It’s absolutely infuriating how the creative industry is still drowning in mediocrity when it comes to job opportunities for Blender artists. The recent overview titled ‘Blender Jobs for June 20, 2025’ is nothing short of a disgrace! What are we doing here? Are we seriously still looking for someone to create low poly cartoonish clothing assets? This is 2025, people! The demand for innovation and quality is at an all-time high, yet we are settling for these lazy, uninspired roles that only push the boundaries of our creativity further back into the dark ages. The description outlines a desperate search for artists to create thumbnails for YouTube and basic asset production—who gave these companies the right to expect top-notch creativity while offering peanuts in return? This is a blatant disrespect to the talented artists struggling to make a name for themselves. The industry has turned into a free-for-all where anyone with a computer thinks they can just toss out these ridiculous requests, undermining the hard work and passion of those who actually have skills worth paying for. “Stealth Startup” and “Pizza Party Productions”? Really? Is this some kind of joke? These names scream lack of professionalism and vision. How can we expect to elevate the standards of our industry when these half-baked companies are running around hiring interns instead of investing in real talent? It’s ludicrous! What’s next? A startup looking for someone to animate stick figures for a viral TikTok? Come on! Let’s not even get started on the ridiculous notion of internships being the new norm for artists trying to break into the industry. The term “3D Artist Intern” is a euphemism for “overworked and underpaid.” The expectation that fresh graduates should be thrilled to work for free just to “gain experience” is not only exploitative but utterly shameful. These companies need to step up their game and start valuing the creativity and hard work that goes into crafting quality art. Every time I scroll through these job postings, I feel my blood boil. Are we going to continue to allow this cycle of mediocrity to persist? It’s time for artists to take a stand and demand better. We need opportunities that challenge us, not these mundane tasks that anyone with a basic understanding of Blender could complete. We deserve to work in an environment that fosters creativity, innovation, and respect for our craft. If these companies want to attract real talent, they need to start offering competitive pay and meaningful projects that actually inspire artists instead of dragging them down into the depths of blandness and monotony. Wake up, industry! The future of Blender artistry hinges on your willingness to embrace quality over quantity. Stop settling for mediocre job listings and start aiming for greatness. #BlenderJobs #3DArtist #CreativityMatters #ArtIndustry #DemandBetter

Even as children, we in the U.S. learn that June brings good things—warmer weather, ice cream trucks, and most significantly, summer break from school. As an adult, all of those things still matter to me, but the arrival of summer produce has crept up to the top of my June list of good things. In this monthly article, I take a look at the fruits and veggies coming into season and some incredible ways you can use them. Let’s dive into June's offerings. Why seasonal and local produce is greatLong distance shipping for out-of-season produce is convenient, but there is usually a price to pay with literal higher prices or lesser quality. Using seasonal produce is a step toward supporting smaller farms situated somewhere closer to where you live rather than a monoculture farm somewhere far away. A big, healthy harvest with shorter shipping distances likely means a cheaper price tag for you. And hopefully the produce exhibits the best possible flavor profile since it doesn’t have to travel great distances to arrive at your market. Buying local and in season means you’ll possibly see a greater variety of tender greens and delicate fruits that don’t travel out of state well. Those little strawberries that pop up at the farmers market are so juicy and delicate you’d never see them packed up and shipped out across the country—they’d be turned into jam before they got a chance to leave. Go to those summer farmers markets downtown and reap the benefits of the juiciest summer fruit.  What’s in season right nowYou’re probably seeing it already, but everywhere from tiny produce markets to big box grocery stores are growing fuller with the very beginnings of summer produce glut, and the prices are dropping. Personally, I’m celebrating the low berry prices with morning smoothies.For those who are growing their own food, keep up with our Home and Garden section for tips.The new produce coming in for June:ApricotsSweet CherriesStrawberriesBlueberriesRaspberriesBlackberriesBeetsBroccoli Cabbage Garlic scapesGreen peasMustard greensZucchini & summer squashSay, "au revoir" to:AsparagusArugulaRampsParsnipsProduce in peak season:Beet greensLettuceRadishes and their greensRhubarbSpinachTurnipsChardSnap peasSnow peasNote that your specific region may be warmer or cooler, or farther away—so don’t worry if floods of strawberries haven’t arrived yet, or if you still have loads of wild ramps growing in the yard. Nature will do its thing, and we’ll continue trying to keep up.What to cook with your spring bountyFruitsJune is the beginning of having all the fun you want to have when it comes to recipes. Let’s start with fruit. We’re looking at loads of berries for the next few months and the beginnings of stone fruits, so I recommend warming up those ovens. I know that sounds too hot, but think of the pies! Cherry pies, Strawberry-rhubarb, apricot and blackberry, blueberry-goat-cheese tarts—you simply must make some. To help you along, here’s my fail-proof way to lattice pie crust, and my best advice on preventing soggy fruit pies. They’re well worth a read if you’ve had trouble in the past.If you’d rather be stuck in a room with a pack of wild 7-year-olds than make a pie, OK fine. Make a fruit trifle with leftover cake, stuff delicious biscuits with summer fruit and whipped cream, and why not take a crack at your own homemade berry ice cream. I made vanilla bean ice cream with a swirl of fresh raspberry compote and I felt pretty damn pleased with myself. If you’re shopping for affordable ice cream machines, I just tested and reviewed this Cuisinart.As I mentioned, fruit smoothies always welcome a handful of frozen berries. I should mention: Freezing your berries is the best way to reduce waste.If you’re using berries to top yogurt or granola, there’s no need to freeze it, but if you’re baking with fruit, making jams, or blending smoothies, freezing is extremely helpful. Pop the fruit in the freezer in the container it came in. After a few hours, they’ll be solid and you can dump them into a zip-top freezer bag for easier freezer storage.Vegetables All the cruciferous veggies are going strong right now, so go ahead and get that fiber. Use shaved broccoli and cabbage in a salad. Wilt spinach, chard, or mustard greens down in a hearty soup. My absolute favorite thing to do with summer zucchini is to make Thai kai jiao. You can use different vegetables in this dish, but zucchini is my all-time favorite. You also can’t go wrong with grilling big, fat planks of summer squash and drizzling them with a light vinaigrette. Got lots of crisp lettuce? Well, you can always bulk up your warm salads or do what I do and add it to every sandwich. Bacon, egg, cheese, and lettuce. Meatball parm sub and lettuce. Peanut butter and—OK, maybe not that one. Pay special attention to the fleeting produce like rhubarb, ramps, and scapes. They’re around for just a blink so grab them up. Try roasting your rhubarb with strawberries for a sweet, tart, and caramelized treat. Enjoy the best of June produce, and hopefully we’ll get a peek at tomatoes at the end of the month.  #all #produce #season #june #best

You ever wonder who the first person to put peanut butter and chocolate together was? Part of me feels like whoever it was must be loaded; I mean, you’ve combined two already great flavors into something that Reese’s would more or less build a whole brand on. And then part of me thinks it plays out like the hypothetical guy who invented the Chicken McNugget in The Wire. A pat on the back from a big shot, and then it’s back to the basement to figure out a way to make the fries taste better. I don’t know the answer; I hope it's the former. But every now and then, you come across an idea, a combination of things, that’s so good that you wonder how nobody’s ever done it before. And every time my squad and I sprinted back to our time-traveling dropship, stopping only to deal with the Time Reapers that stood in our way, I wondered how the hell nobody had ever said “Hey, what if we combined Overcooked and Gears of War?” pre-Pizza Bandit.Pizza Bandit’s setup is pretty simple. You’re Malik, a former bounty hunter with dreams of being a chef who is pulled back into the bounty game when he’s scammed out of his pizza shop and his former crew needs his help to get out of a jam. Pizza Bandit’s writing is pretty silly, but that’s part of the charm. I can’t get mad when Albert, the android that upgrades your weapons, tells me he doesn’t know how to apologize for what happened to my pizza shop because he’s just an android, or when my pilot waxes nostalgic about how he misses the fog, or when someone utters the odd nonsensical line. It’s too silly, and the whole setup is just there to, well… set up Pizza Bandit’s wackiness.PlaySee, you’re not just any bounty-hunting crew. You’re a time-traveling bounty hunting crew, and that means you’ll be going all over space and time to get the job done. Don’t ask me how any of this works. All I know is that pizza heals and bullets kill, and that the Time Reapers — nasty little buggers that seem to be invading every timeline — don’t want this pizza shop owner to make any dough. And that’s not gonna fly. Pizza Bandit’s writing is pretty silly, but that’s part of the charm.