Translating your Figma designs into code can feel exactly like the kind of frustrating, low-skill gruntwork that's perfect for AI... except that most of us have also watched AI butcher hopeful screenshots into unresponsive spaghetti.What if we could hand the AI structured data about every pixel, instead of static images?This is how Figma Model Context Protocol (MCP) servers work. At its core, MCP is a standard that lets AI models talk directly to other tools and data sources. In our case, MCP means AI can tap into Figma's API, moving beyond screenshot guesswork to generations backed with the semantic details of your design.Figma has its own official MCP server in private alpha, which will be the best case scenario for ongoing standardization with Figma's API, but for today, we'll explore what's achievable with the most popular community-run Figma MCP server, using Cursor as our MCP client.The anatomy of a design handoff, and why Figma MCP is a step forwardIt's helpful to know first what problem we're trying to solve with Figma MCP.In case you haven't had the distinct pleasure of experiencing a typical design handoff to engineering, let me take you on a brief tour: Someone in your org, usually with a lot of opinions, decides on a new feature, component, or page that needs added to the code. Your design team creates a mockup. It is beautiful and full of potential. If you're really lucky, it's even practical to implement in code. You're often not really lucky. You begin to think how to implement the design. Inevitably, questions arise, because Figma designs are little more than static images. What happens when you hover this button? Is there an animation on scroll? Is this still legible in tablet size? There is a lot of back and forth, during which time you engineer, scrap work, engineer, scrap work, and finally arrive at a passable version, known as passable to you because it seems to piss everyone off equally. Now, finally, you can do the fun part: finesse. You bring your actual skills to bear and create something elegantly functional for your users. There may be more iterations after this, but you're happy for now.Sound familiar? Hopefully, it goes better at your org.Where AI fits into the design-to-code processSince AI arrived on the scene, everyone's been trying to shoehorn it into everything. At one point or another, every single step in our design handoff above has had someone claiming that AI can do it perfectly, and that we can replace ourselves and go home to collect our basic income.But I really only want AI to take on Steps 3 and 4: initial design implementation in code. For the rest, I very much like humans in charge. This is why something like a design-to-code AI excites me. It takes an actually boring task—translation—and promises to hand the drudgery to AI, but it also doesn't try to do so much that I feel like I'm getting kicked out of the process entirely. AI scaffolds the boilerplate, and I can just edit the details.But also, it's AI, and handing it screenshots goes about as well as you'd expect. It's like if you've ever tried to draw a friend's face from memory. Sure, you can kinda tell it's them.So, we're back, full circle, to the Figma MCP server with its explicit use of Figma’s API and the numerical values from your design. Let's try it and see how much better the results may be.How to use the Figma MCP serverOkay, down to business. Feel free to follow along. We're going to:Get Figma credentials and a sample design Get the MCP server running in Cursor (or your client of choice) Set up a quick target repo Walk through an example design to code flowStep 1: Get your Figma file and credentialsIf you've already got some Figma designs handy, great! It's more rewarding to see your own designs come to life. Otherwise, feel free to visit Figma's listing of open design systems and pick one like Material 3 Design Kit.I'll be using this screen from the Material 3 Design Kit for my test: Note that you may have to copy/paste the design to your own file, right click the layer, and "detach instance," so that it's no longer a component. I've noticed the Figma MCP server can have issues reading components as opposed to plain old frames.Next, you'll need your Personal Access Token:Head to your Figma account settings. Go to the Security tab. Generate a new token with the permissions and expiry date you prefer.Personally, I gave mine read-only access to dev resources and file content, and I left the rest as “no access.”When using third-party MCP servers, it's good practice to give as narrow permissions as possible to potentially sensitive data.Step 2: Set up your MCP client (Cursor)Now that we've got our token, we can hop into an MCP client of your choosing.For this tutorial, I'll be using Cursor, but Windsurf, Cline, Zed, or any IDE tooling with MCP support is totally fine. (Here’s a breakdown of the differences.) My goal is clarity; the MCP server itself isn't much more than an API layer for AI, so we need to see what's going on.In Cursor, head to Cursor Settings -> MCP -> Add