Dandadan follows two eccentric teenagers as they explore the bizarre secrets and myths of the world they inhabit. In their misadventures, Momo and Okarun learn more about one another and become close friends in the process. Their bond is unique, as no one else truly understands or relates to the unorthodox beliefs and interests they have.

Fist of the North Star, also known as Hokuto no Ken, one of the most iconic and classic Shonen Jumpseries, is returning next year with a new anime. The social media account for the series has just confirmed that the new anime is coming sooner than fans expected.

A lot of people complain that driving across the United States is boring. Having done the coast-to-coast trip seven times now, I can’t agree. Sure, the stretches through the Corn …read more

ActuGaming.net Test Spirit of the North 2 – La promesse d’une liberté qui a un prix Spirit of the North, le premier jeu d’Infuse Studio, est sorti en 2019, d’abord sur […] L'article Test Spirit of the North 2 – La

Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

Starving bacteria (cyan) use a microscopic harpoon—called the Type VI secretion system—to stab and kill neighboring cells (magenta). The prey burst, turning spherical and leaking nutrients, which the killers then use to survive and grow. (Image Credit: Glen D'Souza/ASU/Screen shot from video)NewsletterSign up for our email newsletter for the latest science newsBacteria are bad neighbors. And we’re not talking noisy, never-take-out-the-trash bad neighbors. We’re talking has-a-harpoon-gun-and-points-it-at-you bad neighbors. According to a new study in Science, some bacteria hunt nearby bacterial species when they’re hungry. Using a special weapon system called the Type VI Secretion System (T6SS), these bacteria shoot, spill, and then absorb the nutrients from the microbes they harpoon. “The punchline is: When things get tough, you eat your neighbors,” said Glen D’Souza, a study author and an assistant professor at Arizona State University, according to a press release. “We’ve known bacteria kill each other, that’s textbook. But what we’re seeing is that it’s not just important that the bacteria have weapons to kill, but they are controlling when they use those weapons specifically for situations to eat others where they can’t grow themselves.” According to the study authors, the research doesn’t just have implications for bacterial neighborhoods; it also has implications for human health and medicine. By harnessing these bacterial weapons, it may be possible to build better targeted antibiotics, designed to overcome antibiotic resistance. Ruthless Bacteria Use HarpoonsResearchers have long known that some bacteria can be ruthless, using weapons like the T6SS to clear out their competition. A nasty tool, the T6SS is essentially a tiny harpoon gun with a poison-tipped needle. When a bacterium shoots the weapon into another bacterium from a separate species, the needle pierces the microbe without killing it. Then, it injects toxins into the microbe that cause its internal nutrients to spill out.Up until now, researchers thought that this weapon helped bacteria eliminate their competition for space and for food, but after watching bacteria use the T6SS to attack their neighbors when food was scarce, the study authors concluded that these tiny harpooners use the weapon not only to remove rivals, but also to consume their competitors’ leaked nutrients.“Watching these cells in action really drives home how resourceful bacteria can be,” said Astrid Stubbusch, another study author and a researcher who worked on the study while at ETH Zurich, according to the press release. “By slowly releasing nutrients from their neighbors, they maximize their nutrient harvesting when every molecule counts.” Absorbing Food From NeighborsTo show that the bacteria used this system to eat when there was no food around, the study authors compared their attacks in both nutrient-rich and nutrient-poor environments. When supplied with ample resources, the bacteria used their harpoons to kill their neighbors quickly, with the released nutrients leaking out and dissolving immediately. But when resources were few and far between, they used their harpoons to kill their neighbors slowly, with the nutrients seeping out and sticking around. “This difference in dissolution time could mean that the killer cells load their spears with different toxins,” D’Souza said in another press release. While one toxin could eliminate the competition for space and for food when nutrients are available, another could create a food source, allowing bacteria to “absorb as many nutrients as possible” when sustenance is in short supply.Because of all this, this weapon system is more than ruthless; it’s also smart, and important to some species’ survival. When genetically unedited T6SS bacteria were put in an environment without food, they survived on spilled nutrients. But when genetically edited T6SS bacteria were placed in a similar environment, they died, because their ability to find food in their neighbors had been “turned off.”Harnessing Bacterial HarpoonsAccording to the study authors, the T6SS system is widely used by bacteria, both in and outside the lab. “It’s present in many different environments,” D’Souza said in one of the press releases. “It’s operational and happening in nature, from the oceans to the human gut.” The study authors add that their research could change the way we think about bacteria and could help in our fight against antibiotic resistance. In fact, the T6SS could one day serve as a foundation for targeted drug delivery systems, which could mitigate the development of broader bacterial resistance to antibiotics. But before that can happen, however, researchers have to learn more about bacterial harpoons, and about when and how bacteria use them, both to beat and eat their neighbors.Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Sam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.1 free article leftWant More? Get unlimited access for as low as $1.99/monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as $1.99!SubscribeAlready a subscriber?Register or Log In