“What makes Pizza Bandit unique is that you’re not just shooting stuff. You’re also, well, kinda playing Overcooked. After squading up, my first mission saw my crewheading to the Restaurant from N owhere, a hidden outpost run by another bandit crew. Our job: fulfill the pizza orders for other bounty hunting teams, and send them off in time-traveling rocket pods. That meant putting together the right type of pizza, getting it to the oven, making sure we were getting their drink orders right, and adding some extra bullets for when things got spicy, cramming it all into a pod, and doing it on time while fighting off the Time Reapers, who really, really don’t like supporting small businesses.Pizza Bandit ScreenshotsAnd that’s where the other part of the Overcooked/Gears of War marriage comes into play. See, the Time Reapers mean business, and you’re not going to talk them out of some time reaping. That’s their whole bag. The only solution, fellow bandit, is incredible violence. I’ve played several builds of Pizza Bandit at this point, and let me tell you, your arsenal is up to the task. You start with your choice of assau lt rifle, minigun, and sniper rifle, but the fun really begins when you start unlocking your secondary weapons by completing jobs. They start simple: landmines, grenades, that sort of thing, but once you unlock the disco ball that attracts enemies and gets them dancing before it explodes? Whew, buddy. And the sentry turret? Perfection. You could slice and dice them Time Reapers with a katana, but have you ever considered using a pizza slicer as big as a man? It’ll change your life.And the Time Reapers will force you to use everything in your arsenal. You got your standard guys who will just run at you, but there are also Time Reapers that’ll crawl around on all fours, Terminator-looking ones that will leap at you, giant ones with hammers, guys who throw fireballs, the works. You gotta prioritize.Pizza Bandit is at its best when you’re with a good team, calling out orders. A good match should be shouts of “We need a pepperoni pie!” and “I’m on the Coke!” and “I’m down!” interspersed with lots and lots of gunfire. Simple choices, like when to call down your own, once-a-mission rocket pod full of pizza and supplies, and more complex ones, like where to put it, spice things up, too. And here’s the thing: so far, I’ve just talked about Restaurant from Nowhere, which is only the first level. Pizza Bandit isn’t a one-trick pony. One of my favorite levels has you taking over a sushi joint and making sure you have the right stuff on the delivery turntable for your customers. Sometimes that means running downstairs and grabbing a big ol’ tuna, taking that bad boy upstairs, and chopping him up before the Time Reapers whack you and you drop him. Other times that means frying an egg, or making a cucumber roll. You gotta stay ahead of the curve, because new customers are prioritized over old ones, and the Time Reapers aren’t gonna sit there and wait for you to plate your masterpiece.Sometimes, you’re not even cooking food at all. Another favorite level, Wizard’s Tomb, has you exploring a magically booby-trapped tomb in search of a sarcophagus. You’ll have to navigate the tomb’s traps, solve basic puzzles to reveal the way forward, and take out the arcane heart powering the whole enterprise before getting to the sarcophagus itself, which you’ll naturally transport with jetpacks before booking it back to your ship. It isn’t enough to get any given job done; you gotta get home, too. Just another day in the life of a pizza bandit.Pizza Bandit is always ludicrous, and its inspirations are obvious, but it’s never less than fun.“There are more, of course: in one, you’ll defend a cabin with Dr. Emmert Brownewhile he invents the time travel device that makes your whole business profitable. Winning it all means keeping him warm, satiating his hunger with rabbit or venison, and stopping all those nasty Time Reaperswho are trying to stop time travel from happening. You’d think that the Time Reapers would understand time paradoxes, but I guess not. Can’t reap time if there’s no time to reap, y’all. Or maybe you’ll break into an enormous safe with a laser drill, like you’re roleplaying the opening scene of Michael Mann’s Thief with a drill that’s constantly exploding. That seems safe, right? But hey, apparently there’s a magical cookbook in that vault whose recipes can alter reality, and we’re being paid to get it, exploding drill or not. A Pizza Bandit always gets the job done. And there’s always time to do your best Breaking Bad impersonation and help a couple of guys cook some “magic powder” and hide it inside some chicken. Oh, and you have to kill and cook the chickens. Only fresh, never frozen, baby. Pizza Bandit is always ludicrous, and its inspirations are obvious, but it’s never less than fun.Between missions, it’s back to Pizza Bandit, where you can acquire and upgrade your weapons, decorate Pizza Bandit itself, use the ingredients you find during missions to bake and share a pie for some stat boosts on your next run, or get some spiffy new duds for your bounty hunter. The milk carton backpack is a classic choice, if I do say so myself, but I’m still saving up for one of the cat ones. The things we do for fashion, am I right? Then it’s right back to it. A bandit’s work is never done.Sometimes, you don’t know you want something until you get it. I didn’t know I wanted Pizza Bandit until the first time I played it at PAX two years ago. It was one of those games that generated a lot of word of mouth, but it’s one of those concepts that doesn’t seem like it’ll work until you get a controller in your hands and everything makes sense. I don’t know why we’ve never gotten something like Pizza Bandit before, but once I played it, I knew I wanted more. Pizza heals, bullets kill, and Pizza Bandit rocks. If Jofsoft can stick the landing, we’re in for a tasty slice of New York pie. #pizza #bandit #combines #gears #war

No need to pass the aux anymore because Spotify is bringing its Jam feature to cars with Android Auto and Google built-in. As revealed during Google I/O, Spotify Jam will be available through any compatible car's infotainment system. It's a minor upgrade, but one that saves the driver from having to manually launch a Spotify Jam session through their smartphone that's connected to the car. Instead, the Spotify Jam can get started from the car's central display and will give your passengers a QR code to scan if they want to contribute to the playlist. Spotify revealed its Jam feature in September 2023 and it's been a hit because it allows friends to smoothly share and discover new music. The natural next step is to introduce it to Android Auto since road trips and collaborative playlists pair together like peanut butter and jelly.  Spotify Jam will be available in the coming months on Android Auto and its more than 500 compatible car models, later being introduced to the dozen or so car brands that have Google built-in. Beyond that, Google is also planning on introducing streaming video and browser apps as part of its Android Auto ecosystem.This article originally appeared on Engadget at #you039ll #soon #able #start #spotify

In The Electric State, based on a graphic novel by Swedish artist Simon Stålenhag, after a robot uprising in an alternative version of the 1990s, an orphaned teenager goes on a quest across the American West, with a cartoon-inspired robot, a smuggler, and his sidekick, to find her long-lost brother. Adapting this sci-fi adventure for Netflix were Joe and Anthony Russo; their film stars Millie Bobbie Brown, Chris Pratt, Stanley Tucci, Giancarlo Esposito and a cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria, and Anthony Mackie.  Overseeing the visual effects, which surpassed what the Russos had to deal with during their halcyon MCU days, was Matthew Buttler, who turned to the venerable Digital Domain. As the main vendor, the studio was responsible for producing 61 character builds, 480 assets, and over 850 shots. “It was one of the biggest projects that I’ve done in terms of sheer volumes of assets, shots and characters,” states Joel Behrens, VFX Supervisor, Digital Domain.  “Our wonderful asset team did the 61 characters we were responsible for and had to ingest another 46 characters from other facilities.  We didn’t do any major changes. It was pushing our pipeline to the limits it could handle, especially with other shows going on. We took up a lot of disk space and had the ability to expand and contract the Renderfarm with cloud machines as well.” In researching for the show, Digital Domain visited Boston Dynamics to better understand the technological advancements in robotics, and what structures, motions, and interactions were logical and physically plausible.  “There is a certain amount of fake engineering that goes into some of these things,” notes Behrens.  “We’re not actually building these robots to legitimately function in the real world but have to be visibly believable that they can actually pull some of this stuff off.”  The starting point is always the reference material provided by the client.  “Is there a voice that I need to match to?” notes Liz Bernard, Animation Supervisor, Digital Domain.  “Is there any physical body reference either from motion reference actors in the plate or motion capture? We had a big mix of that on the show.  Some of our characters couldn’t be mocapped at all while others could but we had to modify the performance considerably.  We were also looking at the anatomy of each one of these robots to see what their physical capabilities are.  Can they run or jump?  Because that’s always going to tie tightly with the personality.  Your body in some ways is your personality.  We’re trying to figure out how do we put the actor’s voice on top of all these physical limitations in a way that feels cohesive.  It doesn’t happen overnight.”  The character design of Cosmo was retained from the graphic novel despite not being feasible to engineer in reality.  “His feet are huge,” laughs Bernard.  “We had to figure out how to get him to walk in a way that felt normal and put the joints in the right spots.” Emoting was mainly achieved through physicality.  “He does have these audio clips from the Kid Cosmo cartoon that he can use to help express himself verbally, but most of it is pantomime,” observes Bernard.  “There is this great scene between Cosmo and Michelle that occurs right after she crashes the car, and Cosmo is still trying to convince her who he is and why she should go off on this great search for her brother across the country.   We were trying to get some tough nuanced acting into these shots with a subtle head tilt or a little bit of a slump in the shoulders.”  A green light was inserted into the eyes.  “Matthew Butler likes robotic stuff and anything that we could do to make Cosmo feel more grounded in reality was helpful,” observes Behrens.  “We also wanted to prevent anyone from panicking and giving Cosmo a more animated face or allowing him to speak dialogue. We started off with a constant light at the beginning and then added this twinkle and glimmer in his eye during certain moments. We liked that and ended up putting it in more places throughout the film. Everybody says that the eyes are the windows to the soul so giving Cosmo something rather than a dark black painted spot on his face assisted in connecting with that character.”  Coming in four different sizes that fit inside one another - like a Russian doll - is Herman. Digital Domain looked after the eight-inch, four-foot and 20-foot versions while ILM was responsible for the 60-foot Herman that appears in the final battle.   “They were scaled up to a certain extent but consider that the joints on the 20-foot version of Herman versus the four-foot version need to be more robust and beefier because they’re carrying so much more weight,” remarks Bernard.  “We were focusing on making sure that the impact of each step rippled through the body in a way that made it clear how heavy a 20-foot robot carrying a van across a desert would be.  The smaller one can be nimbler and lighter on its feet.  There were similar physical limitations, but that weight was the big deal.”  Incorporated into the face of Herman is a retro-futuristic screen in the style of the 1980s and early 1990s CRT panels. “It has these RGB pixels that live under a thick plate of glass like your old television set,” explains Behrens.  “You have this beautiful reflective dome that goes over top of these cathode-ray-looking pixels that allowed us to treat it as a modern-day LED with the ability to animate his expressions, or if we wanted to, put symbols up. You could pixelized any graphical element and put it on Herman’s face.  We wanted to add a nonlinear decay into the pixels so when he changed expressions or a shape altered drastically you would have a slow quadratic decay of the pixels fading off as he switched expressions. That contributed a nice touch.” One member of the robot cast is an iconic Planters mascot.  “Everybody knows who Mr. Peanut is and what he looks like, at least in North America,” observes Behrens.  “We had to go through a lot of design iterations of how his face should animate. It was determined that as a slightly older model of robot he didn’t have a lot of dexterity in his face. We were modelling him after Chuck E. Cheese and ShowBiz Pizza animatronics, so it was like a latex shell over the top of a mechanical under structure that drove his limited expressions. It allowed him to open and close his mouth and do some slight contractions at the corners, leaving most of the acting to his eyes, which did not have as many restrictions. The eyes had the ability to move quickly, and dart and blink like a human.”  The eyebrows were mounted tracks that ran up and down a vertical slot on the front of the face.  “We could move the eyebrows up and down, and tilt them, but couldn’t do anything else,” states Bernard.  “It was trying to find a visual language that would get the acting across with Woody Harrelson’s amazing performance backing it up.  Then a lot of pantomime to go with that.”  Mr. Peanut moves in a jerky rather than smooth manner.  “Here is a funny little detail,” reveals Bernard.  “If you think about a peanut shell, he doesn’t have a chest or hips that can move independently.  We realized early on that in order to get him to walk without teeter-tottering everywhere, we were going to have to cut his butt off, reattach it and add a swivel control on the bottom.  We always kept that peanut silhouette intact; however, he could swivel his hips enough to walk forward without looking silly!”  Other notable robots are Pop Fly and Perplexo; the former is modelled on baseball player, the latter on a magician.  “We decided that Pop Fly would be the clunkiest of all robots because he was meant to be the elder statesman,” states Behrens.  “Pop Fly was partially falling apart, like his eye would drift, the mouth would hang open and sometimes he’d pass out for a second and wake back up.  Pop Fly was the scavenger hunter of the group who has seen stuff in the battles of the wasteland. We came up with a fun pitching mechanism so he could actually shoot the balls out of his mouth and of course, there was his trusty baseball bat that he could bat things with.” An interesting task was figuring out how to rig his model.  “We realized that there needed to be a lot of restrictions in his joints to make him look realistic based on how he was modelled in the first place,” notes Bernard.  “Pop Fly couldn’t rotate his head in every direction; he could turn it from side to side for the most part.  Pop Fly was on this weird structure with the four wheels on a scissor lift situation which meant that he always had to lean forward to get going and when stopping, would rock backwards.  It was fun to add all that detail in for him.”  Serving as Perplexo’s upper body is a theatrical box that he pops in and out of.  “Perplexo did not have a whole lot going on with his face,” remarks Bernard.  “It was a simple mechanical structure to his jaw, eyes, and eyelids; that meant we could push the performance with pantomime and crazy big gestures with the arms.”               A major adversary in the film is The Marshall, portrayed by Giancarlo Esposito, who remotely controls a drone that projects the face of operator onto a video screen.  “We started with a much smaller screen and had a cowboy motif for awhile, but then they decided to have a unifying design for the drones that are operated by humans versus the robots,” remarks Behrens.  “Since the artist Simon Stålenhag had done an interesting, cool design with the virtual reality helmets with that long duckbill that the humans wear in the real world, the decision was made to mimic that head style of the drones to match the drone operators. Then you could put a screen on the front; that’s how you see Tedor The Marshall or the commando operators. It worked out quite nicely.”   There was not much differentiation in the movement of the drones.  “The drones were meant to be in the vein of Stormtroopers, a horde of them being operated by people sitting in a comfortable room in Seattle,” observes Bernard. “So, they didn’t get as much effort and love as we put into the rest of the robots which had their own personalities. But for The Marshall, we have great mocap to start from Adam Croasdell. He played it a little bit cowboy, which was how Giancarlo Esposito was portraying the character as well, like a Western sheriff style vibe. You could hear that in the voice.  Listening to Giancarlo’s vocal performance gives you a lot of clues of what you should do when you’re moving that character around.  We put all of that together in the performance of The Marshall.”   Many environments had to either be created or augmented, such as the haunted amusement park known as Happyland. “The majority of the exterior of Happyland was a beautiful set that Dennis Gassner and his crew built in a parking lot of a waterslide park in Atlanta,” states Behrens.  “We would go there at night and freeze our butts off shooting for a good two and a half weeks in the cold Atlanta winter.  Most of our environmental work was doing distance extensions for that and adding atmospherics and fog.  We made all the scavenger robots that inhabit Happyland, which are cannibalistic robotics that upgrade and hot rod themselves from random parts taken from the robots that they kill.  Once we get into the haunted house and fall into the basement, that’s where Dr. Amherst has his lab, which was modelled off a 1930s Frankenstein set, with Tesla coils, beakers, and lab equipment.  That was initially a set build we did onstage in Atlanta. But when we got into additional photography, they wanted to do this whole choreographed fight with The Marshall and Mr. Peanut. Because they didn’t know what actions we would need, we ended up building that entire lower level in CG.”   At one point, all the exiled robots gather at the Mall within the Exclusion Zone.  “We were responsible for building a number of the background characters along with Storm Studios and ILM,” remarks Behrens.  “As for the mall, we didn’t have to do much to the environment.  There were some small things here and there that had to be modified.  We took over an abandoned mall in Atlanta and the art department dressed over half of it.” The background characters were not treated haphazardly. “We assigned two or three characters to each animator,” explains Bernard.  “I asked them to make a backstory and figure out who this guy is, what does he care about, and who is his mama?!  Put that into the performance so that each one feels unique and different because they have their own personalities.  There is a big central theme in the movie where the robots are almost more human than most of the humans you meet.  It was important to us that we put that humanity into their performances. As far as the Mall and choreography, Matthew, Joel and I knew that was going to be a huge challenge because this is not traditional crowd work where you can animate cycles and give it to a crowds department and say, ‘Have a bunch of people walking around.’  All these characters are different; they have to move differently and do their own thing.  We did a first pass on the big reveal in the Mall where you swing around and see the atrium where everybody is doing their thing.  We essentially took each character and moved them around like a chess piece to figure out if we had enough characters, if the color balanced nicely across all of them, and if it was okay for us to duplicate a couple of them.  We started to show that early to Matthew and Jeffrey Ford, and the directors to get buyoff on the density of the crowd.”    Considered one of the film’s signature sequences is the walk across the Exclusion Zone, where 20-foot Herman is carrying a Volkswagen van containing Michelle, Cosmo and Keats on his shoulder.  “We did a little bit of everything,” notes Behrens.  “We had plate-based shots because a splinter unit went out to Moab, Utah and shot a bunch of beautiful vistas for us.  For environments, there were shots where we had to do projections of plate material onto 3D geometry that we built. We had some DMPs that went into deep background. We also had to build out some actual legitimate 3D terrain for foreground and midground because a lot of the shots that had interaction with our hero characters rocking and back forth were shot on a bluescreen stage with a VW van on a large gimbal rig.  Then Liz had the fun job of trying to tie that into a giant robot walking with them.  We had to do some obvious tweaking to some of those motions. The establishing shots, where they are walking through this giant dead robot skeleton from who knows where, several of those were 100 percent CG. Once they get to the Mall, we had a big digital mall and a canyon area that had to look like they were once populated.”  Modifications were kept subtle.  “There were a couple of shots where we needed to move the plate VW van around a little bit,” states Bernard.  “You can’t do a lot without it starting to fall apart and lose perspective.”  “The biggest challenge was the scale and sheer number of characters needed that played a large role interacting with our human actors and creating a believable world for them to live in,” reflects Behrens.  “The sequence that I had the most fun with was the mine sequence with Herman and Keats, as far as their banter back and forth. Some of our most expansive work was the Mall and the walk across the Exclusion Zone.  Those had the most stunning visuals.”  Bernard agrees with her colleague.  “I’m going to sound like a broken record.  For me, it was the scale and the sheer number of characters that we had to deal with and keeping them feeling that they were all different, but from the same universe.  Having the animators working towards that same goal was a big challenge.  We had quite a large team on this one.  And I do love that mine sequence.  There is such good banter between Keats and Herman, especially early on in that sequence.  It has so much great action to it.  We got to drop a giant claw on top of The Marshall that he had to fight his way out of.  That was a hard shot.  And of course, the Mall is stunning.  You can see all the care that went into creating that environment and all those characters.  It’s beautiful.”      Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer. #digital #domain #goes #retrofuturistic #with

Breakdown & Showreels The Electric State: Creating Mr. Peanut and The Marshall by Digital Domain By Vincent Frei - 23/05/2025 The second Digital Domain behind-the-scenes featurette about The Electric State focuses on Mr. Peanut and The Marshall. VFX Supervisor Joel Behrens and Animation Supervisor Liz Bernard walk us through the creative challenges and solutions behind these two distinctive characters! WANT TO KNOW MORE?Digital Domain: Dedicated page about The Electric State in Digital Domain website.Joel Behrens & Elizabeth “Liz” Bernard: Here’s my interview with Joel Behrens& Elizabeth “Liz” Bernard. © Vincent Frei – The Art of VFX – 2025 #electric #state #creating #peanut #marshall

io9 is proud to present fiction from Lightspeed Magazine. Once a month, we feature a story from Lightspeed’s current issue. This month’s selection is “Through the Machine” by P.A. Cornell. Enjoy! Through the Machine by P.A. Cornell “Steve, over here! Turn to your right. Can we get a smile?” He falls back on his training easily enough, turns to the cameras, gives them his famous crooked smile, tilts his head just so as the flashes go off so they can capture the smoulder that highlights his cheekbones. The one he’s practiced countless times with his manager, Ethel. The red carpet extends before him, and up ahead he sees the actress he’s been paired with in this film. His co-star and onscreen love interest but in reality, a total stranger. He only knows her name because the photographers keep shouting it, asking her to turn so they can capture her svelte profile. She tilts her head obligingly, long blonde hair falling seductively over one eye, teasing the lenses and through them the millions of fans who’ll one day see these images. She’s a pro, like him. She’s clearly had the same kind of training he’s had. She’s been through the machine. It’s a phrase he heard years ago from a late-night talk show host. It refers to the way Hollywood turns you into a product. You start out this average person, just trying to make it as an actor, then as your success grows, more and more people come into your life to turn you into something else. A movie star. A fairy tale ideal of celebrity perfection. He’d told himself that would never be him. He was in it for the art, not the fame and fortune. But here he is. “Steve! Daphne! Can we get some shots of the two of you together?” The blonde up ahead reaches a hand toward him as if beckoning a good friend, though this is the first time they’ve met. She smiles at him in a way that almost looks genuine. He returns his best leading man grin, flashing the expensive set of pearly white teeth his manager arranged for in the earliest days of their partnership. He puts an arm around Daphne. They both pose, turn, look at each other and smile, over and over. Then both look serious, then smile once more. Then she leans in for a peck on the cheek as instructed by the shouting crowd, just before they’re both ushered off to find their places inside, where the film will be screened. Once they’re away from the cameras, he extends his hand to Daphne. “Hi. Steve Randall.” “Nice to meet you,” she laughs. “Daphne Everheart.” “You seen any of it yet?” “Not even the trailer,” she admits. “Did they send you the screenplay?” He shakes his head. Someone in her entourage grabs her by the arm. She gives him a small wave as they lead her off. He wonders if he’ll even see her again after this premiere. Maybe. If the film does well opening weekend, there could be a sequel. They could find themselves at another premiere for a movie they appear in together, but that neither of them has acted in. Steve lets his own people show him past curtains and cocktails to a theater with plush red seating. He takes his place staring up at the screen, trying to conjure up some of the excitement he once felt as a kid about to watch his favorite actors. But the excitement feels more akin to anxiety as the opening credits appear. He sees his own name—or the one his manager gave him, anyway. That’s when he appears. Seeing himself like this is unsettling, to say the least. He turns to the people seated around him and they’re all looking up at this face that resembles him but isn’t him. Do they not see it? Do they not feel that uncanny valley sickness in the pit of their stomachs that weighs his down as the thing on screen billed as Steve Randall starts to speak? It’s his voice, but he’s never said these words. Never read the script they came from. Who wrote this, anyway? He wonders. Or rather, what wrote this? The film’s runtime is ninety-five minutes. It’s a romantic comedy, but the word “comedy” is generous. Steve doesn’t so much as crack a smile. He watches this AI-generated doppelganger and his equally digitized scene partner as they traverse the uneven landscape of the disjointed plot—flimsy even for this genre. They flash smile after smile, kiss with ever-deepening passion—if you can call it that—and ultimately, after a series of contrived misunderstandings, they get their Hollywood ending. All set to an AI-generated score bereft of any feeling that might conjure atmosphere or elicit an emotional response from the viewer. As the lights come up and people start to clap, Steve glances down the row of seats at his co-star. Daphne, seeming to sense his stare, glances back. She looks as though she’s about to be sick but gives him a brave smile—a trained smile—and starts to clap along with everyone else. He does the same. This is his job now, after all. The scan was taken a couple of years ago, during pre-production on a movie in which he played an astronaut. They had to scan him for proper fit of the spacesuit they were having made, as well as for some of the more intricate effects. The voice they came by even more easily. From all the ADR he’d done, voicework on some animated stuff, and of course countless interviews already accessible online. He hadn’t given the scan much thought, at the time. It had made sense for the work they were doing. He’d never imagined it would lead to this. There’s an afterparty and people keep coming up and congratulating him on the movie. He says what he’s been trained to say, graciously thanking them for their praise, taking pictures with people for magazines and entertainment shows. Evidence that he is in fact still a real person that exists in the world, even though it’s not him on screen. Not in this movie and not in a handful of others, several of which he hasn’t even seen. If Hollywood could turn you into a product before, this is on another level. His career has become, almost exclusively, one of public appearances. His L.A. agent has him booked for a store opening tomorrow, and a series of meet-and-greets at conventions sometime in the spring. The sorts of gigs that used to be thought of as “has-been” work, but Steve, by all accounts, is still a bona fide movie star. He was People magazine’s “Sexiest Man Alive” just last year. Fans still somehow manage to find out what hotel he’s staying at in any given city all over the world, just so they can catch a glimpse of him walking in and out. How has it come to this? At the end of the night someone pushes him into a shiny black town car and the spectacle of this farce fades away in the car’s rear lights. He exhales, trying to get the image of the thing on screen out of his head. It’s not so bad, he tells himself. SAG made sure he’d get paid for the use of his image. It’s not as much as he might’ve liked, maybe, but it’s decent, and they use it often enough that the cheques enable him to maintain his standard of living. The public appearances add to that. He can’t really complain. But the sick feeling in his stomach remains. • • • When he’s back in New York, he calls his manager. “It was fucking weird, Ethel.” He tells her. “Seeing myself in a film I wasn’t actually in. No chemistry between me and my co-star because, well . . . neither of us was actually there to do any acting. This isn’t what I signed up for.” “Sweet boy,” she says, using her years’ old term of endearment for him, though he hasn’t been a boy in quite some time. “I know. But this is how it works with the studio films these days. Be glad your image is still worth something.” Steve sighs deeply. “I know. It’s just . . . I worked so hard to get here. We both did. The work mattered to me. I miss challenging myself, figuring out who my character is and how to best convey that through my performance. I miss being able to disappear into all those people and live their lives for a time.” “Of course, of course,” says Ethel. “That’s one of the reasons I took you on as a client. Even at sixteen, you had such passion. You loved the art of it. But what’s the alternative, Stefan?” She only ever uses his original name when she’s serious. He knows her hands are as tied as his. It’s this or give up the business altogether. • • • Over drinks with a friend the next night, he airs his frustrations, his tongue loosened by more than a few shots with beer chasers. “I’m bored,” he tells Frank, who doubled for him in an action film franchise that now continues without need of either of them. “I miss acting. It’s like all they left me with are the worst parts of fame. The parts where I still can’t walk down the street in peace without some paparazzo shoving a lens in my face, and where I can still get cancelled online for any stupid shit I might say without thinking. But the good parts, they’ve all been taken over by some digital version of me that frankly gives me the creeps.” “I hear ya, Steve,” Frank says, raising his beer. “It’s not just you though, brother. At least you still have a marketable presence. Companies still send you free clothes and shit so you can be spotted using it.” “Sure,” he tells Frank. “But all that amounts to is that I’m now pretty much just this human billboard. I’m not even an actor anymore.” “You’re breaking my heart, man. But think about guys like me. We were getting your crumbs even in the good times. If you think things have gotten rough for you, imagine what’s left for us. I haven’t been called for a stunt gig in months. And that last one ended up cancelled last minute when they decided it was cheaper to use AI. I’ve got a family to support, and all three kids are gonna need braces. Not to mention the first wife who’s on my back if I’m even half a second late with her alimony. What I wouldn’t give for my ugly mug to be in demand.” Steve knows he’s right and feels bad for whining. Things could be so much worse. Whatever jobs he’s lost to AI, there are countless more jobs lost by less famous actors, crew, and other support personnel like PA’s and craft services. He can’t begin to imagine how they’re all making ends meet these days. Many of the ones he’s still close with, like Frank, work multiple jobs, even outside the industry, just to cover what their once stable careers did. “Drinks are on me tonight, by the way,” he tells Frank. “You’ll get no argument here, pal.” • • • Later, in the privacy of his loft, Steve allows himself the luxury of self-pity. He can’t help thinking of the kid he once was. The chubby little dork with the accent. Too shy to talk to girls. Pushed around by the guys he so wanted to be. Acting freed him from all that. It had allowed this kid who didn’t feel comfortable in his own skin to become someone else. In time, it had given him confidence, and as he continued to hone his craft, it had brought him the attention he’d craved and opportunities he’d never imagined. It hasn’t always been easy. There’d been plenty of lean years before his big breakout role turned him into a household name. Years during which covering rent had been a struggle, and meals had often consisted of half-eaten scraps left by patrons of the restaurants in which he’d waited tables. But he’d loved acting enough to stick with it, and he’d thought it worth all the sacrifices. He gave up his very name for this profession. He lost the accent and the baby fat. He’s spent a sizeable portion of his income on fixing his teeth, and on five-hundred-dollar haircuts sometimes paired with a treatment to achieve that perfect shade of chestnut brown or a shave that still left enough stubble to keep him looking “manly” in a marketable way. He’s gotten regular tans to conceal his naturally pale complexion—a condition the L.A. agent refers to as his “vampire” look. He’s hired a stylist, a personal trainer, and a dietitian to help him maintain what the grueling workouts have chiselled him into. He’s had more hours of media training than he’s had acting classes. Hell, at times he’s even dated women he’s been told to date. All of it to create this perfect image of Hollywood glamour intended to seduce audiences into filling theater seats. He’s been put through the machine—and willingly let it happen—just so he can go on doing what he loves. He hadn’t realized this image wasn’t him. It was just a product. Something that could be sold, and then re-sold again and again, with little if any say from him as to how it might be used. Feeling down about his situation, Steve turns to Instagram. He doesn’t follow any fan accounts but now and then, when he’s alone, he looks up the hashtag that bears his name. The fans have a way of making him feel better about himself. Their comments on his pictures—especially the shirtless ones—always make his day. Their support for the charities he’s championed over the years warms his heart. Sure, there are always trolls, but those are in the minority and easy enough to block. He scrolls through his feed and finds the People photo shoot. His feelings about the shoot are a mix of pride and embarrassment. Pride that the chubby kid with the Polish accent showed his high school bullies up, but a little shame at the fact that he still cares so much about what they might think. Still, a few of the pictures from the shoot are really good. He recalls how the photographer’s great sense of humor put him at ease, and how welcoming the magazine staff were. Continuing to scroll, he comes across a picture of himself he never took. This isn’t one of those amazing fan art images he’s seen over the years made by outstandingly talented artists that managed to capture not just his appearance, but his essence. This is some kind of Frankenimage, clearly AI-generated. His hair is a honey blonde he’s never sported, not even on screen. The cheekbones are oddly exaggerated and too narrow, giving him an almost gaunt appearance. In the picture he holds an infant, staring down at it like a proud father. It hurts him to see it. He’s always wanted a family, but this hasn’t happened for him in real life. Steve scrolls some more and comes across another AI image. In this one he’s dressed in a patent leather getup; cut to reveal tattoos he doesn’t have. A red blindfold covers his eyes. His arms are cuffed behind his back. His expression is one of ecstasy. Behind him stands another known actor who holds the handle of a whip against his chest as he leans in to lick the side of Steve’s face. The actor is a good friend. They’ve worked together a few times but never as onscreen lovers. Fans have imagined their characters as a couple for years, which seemed harmless enough, but seeing this is something else. Against his better judgment, he reads the comments. “I ship them.” “Gorgeous art. Love this.” “Yes, please.” And so on. “I wanna see them getting down in a movie together,” someone’s written. There’s a response to this last comment from someone who’s handle indicates they work for a major studio. “Don’t worry. You won’t have to wait much longer for that. And let’s just say this one’s not going to be the family-friendly fare you’re used to seeing these guys in.” Steve isn’t homophobic. He’s played gay characters more than once and has been fine with kissing or even simulating sex with other male actors. But there’s something about being paired with a close friend in this way without so much as a heads up, that seems like a violation. It’s one thing to work with another actor that you’ve built trust with and talk through a scene to make sure you’re both comfortable depicting something intimate that everyone can be proud of in the end. It’s quite another thing when your image is used to quell strangers’ salacious appetites, in a way you didn’t consent to. Steve feels sick. He takes screenshots of both the AI image and the comment about the movie and texts them to his friend. He follows that up with the message: Did you know about this? The reply comes almost immediately. Fuck. Are you kidding me? Wish I was. Damn man. I love you, but not like that. At least not without the kind of money we used to get for our movies. Steve smiles in spite of himself. At least his friends can still have a sense of humor about these things. I feel like we need to push back on this, he tells his friend. Yeah, I get it man, but we signed the contract. I know we didn’t have much choice, but the law doesn’t care. We agreed to this. Pretty sure it’s too late to stop them. The fans don’t even seem to care it’s not really us, Steve types. Why would they? His friend replies. They don’t even really need us anymore. We just get in the way of their fantasies. Steve doesn’t respond to that. He deletes his Instagram account. He shudders to think of what they’re doing with his image on TikTok. Or worse, on the dark web. • • • “This sucks, Ethel.” Steve puts the phone on speaker and sets it down on the kitchen counter to pour a bowl of cereal. “I’m going stir-crazy here. I need something to challenge my creativity again.” “Well, I heard about one thing, but I’m not sure it’s really for you, so I hadn’t mentioned it,” she says. “What? Tell me?” He opens the fridge and reaches for the almond milk then thinks, screw it, and grabs the whole milk he bought yesterday instead. “There’s this Broadway musical. I know one of the producers, but you’d have to audition.” “That’s exactly what I need right now,” he tells her, over mouthfuls of Frosted Flakes. “It’ll be good for me to go back to my theater roots. It’s been too long since I’ve performed in front of an audience.” He pushes the thought that it’s a musical to the back of his mind. He’s never been known for his singing, but he can work with a voice coach or something. At this point, he’ll do anything to perform again. “It’s been a long time since you’ve had to audition, let alone for live theater,” Ethel says. “Just tell me where and when. I’ve got this.” • • • When he gets the lead in the musical, Steve’s thrilled, but also mildly surprised. He’d felt good about the audition, but he’d heard some of the other actors sing and they were clearly better than he is. He figures they must’ve seen something in him—an intangible quality that suits the part. Why overthink it? His illusions come crashing down early on in rehearsals. During a break, he talks with one of the stagehands. An older guy named Bill. Steve vents a bit about how he can’t really act in the film industry anymore. “Thank god for Broadway. The last refuge for actors like me.” “Yeah. For actors like you,” Bill agrees. Steve isn’t sure what he means by that and says so. “Look, you seem like a decent enough guy,” Bill says, “so don’t take this the wrong way, but you’re here because you’re a name. They need something to put on the billboards that’ll draw a crowd, is all. It ain’t about talent no more.” Steve is taken aback, and his expression must show it. “Don’t get me wrong,” Bill continues. “You’re good. Up there on the big screen, you were a real standout. But this is a whole different animal. All I’m saying is there’s actors more cut out for the stage than you that can’t get hired anymore because the guys who used to work the screen are taking their roles.” Steve’s about to respond when Bill points to a group of actors sitting together talking. “See the guy in the collared shirt?” Bill says. “That’s Wayne Garnet.” Steve knows Wayne from rehearsals. Nice guy. He has a small part but gives it his all. “Wayne’s a Tony-winner. Used to be his name on the marquee. Now even he has to settle for bit parts since AI started taking chunks out of the film industry.” Later Steve Googles Wayne Garnet and finds he’s actually won two Tonys. He’s also known for his singing voice, which he loaned to several animated films before they started digitally recreating it. Steve feels sick. He approaches Wayne during the next rehearsal and offers to bow out to make room for him. Wayne is gracious and tells him not to. “There’s no point, Steve. They’d just get another big name movie star to replace you. My days as the lead are done. I’m just happy I still get to be on stage at all. At least for now.” “What do you mean?” Steve asks. “AI’s coming for all of us,” Wayne says. “It’s not just the film industry. This crap is spreading like a virus throughout the arts. There’s already talk of a new play, AI-written, of course, where instead of live actors they’re projecting digital performers onto the stage. It’s strictly off-Broadway for now, but give it time.” Steve is appalled. Doesn’t know what to say. Wayne continues. “I’ll take whatever I can get these days. You know what they say, ‘There are no small parts.’ I just hope that when the roles run out, someone will want to scan me to use in a projection so I can at least cash a cheque now and then.” • • • At home one night, after the play’s run has ended, Steve settles in to watch TV. He scans his options, stumbling upon one of his early roles. A serious drama in which he played a depressed teen, struggling with his parents’ divorce and his older brother’s untimely death. Even all these years later, the dialogue comes back as he watches one of the more emotional scenes. “It’s not like I don’t want to talk about Tommy,” he mouths along with his younger self. “I do. It’s just that . . .” Young Steve can’t finish because he’s started to cry. Present day Steve remembers shooting the scene—his first time crying on cue. He remembers harnessing all those emotions and tapping into all the pain he’d ever felt, and all of it somehow pouring out of him in that moment. He remembers the director taking him aside later and saying, “You nailed it, kid.” He smiles thinking of this now, but then he’s sad again, missing the sense of accomplishment of pulling off a scene like this. The exhilaration of seeing an audience respond to it later. He watches the remainder of the movie while eating peanut butter by the spoonful right out of the jar. Halfway through he crumbles in an entire Kit-kat bar like he used to do when he was a kid. By the time the credits roll, the jar is empty. • • • Steve’s personal trainer leaves frequent voicemail messages asking when he’s coming back to the gym. He knows he should, but it’s tough to get motivated for a workout when he feels like all anyone’s going to see is his AI clone. Still, it’s in his contract to try to resemble the digital version of himself as much as possible. He knows his skin could use a bit more color these days too, and his hair’s starting to show some gray he hadn’t even realized he had. He makes a mental note to focus more on his appearance. All that can wait until after he returns from the convention though. He’s surprised to find he’s actually looking forward to connecting with his fans again and maybe seeing some of the ones that have become familiar faces over time. The energy at the con is intense, and Steve feels electrified, like he did during his stint on Broadway. One by one he greets his fans as warmly as he possibly can. He makes time to speak with them in the few minutes he has while they take pictures with him. He gives them not his practiced smile, but his real one, and makes sure to thank each one for their continued support. Things get a little weird during the signing. Much of it is what he’s used to, with fans handing him old headshots or pictures from his older films to sign, and in some cases art they’ve made themselves. But he’s also handed quite a few more AI-generated images than he’s used to. He feels like a fraud signing them. Like he’s putting his autograph on someone else’s headshot. Still, he tries to be gracious and humble with the fans. They’ve been there for him through his rise to fame. It’s the least he can do. By the time it’s all over and he’s on his way back to the hotel, Steve’s feeling good about the event. So good, in fact, that he revives his Instagram account to see what fans have been posting. He smiles at the pictures they took with him earlier in the day. Many of the fans are dressed like his characters. Some of the props and signs they’ve brought are so creative, they bring a smile to his face. But soon he notices that not all the comments under the pictures are kind. “Is it just me or is Steve rockin’ the dad bod these days?” someone asks. “Yeah. I hate to say it, but I was a bit disappointed that he didn’t look as hot as he does in Burning Brand II,” replies the account holder. “He’s looking older too. I mean, don’t get me wrong, he was nice and all, I just wish the picture was better.” “Just fix it so he looks hot,” someone else suggests. “Yeah, I probably will.” Steve doesn’t even know what Burning Brand II is. Another of his films he hasn’t seen—or acted in—he assumes. He closes the app and wonders why he even bothers. If the fans don’t care what’s real and what isn’t, why is he even doing this? • • • He goes for a run the next morning. It’s been a while, but he soon finds his rhythm. It’s early in the day and the streets are quiet. He likes this time of day. It’s peaceful. Gives him a chance to clear his head. When he stops for a rest, he notices a small theater. A sign over the door proclaims that the theater shows only movies made by and starring living human beings. The acronym “AI” is painted on one of the windows with a red slash cut diagonally through it. But what really gets Steve’s attention is the man changing the posters. He replaces one with another that features a pensive-looking Daphne Everheart. His former co-star, if you can call her that, looks younger in this poster. He’s never seen her act before and he’s curious. He decides to return later in the day when the theater opens. • • • The film’s called Grace. In it, Daphne plays a young woman trying to convince her wealthy parents to take her seriously as an inventor. The story is moving, as Daphne’s character struggles against societal expectations to achieve her dreams. Steve likes the score too, and decides he’ll stay to read through the credits to see who composed it. He also enjoys the style the director has brought to the project. But what he likes most is Daphne’s performance. She’s good. It kills him to think that someone who was clearly a rising star is now relegated to appearing only as a digital ghost of herself in half-baked movies that would’ve been an embarrassment at another time. How many other talented actors have been forced out of the industry altogether? And what of everyone else whose jobs have been made irrelevant? Steve feels the tears well up, in part because of the movie, but also because of his thoughts. He blinks them away and looks around to see if other people are equally moved. That’s when he notices that nearly every seat in the theater has someone in it. He watches their expressions as they react to Daphne’s performance. He sees the story affect them, and by the end he understands that there are people for whom this art still has meaning. • • • After the movie lets out, he calls Ethel. “I’m thinking of doing something a bit different,” he tells her. “I want to start a production company. Make movies the old way. I have a whole list of people I can call who’d jump at the chance to collaborate on something real again.” “That sounds wonderful, sweet boy. It’s nice to hear some excitement in your voice again.” “I was calling to ask you something,” he tells her. “You wouldn’t happen to know how to get in touch with Daphne Everheart, would you? I don’t have a project yet, but I’d like to gauge her level of interest. I’m sure we’ll find something for her. The world deserves to see how good she actually is at this.” About the Author P.A. Cornell is a Chilean-Canadian speculative fiction writer. A graduate of the Odyssey workshop, her stories have been published or are forthcoming in over fifty magazines and anthologies, including Lightspeed, Apex, and three “Best of” anthologies. In addition to becoming the first Chilean Nebula finalist in 2024, Cornell has been a finalist for the Aurora and World Fantasy Awards, was longlisted for the BSFA Awards, and won Canada’s Short Works Prize. When not writing, she can be found assembling intricate Lego builds or drinking ridiculous quantities of tea. Sometimes both. For more on the author and her work, visit her website pacornell.com. © Adamant Press Please visit Lightspeed Magazine to read more great science fiction and fantasy. This story first appeared in the May 2025 issue, which also features short fiction by R. P. Sand, Gene Doucette, Martin Cahill, Russell Nichols, Meg Elison, Jonathan Olfert, Nancy Kress, and more. You can wait for this month’s contents to be serialized online, or you can buy the whole issue right now in convenient ebook format for just or subscribe to the ebook edition here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #movie #star #endures #hollywoods #dystopian

Apple just announced the first new musical Peanuts special in more than three decades. The new instalment entitled ‘Snoopy Presents: A Summer Musical’ will stream on Apple TV+ on July 18. The special hails from Apple’s deal with WildBrain, where TV+ is the streaming home of all classic Peanuts specials as well as new originals. A feature-length animated Snoopy movie is also currently in development. The new special coming in July celebrates the summer season, with Snoopy and the gang gathering around the campfire. Charlie Brown loves camping, but his favorite camp is shutting down. With it being his last year, he is determined to make it special. Meanwhile, Snoopy and Woodstock find a treasure map and embark on a wild adventure in the woods. They find valuable treasure, which they use to buy what they need to host a concert and save the camp’s future. The special features original music by Emmy award-winning composers Jeff Morrow and Ben Folds. Its release marks the first new Peanuts musical in 35 years. This year marks the 75th anniversary of Snoopy, and Apple TV+ has plenty of content to enjoy to commemorate the occasion. Recent original Peanuts releases include the series Camp Snoopy, Welcome Home Franklin, and One-of-a-Kind Marcie. Apple TV+ is also home to a feature documentary on Charles Schulz, creator of Charlie Brown. And of course, Apple TV+ also streams all the classic holiday specials too. Apple TV+ shows and movies: Everything to watch on Apple TV Plus Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel #apple #announces #brand #new #peanuts

Let's make this simple: You want to know if there are any post- or mid-credits scenes in Final Destination: Bloodlines. The answer is no. There weren't any credits scenes in the first five movies and there isn’t one in the sixth either!There is some imagery that runs along with the credits which is fun to check out though.Full spoilers for the moviefollow!Final Destination: Bloodlines manages to have fun with the formula of the series, both sticking to the basic scenario fans expect – someone’s premonition of an impending terrible tragedy leads them to escape that tragedy alongside a group of others, only for Death itself to kill those who escaped it one by one in elaborate ways – while also introducing its own specifics that make it feel a bit different and fresh. Let’s break down the ending of the film and how it relates to the series as a whole…The Best Final Destination DeathsThe Set-UpIn Bloodlines, Iris, the woman who had the premonition of the collapse of the high-rise Skyview Restaurant Tower, did so way way back in 1968. And unlike in the previous films, where many still died in the actual disaster except the few people who left thanks to the premonition, in this situation, Iris saved all of the hundreds of people packing the restaurant that night, who were evacuated thanks to her warning. Slowly but surely, Death did come after them for escaping its grasp, except there were extenuating circumstances, since so many of these people went on to have children and sometimes grandchildren. So Death, always so tidy and persistent, has spent the last 57 years killing not only each survivor off but the entire bloodline that has resulted from each person, since by Death’s rules, they shouldn’t have existed in the first place.. Now, Death’s work on Project: Skyviewis nearly complete, and Iris’ family remains his big unfinished task – all of which starts to become clear to Iris’ granddaughter Stefaniwhen she begins having nightmares of Iris’ Skyview premonition, leading her to seek out the grandmother she’d never met, and who she was always told was crazy. PlayFinal Destination: Bloodlines Ending ExplainedA Reunion to Die ForStefani is initially skeptical of Iris’ story and the reason she now has spent years barricaded inside a house she’s attempted to death-proof to protect herself the best she can, even as she tells Stefani she now is dying from cancer and thus won’t be able to escape Death much longer. But when the still disbelieving Stefani goes outside to leave, Iris impulsively runs after her to ensure Stefani takes the book in which Iris has collected her findings on what happened to all those who survived Skyview and how to try to avoid literal Death traps - and decides to prove what she knows about Death’s plan by staying outside long enough for a weather vane to snap off and impale her in front of Stefani. Soon enough, with Iris dead, Death now goes after everyone else in the family, which includes Stefani’s brother and her estranged mother, plus her uncle and three cousins. And after Uncle Howardand his daughter Juliaboth go out in classic Final Destination scenarios involving a lawnmower and a garbage truck, the rest of the family is suddenly much more onboard with the claims of both Stefani and her mother Darlene- the latter of whom returns after years in self-exile because her own erratic behavior thanks to her mother’s “Death is everywhere” teachings had made her fear how she was raising her kids. Tony Todd’s Final Appearance: One Last Message From an IconMaking an emotional final appearance as his second most famous horror character after Candyman, the late, great Tony Todd – who passed away a few months after production wrapped on Bloodlines – returns as Final Destination regular William Bludworth, who Stefani and her family encounter at a hospital, learning he is the “JB” Iris referred to in her book. It turns out JB is a nickname his friends use, based off of his full name being William John Bludworth. It’s a fun way to suddenly add some personal touches to a character who was so enigmatic in his previous appearances that this is the first time since we met him 25 years ago that his name has been spoken out loud. Bludworth is only in the one scene, which was the norm for Todd’s role in this franchise, but it’s a big one for several reasons, effectively bidding a well-earned fond farewell to both the character and the man who played him. PlayBeyond his middle name and a nickname we didn’t know before, Bludworth reveals much more, including that he was the little boy who Iris tried to help in her premonition in 1968, in which the two of them died last in the tower collapse, making him the other last target Death has been seeking among those who survived the Skyview. Now though, like Iris did, he has terminal cancer and his time is nearly up once Iris’ family are all gone. Todd himself was sadly in the final stages of stomach cancer when he shot Final Destination: Bloodlines and the filmmakers have noted all involved understood the situation and why it was important to properly say goodbye to the character while, most importantly, giving Todd his due. As Bloodlines co-director Zach Lipovsky explained to IGN, “We’re really grateful that we had the ability to, from the beginning, design that experience for the audience with Tony and with all the writers and everybody. We knew he was ill for quite a while and he was extremely excited to be in the movie. He was very grateful for the ability to participate in the film and he was so joyful on set when he was there and he was cracking jokes and really excited to just have his ability to be in the film and give his character a lot more backstory. We give a lot of answers to who Bludworth is in the film, which is something that during the franchise, people have been clamoring for for a really long time. But we also knew that this was also going to be a goodbye of the character. And that's something that we worked very closely with him, to figure out really the best way of doing that, because these films are about death and his mortality was very present as we were working with him.” Bludworth tells Stefani and the others there are two known methods to actually cheat Death, in a moment that is rather exciting for longtime Final Destination fans in terms of acknowledging previous lore. First, as established in Final Destination 5, you can take the life of someone else - basically using that other person as a sacrifice, with you now getting the “credit” for the time your victim naturally had left to live, or even potentially some extra credit if they had decades and decades more to go before they would have died. But perhaps more importantly, because it’s the only way Bludworth knows of to save everyone still alive involved in a situation like this, is the cheat introduced in Final Destination 2 where clinically dying but then being resuscitated breaks Death’s chain completely. Which means if one of the family can pull this off, they can all be saved. But Bludworth says only one person has ever done this successfully. He had this sort of mischievous smile, even when he delivers that line and then says, ‘Good luck.’ -Co-director Zach Lipovsky on shooting Tony Todd's final scene“Todd’s scene ends with Bludworth revealing that he is going to retire and enjoy the time he has left and then his final words get notably poignant for a Final Destination film - something Lipovsky credits fully to Todd. “One of the unique opportunities that came up was that near the end of that scene, we asked him to actually throw away the script for a moment and just speak from the heart as to everything that he was thinking about as far as what the movie was about, what the franchise has been about, but also just what life's about and what is it all about in the end. And the take that's in the film where he says, ‘Life is precious. Cherish every second because you never know when…’ And the earnestness that he says that with all came in the moment from him. And I think you really feel that when you watch the movie that he's obviously speaking as a character who knows that their death is coming, but he's also speaking as an actor who's speaking to the audience as far as what's important in life. And that was a really powerful moment on set when we filmed that with him.” Not surprisingly, it was a highly emotional day on set when Todd shot his scene, but Lipovsky loves how Todd’s actual final words of “Good luck” to the other charactersand how he delivers them let him also meld the actor and Bludworth together further.“He had this sort of mischievous smile, even when he delivers that line and then says, ‘Good luck’ in the way that he has – that sort of dark, mischievous way as he goes out the door – he knew exactly what he was doing and he relished.” Final Destination: Bloodline GalleryFarewell to the Family While still at the hospital, Stefani’s cousins Erikand Bobbyare the next to go. Technically, Erik wasn’t on Death’s list because he doesn’t share Iris’ bloodline – he’s shocked to discover he was the result of an affair his mother Brendahad – but he gets taken out too when he attempts to break the chain by “killing” his brother using Bobby’s peanut allergy before rushing him to the ER to be revived. However, an errant, Death-controlled MRI machine acting like it’s Magneto on a rampage pulls the piercing-laden Erik towards it, who is then snapped in half when a wheelchair shoves him into the MRI machine in a very unrecommended manner - and then Bobby is stabbed by a projectile-powered spring from a vending machine, which drills into his head. With Uncle Howard’s side of the family all gone, it’s just Stefani and her brother Charlieand Darlene left. Given all Iris did to keep it safe for herself inside, they decide to go to Iris’ abandoned cabin, with Darlene intending to now live the isolated life her mother did - because if Death can’t get to her, it can’t move on to her kids. But when they arrive, Death does its best to keep them out, with the RV crashing and Stefani submerged in water as a result, while the house itself gets set on fire and explodes. Darlene is then killed when a post falls onto her but Charlie gets to his sister, who has seemingly drowned, and performs CPR on her. He is able to save her, and in the process, seems to have finally stopped Death from continuing to hunt them. The siblings laugh, thinking they’ve escaped - before one of the train cars suddenly pivots, sending huge logs flying which crush and kill Stefani and Charlie.“Sometime later, Charlie is getting ready for prom night alongside his dad and sister and it’s mentioned to his date’s father, who’s a doctor, how Charlie brought Stefani back from the dead. However, the doctor then tells them that, considering how quickly Stefani was revived, she was unconscious but never actually clinically dead… which means Death was never truly thwarted.And that’s when a train passing by crashes and derails, skidding through the street and seemingly aiming right for Stefani and Charlie, who desperately try to outrun it. It comes to a stop and the siblings laugh, thinking they’ve escaped - before one of the train cars suddenly pivots on its side, sending huge logs it was carrying flying through the air, which crush and kill Stefani and Charlie, in a callback to one of the franchise’s most famous and most meme’d moments. Does Final Destination Bloodlines Have a Mid- or Post-Credit Scene?Not really, but there are some visuals accompanying the closing credits that focus on articles Iris had collected in her book about various notable deaths through the years, intercut with quick footage from some of those tragedies - before we end on the newest article, reporting on Stefani and Charlie’s bizarre death. PlayBut Does Bloodlines Set Up Final Destination 7 in Any Way?The sixth Final Destination movie doesn’t really offer any set-up for a seventh installment… unless it does? This is a franchise that has never been about heavy serialization. Only the second movie was truly a direct sequel with explicit plot threads to the movie that preceded it, including a prominent returning character in the form of Ali Larter’s Clear Rivers. But following that film – and Clear dying in it – the series consisted of nearly entirely standalone stories that introduced a brand new group of characters each time, with the exception of a possible William Bludworth scene. And having new characters made sense, because Final Destination 3, 4 and 5, as with Bloodlines now, also made sure there were zero survivors among their crop of new Death targets. Along with Bludworth, the only real recurring element beyond the core concept was that the strange occurrences of the first film’s Flight 180 explosion and the ill-fated group who initially escaped that scenario were at least somewhat well known and would usually be brought up at some point, but even then, usually in a nebulous manner.To have Final Destination 2's Kimberly brought up makes it hard not to wonder if there might be plans for her going forward as someone with important information for those wishing to stop Death.“All of which is to say that it really stands out in Final Destination: Bloodlines when Bludworth, while explaining how you can actually cheat Death – and talking about the only person who did it – says the name Kimberly Corman. Played by AJ Cook, Kimberly Corman was the main character in 2003’s Final Destination 2, and following multiple mentions in Bloodlines of the “survivor” Iris wrote about “JB” finding in her book, Bludworth specifically mentions Kimberly as the one and only person who’s ever fully cheated Death without it coming back around on her. In Final Destination 2’s conclusion, Kimberly purposely drove into a lake and drowned and was truly clinically dead briefly before a doctor resuscitated her.Longtime mega-fans of the series may recall that the Final Destination 3 DVD had a “Choose Their Fate” interactive special feature where you could see alternate scenarios from what occurred in the film. And in one of them, a headline did report on Kimberly and Burke’s eventual deaths. But that version of the story was never canon and now Bludworth’s information in Bloodlines confirms Kimberly’s method really and truly worked and she’s still alive. It’s been 22 years since we’ve seen Kimberly or Burke but to have Kimberly’s name suddenly brought up in this manner makes it hard not to wonder if there might be plans for her going forward as someone with important information for those wishing to stop Death in the future - especially given that, with Bludworth no longer an option, this series is probably in need of a new Person Who Knows Things for the newbies to go to, given sticking only to internet searches for your characters just isn’t cinematically exciting. And look, AJ Cook’s been plenty busy for the past couple of decades as a cast member on Criminal Minds, but maybe she can still take a break to go deal with Death once again. Of course, there’s also Iris’ book and all of the information she’s gathered as a notable remaining element, and it does stand out that Stefani’s father Martyand Aunt Brenda are both alive at the end of the film, thanks to not being part of Iris’ bloodline. Could either one of them or Iris’ book play a role in the future, at least as far as briefly appearing to pass on what they know? We’ll have to see what Death’s – and the Final Destination producers’ – design is.What did you think of Bloodlines? Let’s discuss in the comments!Note: This story was updated with full spoilers on May 16, 2025. #final #destination #bloodlines #ending #explained

Food rations that could supply 3.5 million people for a month are moldering in warehouses around the world because of U.S. aid cuts and risk becoming unusable, according to five people familiar with the situation. The food stocks have been stuck inside four U.S. government warehouses since the Trump administration’s decision in January to cut global aid programs, according to three people who previously worked at the U.S. Agency for International Developmentand two sources from other aid organizations. Some stocks that are due to expire as early as July are likely to be destroyed, either by incineration, using them as animal feed, or disposing of them in other ways, two of the sources said. The warehouses, which are run by USAID’s Bureau for Humanitarian Assistance, contain between 60,000 to 66,000 metric tons of food, sourced from American farmers and manufacturers, the five people said. An undated inventory list for the warehouses—which are located in Djibouti, South Africa, Dubai, and Houston—stated that they contained more than 66,000 tons of commodities, including high-energy biscuits, vegetable oil, and fortified grains. Those supplies are valued at over million, according to the document reviewed by Reuters, which was shared by an aid official and verified by a U.S. government source as up to date. That food could feed over a million people for three months, or the entire population of Gaza for a month and a half, according to a Reuters analysis using figures from the World Food Programme, the world’s largest humanitarian agency. The U.N. body says that one ton of food—typically including cereals, pulses, and oil—can meet the daily need of approximately 1,660 people. The dismantling of USAID and cuts to humanitarian aid spending by President Donald Trump come as global hunger levels are rising due to conflict and climate change, which are driving more people toward famine, undoing decades of progress. According to the World Food Programme, 343 million people are facing acute levels of food insecurity worldwide. Of those, 1.9 million people are gripped by catastrophic hunger and on the brink of famine. Most of them are in Gaza and Sudan, but also in pockets of South Sudan, Haiti, and Mali. A spokesperson for the State Department, which oversees USAID, said in response to detailed questions about the food stocks that it was working to ensure the uninterrupted continuation of aid programs and their transfer by July as part of the USAID decommissioning process. “USAID is continuously consulting with partners on where to best distribute commodities at USAID pre-positioning warehouses for use in emergency programs ahead of their expiration dates,” the spokesperson said. Some food likely to be destroyed Although the Trump administration has issued waivers for some humanitarian programs—including in Gaza and Sudan—the cancellation of contracts and freezing of funds needed to pay suppliers, shippers, and contractors has left food stocks stuck in the four warehouses, the sources said. A proposal to hand the stocks to aid organizations that can distribute them is on hold, according to the U.S. source and two former USAID sources briefed on the proposal. The plan is awaiting approval from the State Department’s Office of Foreign Assistance, the two former USAID sources said. The office is headed by Jeremy Lewin, a 28-year-old former operative of Elon Musk’s Department of Government Efficiency, who is now overseeing the decommissioning of USAID. The Office of Foreign Assistance, DOGE, and Lewin himself did not respond to requests for comment. Nearly 500 tons of high-energy biscuits stored at a USAID warehouse in Dubai are due to expire in July, according to a former USAID official and an aid official familiar with the inventories. The biscuits could feed at least 27,000 acutely malnourished children for a month, according to Reuters calculations. The biscuits are now likely to be destroyed or turned into animal feed, the former USAID official said, adding that in a typical year, only around 20 tons of food might be disposed of in this way because of damage in transit or storage. Some of those stocks were previously intended for Gaza and famine-stricken Sudan, the former official said. The State Department spokesperson did not directly respond to questions on how much of the food aid in storage was close to expiry and whether this would be destroyed. USAID plans to fire almost all of its staff in two rounds on July 1 and Sept. 2, as it prepares to shut down, according to a notification submitted to Congress in March. The two former USAID sources said many of the critical staff needed to manage the warehouses or move the supplies will depart in July. Children dying The United States is the world’s largest humanitarian aid donor, amounting to at least 38% of all contributions recorded by the United Nations. It disbursed billion in foreign assistance last year, just over half of it via USAID, according to government data. U.S. food aid includes ready-to-use therapeutic foodsuch as high-energy biscuits and Plumpy’Nut, a peanut-based paste. Navyn Salem, the founder of Edesia, a U.S.-based manufacturer of Plumpy’Nut, said termination of transportation contracts by USAID had created a massive backlog that had forced the firm to hire an additional warehouse to store its own production. The resulting stockpile of 5,000 tons, worth million, could feed more than 484,000 children, she said. Salem said that email exchanges with Lewin have left her “hopeful” that a way will be found soon to get her product to the desperate children who need it. The UN children’s agency UNICEF warned in late March that RUTF stocks were running short in 17 countries due to funding cuts, potentially forcing 2.4 million children suffering from severe acute malnutrition to go without these crucial supplies for the rest of the year. The four USAID warehouses contain the majority of the agency’s pre-positioned food stockpiles. In normal times, these could be rapidly deployed to places like Sudan, where 25 million people—half the country’s population—face acute hunger. Jeanette Bailey, director of nutrition at the International Rescue Committee, which receives much of its funding from the U.S., said it was scaling back its programs following the cuts. She said the impact of global shortages of therapeutic foods due to the disruption to U.S. aid flows is difficult to measure, particularly in places where aid programs no longer operate. “What we do know, though, is that if a child is in an inpatient stabilization center and they’re no longer able to access treatment, more than 60% of those children are at risk of dying very quickly,” she said. Action Against Hunger, a nonprofit that relied on the United States for over 30% of its global budget, said last month that the U.S. cuts had already led to the deaths of at least six children at its programs in the Democratic Republic of Congo, after it was forced to suspend admissions. Cuts causing chaos The Bureau for Humanitarian Affairs, which coordinates the U.S. government’s aid efforts overseas, was plunged into chaos by the Trump administration’s cutbacks, the five sources said. The bureau’s staff were among thousands of USAID employees put on administrative leave pending their terminations. While some staff were brought back to work until their severance dates, aid administration has not recovered. Three sources told Reuters that the contract to maintain USAID warehouses in the South African port city of Durban had been canceled, raising questions about future aid distribution. Reuters was unable to confirm that independently. Two former USAID officials said that the Djibouti and Dubai facilities would be handed over to a team at the State Department that has yet to be formed. The State Department did not comment. A spokesperson for the World Food Programme, which relies heavily on U.S. funding, declined to comment on the stranded food stocks. Asked if it was engaged in discussions to release them, the spokesperson said: “We greatly appreciate the support from all our donors, including the U.S., and we will continue to work with partners to advocate for the needs of the most vulnerable in urgent need of life-saving assistance”. —Jessica Donati, Emma Farge, Ammu Kannampilly, and Jonathan Landay, Reuters. Writing by Ammu Kannampilly. #food #that #could #feed #millions