YouTube content aimed at kids.If you’ve never been subjected to the endless pit of garbage on YouTube Kids, let me enlighten you. Imagine watching the worst 3D rendering of a monster truck driving down a ramp, landing in a vat of colored paint. Next to it, another monster truck drives down another ramp into another vat of paint — this time, a different color. Now watch that again. And again. And again. There are hours of this stuff on YouTube designed to mesmerize toddlers. These videos are usually harmless, just empty calories designed to rack up views that make Cocomelon look like Citizen Kane. In about 10 minutes with Veo 3, I threw together a clip following the same basic formula — complete with jaunty background music. But the clip that’s even more troubling to me is the two cartoon cats on a pier.AI generated video: Made with Veo 3I thought it would be funny to have the cats complain to each other that the fish aren’t biting. In just a couple of minutes, I had a clip complete with two cats and some AI-generated dialogue that I never wrote. If it’s this easy to make a 10-second clip, stretching it out to a seven-minute YouTube video would be trivial. In its current form, clips revert to Veo 2 when you try to extend them into longer scenes, which removes the audio. But the way that Google has been pushing these tools forward relentlessly, I can’t imagine it’ll be long before you can edit a full feature-length video with Veo 3.Honestly, I wonder if this sort of use for AI-generated video is a feature and not a bug. Google showed us some fancy AI-generated video from real filmmakers, including Eliza McNitt, who is working with Darren Aronofsky on a new film with some AI-generated elements. And sure, AI video could be an interesting tool in the right hands. But I think what we’re most likely to see is a proliferation of the kind of bland imagery that AI is so good at generating — this time, in stereo.See More:

I think we, as engineers and designers, have a lot to gain by stepping outside of our worlds. That’s why in previous pieces I’ve been drawn towards architecture, newspapers, and the occasional polymath. Today, we stumble blindly into the world of philosophy. Bear with me. I think there’s something to it. In 1974, the American philosopher Robert M. Pirsig published a book called Zen and the Art of Motorcycle Maintenance. A flowing blend of autobiography, road trip diary, and philosophical musings, the book’s ‘chautauqua’ is an interplay between art, science, and self. Its outlook on life has stuck with me since I read it. The book often feels prescient, at times surreal to read given it’s now 50 years old. Pirsig’s reflections on arts vs. sciences, subjective vs. objective, and systems vs. people translate seamlessly to the digital age. There are lessons there that I think are useful when trying to navigate — and build — the web. Those lessons are what this piece is about. I feel obliged at this point to echo Pirsig and say that what follows should in no way be associated with the great body of factual information about Zen Buddhist practice. It’s not very factual in terms of web development, either. Buddha In The Machine Zen is written in stages. It sets a scene before making its central case. That backdrop is important, so I will mirror it here. The book opens with the start of a motorcycle road trip undertaken by Pirsig and his son. It’s a winding journey that takes them most of the way across the United States. Despite the trip being in part characterized as a flight from the machine, from the industrial ‘death force’, Pirsig takes great pains to emphasize that technology is not inherently bad or destructive. Treating it as such actually prevents us from finding ways in which machinery and nature can be harmonious. Granted, at its worst, the technological world does feel like a death force. In the book’s 1970s backdrop, it manifests as things like efficiency, profit, optimization, automation, growth — the kinds of words that, when we read them listed together, a part of our soul wants to curl up in the fetal position. In modern tech, those same forces apply. We might add things like engagement and tracking to them. Taken to the extreme, these forces contribute to the web feeling like a deeply inhuman place. Something cold, calculating, and relentless, yet without a fire in its belly. Impersonal, mechanical, inhuman. Faced with these forces, the impulse is often to recoil. To shut our laptops and wander into the woods. However, there is a big difference between clearing one’s head and burying it in the sand. Pirsig argues that “Flight from and hatred of technology is self-defeating.” To throw our hands up and step away from tech is to concede to the power of its more sinister forces. “The Buddha, the Godhead, resides quite as comfortably in the circuits of a digital computer or the gears of a cycle transmission as he does at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha — which is to demean oneself.”— Robert M. Pirsig Before we can concern ourselves with questions about what we might do, we must try our best to marshal how we might be. We take our heads and hearts with us wherever we go. If we characterize ourselves as powerless pawns, then that is what we will be. Where design and development are concerned, that means residing in the technology without losing our sense of self — or power. Technology is only as good or evil, as useful or as futile, as the people shaping it. Be it the internet or artificial intelligence, to direct blame or ire at the technology itself is to absolve ourselves of the responsibility to use it better. It is better not to demean oneself, I think. So, with the Godhead in mind, to business. Classical And Romantic A core concern of Zen and the Art of Motorcycle Maintenance is the tension between the arts and sciences. The two worlds have a long, rich history of squabbling and dysfunction. There is often mutual distrust, suspicion, and even hostility. This, again, is self-defeating. Hatred of technology is a symptom of it. “A classical understanding sees the world primarily as the underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance.”— Robert M. Pirsig If we were to characterize the two as bickering siblings, familiar adjectives might start to appear: Classical Romantic Dull Frivolous Awkward Irrational Ugly Erratic Mechanical Untrustworthy Cold Fleeting Anyone in the world of web design and development will have come up against these kinds of standoffs. Tensions arise between testing and intuition, best practices and innovation, structure and fluidity. Is design about following rules or breaking them? Treating such questions as binary is a fallacy. In doing so, we place ourselves in adversarial positions, whatever we consider ourselves to be. The best work comes from these worlds working together — from recognising they are bound. Steve Jobs was a famous advocate of this. “Technology alone is not enough — it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing.”— Steve Jobs Whatever you may feel about Jobs himself, I think this sentiment is watertight. No one field holds all the keys. Leonardo da Vinci was a shining example of doing away with this needless siloing of worlds. He was a student of light, anatomy, art, architecture, everything and anything that interested him. And they complemented each other. Excellence is a question of harmony. Is a motorcycle a romantic or classical artifact? Is it a machine or a symbol? A series of parts or a whole? It’s all these things and more. To say otherwise does a disservice to the motorcycle and deprives us of its full beauty. Just by reframing the relationship in this way, the kinds of adjectives that come to mind naturally shift toward more harmonious territory. Classical Romantic Organized Vibrant Scaleable Evocative Reliable Playful Efficient Fun Replicable Expressive And, of course, when we try thinking this way, the distinction itself starts feeling fuzzier. There is so much that they share. Pirsig posits that the division between the subjective and objective is one of the great missteps of the Greeks, one that has been embraced wholeheartedly by the West in the millennia since. That doesn’t have to be the lens, though. Perhaps monism, not dualism, is the way. In a sense, technology marks the ultimate interplay between the arts and the sciences, the classical and the romantic. It is the human condition brought to you with ones and zeros. To separate those parts of it is to tear apart the thing itself. The same is true of the web. Is it romantic or classical? Art or science? Structured or anarchic? It is all those things and more. Engineering at its best is where all these apparent contradictions meet and become one. What is this place? Well, that brings us to a core concept of Pirsig’s book: Quality. Quality The central concern of Zen and the Art of Motorcycle Maintenance is the ‘Metaphysics of Quality’. Pirsig argues that ‘Quality’ is where subjective and objective experience meet. Quality is at the knife edge of experience. “Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it.”— Robert M. Pirsig Pirsig's writings overlap a lot with Taoism and Eastern philosophy, to the extent that he likens Quality to the Tao. Quality is similarly undefinable, with Pirsig himself making a point of not defining it. Like the Tao, Plato’s Form of the Good, or the ‘good taste’ to which GitHub cofounder Scott Chacon recently attributed the platform’s success, it simply is. Despite its nebulous nature, Quality is something we recognise when we see it. Any given problem or question has an infinite number of potential solutions, but we are drawn to the best ones as water flows toward the sea. When in a hostile environment, we withdraw from it, responding to a lack of Quality around us. We are drawn to Quality, to the point at which subjective and objective, romantic and classical, meet. There is no map, there isn’t a bullet point list of instructions for finding it, but we know it when we’re there. A Quality Web So, what does all this look like in a web context? How can we recognize and pursue Quality for its own sake and resist the forces that pull us away from it? There are a lot of ways in which the web is not what we’d call a Quality environment. When we use social media sites with algorithms designed around provocation rather than communication, when we’re assailed with ads to such an extent that content feels (and often is) secondary, and when AI-generated slop replaces artisanal craft, something feels off. We feel the absence of Quality. Here are a few habits that I think work in the service of more Quality on the web. Seek To Understand How Things Work I’m more guilty than anyone of diving into projects without taking time to step back and assess what I’m actually dealing with. As you can probably guess from the title, a decent amount of time in Zen and the Art of Motorcycle Maintenance is spent with the author as he tinkers with his motorcycle. Keeping it tuned up and in good repair makes it work better, of course, but the practice has deeper, more understated value, too. It lends itself to understanding. To maintain a motorcycle, one must have some idea of how it works. To take an engine apart and put it back together, one must know what each piece does and how it connects. For Pirsig, this process becomes almost meditative, offering perspective and clarity. The same is true of code. Rushing to the quick fix, be it due to deadlines or lethargy, will, at best, lead to a shoddy result and, in all likelihood, make things worse. “Black boxes” are as much a choice not to learn as they are something innately mysterious or unknowable. One of the reasons the web feels so ominous at times is that we don’t know how it works. Why am I being recommended this? Why are ads about ivory backscratchers following me everywhere? The inner workings of web tracking or AI models may not always be available, but just about any concept can be understood in principle. So, in concrete terms: Read the documentation, for the love of god.Sometimes we don’t understand how things work because the manual’s bad; more often, it’s because we haven’t looked at it. Follow pipelines from their start to their finish.How does data get from point A to point Z? What functions does it pass through, and how do they work? Do health work.Changing the oil in a motorcycle and bumping project dependencies amount to the same thing: a caring and long-term outlook. Shiny new gizmos are cool, but old ones that still run like a dream are beautiful. Always be studying.We are all works in progress, and clinging on to the way things were won’t make the brave new world go away. Be open to things you don’t know, and try not to treat those areas with suspicion. Bound up with this is nurturing a love for what might easily be mischaracterized as the ‘boring’ bits. Motorcycles are for road trips, and code powers products and services, but understanding how they work and tending to their inner workings will bring greater benefits in the long run. Reframe The Questions Much of the time, our work is understandably organized in terms of goals. OKRs, metrics, milestones, and the like help keep things organized and stuff happening. We shouldn’t get too hung up on them, though. Looking at the things we do in terms of Quality helps us reframe the process. The highest Quality solution isn’t always the same as the solution that performed best in A/B tests. The Dark Side of the Moon doesn’t exist because of focus groups. The test screenings for Se7en were dreadful. Reducing any given task to a single metric — or even a handful of metrics — hamstrings the entire process. Rory Sutherland suggests much the same thing in Are We Too Impatient to Be Intelligent? when he talks about looking at things as open-ended questions rather than reducing them to binary metrics to be optimized. Instead of fixating on making trains faster, wouldn’t it be more useful to ask, How do we improve their Quality? Challenge metrics. Good ones — which is to say, Quality ones — can handle the scrutiny. The bad ones deserve to crumble. Either way, you’re doing the world a service. With any given action you take on a website — from button design to database choices — ask yourself, Does this improve the Quality of what I’m working on? Not the bottom line. Not the conversion rate. Not egos. The Quality. Quality pulls us away from dark patterns and towards the delightful. The will to Quality is itself a paradigm shift. Aspiring to Quality removes a lot of noise from what is often a deafening environment. It may make things that once seemed big appear small. Seek To Wed Art With Science (And Whatever Else Fits The Bill) None of the above is to say that rules, best practices, conventions, and the like don’t have their place or are antithetical to Quality. They aren’t. To think otherwise is to slip into the kind of dualities Pirsig rails against in Zen. In a lot of ways, the main underlying theme in my What X Can Teach Us About Web Design pieces over the years has been how connected seemingly disparate worlds are. Yes, Vitruvius’s 1st-century tenets about architecture are useful to web design. Yes, newspapers can teach us much about grid systems and organising content. And yes, a piece of philosophical fiction from the 1970s holds many lessons about how to meet the challenges of artificial intelligence. Do not close your work off from atypical companions. Stuck on a highly technical problem? Perhaps a piece of children’s literature will help you to make the complicated simple. Designing a new homepage for your website? Look at some architecture. The best outcomes are harmonies of seemingly disparate worlds. Cling to nothing and throw nothing away. Make Time For Doing Nothing Here’s the rub. Just as Quality itself cannot be defined, the way to attain it is also not reducible to a neat bullet point list. Neither waterfall, agile or any other management framework holds the keys. If we are serious about putting Buddha in the machine, then we must allow ourselves time and space to not do things. Distancing ourselves from the myriad distractions of modern life puts us in states where the drift toward Quality is almost inevitable. In the absence of distracting forces, that’s where we head. Get away from the screen.We all have those moments where the solution to a problem appears as if out of nowhere. We may be on a walk or doing chores, then pop! Work on side projects.I’m not naive. I know some work environments are hostile to anything that doesn’t look like relentless delivery. Pet projects are ideal spaces for you to breathe. They’re yours, and you don’t have to justify them to anyone. As I go into more detail in “An Ode to Side Project Time,” there is immense good in non-doing, in letting the water clear. There is so much urgency, so much of the time. Stepping away from that is vital not just for well-being, but actually leads to better quality work too. From time to time, let go of your sense of urgency. Spirit Of Play Despite appearances, the web remains a deeply human experiment. The very best and very worst of our souls spill out into this place. It only makes sense, therefore, to think of the web — and how we shape it — in spiritual terms. We can’t leave those questions at the door. Zen and the Art of Motorcycle Maintenance has a lot to offer the modern web. It’s not a manifesto or a way of life, but it articulates an outlook on technology, art, and the self that many of us recognise on a deep, fundamental level. For anyone even vaguely intrigued by what’s been written here, I suggest reading the book. It’s much better than this article. Be inspired. So much of the web is beautiful. The highest-rated Awwwards profiles are just a fraction of the amazing things being made every day. Allow yourself to be delighted. Aspire to be delightful. Find things you care about and make them the highest form of themselves you can. And always do so in a spirit of play. We can carry those sentiments to the web. Do away with artificial divides between arts and science and bring out the best in both. Nurture a taste for Quality and let it guide the things you design and engineer. Allow yourself space for the water to clear in defiance of the myriad forces that would have you do otherwise. The Buddha, the Godhead, resides quite as comfortably in a social media feed or the inner machinations of cloud computing as at the top of a mountain or in the petals of a flower. To think otherwise is to demean the Buddha, which is to demean oneself. Other Resources Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig The Beauty of Everyday Things by Soetsu Yanagi Tao Te Ching “The Creative Act” by Rick Rubin “Robert Pirsig & His Metaphysics of Quality” by Anthony McWatt “Dark Patterns in UX: How to Identify and Avoid Unethical Design Practices” by Daria Zaytseva Further Reading on Smashing Magazine “Three Approaches To Amplify Your Design Projects,” Olivia De Alba “AI’s Transformative Impact On Web Design: Supercharging Productivity Across The Industry,” Paul Boag “How A Bottom-Up Design Approach Enhances Site Accessibility,” Eleanor Hecks “How Accessibility Standards Can Empower Better Chart Visual Design,” Kent Eisenhuth

In an interview with podcaster Joe Rogan, billionaire and Trump megadonor Elon Musk offered his thoughts about what motivates political progressives to support immigration. In his view, the culprit was empathy, which he called “the fundamental weakness of Western civilization.” As shocking as Musk’s views are, however, they are far from unique. On the one hand, there is the familiar and widespread conservative critique of “bleeding heart” liberals as naive or overly emotional. But there is also a broader philosophical critique that raises worries about empathy on quite different and less political grounds, including findings in social science. Empathy can make people weaker—both physically and practically, according to social scientists. Consider the phenomenon known as “empathy fatigue,” a major source of burnout among counselors, nurses, and even neurosurgeons. These professionals devote their lives to helping others, yet the empathy they feel for their clients and patients wears them down, making it harder to do their jobs. As philosophers, we agree that empathy can take a toll on both individuals and society. However, we believe that, at its core, empathy is a form of mental strength that enables us to better understand the impact of our actions on others, and to make informed choices. The philosophical roots of empathy skepticism The term “empathy” only entered the English language in the 1890s. But the general idea of being moved by others’ suffering has been a subject of philosophical attention for millennia, under labels such as “pity,” “sympathy,” and “compassion.” One of the earliest warnings about pity in Western philosophy comes from the Greek Stoic philosopher Epictetus. In his Discourses, he offers general advice about how to live a good life, centered on inner tranquility and freedom. When it comes to emotions and feelings, he writes: “He is free who lives as he wishes to live . . . and who chooses to live in sorrow, fear, envy, pity, desiring and failing in his desires, attempting to avoid something and falling into it? Not one.” Feeling sorry for another person or feeling pity for them compromises our freedom, in Epictetus’s view. Those negative feelings are unpleasant, and nobody would choose them for themselves. Empathy would clearly fall into this same category, keeping us from living the good life. A similar objection emerged much later from the German philosopher Friedrich Nietzsche. Nietzsche framed his discussion in terms of mitleid—a German term that can be translated as either “pity” or “compassion.” Like Epictetus, Nietzsche worried that pity or compassion was a burden on the individual, preventing them from living the good life. In his book Daybreak, Nietzsche warns that such feelings could impair the very people who try to help others. Epictetus’s and Nietzsche’s worries about pity or compassion carry over to empathy. Recall the phenomenon of empathy fatigue. One psychological explanation for why empathic people experience fatigue and even burnout is that empathy involves a kind of mirroring of other people’s mental life, a mirroring that can be physically unpleasant. When someone you love is in pain, you don’t just believe that they are in pain; you may feel as if it is actually happening to you. Results from neuroscience and cognitive psychology research indicate that there are different brain mechanisms involved in merely observing another’s pain versus empathizing with it. The latter involves unpleasant sensations of the type we experience when we are in pain. Empathy is thus difficult to bear precisely because being in pain is difficult to bear. And this sharpens the Stoic and Nietzschean worries: Why bother empathizing when it is unpleasant and, perhaps, not even necessary for helping others? From understanding knowledge to appreciating empathy The answer for why one should see empathy as a strength starts with a key insight from 20th century philosophy about the nature of knowledge. That insight is based on a famous thought experiment by the Australian philosopher Frank Jackson. Jackson invites us to imagine a scientist named Mary who has studied colors despite having lived her entire life in a black-and-white room. She knows all the facts about the spectrum distribution of light sources and vision science. She’s read descriptions of the redness of roses and azaleas. But she’s never seen color herself. Does Mary know everything about redness? Many epistemologists—people who study the nature of knowledge—argue that she does not. What Mary learns when she sees red for the first time is elusive. If she returns to her black-and-white room, never to see any colored objects again, her knowledge of the colors will likely diminish over time. To have a full, rich understanding of colors, one needs to experience them. Thoughts like these led the philosopher and logician Bertrand Russell to argue that experience delivers a special kind of knowledge of things that can’t be reduced to knowledge of facts. Seeing, hearing, tasting, and even feeling delivers what he called “knowledge by acquaintance.” We have argued in a book and recent articles that Jackson’s and Russell’s conclusions apply to pain. Consider a variation on Jackson’s thought experiment: Suppose Mary knows the facts about pain but hasn’t experienced it. As before, it would seem like her understanding of pain is incomplete. In fact, though Mary is a fictional character, there are real people who report having never experienced pain as an unpleasant sensation—a condition known as “pain asymbolia.” In Russell’s terminology, such people haven’t personally experienced how unpleasant pain can be. But even people without pain asymbolia can become less familiar with pain and hardship during times when things are going well for them. All of us can temporarily lose the rich experiential grasp of what it is like to be distressed. So, when we consider the pain and suffering of others in the abstract and without directly feeling it, it is very much like trying to grasp the nature of redness while being personally acquainted only with a field of black and white. That, we argue, is where empathy comes in. Through experiential simulation of another’s feelings, empathy affords us a rich grasp of the distress that others feel. The upshot is that empathy isn’t just a subjective sensation. It affords us a more accurate understanding of others’ experiences and emotions. Empathy is thus a form of knowledge that can be hard to bear, just as pain can be hard to bear. But that’s precisely why empathy, properly cultivated, is a strength. As one of us has argued, it takes courage to empathically engage with others, just as it takes courage to see and recognize problems around us. Conversely, an unwillingness to empathize can stem from a familiar weakness: a fear of knowledge. So, when deciding complex policy questions—say, about immigration—resisting empathy impairs our decision-making. It keeps us from understanding what’s at stake. That is why it is vital to ask ourselves what policies we would favor if we were empathically acquainted with, and so fully informed of, the plight of others. Emad H. Atiq is a professor of law and philosophy at Cornell University. Colin Marshall is an associate professor of philosophy at the University of Washington. This article is republished from The Conversation under a Creative Commons license. Read the original article.

Death to Squishies By Bart on May 22, 2025 Behind the Scenes I asked Marcin Cieśla to tell us about his 'Death to Squishies' animation that was featured on BlenderArtists in March. Get ready for the delights and despairs of a one-man animation project which included dancing in front of his phone girl-band style for reference!A stort story about a certain animation. “Death to Squishies” from Ratchet & Clank 3.Ladies and gentlemen. Girls and boys. I rarely write texts like this… but not by choice. Only when my work is done, all set with poise, each detail aligned, no faults or voids. Now and then, when the time employs, it feels like festive days with all their noise. I’m so happy, like a kid with toys! Let’s start the talk - so raise your voice!...and Courtney strikes a daring pose, Perhaps it’s time to end my prose. Alright, enough fooling around. I’m not typing all of this just to waste someone’s time with poor-quality rhymes. So, why are we here? Well, I’d like to tell a story. To write a few words about how I spent almost two years working on a certain project - my biggest one yet. I personally love reading behind-the-scenes stories like this, so I thought someone might find it interesting. And if not, well, too bad - I’ll just write it anyway, and no one can stop me - ha! Look, look, how I just write all of this.Ok man, what’s your point?...you may ask, my dear reader. I will answer brilliantly - I don't know. That's why I think it would be best if I started with a short explanation. In the year of our Lord 2023, I created a small fanart of a character from the Ratchet & Clank series. Specifically, I'm talking about Courtney Gears from Ratchet 3. In the description of this project, when I was finishing it, I mentioned that I might also try to create a 1-minute animation using the character model that I already had at the time. It was quite tempting considering that the goal seemed quite achievable, because in a sense part of the work was already done. At least that's what I thought at the time. After all, I already have a finished character model - why not use it again and create an animation with it? What could go wrong (those familiar with Murphy's law know very well what). Ah, the poor naive author of this text didn’t yet realize what he was signing up for...At the beginning, he created a new project and a scene.The scene, however, was without form, it was a blockout. It is best to start any project like this with a blockout - a kind of 3D “sketch.” You roughly and quickly arrange simple shapes in the scene to get a general idea of where things should be, what size they should have relative to other elements in the environment, and so on. That’s exactly what I did. This stage of work is particularly satisfying because any progress brings immediate, tangible, and easily noticeable results. I drop a character into the file, but there’s nothing around them - just emptiness. So, I create a simple floor and walls. Boom - suddenly, the whole perception of the scene changes completely. It’s a bit dark, so I add a basic lamp. White, colored, spot, or area - whatever it may be, its mere presence makes a huge difference.Although every object in the scene, even in its simple blockout form, had to be manually created, it didn’t take long before the first signs of progress started appearing before my eyes. Those first bursts of dopamine can be incredibly motivating. "Hey, this is actually going pretty smoothly," I thought. And it did. You start a new project and you have only an empty space with a default cube and a camera in front of you. A day or two later, in the same file, you see a whole bunch of colorful, scattered objects. Maybe they are simple, maybe a little sloppy, but it doesn't matter. Compared to what was there at the beginning (an empty 3D file), the progress is huge! You almost feel like patting yourself on the back. And although at this stage it seemed to me that I had already done a lot of work, in reality it was just a false first impression. The real work hadn't even started yet.Lights, action! Oh wait, the camera first.Since the project was supposed to be an animation, I decided that before I went any further, I should roughly outline the camera work. An initial frame layout to see roughly where the close-ups would be, and what the slightly wider shots would look like. Which objects would need more detail, and which could get away with less. It seemed like a reasonable approach - after all, it would be a shame to spend too much time perfecting an object that wouldn’t even be properly visible in the camera.My starting point, of course, was the original animation from Ratchet & Clank. The music video titled "Death to Squishies" contained all the guidelines I needed. In my version, I tried to preserve as much from the original as possible, so initially I simply replicated the camera movements one-to-one. This is where I ran into the first problem. What worked 20 years ago in PlayStation 2 graphics doesn't necessarily translate well to modern visuals. Maybe I just couldn't translate it properly - who knows. The fact is, however, that at the end of the day I slightly modified some shots and cuts. Not drastically, but still. A slightly different frame, maybe a cut half a second later, maybe a different camera movement pace. By the way, it’s incredible how much such small adjustments can change.At this stage of the work, another dose of dopamine kicked in. Smaller than before, but still very motivating. "Not only do I already have the initial version of the scene, but now everything is starting to move! I'm moving at lightning speed, and nothing can stop me!"Very nice, but now get to work.It's probably a confrontation with the later stages of the project, after that first wave of naive joy, what we call short-lived enthusiasm. You start something with joy, see the initial huge progress, and it seems like the work is moving at an express pace, with the finish line already appearing on the horizon. However, reality doesn't really care about it and sooner or later it comes to verify the progress. The first such verification hit when I had to model the final version of the first segment of the scene. What had previously been just a simple, rounded cube was now waiting for its true realization. How dense should the details be, and where should they go? What should be fully modeled, and what could simply be painted onto a texture? What resolutions should the textures have? What colors should they be? You can know all the fundamentals of designing such things, and still get lost. For example, I realized that despite having reference material in the form of the original animation, I could really use designs with more detailed elements. Luckily, Insomniac still makes games from this series today, so I managed to find some modern assets from the latest Ratchet & Clank on PS5 on ArtStation. They worked perfectly as references. My confidence, however, was in a bit of a decline.As it quickly turned out, creating just one element of the scene in the final version takes much longer than the total time I worked on the entire project from the beginning up to that point. My example platform first had to be prepared in high-poly - a version with the highest possible level of detail. Then, the same model had to be created again, this time in low-poly - a geometrically simplified version for optimization. After that, details had to be baked from one version onto the other, textures painted, plus several other technical steps. Then the same thing had to be repeated for each element of the environment that was waiting to be prepared. Glass panels, inner platform segments, the outer ring with lamps, speakers, screens, scaffolding, cages, and so on. All of this only to realize later that while individual segments might look fine on their own, they didn’t necessarily work well together as a whole. For this reason, I went back from time to time to slightly modify already existing parts of the scene. And time kept passing.And he saw that it wasn't very good...Paradoxically, what had helped me earlier was now becoming a source of complexes for me. Using the stunning visuals from Rift Apart—the latest Ratchet & Clank installment - was incredibly helpful at first. Over time, however, as more and more of my own objects filled the scene, a wave of self-doubt started creeping in. "This doesn’t even look half as good as the work of the artists at Insomniac Games." "Why am I even doing this?"For a long time, lighting had been bothering me. Light is one of the most important aspects of 3D graphics - period. In fact, the perceived quality of the final image depends more on the lighting than on the quality of the objects being illuminated. Seriously. Lighting is incredibly important. That said, I kept failing with every new attempt at lighting the scene. Too dark, too bright, the color palette came out ugly, sometimes it felt too flat, other times something got overexposed. I can't count how many times I postponed dealing with it, discouraged by yet another failure. To be honest, I’m still not satisfied with the final lighting. I simply had to draw the line somewhere and move on.But it wasn’t all bad. At this stage of the project, I had already modeled almost all the scene elements - that’s something. A certain milestone. Mrs. Dopamine came for a visit again. A small dose of motivation to push further forward. After all, it would be silly to abandon the project now, with so much work behind me, right?Wait, what was I talking about?You're talking so much nonsense here, Mr. Author, and this was supposed to be about animnantion. I'm asking where is aminantion! So where is it? This amimatnion!A fair question. Maybe a little clumsy, but fair. So, where’s the animation? Honestly - still in its early stages. Normally, a project like this would involve multiple people working in parallel. That way, while the 3D artist is modeling the scene, the animator can already start working on the animation on simplified models, because he doesn't need detailed ones. That alone would cut the work time in half (!). But since I was the only one working on the whole thing, I had a new, another big task in the form of animation. "Well, now it’s finally all downhill from here", I thought. "Hehe, the fool hasn't learned anything", fate probably thought. I think it did. I don’t know - I didn’t ask.The first attempt came together pretty quickly. I wouldn’t say it went well, but at least it went fast. That’s something. I decided to start working on Courtney first. After all, she’s the main character of the entire clip, and the focus is primarily on her. The first shot - when she steps down from the stage. The second - when she… um… dances with her back to the camera. Then the third, fourth, and in one go I did the entire first half. Alright, time to share my progress online and get some feedback from people.And what were the opinions? "Overall, it’s not bad, but…"—which, in short, means "Dude, it’s actually really bad, but I’m trying to be nice." And yeah, it really was bad. The first version of the animation was slow, uninteresting, and just plain awful. It hurts a bit when you realize you’ve done a poor job. But pride doesn’t finish projects. What didn’t work had to go in the trash, and I had to start animating all over again from scratch. This time, slightly humbled by the mediocre feedback, I decided to take things more seriously. What did that mean? Well, when working on animation, it’s always a good idea to record some references first. How do you do that? Very simple: grab your phone and place it on a shelf or desk with recording turned on goof around carefully play in front of the camera the scene you are going to animate live with the hope that no one will ever, ever see this recording ._. With this type of reference, things went a bit better. The second attempt was still far from expectations, but at least it was an improvement over the first one. Thanks to the references, I managed to improve the pace, but also the overall choreography of the shots. Then there was the third attempt, and I stopped there.It's still not over yet?!Although Courtney’s animation was more or less done, the dancers were still waiting. And unfortunately, I don’t mean beautiful women dancing in celebration of the project’s completion. Not at all! There was still a long way to go, and to be honest, at this point, I felt like I had absolutely no idea what I was doing. And it was starting to show - this time in the dancers’ animation. Maybe it wasn’t as bad as Courtney’s first animation attempt, but it definitely wasn’t good. And no amount of goofing around in front of my phone for reference could fix it.How to put it... a bearded dude with all his appeal is not the best reference point for graceful, agile dancing ladies on stage. So, instead of wasting even more time, I decided to spend some of it searching for dance references online. And wow, maybe I just don't know what I'm talking about, but I really didn't know that there were so many terrible dances on the internet. I swear, a good chunk of what I watched were girls either rolling around the floor aimlessly or shaking chaotically, as if they had no idea what they were trying to achieve. And these are things proudly published by dance schools (!). At some point, however, I came across Asian girl bands…Alright, alright - let me explain. Well, you see… oh c’mon, I'm not going to explain myself! What can I say - you can like them or not, but it’s a completely different level. „Western” dance groups aren’t even close to the discipline and precision you see in Asian ones. These dances finally looked like something someone had really thought through. They just made sense! So, finally I had my reference.At this point no one reads this anyway.Since I’ve already scared off whoever I might have scared with my mention of girl bands, I can now openly admit that I really did use them as references. Am I embarrassed