Perhaps the oldest, most pernicious form of human bias is that of men toward women. It often started at the moment of birth. In ancient Athens, at a public ceremony called the amphidromia, fathers would inspect a newborn and decide whether it would be part of the family, or be cast away. One often socially acceptable reason for abandoning the baby: It was a girl. Female infanticide has been distressingly common in many societies — and its practice is not just ancient history. In 1990, the Nobel Prize-winning economist Amartya Sen looked at birth ratios in Asia, North Africa, and China and calculated that more than 100 million women were essentially “missing” — meaning that, based on the normal ratio of boys to girls at birth and the longevity of both genders, there was a huge missing number of girls who should have been born, but weren’t. Sen’s estimate came before the truly widespread adoption of ultrasound tests that could determine the sex of a fetus in utero — which actually made the problem worse, leading to a wave of sex-selective abortions. These were especially common in countries like India and China; the latter’s one-child policy and old biases made families desperate for their one child to be a boy. The Economist has estimated that since 1980 alone, there have been approximately 50 million fewer girls born worldwide than would naturally be expected, which almost certainly means that roughly that nearly all of those girls were aborted for no other reason than their sex. The preference for boys was a bias that killed in mass numbers.But in one of the most important social shifts of our time, that bias is changing. In a great cover story earlier this month, The Economist reported that the number of annual excess male births has fallen from a peak of 1.7 million in 2000 to around 200,000, which puts it back within the biologically standard birth ratio of 105 boys for every 100 girls. Countries that once had highly skewed sex ratios — like South Korea, which saw almost 116 boys born for every 100 girls in 1990 — now have normal or near-normal ratios. Altogether, The Economist estimated that the decline in sex preference at birth in the past 25 years has saved the equivalent of 7 million girls. That’s comparable to the number of lives saved by anti-smoking efforts in the US. So how, exactly, have we overcome a prejudice that seemed so embedded in human society?Success in school and the workplaceFor one, we have relaxed discrimination against girls and women in other ways — in school and in the workplace. With fewer limits, girls are outperforming boys in the classroom. In the most recent international PISA tests, considered the gold standard for evaluating student performance around the world, 15-year-old girls beat their male counterparts in reading in 79 out of 81 participating countries or economies, while the historic male advantage in math scores has fallen to single digits. Girls are also dominating in higher education, with 113 female students at that level for every 100 male students. While women continue to earn less than men, the gender pay gap has been shrinking, and in a number of urban areas in the US, young women have actually been outearning young men. Government policies have helped accelerate that shift, in part because they have come to recognize the serious social problems that eventually result from decades of anti-girl discrimination. In countries like South Korea and China, which have long had some of the most skewed gender ratios at birth, governments have cracked down on technologies that enable sex-selective abortion. In India, where female infanticide and neglect have been particularly horrific, slogans like “Save the Daughter, Educate the Daughter” have helped change opinions. A changing preferenceThe shift is being seen not just in birth sex ratios, but in opinion polls — and in the actions of would-be parents.Between 1983 and 2003, The Economist reported, the proportion of South Korean women who said it was “necessary” to have a son fell from 48 percent to 6 percent, while nearly half of women now say they want daughters. In Japan, the shift has gone even further — as far back as 2002, 75 percent of couples who wanted only one child said they hoped for a daughter.In the US, which allows sex selection for couples doing in-vitro fertilization, there is growing evidence that would-be parents prefer girls, as do potential adoptive parents. While in the past, parents who had a girl first were more likely to keep trying to have children in an effort to have a boy, the opposite is now true — couples who have a girl first are less likely to keep trying. A more equal futureThere’s still more progress to be made. In northwest of India, for instance, birth ratios that overly skew toward boys are still the norm. In regions of sub-Saharan Africa, birth sex ratios may be relatively normal, but post-birth discrimination in the form of poorer nutrition and worse medical care still lingers. And course, women around the world are still subject to unacceptable levels of violence and discrimination from men.And some of the reasons for this shift may not be as high-minded as we’d like to think. Boys around the world are struggling in the modern era. They increasingly underperform in education, are more likely to be involved in violent crime, and in general, are failing to launch into adulthood. In the US, 20 percent of American men between 25 and 34 still live with their parents, compared to 15 percent of similarly aged women. It also seems to be the case that at least some of the increasing preference for girls is rooted in sexist stereotypes. Parents around the world may now prefer girls partly because they see them as more likely to take care of them in their old age — meaning a different kind of bias against women, that they are more natural caretakers, may be paradoxically driving the decline in prejudice against girls at birth.But make no mistake — the decline of boy preference is a clear mark of social progress, one measured in millions of girls’ lives saved. And maybe one Father’s Day, not too long from now, we’ll reach the point where daughters and sons are simply children: equally loved and equally welcomed.A version of this story originally appeared in the Good News newsletter. Sign up here!See More:

