By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

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On this episode of Uncanny Valley, our senior politics editor discusses the spread of disinformation online following the onset of the Los Angeles protests.

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

Key Takeaways Meta and Yandex have been found guilty of secretly listening to localhost ports and using them to transfer sensitive data from Android devices. The corporations use Meta Pixel and Yandex Metrica scripts to transfer cookies from browsers to local apps. Using incognito mode or a VPN can’t fully protect users against it. A Meta spokesperson has called this a ‘miscommunication,’ which seems to be an attempt to underplay the situation. Denmark’s Ministry of Digitalization has recently announced that it will leave the Microsoft ecosystem in favor of Linux and other open-source software. Minister Caroline Stage Olsen revealed this in an interview with Politiken, the country’s leading newspaper. According to Olsen, the Ministry plans to switch half of its employees to Linux and LibreOffice by summer, and the rest by fall. The announcement comes after Denmark’s largest cities – Copenhagen and Aarhus – made similar moves earlier this month. Why the Danish Ministry of Digitalization Switched to Open-Source Software The three main reasons Denmark is moving away from Microsoft are costs, politics, and security. In the case of Aarhus, the city was able to slash its annual costs from 800K kroner to just 225K by replacing Microsoft with a German service provider.  The same is a pain point for Copenhagen, which saw its costs on Microsoft balloon from 313M kroner in 2018 to 538M kroner in 2023. It’s also part of a broader move to increase its digital sovereignty. In her LinkedIn post, Olsen further explained that the strategy is not about isolation or digital nationalism, adding that they should not turn their backs completely on global tech companies like Microsoft.  Instead, it’s about avoiding being too dependent on these companies, which could prevent them from acting freely. Then there’s politics. Since his reelection earlier this year, US President Donald Trump has repeatedly threatened to take over Greenland, an autonomous territory of Denmark.  In May, the Danish Foreign Minister Lars Løkke Rasmussen summoned the US ambassador regarding news that US spy agencies have been told to focus on the territory. If the relationship between the two countries continues to erode, Trump can order Microsoft and other US tech companies to cut off Denmark from their services. After all, Microsoft and Facebook’s parent company Meta, have close ties to the US president after contributing $1M each for his inauguration in January. Denmark Isn’t Alone: Other EU Countries Are Making Similar Moves Denmark is only one of the growing number of European Union (EU) countries taking measures to become more digitally independent. Germany’s Federal Digital Minister Karsten Wildberger emphasized the need to be more independent of global tech companies during the re:publica internet conference in May. He added that IT companies in the EU have the opportunity to create tech that is based on the region’s values. Meanwhile, Bert Hubert, a technical advisor to the Dutch Electoral Council, wrote in February that ‘it is no longer safe to move our governments and societies to US clouds.’ He said that America is no longer a ‘reliable partner,’ making it risky to have the data of European governments and businesses at the mercy of US-based cloud providers. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, experienced a disconnection from his Microsoft-based email account, sparking uproar across the region.  Speculation quickly arose that the incident was linked to sanctions previously imposed on the ICC by the Trump administration, an assertion Microsoft has denied. Earlier this month, the chief prosecutor of the International Criminal Court (ICC), Karim Khan, disconnection from his Microsoft-based email account caused an uproar in the region. Some speculated that this was connected to sanctions imposed by Trump against the ICC, which Microsoft denied. Weaning the EU Away from US Tech is Possible, But Challenges Lie Ahead Change like this doesn’t happen overnight. Just finding, let alone developing, reliable alternatives to tools that have been part of daily workflows for decades, is a massive undertaking. It will also take time for users to adapt to these new tools, especially when transitioning to an entirely new ecosystem. In Aarhus, for example, municipal staff initially viewed the shift to open source as a step down from the familiarity and functionality of Microsoft products. Overall, these are only temporary hurdles. Momentum is building, with growing calls for digital independence from leaders like Ministers Olsen and Wildberger.  Initiatives such as the Digital Europe Programme, which seeks to reduce reliance on foreign systems and solutions, further accelerate this push. As a result, the EU’s transition could arrive sooner rather than later As technology continues to evolve—from the return of 'dumbphones' to faster and sleeker computers—seasoned tech journalist, Cedric Solidon, continues to dedicate himself to writing stories that inform, empower, and connect with readers across all levels of digital literacy. With 20 years of professional writing experience, this University of the Philippines Journalism graduate has carved out a niche as a trusted voice in tech media. Whether he's breaking down the latest advancements in cybersecurity or explaining how silicon-carbon batteries can extend your phone’s battery life, his writing remains rooted in clarity, curiosity, and utility. Long before he was writing for Techreport, HP, Citrix, SAP, Globe Telecom, CyberGhost VPN, and ExpressVPN, Cedric's love for technology began at home courtesy of a Nintendo Family Computer and a stack of tech magazines. Growing up, his days were often filled with sessions of Contra, Bomberman, Red Alert 2, and the criminally underrated Crusader: No Regret. But gaming wasn't his only gateway to tech.  