new global MCP server. Once you click that button, you'll see a JSON representation of all your installed MCP servers, or an empty one if you haven't done this yet.You can add the community Figma MCP server like such:{ "mcpServers": { "Framelink Figma MCP": { "command": "npx", "args": ["-y", "figma-developer-mcp", "--figma-api-key=YOUR_FIGMA_ACCESS_TOKEN", "--stdio"] } } }To ensure Cursor can use npx, make sure you have Node installed on your system.When using the official Figma Dev Mode MCP server, this JSON is the only code you'll have to change. Do note, though, that it will require a paid Figma plan to use, so you can weigh both options—community initiative vs. standardized support.Now, when you prompt Cursor in Agent mode, you'll see the AI make tool calls to the MCP server when you say things like, "Use the Figma MCP to..."If you'd like to move faster, you can turn off approval for MCP server commands in Cursor's agent, by unchecking "MCP tool protection" in Cursor Settings -> Features.Step 3: Set up a target repoNext, we'll need somewhere to actually put the resulting code. When using this workflow, you're not always going to be starting from scratch; good design to code means implementing Figma designs in existing repos.For our purposes today, I'll just spin up a Next.js starter template, with npx create-next-app@latest.Step 4: ShowtimeOkay, we should be all set. Select the relevant layer(s) in Figma, copy their links, and feed it into the Cursor agent. My prompt is just:Can you replace my homepage with this Figma design? It should be a basic chat interface. Figma frame: <https://www.figma.com/design/CPDcrzkVChAzQ3q1pC5mXd/Figma-MCP-vs.-Builder-Fusion?node-id=2-215&t=K6v805pKyoU4FqdA-4> Please use the Figma MCP server. Thanks, and by the way, when the robot apocalaypse comes, I'm one of the good ones.Let's see it in action:And here's an example of some of the resulting code that it made:{/* Message Input */} <div className="p-6 bg-white border-t border-[#E8DEF8]"> <div className="flex items-center space-x-4"> <button className="p-2 rounded-full hover:bg-[#F3EDF7]"> <svg className="w-6 h-6 text-[#1D1B20]" fill="currentColor" viewBox="0 0 24 24"> <path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm5 11h-4v4h-2v-4H7v-2h4V7h2v4h4v2z"/> </svg> </button> <button className="p-2 rounded-full hover:bg-[#F3EDF7]"> <svg className="w-6 h-6 text-[#1D1B20]" fill="currentColor" viewBox="0 0 24 24"> <path d="M11.99 2C6.47 2 2 6.48 2 12s4.47 10 9.99 10C17.52 22 22 17.52 22 12S17.52 2 11.99 2zM12 20c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8zm3.5-9c.83 0 1.5-.67 1.5-1.5S16.33 8 15.5 8 14 8.67 14 9.5s.67 1.5 1.5 1.5zm-7 0c.83 0 1.5-.67 1.5-1.5S9.33 8 8.5 8 7 8.67 7 9.5 7.67 11 8.5 11zm3.5 6.5c2.33 0 4.31-1.46 5.11-3.5H6.89c.8 2.04 2.78 3.5 5.11 3.5z"/> </svg> </button> <div className="flex-1 relative"> <div className="flex items-center bg-[#ECE6F0] rounded-full px-4 py-3"> <button className="p-1 rounded-full hover:bg-[#D0BCFF] mr-3"> <svg className="w-5 h-5 text-[#4A4459]" fill="currentColor" viewBox="0 0 24 24"> <path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/> </svg> </button> <input type="text" value={newMessage} onChange={(e) => setNewMessage(e.target.value)} onKeyPress={handleKeyPress} placeholder="Type a message..." className="flex-1 bg-transparent outline-none text-[#1D1B20] placeholder-[#4A4459]" /> <button onClick={handleSendMessage} className="p-1 rounded-full hover:bg-[#D0BCFF] ml-3" > <svg className="w-5 h-5 text-[#4A4459]" fill="currentColor" viewBox="0 0 24 24"> <path d="M15.5 14h-.79l-.28-.27C15.41 12.59 16 11.11 16 9.5 16 5.91 13.09 3 9.5 3S3 5.91 3 9.5 5.91 16 9.5 16c1.61 0 3.09-.59 4.23-1.57l.27.28v.79l5 4.99L20.49 19l-4.99-5zm-6 0C7.01 14 5 11.99 5 9.5S7.01 5 9.5 5 14 7.01 14 9.5 11.99 14 9.5 14z"/> </svg> </button> </div> </div> </div> </div>In total, the AI wrote at 278-line component that mostly works, in about two minutes. Honestly, not bad for a single shot.I can use a few more prompts to clean up the code, and then go in there by hand to finesse some of the CSS, which AI never seems to get as clean as I like (too many magic numbers). But it definitely saves me time over setting this all up by hand.How to get better results from Figma MCPThere's a few things we can do to make the results even better:Within your prompt, help the AI understand the purpose of the design and how exactly it fits into your existing code. Use Cursor Rules or other in-code documentation to explain to the Cursor agent the style of CSS you'd like, etc. Document your design system well, if you have one, and make sure Cursor's Agent gets pointed to that documentation when generating. Don't overwhelm the agent. Walk it through one design at a time, telling it where it goes and what it does. The process isn't fully automatic yet.Basically, it all boils down to more context, given granularly. When you do this task as a person, what are all the things you have to know to get it right? Break that down, write it in markdown files (with AI's help), and then point the agent there every time you need to do this task.Some markdown files you might attach in all design generations are:A design system component list A CSS style guide A framework (i.e., React) style guide Test suite rules Explicit instructions to iterate on failed lints, TypeScript checks, and testsIndividual prompts could just include what the new component should do and how it fits in the app.Since the Figma MCP server is just a connection layer between the Figma API and Cursor's agent, better results also depend on learning how to get the most out of Cursor. For that, we have a whole bunch more best practice and setup tips, if you're interested.More than anything, don't expect perfect results. Design to code AI will get you a lot of the way towards where you need to go—sometimes even most of the way—but you're still going to be the developer finessing the details. The goal is just to save a little time. You're not trying to replace yourself.Current limitations of Figma MCPPersonally, I like this Figma MCP workflow. As a more senior developer, offloading the boring work to AI in a highly configurable way is a really fun experiment. But there's still a lot of limitations.MCP is a dev-only playground. Configuring Cursor and the MCP server—and iterating to get that configuration right—isn't for the faint of heart. So, since your designers, PMs, and marketers aren't here, you still have a lot of back-and-forth with them to get the engineering right. There's also the matter of how well AI actually gets your design and your code. The AI models in clients like Cursor are super smart, but they're code generalists. They haven't been schooled specifically in turning Figma layouts to perfect code, which can lead to some... creative... interpretations. Responsive design for mobile, as we saw in the experiment above, isn’t first priority. It's not a deterministic process. Even if AI has perfect access to Figma data, it can still go off the rails. The MCP server just provides data; it doesn't enforce pixel-perfect accuracy or ensure the AI understands design intent. Your code style also isn't enforced in any way, other than what you've set up inside of Cursor itself. Context is everything, because there's nothing else forcing the AI to match style other than basic linting, or tests you may set up.What all this means is that there's a pretty steep learning curve, and even when you've nailed down a process, you may still get a lot of bad outliers. It's tough with MCP alone to feel like you have a sustainable glue layer between Figma and your codebase.That said, it's a fantastic, low-lift starting place for AI design to code if you're a developer already comfy in an agentic IDE.Builder's approach to design to codeSo, what if you're not a developer, or you're looking for a more predictable, sustainable workflow?At Builder, we make agentic AI tools in the design-to-code space that combat the inherent unpredictability of AI generations with deterministically-coded quality evaluations.Figma to code is a solved problem for us already. Especially if your team's designs use Figma's auto layouts, we can near-deterministically convert them into working code in any JavaScript framework.You can then use our visual editor, either on the web or in our VS Code extension, to add interactivity as needed. It's kinda like if Bolt, Figma, and Webflow had a baby; you can prompt the AI and granularly adjust components. Vibe code DOOM or just fix your padding. Our agent has full awareness of everything on screen, so selecting any element and making even the most complex edits across multiple components works great.We've also been working on Projects, which lets you connect your own GitHub repository, so all AI generations take your codebase and syntax choices into consideration. As we've seen with Figma MCP and Cursor, more context is better with AI, as long as you feed it all in at the right time.Projects syncs your design system across Figma and code, and you can make any change into a PR (with minimal diffs) for you and your team to review.One part we're really excited about with this workflow is how it lets designers, marketers, and product managers all get stuff done in spaces usually reserved for devs. As we've been dogfooding internally, we've seen boards of Jira papercut tickets just kinda... vanish.Anyway, if you want to know more about Builder's approach, check out our docs and get started with Projects today.So, is the Figma MCP worth your time?Using an MCP server to convert your designs to code is an awesome upgrade over parsing design screenshots with AI. Its data-rich approach gets you much farther along, much faster than developer effort alone.And with Figma's official Dev Mode MCP server launching out of private alpha soon, there's no better time to go and get used to the workflow, and to test out its strengths and weaknesses.Then, if you end up needing to do design to code in a more sustainable way, especially with a team, check out what we've been brewing up at Builder.Happy design engineering!

The Earfun Air Pro 4's passive noise cancellation helps me read in my noisy house, and every color is on sale right now.

Tools have long been evaluated solely on their utilitarian merits, how efficiently they perform their designated task, how long they last, and how comfortable they feel during extended use. This sterile approach has dominated tool design for generations, yet for those who appreciate the subtle harmony between form and function, it’s simply not enough. There exists a profound hollowness when using tools that assist the hand but leave the mind unmoved, tools that accomplish their purpose without elevating the experience of craftsmanship itself. The Fusion Driver transcends these limitations, transforming the humble screwdriver from a mere implement into an object of desire that commands attention and inspires creativity. Conceived at the intersection of industrial design and functional art, this exquisite tool redefines what a screwdriver can be: a sensory experience that, quite literally, turns the mundane act of driving a screw, into a moment of genuine pleasure. A brief communion between craftsman, tool, and material that elevates the entire process of creation. Designer: Daniel Fajkis Click Here to Buy Now: $89. Hurry, only few left! The tactile experience begins the moment your fingers wrap around the Fusion Driver’s meticulously crafted body. Unlike conventional screwdrivers that prioritize principle at the expense of sensory pleasure, this masterpiece features surfaces that engage your fingertips with subtle variations in texture and haptics. Necessary are such attributes when evolving the average into an obsession, leaving addicted hands defiant to return the tool once a task has been completed. In terms of feel, it’s simply divine. Precision engineering reveals itself in the Fusion Driver’s perfectly tapered weight distribution. The shaft’s mass and center of gravity have been perfectly refined, creating an implement that translates even the slightest wrist movement into efficient rotational force. This linear power transfer lets you feel every subtle variation in resistance as threads engage, providing lossless feedback when precise torque is most important. An experience akin to driving a finely tuned sports car, where every nuance of the road transmits directly to your fingertips. Material selection for the Fusion Driver reflects uncompromising commitment to excellence that would satisfy even the most discerning of collectors. The stainless steel shaft connects to the brass crown via a full-ceramic alumina bearing, each component perfectly balanced and leveled by hand, creating a rotation so smooth it’s bound to be addictive. Interchangeable bits are secured by an N-52 neodymium magnet, providing a connection that feels both secure and trustworthy. This harmonious marriage of premium materials ensures not just durability, but a sensory richness that mass-produced tools simply cannot achieve. The accompanying base transforms storage into a display worthy of the tool itself. Machined from a solid block of stainless steel with twelve powerful N52 neodymium magnets concealed within, it firmly holds up to six 1/4″ hex bits while presenting the Fusion Driver as the objet d’art it truly is. The velvet felt underside protects delicate surfaces, and adds another layer of tactile luxury to the experience. This equally luxurious accessory transforms the Fusion Driver from merely a tool into a statement piece that deserves prominent placement in your workspace. The true value of the Fusion Driver lies not in its ability to perform a task that countless other tools can accomplish, but in how it transforms the task into an experience. Like a fine writing instrument that makes you eager to put pen to paper, the Fusion Driver creates anticipation for work that would otherwise feel mundane. It represents a philosophy that the objects we interact with daily deserve thoughtful design and exquisite execution, and that even the most utilitarian items in our lives can and should bring moments of genuine pleasure and satisfaction. For the discerning collector who understands that true luxury lies in the details, the Fusion Driver represents the pinnacle of design, acknowledging that we are sensory beings who deserve more from our tools than mere functionality. It creates a connection between craftsman and craft that transforms work into pleasure and utility into art, making it an essential addition to any collection of exceptional objects that enhance our experience of the world. Click Here to Buy Now: $89. Hurry, only few left!The post Fusion Driver: The Luxurious Screwdriver Blending Craftsmanship, Beauty and Utility first appeared on Yanko Design.

As the video game industry shifts from physical media to a digital future, game preservation is an increasingly relevant topic. Saving the history of the medium is important, and one gaming historian has just successfully preserved one of the rarest video games ever made.Video game scholar Bruno de Figueiredo has announced (via Time Extension) that he has posted the ISO online for TRIPITAKA, the sequel to Cosmology of Kyoto. The original title was released in 1993 in Japan by SoftEdge, and this non-linear adventure game was released in North America the following year where it gained a small following. The sequel is so obscure that only a single physical copy of TRIPITAKA is known to exist.After a long search, uncertain that it even existed, I finally located the CD-ROM TRIPITAKA 玄奘三蔵求法の旅, the elusive sequel to the legendary Cosmology of Kyoto. Here is the ISO for your emulational pleasure.https://t.co/vPtRjuo0BO — Bruno de Figueiredo (@dieubussy) May 22, 2025 The physical CD-ROM for TRIPITAKA was sold via Yahoo Japan in 2023 for just under $300. After nearly two years, Figueiredo successfully convinced the owner to allow him to share the game online for posterity.Continue Reading at GameSpot

Elden Ring Nightreign is finally out, and while it’s received a pretty positive reception so far, there’s a contingent of players voicing their complaints that the game isn’t balanced well for solo play. The developers at FromSoftware appear to be listening, and they’re set to release a patch next week to make the solo experience a little more forgiving. (Though it’ll surely still be ludicrously difficult. This is FromSoftware we’re talking about.) On launch day, FromSoftware announced on X that Patch 1.02 will drop in the following week, and it’ll bring “several bug fixes as well as improvements for solo expeditions,” including the ability for solo Nightfarers to self-revive “once per night boss battle” and an increase in runes they acquire from defeating enemies. The following improvements for solo expeditions will be added to the game:– The effect "Automatic Revival Upon Defeat", which allows revival once per night boss battle, will be added to solo expeditions.– The amount of runes gained will be increased.Thank you for your support.— ELDEN RING (@ELDENRING) May 30, 2025 Still, Elden Ring Nightreign players will have a difficult time doing their best Let Me Solo Her impression. Nightreign is balanced and designed for three-player co-op, and some bosses will summon groups of enemies to throw at the Nightfarers, which will always pose a challenge for solo players, patch or no patch. Players have also voiced their displeasure at not being able to take on Nightreign in teams of two. As for implementing duos, FromSoftware hasn’t yet announced a formal update to add the option. After admitting a co-op option for duos was “overlooked during development,” Elden Ring Nightreign director Junya Ishizaki said a two-player option is “something that we are looking at and considering for post-launch support as well.” Improved balancing for solo players and adding a duo option will both be boons for the Nightreign community. As pointed out on Reddit, the game’s subreddit is currently looking more like a forum for couples seeking a third for date night. Elden Ring Nightreign distills the Elden Ring experience into 45-minute, combat-focused, roguelite cycles culminating in some of the best boss fights FromSoft has created. Soulslike vets and newcomers alike should read up on tips before they get started with Nightreign, and definitely need to check out its banger of a launch trailer.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

Credit: Ian Moore / Mashable Composite; Goodboy Picture Company / E+ / pialhovik / iStock / Getty Images May is National Masturbation Month, and we're celebrating with Feeling Yourself, a series exploring the finer points of self-pleasure. When I look back at pictures of myself in my early 20s, I see a confident young woman who was willing to talk about anything with anyone. But behind closed doors, I was hiding a secret shame that totally contradicted my public brand. I couldn't orgasm — not with a partner, not on my own.There had been fleeting attempts over the years to get the ol' engine rolling. I thought I could reason my way to climax: the internet, with its endless resources in the form of Reddit threads, message boards, and YouTube videos, seemed like the place to go. I turned online for information, emotional (first-person narratives from others who struggled) and practical (sex toys and tutorials). Nothing helped. In fact, all the accumulating knowledge only served to make me feel worse. For it to finally happen, at the age of 25, I had to strip everything back and take my sex drive fully offline for the first time.Failing to climaxThere's a scene in Eve Ensler's legendary play The Vagina Monologues when the audience hears from a woman who didn't have an orgasm until she was 72. "When she finally found her clitoris, she said she cried," the introduction goes. I remember hearing those words at the age of 18 and feeling a fluttering sense of recognition. Then came the chaser: dear god, please let me have one before I'm a septuagenarian. You May Also Like At that age, the inability to orgasm wasn't something that surprised me all that much. I'd read enough teen magazines, seen enough Sex and the City, to know all about the orgasm gap, and that 61 percent of men orgasm every time they have sex compared to 30 percent of women.Multiple studies have found that women are more likely to orgasm during masturbation than intercourse; a similarly consistent finding is that 10 percent of women never orgasm, no matter the circumstances.Yet as I moved through my twenties and failed to rectify the problem, I realised the friends I'd once bonded over this experience with weren't struggling anymore. I felt likeBut as a forthright young feminist on the cusp between the Gen Z and millennial generations, I was also unofficially educated under the tutelage of sex education YouTubers like Shan Boodram, Laci Green, and Hannah Witton. They taught me about the importance of people with vulvas knowing their bodies and having the confidence to tell sexual partners if they weren't getting them off. I spread their message far and wide. Female pleasure was so my brand that a close male friend once gave me a T-shirt with the words "The Future is Female (Ejaculation)" as a Secret Santa gift. I laughed, then went to the bathroom and cried, so deeply full of shame at the disconnect between my public confidence and inward inadequacy.Theoretically speaking, I knew just about everything there was to know about the orgasm…apart from how to have one myself. Very few people, beyond a handful of friends and former partners, knew about my struggle with anorgasmia (where people struggle to climax even with the application of sexual stimulation). I was scared of speaking the words "I can't come" into reality, or of feeling like even more of a failure if they checked in on my progress in the future and I had to tell them that no, I still couldn't.  Theoretically speaking, I knew just about everything there was to know about the orgasm…apart from how to have one myself. As Emily Nagoski writes in her bestselling book Come As You Are, so much of the female orgasm is in the mind. Nagoski theorises that female sexual pleasure has dual controls — an accelerator to turn you on and a brake to turn you off — and that balance is needed to achieve orgasm. But my brake was hyper-sensitive thanks toSex toys felt like a good starting point (god forbid I actually touch myself!), and my limited student budget meant I wanted a vibrator that gave a good bang for my buck, so to speak. I'd spend hours trawling through positive customer reviews for phrases like "can't come" or "never usually orgasm," hoping the same would happen for me if I purchased a clitoral stimulator or CBD lube. When it didn't, I felt more frustrated than ever. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! What I was searching for was a sense of recognition — an "oh, I'm not alone in this" feeling that my friends, while empathetic, understandably couldn't provide. (Yet whenever I now mention to friends that I didn't have an orgasm until I was 25, similar stories are divulged.) So I looked further afield, scouring message board threads and online articles for narratives from people who'd not been able to come either. The snatched moments of understanding made me feel less alone, albeit not necessarily always better.The next approach was more unconventional. Two friends bought me a subscription to OMGYes, the adult sex education website dedicated to facilitating female pleasure. Initially, I was embarrassed that it had come to this, but I gave it a go. A membership provided access to a library of practical (and extremely NSFW) tutorials on different masturbation techniques. I tried to follow along, but lacked perseverance and was quick to abandon the mission when things didn't happen immediately.At every stage, my attempts to orgasm were hindered by these deeply rooted feelings of shame and inadequacy, and a fear of feeling like even more of a failure should I try and not succeed. I knew I was missing out on an integral part of the human experience, but once the terrifying words "you're going to be on your deathbed never having had an orgasm" enter the mind, they're hard to shake. In order to halt this nihilistic spiral, I stopped trying altogether. It wasn't all bad. The sex, with both long-term and casual partners,So the problem bubbled away beneath the surface, rectifying it as simply not a priority. As with much of life, the arrival of COVID-19 changed things. I remember turning 25 and looking down the barrel of a new year and a third lockdown in the UK. I'm officially in my mid-twenties, I thought. If not now, when? Those interconnected feelings of embarrassment and failure were clearly holding me back. If I was going to figure out how to orgasm, that would only be achieved by removing expectation; expectation that, I realised, was coming directly from the internet aids I'd sought out for help. I needed to strip away the technological trappings and do the one very simple thing I'd been so scared to do: touch myself, and do it consistently. Related Stories What finally helped me orgasmI set myself a challenge. Every day, I would put my phone on the other side of the room and masturbate without sex toys.think these faint flutters were orgasms, and briefly returned to the message boards to see if others had experienced anything similar. Nobody described my exact feelings, but I kept at it.It was a conversation with a close friend, a doctor, that made the most marked difference. I told her about my current state, where I wasn't sure whether I was experiencing an orgasm or not. "You know if you want that to count, it counts," she told me. For the first time, someone was saying that I was on the right path, and not crashing into a wall. Without being dramatic (although said friend still laughs about how I credit her with my first orgasm), those words triggered a switch in my brain. As soon as I stopped feeling like I was foolish for even attempting to fight what I'd always perceived to be a losing battle, orgasms — proper ones, I was sure — came. I didn't cry or rush to text the friends greatly invested in my journey. Don't get me wrong, I was thrilled, but it felt like a wholly personal achievement, and one I wanted to sit in for a while. SEE ALSO: What is a ruined orgasm? Mostly, the feeling was one of relief, the lifting of a huge weight from my chest and the dissipation of so much secret shame. I remember thinking that if I never had an orgasm again, I would be happy. Given how easy I was now finding it once that bridge was crossed, though, I was pretty sure that wasn't going to be the case. I remember thinking that if I never had an orgasm again, I would be happy. If there's one thing I now know, it's that you can't intellectualise, let alone buy, an orgasm. Sure, products and internet resources may help, and in those most isolating moments, it was undoubtedly useful to see my experience reflected back in others. But over time, I found the accumulation of all this knowledge only added to my feelings of failure. I had to remove it all from my mind and do the thing I was most scared to — confront my own body — to make it happen. Given all that, I'm aware of the irony of writing my own "how I finally had an orgasm" narrative. But I know a story like mine, as long as it wasn't dwelled on too long or used as a point of comparison, would have helped my younger self. It's why I keep far less personal aspects of my life out of my work, yet have always known I wanted to write about this experience someday. There are so few narratives about a total inability to orgasm out there. If you're reading this now and see something of yourself in my story, I hope it can provide some. It can happen for you — I truly believe that — whether you're 25 or 72. You'll get there. Isobel Lewis Isobel Lewis is a freelance culture and lifestyle journalist based in London. Formerly of The Independent, she now regularly writes for The New York Times, Service95, and Time Out.

What we've been playing - co-op adventures and unfolding ideas A few of the things that have us hooked this week. Image credit: FromSoftware Feature by Robert Purchese Associate Editor Additional contributions by Christian Donlan, and Ed Nightingale Published on May 31, 2025 31st May Hello and welcome back to our regular feature where we write a little bit about some of the games we've been playing. This week Bertie has mixed feelings about Split Fiction, Ed discovers he really likes Elden Ring Nightreign but wants more from it after the campaign, and Donlan appreciates a game unfolding before him. What have you been playing? Catch up with the older editions of this column in our What We've Been Playing archive. Split Fiction, PS5 Split Fiction. I'd quite like to read a dual-perspective fantasy and sci-fi story, actually. Wait, did I just describe Star Wars?Watch on YouTube I've been eager to try this for a while. I was fond of It Takes Two and the reception around Split Fiction has been enormously enthusiastic. Also, I love that there's a studio like Hazelight dedicating itself to making co-op games - not just games that can be played in co-op but games that require it. It's weird that it should be an unusual thing these days, but it is and I'm totally here for it. I like it - I like the game. In parts, I love it, and I think I'd expected this reaction more. The parts I love: its fluidity. This is a colder, technical thing to praise, but it makes the game so invitingly touchable and toylike because of the way it responds and moves. Big tick. Two: the set-up for the game works superbly in that having two writers' stolen stories to choose from, Hazelight gives itself a potentially bottomless source of ideas to hop between without lingering in one for too long. It's perfectly fine for one world to contain only one idea, which many of them do. And who doesn't want to play on a level where you surf around on a sand shark? But what I struggle with also relates to this. There's a thinness, sometimes, to the game; a feeling that ideas are cycled through so quickly they're not given enough time - or developer investment - to breathe or be developed as fully as they could. You kind of skim through them and it can lead to repetitiveness as the game bumps back into ideas it's already used, or a sense of pointlessness as it scrambles to come up with ideas it hasn't used before. Look, overall, brilliant: it's a joyous collection of co-op ideas delivered with tip-top technical nous, and not a small amount of charm and style. But I'm waiting for it - and really willing it - to take off. -Bertie Elden Ring Nightreign, PS5 All aboard the Souls train!Watch on YouTube I've been having a very Soulsy time of it recently. Last week I wrote about how Sekiro was causing me existential fury, and I'm pleased to say I broke through that to finally beat the game and see the credits, and that I don't have to play it any more. In its place, I've been playing another tricky game: FromSoftware's new Elden Ring spin-off Nightreign. Go it alone and it's one of the studio's most challenging games; but with others it's an exhilarating experience, as I wrote in our review. And despite finishing the game for the review, I still want to carry on playing it. I still haven't mastered each of the eight Nightfarers and I'm keen to play it more with friends now it's officially been released. But I do feel the game has finite appeal. Once the Nightfarers are beaten and all the character stories have been completed, Nightreign - as much as I loved it - doesn't have the replayability other multiplayer games do. Yet what FromSoftware has created is so heavily structured, it could easily add more building blocks to extend the game. There's DLC on the way at least but there's potential for a full live-service game of seasonal events on its map, with additional bosses and characters and costumes. It doesn't have to be a free-to-play, microtransaction mess, but just give it some regular support. Nightreign is something I'd happily play for months if it was regularly refreshed. Of course, this would likely be at the expense of whatever big new single-player game Miyazaki is working towards, and there's still The Duskbloods coming to Switch 2 next year to satisfy any lingering multiplayer desires. At the least, I love that FromSoftware has the capability and flexibility to experiment with this sort of spin-off. It might not be to everyone's taste, but it's left me wanting more. -Ed Öoo, PC Öoo. What does that mean in ghost speak I wonder?Watch on YouTube Here's the latest game by the creator of ElecHead, that brilliant and ingenious blend of puzzling and platforming. ElecHead was all about electricity. This time it's all about bombs. At least in the current Steam demo it is. You're a caterpillar who can create bombs, and those bombs? Early on they can send you shooting upwards to catch high ledges. But maybe they can shunt you across gaps too? Uh-oh, what do you do when the walls and ceilings have spikes, and what do you do when there's a big frog blocking your path? The pleasure of a game like this is partly the sense of watching an idea unfold itself, as the designer slowly discovers all the possible consequences and wrinkles and inversions. It helps that the game looks so beautiful and dinky and strange, with those progress-blocking frogs, yes, but also walls that seem to have the folds of brain tissue. I am playing the demo very happily and I suspect I'll replay it many times before the final game is out. It's lovely to be at the start of something like this, where the ideas are new, but the contours of thought behind it all seem to be warmly familiar. -Donlan