There has been a new update to the ongoing Stratasys v. Bambu Lab patent infringement lawsuit.  Both parties have agreed to consolidate the lead and member cases (2:24-CV-00644-JRG and 2:24-CV-00645-JRG) into a single case under Case No. 2:25-cv-00465-JRG.  Industrial 3D printing OEM Stratasys filed the request late last month. According to an official court document, Shenzhen-based Bambu Lab did not oppose the motion. Stratasys argued that this non-opposition amounted to the defendants waiving their right to challenge the request under U.S. patent law 35 U.S.C. § 299(a). On June 2, the U.S. District Court for the Eastern District of Texas, Marshall Division, ordered Bambu Lab to confirm in writing whether it agreed to the proposed case consolidation. The court took this step out of an “abundance of caution” to ensure both parties consented to the procedure before moving forward. Bambu Lab submitted its response on June 12, agreeing to the consolidation. The company, along with co-defendants Shenzhen Tuozhu Technology Co., Ltd., Shanghai Lunkuo Technology Co., Ltd., and Tuozhu Technology Limited, waived its rights under 35 U.S.C. § 299(a). The court will now decide whether to merge the cases. This followed U.S. District Judge Rodney Gilstrap’s decision last month to deny Bambu Lab’s motion to dismiss the lawsuits.  The Chinese desktop 3D printer manufacturer filed the motion in February 2025, arguing the cases were invalid because its US-based subsidiary, Bambu Lab USA, was not named in the original litigation. However, it agreed that the lawsuit could continue in the Austin division of the Western District of Texas, where a parallel case was filed last year.  Judge Gilstrap denied the motion, ruling that the cases properly target the named defendants. He concluded that Bambu Lab USA isn’t essential to the dispute, and that any misnaming should be addressed in summary judgment, not dismissal.        A Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry. Another twist in the Stratasys v. Bambu Lab lawsuit  Stratasys filed the two lawsuits against Bambu Lab in the Eastern District of Texas, Marshall Division, in August 2024. The company claims that Bambu Lab’s X1C, X1E, P1S, P1P, A1, and A1 mini 3D printers violate ten of its patents. These patents cover common 3D printing features, including purge towers, heated build plates, tool head force detection, and networking capabilities. Stratasys has requested a jury trial. It is seeking a ruling that Bambu Lab infringed its patents, along with financial damages and an injunction to stop Bambu from selling the allegedly infringing 3D printers. Last October, Stratasys dropped charges against two of the originally named defendants in the dispute. Court documents showed that Beijing Tiertime Technology Co., Ltd. and Beijing Yinhua Laser Rapid Prototyping and Mould Technology Co., Ltd were removed. Both defendants represent the company Tiertime, China’s first 3D printer manufacturer. The District Court accepted the dismissal, with all claims dropped without prejudice. It’s unclear why Stratasys named Beijing-based Tiertime as a defendant in the first place, given the lack of an obvious connection to Bambu Lab.  Tiertime and Stratasys have a history of legal disputes over patent issues. In 2013, Stratasys sued Afinia, Tiertime’s U.S. distributor and partner, for patent infringement. Afinia responded by suing uCRobotics, the Chinese distributor of MakerBot 3D printers, also alleging patent violations. Stratasys acquired MakerBot in June 2013. The company later merged with Ultimaker in 2022. In February 2025, Bambu Lab filed a motion to dismiss the original lawsuits. The company argued that Stratasys’ claims, focused on the sale, importation, and distribution of 3D printers in the United States, do not apply to the Shenzhen-based parent company. Bambu Lab contended that the allegations concern its American subsidiary, Bambu Lab USA, which was not named in the complaint filed in the Eastern District of Texas. Bambu Lab filed a motion to dismiss, claiming the case is invalid under Federal Rule of Civil Procedure 19. It argued that any party considered a “primary participant” in the allegations must be included as a defendant.    The court denied the motion on May 29, 2025. In the ruling, Judge Gilstrap explained that Stratasys’ allegations focus on the actions of the named defendants, not Bambu Lab USA. As a result, the official court document called Bambu Lab’s argument “unavailing.” Additionally, the Judge stated that, since Bambu Lab USA and Bambu Lab are both owned by Shenzhen Tuozhu, “the interest of these two entities align,” meaning the original cases are valid.   In the official court document, Judge Gilstrap emphasized that Stratasys can win or lose the lawsuits based solely on the actions of the current defendants, regardless of Bambu Lab USA’s involvement. He added that any potential risk to Bambu Lab USA’s business is too vague or hypothetical to justify making it a required party. Finally, the court noted that even if Stratasys named the wrong defendant, this does not justify dismissal under Rule 12(b)(7). Instead, the judge stated it would be more appropriate for the defendants to raise that argument in a motion for summary judgment. The Bambu Lab X1C 3D printer. Image via Bambu Lab. 3D printing patent battles  The 3D printing industry has seen its fair share of patent infringement disputes over recent months. In May 2025, 3D printer hotend developer Slice Engineering reached an agreement with Creality over a patent non-infringement lawsuit.  The Chinese 3D printer OEM filed the lawsuit in July 2024 in the U.S. District Court for the Northern District of Florida, Gainesville Division. The company claimed that Slice Engineering had falsely accused it of infringing two hotend patents, U.S. Patent Nos. 10,875,244 and 11,660,810. These cover mechanical and thermal features of Slice’s Mosquito 3D printer hotend. Creality requested a jury trial and sought a ruling confirming it had not infringed either patent. Court documents show that Slice Engineering filed a countersuit in December 2024. The Gainesville-based company maintained that Creaility “has infringed and continues to infringe” on both patents. In the filing, the company also denied allegations that it had harassed Creality’s partners, distributors, and customers, and claimed that Creality had refused to negotiate a resolution.   The Creality v. Slice Engineering lawsuit has since been dropped following a mutual resolution. Court documents show that both parties have permanently dismissed all claims and counterclaims, agreeing to cover their own legal fees and costs.  In other news, large-format resin 3D printer manufacturer Intrepid Automation sued 3D Systems over alleged patent infringement. The lawsuit, filed in February 2025, accused 3D Systems of using patented technology in its PSLA 270 industrial resin 3D printer. The filing called the PSLA 270 a “blatant knock off” of Intrepid’s DLP multi-projection “Range” 3D printer.   San Diego-based Intrepid Automation called this alleged infringement the “latest chapter of 3DS’s brazen, anticompetitive scheme to drive a smaller competitor with more advanced technology out of the marketplace.” The lawsuit also accused 3D Systems of corporate espionage, claiming one of its employees stole confidential trade secrets that were later used to develop the PSLA 270 printer. 3D Systems denied the allegations and filed a motion to dismiss the case. The company called the lawsuit “a desperate attempt” by Intrepid to distract from its own alleged theft of 3D Systems’ trade secrets. Who won the 2024 3D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows a Stratasys Fortus 450mc (left) and a Bambu Lab X1C (right). Image by 3D Printing industry.