He devoured every T3, PCMag, and PC Gamer issue he could get his hands on, often reading them cover to cover. It wasn’t long before he explored the early web in IRC chatrooms, online forums, and fledgling tech blogs, soaking in every byte of knowledge from the late '90s and early 2000s internet boom. That fascination with tech didn’t just stick. It evolved into a full-blown calling. After graduating with a degree in Journalism, he began his writing career at the dawn of Web 2.0. What started with small editorial roles and freelance gigs soon grew into a full-fledged career. He has since collaborated with global tech leaders, lending his voice to content that bridges technical expertise with everyday usability. He’s also written annual reports for Globe Telecom and consumer-friendly guides for VPN companies like CyberGhost and ExpressVPN, empowering readers to understand the importance of digital privacy. His versatility spans not just tech journalism but also technical writing. He once worked with a local tech company developing web and mobile apps for logistics firms, crafting documentation and communication materials that brought together user-friendliness with deep technical understanding. That experience sharpened his ability to break down dense, often jargon-heavy material into content that speaks clearly to both developers and decision-makers. At the heart of his work lies a simple belief: technology should feel empowering, not intimidating. Even if the likes of smartphones and AI are now commonplace, he understands that there's still a knowledge gap, especially when it comes to hardware or the real-world benefits of new tools. His writing hopes to help close that gap. Cedric’s writing style reflects that mission. It’s friendly without being fluffy and informative without being overwhelming. Whether writing for seasoned IT professionals or casual readers curious about the latest gadgets, he focuses on how a piece of technology can improve our lives, boost our productivity, or make our work more efficient. That human-first approach makes his content feel more like a conversation than a technical manual. As his writing career progresses, his passion for tech journalism remains as strong as ever. With the growing need for accessible, responsible tech communication, he sees his role not just as a journalist but as a guide who helps readers navigate a digital world that’s often as confusing as it is exciting. From reviewing the latest devices to unpacking global tech trends, Cedric isn’t just reporting on the future; he’s helping to write it. View all articles by Cedric Solidon Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

As Washington weighs TikTok’s fate, McCourt’s interesting bid merges geopolitics, public interest technology, and a sweeping vision for a new kind of internet.

Sovereignty has mattered since the invention of the nation state—defined by borders, laws, and taxes that apply within and without. While many have tried to define it, the core idea remains: nations or jurisdictions seek to stay in control, usually to the benefit of those within their borders. Digital sovereignty is a relatively new concept, also difficult to define but straightforward to understand. Data and applications don’t understand borders unless they are specified in policy terms, as coded into the infrastructure. The World Wide Web had no such restrictions at its inception. Communitarian groups such as the Electronic Frontier Foundation, service providers and hyperscalers, non-profits and businesses all embraced a model that suggested data would look after itself. But data won’t look after itself, for several reasons. First, data is massively out of control. We generate more of it all the time, and for at least two or three decades (according to historical surveys I’ve run), most organizations haven’t fully understood their data assets. This creates inefficiency and risk—not least, widespread vulnerability to cyberattack. Risk is probability times impact—and right now, the probabilities have shot up. Invasions, tariffs, political tensions, and more have brought new urgency. This time last year, the idea of switching off another country’s IT systems was not on the radar. Now we’re seeing it happen—including the U.S. government blocking access to services overseas. Digital sovereignty isn’t just a European concern, though it is often framed as such. In South America for example, I am told that sovereignty is leading conversations with hyperscalers; in African countries, it is being stipulated in supplier agreements. Many jurisdictions are watching, assessing, and reviewing their stance on digital sovereignty. As the adage goes: a crisis is a problem with no time left to solve it. Digital sovereignty was a problem in waiting—but now it’s urgent. It’s gone from being an abstract ‘right to sovereignty’ to becoming a clear and present issue, in government thinking, corporate risk and how we architect and operate our computer systems. What does the digital sovereignty landscape look like today? Much has changed since this time last year. Unknowns remain, but much of what was unclear this time last year is now starting to solidify. Terminology is clearer – for example talking about classification and localisation rather than generic concepts. We’re seeing a shift from theory to practice. Governments and organizations are putting policies in place that simply didn’t exist before. For example, some countries are seeing “in-country” as a primary goal, whereas others (the UK included) are adopting a risk-based approach based on trusted locales. We’re also seeing a shift in risk priorities. From a risk standpoint, the classic triad of confidentiality, integrity, and availability are at the heart of the digital sovereignty conversation. Historically, the focus has been much more on confidentiality, driven by concerns about the US Cloud Act: essentially, can foreign governments see my data? This year however, availability is rising in prominence, due to geopolitics and very real concerns about data accessibility in third countries. Integrity is being talked about less from a sovereignty perspective, but is no less important as a cybercrime target—ransomware and fraud being two clear and present risks. Thinking more broadly, digital sovereignty is not just about data, or even intellectual property, but also the brain drain. Countries don’t want all their brightest young technologists leaving university only to end up in California or some other, more attractive country. They want to keep talent at home and innovate locally, to the benefit of their own GDP. How Are Cloud Providers Responding? Hyperscalers are playing catch-up, still looking for ways to satisfy the letter of the law whilst ignoring (in the French sense) its spirit. It’s not enough for Microsoft or AWS to say they will do everything they can to protect a jurisdiction’s data, if they are already legally obliged to do the opposite. Legislation, in this case US legislation, calls the shots—and we all know just how fragile this is right now. We see hyperscaler progress where they offer technology to be locally managed by a third party, rather than themselves. For example, Google’s partnership with Thales, or Microsoft with Orange, both in France (Microsoft has similar in Germany). However, these are point solutions, not part of a general standard. Meanwhile, AWS’ recent announcement about creating a local entity doesn’t solve for the problem of US over-reach, which remains a core issue. Non-hyperscaler providers and software vendors have an increasingly significant play: Oracle and HPE offer solutions that can be deployed and managed locally for example; Broadcom/VMware and Red Hat provide technologies that locally situated, private cloud providers can host. Digital sovereignty is thus a catalyst for a redistribution of “cloud spend” across a broader pool of players. What Can Enterprise Organizations Do About It? First, see digital sovereignty as a core element of data and application strategy. For a nation, sovereignty means having solid borders, control over IP, GDP, and so on. That’s the goal for corporations as well—control, self-determination, and resilience. If sovereignty isn’t seen as an element of strategy, it gets pushed down into the implementation layer, leading to inefficient architectures and duplicated effort. Far better to decide up front what data, applications and processes need to be treated as sovereign, and defining an architecture to support that. This sets the scene for making informed provisioning decisions. Your organization may have made some big bets on key vendors or hyperscalers, but multi-platform thinking increasingly dominates: multiple public and private cloud providers, with integrated operations and management. Sovereign cloud becomes one element of a well-structured multi-platform architecture. It is not cost-neutral to deliver on sovereignty, but the overall business value should be tangible. A sovereignty initiative should bring clear advantages, not just for itself, but through the benefits that come with better control, visibility, and efficiency. Knowing where your data is, understanding which data matters, managing it efficiently so you’re not duplicating or fragmenting it across systems—these are valuable outcomes. In addition, ignoring these questions can lead to non-compliance or be outright illegal. Even if we don’t use terms like ‘sovereignty’, organizations need a handle on their information estate. Organizations shouldn’t be thinking everything cloud-based needs to be sovereign, but should be building strategies and policies based on data classification, prioritization and risk. Build that picture and you can solve for the highest-priority items first—the data with the strongest classification and greatest risk. That process alone takes care of 80–90% of the problem space, avoiding making sovereignty another problem whilst solving nothing. Where to start? Look after your own organization first Sovereignty and systems thinking go hand in hand: it’s all about scope. In enterprise architecture or business design, the biggest mistake is boiling the ocean—trying to solve everything at once. Instead, focus on your own sovereignty. Worry about your own organization, your own jurisdiction. Know where your own borders are. Understand who your customers are, and what their requirements are. For example, if you’re a manufacturer selling into specific countries—what do those countries require? Solve for that, not for everything else. Don’t try to plan for every possible future scenario. Focus on what you have, what you’re responsible for, and what you need to address right now. Classify and prioritise your data assets based on real-world risk. Do that, and you’re already more than halfway toward solving digital sovereignty—with all the efficiency, control, and compliance benefits that come with it. Digital sovereignty isn’t just regulatory, but strategic. Organizations that act now can reduce risk, improve operational clarity, and prepare for a future based on trust, compliance, and resilience. The post Reclaiming Control: Digital Sovereignty in 2025 appeared first on Gigaom.

Donald Trump’s military parade in Washington this weekend — a show of force in the capital that just happens to take place on the president’s birthday — smacks of authoritarian Dear Leader-style politics (even though Trump actually got the idea after attending the 2017 Bastille Day parade in Paris).Yet as disconcerting as the imagery of tanks rolling down Constitution Avenue will be, it’s not even close to Trump’s most insidious assault on the US military’s historic and democratically essential nonpartisan ethos.In fact, it’s not even the most worrying thing he’s done this week.On Tuesday, the president gave a speech at Fort Bragg, an Army base home to Special Operations Command. While presidential speeches to soldiers are not uncommon — rows of uniformed troops make a great backdrop for a foreign policy speech — they generally avoid overt partisan attacks and campaign-style rhetoric. The soldiers, for their part, are expected to be studiously neutral, laughing at jokes and such, but remaining fully impassive during any policy conversation.That’s not what happened at Fort Bragg. Trump’s speech was a partisan tirade that targeted “radical left” opponents ranging from Joe Biden to Los Angeles Mayor Karen Bass. He celebrated his deployment of Marines to Los Angeles, proposed jailing people for burning the American flag, and called on soldiers to be “aggressive” toward the protesters they encountered.The soldiers, for their part, cheered Trump and booed his enemies — as they were seemingly expected to. Reporters at Military.com, a military news service, uncovered internal communications from 82nd Airborne leadership suggesting that the crowd was screened for their political opinions.“If soldiers have political views that are in opposition to the current administration and they don’t want to be in the audience then they need to speak with their leadership and get swapped out,” one note read.To call this unusual is an understatement. I spoke with four different experts on civil-military relations, two of whom teach at the Naval War College, about the speech and its implications. To a person, they said it was a step towards politicizing the military with no real precedent in modern American history.“That is, I think, a really big red flag because it means the military’s professional ethic is breaking down internally,” says Risa Brooks, a professor at Marquette University. “Its capacity to maintain that firewall against civilian politicization may be faltering.”This may sound alarmist — like an overreading of a one-off incident — but it’s part of a bigger pattern. The totality of Trump administration policies, ranging from the parade in Washington to the LA troop deployment to Secretary of Defense Pete Hegseth’s firing of high-ranking women and officers of color, suggests a concerted effort to erode the military’s professional ethos and turn it into an institution subservient to the Trump administration’s whims. This is a signal policy aim of would-be dictators, who wish to head off the risk of a coup and ensure the armed forces’ political reliability if they are needed to repress dissent in a crisis.Steve Saideman, a professor at Carleton University, put together a list of eight different signs that a military is being politicized in this fashion. The Trump administration has exhibited six out of the eight.“The biggest theme is that we are seeing a number of checks on the executive fail at the same time — and that’s what’s making individual events seem more alarming than they might otherwise,” says Jessica Blankshain, a professor at the Naval War College (speaking not for the military but in a personal capacity).That Trump is trying to politicize the military does not mean he has succeeded. There are several signs, including Trump’s handpicked chair of the Joint Chiefs repudiating the president’s claims of a migrant invasion during congressional testimony, that the US military is resisting Trump’s politicization.But the events in Fort Bragg and Washington suggest that we are in the midst of a quiet crisis in civil-military relations in the United States — one whose implications for American democracy’s future could well be profound.The Trump crisis in civil-military relations, explainedA military is, by sheer fact of its existence, a threat to any civilian government. If you have an institution that controls the overwhelming bulk of weaponry in a society, it always has the physical capacity to seize control of the government at gunpoint. A key question for any government is how to convince the armed forces that they cannot or should not take power for themselves.Democracies typically do this through a process called “professionalization.” Soldiers are rigorously taught to think of themselves as a class of public servants, people trained to perform a specific job within defined parameters. Their ultimate loyalty is not to their generals or even individual presidents, but rather to the people and the constitutional order.Samuel Huntington, the late Harvard political scientist, is the canonical theorist of a professional military. In his book The Soldier and the State, he described optimal professionalization as a system of “objective control”: one in which the military retains autonomy in how they fight and plan for wars while deferring to politicians on whether and why to fight in the first place. In effect, they stay out of the politicians’ affairs while the politicians stay out of theirs.The idea of such a system is to emphasize to the military that they are professionals: Their responsibility isn’t deciding when to use force, but only to conduct operations as effectively as possible once ordered to engage in them. There is thus a strict firewall between military affairs, on the one hand, and policy-political affairs on the other.Typically, the chief worry is that the military breaches this bargain: that, for example, a general starts speaking out against elected officials’ policies in ways that undermine civilian control. This is not a hypothetical fear in the United States, with the most famous such example being Gen. Douglas MacArthur’s insubordination during the Korean War. Thankfully, not even MacArthur attempted the worst-case version of military overstep — a coup.But in backsliding democracies like the modern United States, where the chief executive is attempting an anti-democratic power grab, the military poses a very different kind of threat to democracy — in fact, something akin to the exact opposite of the typical scenario.In such cases, the issue isn’t the military inserting itself into politics but rather the civilians dragging them into it in ways that upset the democratic political order. The worst-case scenario is that the military acts on presidential directives to use force against domestic dissenters, destroying democracy not by ignoring civilian orders, but by following them.There are two ways to arrive at such a worst-case scenario, both of which are in evidence in the early days of Trump 2.0.First is politicization: an intentional attack on the constraints against partisan activity inside the professional ranks.Many of Pete Hegseth’s major moves as secretary of defense fit this bill, including his decisions to fire nonwhite and female generals seen as politically unreliable and his effort to undermine the independence of the military’s lawyers. The breaches in protocol at Fort Bragg are both consequences and causes of politicization: They could only happen in an environment of loosened constraint, and they might encourage more overt political action if gone unpunished.The second pathway to breakdown is the weaponization of professionalism against itself. Here, Trump exploits the military’s deference to politicians by ordering it to engage in undemocratic (and even questionably legal) activities. In practice, this looks a lot like the LA deployments, and, more specifically, the lack of any visible military pushback. While the military readily agreeing to deployments is normally a good sign — that civilian control is holding — these aren’t normal times. And this isn’t a normal deployment, but rather one that comes uncomfortably close to the military being ordered to assist in repressing overwhelmingly peaceful demonstrations against executive abuses of power.“It’s really been pretty uncommon to use the military for law enforcement,” says David Burbach, another Naval War College professor (also speaking personally). “This is really bringing the military into frontline law enforcement when. … these are really not huge disturbances.”This, then, is the crisis: an incremental and slow-rolling effort by the Trump administration to erode the norms and procedures designed to prevent the military from being used as a tool of domestic repression. Is it time to panic?Among the experts I spoke with, there was consensus that the military’s professional and nonpartisan ethos was weakening. This isn’t just because of Trump, but his terms — the first to a degree, and now the second acutely — are major stressors.Yet there was no consensus on just how much military nonpartisanship has eroded — that is, how close we are to a moment when the US military might be willing to follow obviously authoritarian orders.For all its faults, the US military’s professional ethos is a really important part of its identity and self-conception. While few soldiers may actually read Sam Huntington or similar scholars, the general idea that they serve the people and the republic is a bedrock principle among the ranks. There is a reason why the United States has never, in over 250 years of governance, experienced a military coup — or even come particularly close to one.In theory, this ethos should also galvanize resistance to Trump’s efforts at politicization. Soldiers are not unthinking automatons: While they are trained to follow commands, they are explicitly obligated to refuse illegal orders, even coming from the president. The more aggressive Trump’s efforts to use the military as a tool of repression gets, the more likely there is to be resistance.Or, at least theoretically.The truth is that we don’t really know how the US military will respond to a situation like this. Like so many of Trump’s second-term policies, their efforts to bend the military to their will are unprecedented — actions with no real parallel in the modern history of the American military. Experts can only make informed guesses, based on their sense of US military culture as well as comparisons to historical and foreign cases.For this reason, there are probably only two things we can say with confidence.First, what we’ve seen so far is not yet sufficient evidence to declare that the military is in Trump’s thrall. The signs of decay are too limited to ground any conclusions that the longstanding professional norm is entirely gone.“We have seen a few things that are potentially alarming about erosion of the military’s non-partisan norm. But not in a way that’s definitive at this point,” Blankshain says.Second, the stressors on this tradition are going to keep piling on. Trump’s record makes it exceptionally clear that he wants the military to serve him personally — and that he, and Hegseth, will keep working to make it so. This means we really are in the midst of a quiet crisis, and will likely remain so for the foreseeable future.“The fact that he’s getting the troops to cheer for booing Democratic leaders at a time when there’s actually [a deployment to] a blue city and a blue state…he is ordering the troops to take a side,” Saideman says. “There may not be a coherent plan behind this. But there are a lot of things going on that are all in the same direction.”See More: Politics

Global sportswear leader Nike is reportedly preparing to release the Air Max 1000 Oatmeal, its first fully 3D printed sneaker, with a launch tentatively scheduled for Summer 2025. While Nike has yet to confirm an official release date, industry sources suggest the debut may occur sometime between June and August. The retail price is expected to be approximately $210. This model marks a step in Nike’s exploration of additive manufacturing (AM), enabled through a collaboration with Zellerfeld, a German startup known for its work in fully 3D printed footwear. Building Buzz Online The “Oatmeal” colorway—a neutral blend of soft beige tones—has already attracted attention on social platforms like TikTok, Instagram, and X. In April, content creator Janelle C. Shuttlesworth described the shoes as “light as air” in a video preview. Sneaker-focused accounts such as JustFreshKicks and TikTok user @shoehefner5 have also offered early walkthroughs. Among fans, the nickname “Foamy Oat” has started to catch on. Nike’s 3D printed Air Max 1000 Oatmeal. Photo via Janelle C. Shuttlesworth. Before generating buzz online, the sneaker made a public appearance at ComplexCon Las Vegas in November 2024. There, its laceless, sculptural silhouette and smooth, seamless texture stood out—merging futuristic design with signature Air Max elements, such as the visible heel air unit. Reimagining the Air Max Legacy Drawing inspiration from the original Air Max 1 (1987), the Air Max 1000 retains the iconic air cushion in the heel while reinventing the rest of the structure using 3D printing. The shoe’s upper and outsole are formed as a single, continuous piece, produced from ZellerFoam, a proprietary flexible material developed by Zellerfeld. Zellerfeld’s fused filament fabrication (FFF) process enables varied material densities throughout the shoe—resulting in a firm, supportive sole paired with a lightweight, breathable upper. The laceless, slip-on design prioritizes ease of wear while reinforcing a sleek, minimalist aesthetic. Nike’s Chief Innovation Officer, John Hoke, emphasized the broader impact of the design, noting that the Air Max 1000 “opens up new creative possibilities” and achieves levels of precision and contouring not possible with traditional footwear manufacturing. He also pointed to the sustainability benefits of AM, which produces minimal waste by fabricating only the necessary components. Expansion of 3D Printed Footwear Technology The Air Max 1000 joins a growing lineup of 3D printed footwear innovations from major brands. Gucci, the Italian luxury brand known for blending traditional craftsmanship with modern techniques, unveiled several Cub3d sneakers as part of its Spring Summer 2025 (SS25) collection. The brand developed Demetra, a material made from at least 70% plant-based ingredients, including viscose, wood pulp, and bio-based polyurethane. The bi-material sole combines an EVA-filled interior for cushioning and a TPU exterior, featuring an Interlocking G pattern that creates a 3D effect. Elsewhere, Syntilay, a footwear company combining artificial intelligence with 3D printing, launched a range of custom-fit slides. These slides are designed using AI-generated 3D models, starting with sketch-based concepts that are refined through AI platforms and then transformed into digital 3D designs. The company offers sizing adjustments based on smartphone foot scans, which are integrated into the manufacturing process. Join our Additive Manufacturing Advantage (AMAA) event on July 10th, where AM leaders from Aerospace, Space, and Defense come together to share mission-critical insights. Online and free to attend.Secure your spot now. Who won the2024 3D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletterto keep up with the latest 3D printing news. You can also follow us onLinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content. Featured image shows Nike’s 3D printed Air Max 1000 Oatmeal. Photo via Janelle C. Shuttlesworth. Paloma Duran Paloma Duran holds a BA in International Relations and an MA in Journalism. Specializing in writing, podcasting, and content and event creation, she works across politics, energy, mining, and technology. With a passion for global trends, Paloma is particularly interested in the impact of technology like 3D printing on shaping our future.