about it? Duuude, I was embarrassed when I tried dancing in front of my phone and then watched that pitiful sight. Now, I was just happy to finally push the work forward. And indeed, with the new references, things went a bit smoother. One attempt, then another - I honestly don’t remember how many there were. What I do remember is that this stage of the work was a bit of a relief. The dancers didn't require as much attention as Courtney, I had better references for them, but the fact that the project as a whole was already in "some" state also helped a lot. Maybe it’s silly, but working on something where you can actually see the results, rather than just imagining them vaguely, makes a big difference.Thanks to this, my mood was a bit more positive. The worst was already done, so confidence peeked its sad little eyes out from the depths of despair (pff, look at him, suddenly trying to be a poet). Once I managed to finish animating the dancers after a few attempts, the last thing still waiting for me was the lighting - the task I had been postponing to "hopefully never."Dude, but I don't see anything here.This moment had to come eventually, and now - it had arrived. My eternal nemesis. My weakness. The thing that had haunted me from the very start of this project. Ladies and gentlemen - lighting. (Here, we imagine the sound of a terrified and shocked crowd.)Somewhere in the previous stages of my work, when things weren’t going well, I experimented with lighting. As I’ve mentioned before, I was never satisfied with this aspect of my work. But at least I had some general direction now. A direction that didn’t make me feel "Yes, this is it," but also didn’t scream "Dude, this is a total disaster." So I had a direction that was neutral. Neutral - meaning acceptable. I knew I probably wouldn’t come up with anything better. So, I stuck with relatively simple, uniform blue lighting for the scene. That was supposed to be the background - my foundation for further work. The monotonous, solid color was interrupted by pink screens (with slight variations) and occasional yellow lamps. Nothing spectacular, but I assumed that if it doesn't hurt the eyes, then it's already good enough.While this lighting more or less worked for the scene as a whole, it didn’t quite handle characters in different, dynamic shots. That’s why the final, secret ingredient was character lighting. I experimented with it quite a bit, but in the end, I stuck with the standard three-point lighting setup. The main lamp - to pull the character out of the background, the fill lamp - to eliminate unwanted shadows, and in some shots a contour lamp - to add a bit of drama by lighting the character from behind. This simple set of lights just needed to be placed properly in each shot and voilà - the lighting was done.We go to sleep and the work will do itself.Wait, it’s still not over? How much more…The last thing left to do was rendering. Everything done so far existed only as a 3D project file I had been working on. Now, it was time to turn the fruits of months of effort into a video file. But that’s not as simple as it seems. I mean - it is. But also, it isn’t. It both is and isn’t.On one hand, rendering is simple, since it’s basically a process handled almost entirely by the computer rather than the person. On the other hand, rendering isn’t simple - because of that almost part. It can be a real pain. Theoretically, all that’s left to do is press the "render" button and sit back with a beer in hand, admiring the frames being drawn on the screen, accompanied by the gentle hum of the PC fans under the desk. And, for the most part, that’s true (though I wouldn’t recommend keeping beer too close to the keyboard). The problem, however, is that rendering needs supervision. Especially when the whole process is set to take four months (!). Seriously. That’s a lot of beer cans, but also plenty of time for things to go terribly wrong - and something almost certainly will. Maybe the software closes unexpectedly. Maybe the graphics card runs out of memory. Maybe an unforeseen error pops up. Or, maybe - after 120 rendered frames - the brilliant author of this text realizes that he forgot to enable or hide an object in the first shot (what a silly guy, pff). Since I needed my computer during the day for work, rendering took place at night. And if something went wrong two hours in, well… in the morning, I was greeted by a beautiful error report that had been sitting there for six hours. No problem, that's cool. At least after such a night the electricity bill was unnecessarily a bit higher…Sooner or later, it was finally done. I had all the frames rendered on my disk. In their raw, still-unprocessed state, the entire thing took up (and still does, I need a new disk ._. ) a staggering 1.2TB. Then, I pieced everything together. A bit of post-processing, a pinch of color correction, a handful of final tweaks. And at last - my exhausted eyes beheld it. A file with the friendly name "0100-1800.mp4." Or, in other words - the finished animation. The result of months of my work. I hope it was worth it.Get up, I think he finally finished yapping!Meow, meow, meow - you've talked so much here, man, and honestly, what’s the point of it all? As I eloquently pointed out at the beginning - I don’t know. I don’t know why I wrote this text about my project. If someone actually read it - great, that makes me really happy. Greetings to all three people who did it. I hope it was worth spending some time in my little world of 3D graphics. I know this project means much more to me than it ever will to anyone reading this. And that’s fine. But if reading this wasn’t a waste of time for you, dear reader - that’s something. And with that positive note, I’ll wrap this up. Lights off, time for bed.Until next time!