This collaborative project shares creative propositions for the future development of Devonport village on Auckland’s North Shore, from an overall masterplan and individual sites worked up in models and visualisations. Led by Devonport locals Julie Stout (Te Kāhui Whaihanga New Zealand Institute of Architects gold medal recipient) and architect Ken Davis, this exhibition features the work of 18 Architecture Masters students from the University of Auckland School of Architecture and Planning. Urban Adaptations – Devonport TomorrowWednesday 16 July – Sunday 27 July 2025 Exhibition opening: Wednesday 16 July at 3 Victoria Road, 6pm to 8pmVenue: Depot Artspace, 3 Victoria Road, DevonportUrban Adaptations – Devonport Tomorrow dovetails with the exhibition/installation Building (Under the Volcano) at the Whare Toi. This project is a collaboration between artist Richard Reddaway (Massey University College of Creative Arts), designer and architectural historian Kate Linzey (The Architectural Centre), and architect Matt Liggins and architecture students from the University of Auckland’s Bachelor of Architectural Studies. It explores suburban built environments and the genealogy of forms that constitute Te Hau Kapua Devonport to ponder relationships to the whenua, how we choose to create our homes and how different cultural understandings and expressions of home shape our suburban environment. Building (Under the Volcano)Monday 14 July – Saturday 19 July 2025The Depot’s Whare Toi, Kerr Street, Devonport   Public Programmes Architecture and urban development panel discussion, lectures and films at The Vic are planned over the duration of the exhibition (to be advised).

Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound (think vintage milk crates, orchard fruit baskets, and berry boxes), as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow covers (patterned with everything from block-printed blossoms to provincial pinstripes) sits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose (envision white ironstone pitchers piled high with fresh-picked hyacinths, or glass canning jars holding your harvest grains), but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glass (crafted using cast-iron molds from over 80 years ago) and finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraits (regal roosters! ruff collared geese!) would look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodies (think animal wine stoppers, keychains, fridge magnets, and cake toppers) is chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butter (just look at this two-piece pine hutch!) but you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecore (the pink Baccarat perfume bottles! the hobnail milk glass vases! the huge primitive bread boards!) but the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling. (We have to admit, the folk art-inspired cow and chicken is our favorite.)For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option (don’t ask how many times we’ve been outbid at an estate auction). And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects (think magnifying glasses, compasses, paperweights, and letter openers), these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplier (who grew up in an 1850s farmhouse himself) are the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog.