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fastcompany een koppeling hebt gedeeld

2025-05-15 03:56:33 ·

Is this the end of Figma prototypes?

Figma prototypes have been the go-to for years. For digital product designers crafting clickable mockups of apps, this powerhouse design platform hasn’t just gained popularity—it’s become the indispensable tool of choice.

Nearly every app, website, or digital experience that didn’t make you rage-quit was likely prototyped and rigorously tested in Figma before a single pixel was coded. The platform’s dominance is no accident.

Figma prototypes help product teams communicate direction, test early ideas, and align stakeholders around what’s being built. At design consultancies like ours, they’ve played a critical role in due diligence where we stress-test client concepts before writing a single line of code—saving countless development hours and budget dollars.

All of that is important, because the first version of any design is usually wrong. It’s based on assumptions about what users want or how they’ll behave. And if you ship based on those assumptions, you risk launching a broken experience that tanks in the market. That’s why prototyping for validation has been industry standard. And Figma has been the undisputed champion in the game the past 5+ years.

But with the blistering pace of AI, we may be approaching the end of the clickable prototype era as we know it.

AI can do more

Until now, prototypes were the fastest way to go from idea to experience. But new AI tools are starting to change that because they can:

Generate user interfacefrom a single prompt. UI is what you see and interact with on a screen, like buttons, menus, and layouts.

Simulate logic, state, and user paths. This shows how a digital product would work—how it reacts to choices, keeps track of information, and guides users through different steps.

Auto-populate realistic data and content. This instantly fills in a design with lifelike text, names, images, or numbers to show how it would look and feel in context.

Create testable product flows. AI tools can do this without manually connecting screens, letting you quickly explore how a user would move through the product. We’re not talking about wireframes anymore. We’re talking about high-fidelity simulations that look and feel like real software. Tiny testbeds for behavior. And they’re being spun up in actual seconds.

Instead of designing screens, we’re starting to describe outcomes. We’re shaping intent—and AI is helping us fill in the rest.

This is not just a faster way to prototype. It is a leap forward in how we go from an idea to something you can touch, click, and test. But make no mistake, it’s not replacing designers. Instead, it’s shifting their role—freeing them from repetitive tasks so they can focus on what really matters: understanding users, shaping strategy, and making sure the experience is not just functional, but human.

Communicate a vibe, not visuals

There’s a new term floating around in product circles: vibe coding. It’s the idea that instead of specifying exactly how something should look or function, we start by telling the AI the feeling we want a product to evoke. For example:

“Make it feel luxurious and calm, like checking into a boutique hotel.” “Should feel fast, responsive, and trustworthy—like booking a ride on Uber.”

And the AI? It generates an interface, interactions, even tone of voice—based on that emotional brief.

It’s not perfect. But it gets scarily close.

For designers and product leaders, this unlocks a wild new dimension: communicating vibe, not just visuals. You become a creative director of experience, not just a user experience lead pushing pixels.

It’s a shift from mechanics to meaning. From layout to language.

But let’s be real: The tools aren’t quite there yet.

They’re close. But not close enough to fully replace the fidelity, intentionality, and nuance that a designer brings to a clickable prototype.

AI misses the thoughtful transitions. The user context. The subtle decisions that are often the difference between something that works and something that clicks.

That said—it won’t be long before that’s possible.

Designers will evolve

We think we’ll see a hybrid approach emerge where designers don’t disappear, they evolve. Our predictions include:

AI-generated prototypes to quickly test concepts and assumptions

Clickable flows to align teams and create confidence

High-fidelity design systems built after AI confirms demand

AI copilots supporting live ideation, usability testing, and iteration

We’ll move from building UI blocks to shaping systems and behaviors. We’ll direct the choreography of an experience, rather than drawing every step.

Still, it’s time to lean in.

At Crema, our designers are still using Figma, and we’re still building prototypes. But we’re also exploring what’s next—because we believe in the power of using the right fidelity at the right time to move ideas forward.

If you’re leading a product team, this shift matters. Because the tools we use to test the viability of our ideas are about to get a serious upgrade.

George Brooks is CEO and founder of Crema.
#this #end #figma #prototypes

Is this the end of Figma prototypes?
Figma prototypes have been the go-to for years. For digital product designers crafting clickable mockups of apps, this powerhouse design platform hasn’t just gained popularity—it’s become the indispensable tool of choice. Nearly every app, website, or digital experience that didn’t make you rage-quit was likely prototyped and rigorously tested in Figma before a single pixel was coded. The platform’s dominance is no accident. Figma prototypes help product teams communicate direction, test early ideas, and align stakeholders around what’s being built. At design consultancies like ours, they’ve played a critical role in due diligence where we stress-test client concepts before writing a single line of code—saving countless development hours and budget dollars. All of that is important, because the first version of any design is usually wrong. It’s based on assumptions about what users want or how they’ll behave. And if you ship based on those assumptions, you risk launching a broken experience that tanks in the market. That’s why prototyping for validation has been industry standard. And Figma has been the undisputed champion in the game the past 5+ years. But with the blistering pace of AI, we may be approaching the end of the clickable prototype era as we know it. AI can do more Until now, prototypes were the fastest way to go from idea to experience. But new AI tools are starting to change that because they can: Generate user interfacefrom a single prompt. UI is what you see and interact with on a screen, like buttons, menus, and layouts. Simulate logic, state, and user paths. This shows how a digital product would work—how it reacts to choices, keeps track of information, and guides users through different steps. Auto-populate realistic data and content. This instantly fills in a design with lifelike text, names, images, or numbers to show how it would look and feel in context. Create testable product flows. AI tools can do this without manually connecting screens, letting you quickly explore how a user would move through the product. We’re not talking about wireframes anymore. We’re talking about high-fidelity simulations that look and feel like real software. Tiny testbeds for behavior. And they’re being spun up in actual seconds. Instead of designing screens, we’re starting to describe outcomes. We’re shaping intent—and AI is helping us fill in the rest. This is not just a faster way to prototype. It is a leap forward in how we go from an idea to something you can touch, click, and test. But make no mistake, it’s not replacing designers. Instead, it’s shifting their role—freeing them from repetitive tasks so they can focus on what really matters: understanding users, shaping strategy, and making sure the experience is not just functional, but human. Communicate a vibe, not visuals There’s a new term floating around in product circles: vibe coding. It’s the idea that instead of specifying exactly how something should look or function, we start by telling the AI the feeling we want a product to evoke. For example: “Make it feel luxurious and calm, like checking into a boutique hotel.” “Should feel fast, responsive, and trustworthy—like booking a ride on Uber.” And the AI? It generates an interface, interactions, even tone of voice—based on that emotional brief. It’s not perfect. But it gets scarily close. For designers and product leaders, this unlocks a wild new dimension: communicating vibe, not just visuals. You become a creative director of experience, not just a user experience lead pushing pixels. It’s a shift from mechanics to meaning. From layout to language. But let’s be real: The tools aren’t quite there yet. They’re close. But not close enough to fully replace the fidelity, intentionality, and nuance that a designer brings to a clickable prototype. AI misses the thoughtful transitions. The user context. The subtle decisions that are often the difference between something that works and something that clicks. That said—it won’t be long before that’s possible. Designers will evolve We think we’ll see a hybrid approach emerge where designers don’t disappear, they evolve. Our predictions include: AI-generated prototypes to quickly test concepts and assumptions Clickable flows to align teams and create confidence High-fidelity design systems built after AI confirms demand AI copilots supporting live ideation, usability testing, and iteration We’ll move from building UI blocks to shaping systems and behaviors. We’ll direct the choreography of an experience, rather than drawing every step. Still, it’s time to lean in. At Crema, our designers are still using Figma, and we’re still building prototypes. But we’re also exploring what’s next—because we believe in the power of using the right fidelity at the right time to move ideas forward. If you’re leading a product team, this shift matters. Because the tools we use to test the viability of our ideas are about to get a serious upgrade. George Brooks is CEO and founder of Crema. #this #end #figma #prototypes

WWW.FASTCOMPANY.COM

Is this the end of Figma prototypes?

Figma prototypes have been the go-to for years. For digital product designers crafting clickable mockups of apps, this powerhouse design platform hasn’t just gained popularity—it’s become the indispensable tool of choice. Nearly every app, website, or digital experience that didn’t make you rage-quit was likely prototyped and rigorously tested in Figma before a single pixel was coded. The platform’s dominance is no accident. Figma prototypes help product teams communicate direction, test early ideas, and align stakeholders around what’s being built. At design consultancies like ours, they’ve played a critical role in due diligence where we stress-test client concepts before writing a single line of code—saving countless development hours and budget dollars. All of that is important, because the first version of any design is usually wrong. It’s based on assumptions about what users want or how they’ll behave. And if you ship based on those assumptions, you risk launching a broken experience that tanks in the market. That’s why prototyping for validation has been industry standard. And Figma has been the undisputed champion in the game the past 5+ years. But with the blistering pace of AI, we may be approaching the end of the clickable prototype era as we know it. AI can do more Until now, prototypes were the fastest way to go from idea to experience. But new AI tools are starting to change that because they can: Generate user interface (UI) from a single prompt. UI is what you see and interact with on a screen, like buttons, menus, and layouts. Simulate logic, state, and user paths. This shows how a digital product would work—how it reacts to choices, keeps track of information, and guides users through different steps. Auto-populate realistic data and content. This instantly fills in a design with lifelike text, names, images, or numbers to show how it would look and feel in context. Create testable product flows. AI tools can do this without manually connecting screens, letting you quickly explore how a user would move through the product. We’re not talking about wireframes anymore. We’re talking about high-fidelity simulations that look and feel like real software. Tiny testbeds for behavior. And they’re being spun up in actual seconds. Instead of designing screens, we’re starting to describe outcomes. We’re shaping intent—and AI is helping us fill in the rest. This is not just a faster way to prototype. It is a leap forward in how we go from an idea to something you can touch, click, and test. But make no mistake, it’s not replacing designers. Instead, it’s shifting their role—freeing them from repetitive tasks so they can focus on what really matters: understanding users, shaping strategy, and making sure the experience is not just functional, but human. Communicate a vibe, not visuals There’s a new term floating around in product circles: vibe coding. It’s the idea that instead of specifying exactly how something should look or function, we start by telling the AI the feeling we want a product to evoke. For example: “Make it feel luxurious and calm, like checking into a boutique hotel.” “Should feel fast, responsive, and trustworthy—like booking a ride on Uber.” And the AI? It generates an interface, interactions, even tone of voice—based on that emotional brief. It’s not perfect (yet). But it gets scarily close. For designers and product leaders, this unlocks a wild new dimension: communicating vibe, not just visuals. You become a creative director of experience, not just a user experience lead pushing pixels. It’s a shift from mechanics to meaning. From layout to language. But let’s be real: The tools aren’t quite there yet. They’re close. But not close enough to fully replace the fidelity, intentionality, and nuance that a designer brings to a clickable prototype. AI misses the thoughtful transitions. The user context. The subtle decisions that are often the difference between something that works and something that clicks. That said—it won’t be long before that’s possible. Designers will evolve We think we’ll see a hybrid approach emerge where designers don’t disappear, they evolve. Our predictions include: AI-generated prototypes to quickly test concepts and assumptions Clickable flows to align teams and create confidence High-fidelity design systems built after AI confirms demand AI copilots supporting live ideation, usability testing, and iteration We’ll move from building UI blocks to shaping systems and behaviors. We’ll direct the choreography of an experience, rather than drawing every step. Still, it’s time to lean in. At Crema, our designers are still using Figma, and we’re still building prototypes. But we’re also exploring what’s next—because we believe in the power of using the right fidelity at the right time to move ideas forward. If you’re leading a product team, this shift matters. Because the tools we use to test the viability of our ideas are about to get a serious upgrade. George Brooks is CEO and founder of Crema.

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Creative Boom een koppeling hebt gedeeld

2025-05-14 23:52:34 ·

McVitie's Chocolate Digestives turn 100 with a campaign for the ages

To mark the 100th anniversary of McVitie's Chocolate Digestives, TBWA has launched a tongue-in-cheek campaign that positions the beloved snack alongside the wheel and the telephone in the canon of history's greatest human achievements. And frankly, they make a pretty compelling case.
The campaign, which rolled out across out-of-home, digital, experiential and PR, takes a playful but purposeful approach to celebrating the "Choc Dig" – as the team affectionately call it – as a cultural icon. "The brief was to reassert the 'Choc Dig' as an irreplaceable British icon, using its 100th anniversary to elevate it from a mass brand to a timeless one," says Matt Tassell, Creative at TBWA.
"We quickly realised that – despite its humble appearance and familiar reputation – the Choc Dig shares a number of traits with some of humanity's greatest inventions."
It's a wry, knowing comparison, but one that's underpinned by genuine admiration for the biscuit's staying power and cultural significance. "The joke is we're not joking," Matt explains. "There's a fun tension at play in the campaign, and the lighthearted tone of voice grounds the reverential visuals."

This tension plays out beautifully in the creative. Posters feature a giant Chocolate Digestive hovering above landscapes like some sort of snack-shaped Stonehenge, while a limited-run pop-up – The McVitie's Chocolate Digestives Experience – invited the public to indulge their inner biscuit nerd at London's Piccadilly Lights.
"Our iconic poster campaign featured a Choc Dig looming large above all else, so it was only fitting that we ran it on Europe's largest single digital billboard," says Matt. "The fact that the Experience was hosted at the very base of the Lights, in the very epicentre of the nation's capital, tied everything together in celebratory fashion and reinforced the magnitude of the Chocolate Digestive's place in British culture."
Of course, anniversaries like this are catnip for nostalgic Brits, but what elevates this campaign is the level of craft, humour and genuine storytelling across the full ecosystem. As Matt puts it, "We had a genuinely legendary product to play with and a simple, strong creative idea to anchor everything back to."
That clarity of vision allowed TBWA to deliver a campaign that feels cohesive across channels while also giving collaborators and media partners a clear framework with which to align.

At the heart of that framework is a distinct tone of voice that's affectionate, cheeky and quietly profound. It reminds people why they've loved Chocolate Digestives for so long but also hints at why they might continue to do so for the next hundred years. "We wanted to awaken some of that nostalgia and comfort," says Matt. "And playfully articulate its place in the world we all live in."
That articulation went far beyond traditional media into a series of large-scale activations, including DOOH takeovers and landmark projections, which brought the campaign to life in ways that felt both irreverent and ambitious.
"Bringing the DOOH and landmark projections to life meant juggling our big idea with even bigger tech," Matt admits. "There was plenty of discussion around timing, permissions, pixel capabilities, and, of course, the weather. But the payoff was more than worth it."

The use of cutting-edge digital media also speaks to the other narrative strand running through the campaign – one of innovation and reinvention. "The great thing about the Chocolate Digestive is that its longevity doesn't define it exclusively," says Matt. "It's always on the front foot, pushing out new NPDs and fresh twists on its iconic blueprint."
In other words, it's not just a relic of biscuit history – it's still a living, evolving part of British food culture.
That's where this campaign really shines: it doesn't just mark 100 years of something old; it positions McVitie's as a brand that understands how to stay relevant. "Like any good innovator, McVitie's is ever-curious," Matt says. "Constantly developing new products, flavours, and collaborations to win over the next generation of biscuit munchers. It's all about staying as relevant and pivotal to British culture today as it has been for the past century."
There's a lot to be said for a campaign that can simultaneously land a punchline, pull off a Piccadilly takeover, and plant the seed for future brand evolution. By treating the Chocolate Digestive with the same reverenceas history's greatest invention, TBWA has made a case for the biscuit as a British icon that continues to delight, surprise, and unite people across generations.
I mean, can't most problems be solved with a cup of tea and a biscuit?
#mcvitie039s #chocolate #digestives #turn #with

McVitie's Chocolate Digestives turn 100 with a campaign for the ages
To mark the 100th anniversary of McVitie's Chocolate Digestives, TBWA has launched a tongue-in-cheek campaign that positions the beloved snack alongside the wheel and the telephone in the canon of history's greatest human achievements. And frankly, they make a pretty compelling case. The campaign, which rolled out across out-of-home, digital, experiential and PR, takes a playful but purposeful approach to celebrating the "Choc Dig" – as the team affectionately call it – as a cultural icon. "The brief was to reassert the 'Choc Dig' as an irreplaceable British icon, using its 100th anniversary to elevate it from a mass brand to a timeless one," says Matt Tassell, Creative at TBWA. "We quickly realised that – despite its humble appearance and familiar reputation – the Choc Dig shares a number of traits with some of humanity's greatest inventions." It's a wry, knowing comparison, but one that's underpinned by genuine admiration for the biscuit's staying power and cultural significance. "The joke is we're not joking," Matt explains. "There's a fun tension at play in the campaign, and the lighthearted tone of voice grounds the reverential visuals." This tension plays out beautifully in the creative. Posters feature a giant Chocolate Digestive hovering above landscapes like some sort of snack-shaped Stonehenge, while a limited-run pop-up – The McVitie's Chocolate Digestives Experience – invited the public to indulge their inner biscuit nerd at London's Piccadilly Lights. "Our iconic poster campaign featured a Choc Dig looming large above all else, so it was only fitting that we ran it on Europe's largest single digital billboard," says Matt. "The fact that the Experience was hosted at the very base of the Lights, in the very epicentre of the nation's capital, tied everything together in celebratory fashion and reinforced the magnitude of the Chocolate Digestive's place in British culture." Of course, anniversaries like this are catnip for nostalgic Brits, but what elevates this campaign is the level of craft, humour and genuine storytelling across the full ecosystem. As Matt puts it, "We had a genuinely legendary product to play with and a simple, strong creative idea to anchor everything back to." That clarity of vision allowed TBWA to deliver a campaign that feels cohesive across channels while also giving collaborators and media partners a clear framework with which to align. At the heart of that framework is a distinct tone of voice that's affectionate, cheeky and quietly profound. It reminds people why they've loved Chocolate Digestives for so long but also hints at why they might continue to do so for the next hundred years. "We wanted to awaken some of that nostalgia and comfort," says Matt. "And playfully articulate its place in the world we all live in." That articulation went far beyond traditional media into a series of large-scale activations, including DOOH takeovers and landmark projections, which brought the campaign to life in ways that felt both irreverent and ambitious. "Bringing the DOOH and landmark projections to life meant juggling our big idea with even bigger tech," Matt admits. "There was plenty of discussion around timing, permissions, pixel capabilities, and, of course, the weather. But the payoff was more than worth it." The use of cutting-edge digital media also speaks to the other narrative strand running through the campaign – one of innovation and reinvention. "The great thing about the Chocolate Digestive is that its longevity doesn't define it exclusively," says Matt. "It's always on the front foot, pushing out new NPDs and fresh twists on its iconic blueprint." In other words, it's not just a relic of biscuit history – it's still a living, evolving part of British food culture. That's where this campaign really shines: it doesn't just mark 100 years of something old; it positions McVitie's as a brand that understands how to stay relevant. "Like any good innovator, McVitie's is ever-curious," Matt says. "Constantly developing new products, flavours, and collaborations to win over the next generation of biscuit munchers. It's all about staying as relevant and pivotal to British culture today as it has been for the past century." There's a lot to be said for a campaign that can simultaneously land a punchline, pull off a Piccadilly takeover, and plant the seed for future brand evolution. By treating the Chocolate Digestive with the same reverenceas history's greatest invention, TBWA has made a case for the biscuit as a British icon that continues to delight, surprise, and unite people across generations. I mean, can't most problems be solved with a cup of tea and a biscuit? #mcvitie039s #chocolate #digestives #turn #with

WWW.CREATIVEBOOM.COM

McVitie's Chocolate Digestives turn 100 with a campaign for the ages

To mark the 100th anniversary of McVitie's Chocolate Digestives, TBWA has launched a tongue-in-cheek campaign that positions the beloved snack alongside the wheel and the telephone in the canon of history's greatest human achievements. And frankly, they make a pretty compelling case. The campaign, which rolled out across out-of-home, digital, experiential and PR, takes a playful but purposeful approach to celebrating the "Choc Dig" – as the team affectionately call it – as a cultural icon. "The brief was to reassert the 'Choc Dig' as an irreplaceable British icon, using its 100th anniversary to elevate it from a mass brand to a timeless one," says Matt Tassell, Creative at TBWA. "We quickly realised that – despite its humble appearance and familiar reputation – the Choc Dig shares a number of traits with some of humanity's greatest inventions." It's a wry, knowing comparison, but one that's underpinned by genuine admiration for the biscuit's staying power and cultural significance. "The joke is we're not joking," Matt explains. "There's a fun tension at play in the campaign, and the lighthearted tone of voice grounds the reverential visuals." This tension plays out beautifully in the creative. Posters feature a giant Chocolate Digestive hovering above landscapes like some sort of snack-shaped Stonehenge, while a limited-run pop-up – The McVitie's Chocolate Digestives Experience – invited the public to indulge their inner biscuit nerd at London's Piccadilly Lights. "Our iconic poster campaign featured a Choc Dig looming large above all else, so it was only fitting that we ran it on Europe's largest single digital billboard," says Matt. "The fact that the Experience was hosted at the very base of the Lights, in the very epicentre of the nation's capital, tied everything together in celebratory fashion and reinforced the magnitude of the Chocolate Digestive's place in British culture." Of course, anniversaries like this are catnip for nostalgic Brits (myself included), but what elevates this campaign is the level of craft, humour and genuine storytelling across the full ecosystem. As Matt puts it, "We had a genuinely legendary product to play with and a simple, strong creative idea to anchor everything back to." That clarity of vision allowed TBWA to deliver a campaign that feels cohesive across channels while also giving collaborators and media partners a clear framework with which to align. At the heart of that framework is a distinct tone of voice that's affectionate, cheeky and quietly profound. It reminds people why they've loved Chocolate Digestives for so long but also hints at why they might continue to do so for the next hundred years. "We wanted to awaken some of that nostalgia and comfort," says Matt. "And playfully articulate its place in the world we all live in." That articulation went far beyond traditional media into a series of large-scale activations, including DOOH takeovers and landmark projections, which brought the campaign to life in ways that felt both irreverent and ambitious. "Bringing the DOOH and landmark projections to life meant juggling our big idea with even bigger tech," Matt admits. "There was plenty of discussion around timing, permissions, pixel capabilities, and, of course, the weather (how very British). But the payoff was more than worth it." The use of cutting-edge digital media also speaks to the other narrative strand running through the campaign – one of innovation and reinvention. "The great thing about the Chocolate Digestive is that its longevity doesn't define it exclusively," says Matt. "It's always on the front foot, pushing out new NPDs and fresh twists on its iconic blueprint." In other words, it's not just a relic of biscuit history – it's still a living, evolving part of British food culture. That's where this campaign really shines: it doesn't just mark 100 years of something old; it positions McVitie's as a brand that understands how to stay relevant. "Like any good innovator, McVitie's is ever-curious," Matt says. "Constantly developing new products, flavours, and collaborations to win over the next generation of biscuit munchers. It's all about staying as relevant and pivotal to British culture today as it has been for the past century." There's a lot to be said for a campaign that can simultaneously land a punchline, pull off a Piccadilly takeover, and plant the seed for future brand evolution. By treating the Chocolate Digestive with the same reverence (and irreverence) as history's greatest invention, TBWA has made a case for the biscuit as a British icon that continues to delight, surprise, and unite people across generations. I mean, can't most problems be solved with a cup of tea and a biscuit?

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Gadgets 360 een koppeling hebt gedeeld

2025-05-14 23:15:09 ·

Microsoft 365 Apps to Receive Security Updates on Windows 10 Until 2028

Microsoft 365 apps on Windows 10 will continue to receive updates after the company drops support for the older version of its desktop operating system. The Redmond-based tech giant recently updated its support page to announce that the Microsoft 365 appswill continue to get security updates on Windows 10 until 2028. The company made a U-turn on its previous decision to drop support for these apps on the older OS version after October 14. Microsoft has been aggressively pushing businesses and individuals to upgrade to Windows 11. This is likely because the Copilot suite of artificial intelligencefeatures is only available on the latest version of Windows.Microsoft Decides to Keep Updating Microsoft 365 Apps on Windows 10In its updated support article, the tech giant now says, “Microsoft will continue providing security updates for Microsoft 365 Apps on Windows 10 for three years after Windows 10 reaches end of support.” These will be available via the company's standard update channels, and end on October 10, 2028. The company said that the extension was provided to help maintain security while users transition to Windows 11.Even if users do not upgrade to Windows 11 after the support ends, they will be able to use the Office apps. However, as Microsoft notes in the document, using an unsupported operating system can cause performance and reliability issues. Further, without security updates, these systems are also vulnerable to malware, viruses, and hacking attempts.Microsoft has been aggressively pushing Windows 10 users to upgrade to the latest generation. At the Consumer Electronics Show2025, the tech giant declared the ongoing year as “the year of the Windows 11 PC refresh.” The push is understandable, given that the company is heavily investing in Copilot+ PCs, which come equipped with a range of AI features.The company has also created subscription tiers for both enterprises and individuals to access these AI features. However, Microsoft will not be able to fully monetise its offerings unless its entire user base can access these features.

But a marketing push might not be enough. According to The Verge, Microsoft has very strict hardware requirements for Windows 11, rendering millions of computers unable to upgrade to the latest operating system. The only way these users can switch to Windows 11 is if they purchase new PCs.

For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube.

Further reading:
Microsoft, Windows 10, Windows 11, Microsoft 365 Apps

Akash Dutta

Akash Dutta is a Senior Sub Editor at Gadgets 360. He is particularly interested in the social impact of technological developments and loves reading about emerging fields such as AI, metaverse, and fediverse. In his free time, he can be seen supporting his favourite football club - Chelsea, watching movies and anime, and sharing passionate opinions on food.
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#microsoft #apps #receive #security #updates

Microsoft 365 Apps to Receive Security Updates on Windows 10 Until 2028
Microsoft 365 apps on Windows 10 will continue to receive updates after the company drops support for the older version of its desktop operating system. The Redmond-based tech giant recently updated its support page to announce that the Microsoft 365 appswill continue to get security updates on Windows 10 until 2028. The company made a U-turn on its previous decision to drop support for these apps on the older OS version after October 14. Microsoft has been aggressively pushing businesses and individuals to upgrade to Windows 11. This is likely because the Copilot suite of artificial intelligencefeatures is only available on the latest version of Windows.Microsoft Decides to Keep Updating Microsoft 365 Apps on Windows 10In its updated support article, the tech giant now says, “Microsoft will continue providing security updates for Microsoft 365 Apps on Windows 10 for three years after Windows 10 reaches end of support.” These will be available via the company's standard update channels, and end on October 10, 2028. The company said that the extension was provided to help maintain security while users transition to Windows 11.Even if users do not upgrade to Windows 11 after the support ends, they will be able to use the Office apps. However, as Microsoft notes in the document, using an unsupported operating system can cause performance and reliability issues. Further, without security updates, these systems are also vulnerable to malware, viruses, and hacking attempts.Microsoft has been aggressively pushing Windows 10 users to upgrade to the latest generation. At the Consumer Electronics Show2025, the tech giant declared the ongoing year as “the year of the Windows 11 PC refresh.” The push is understandable, given that the company is heavily investing in Copilot+ PCs, which come equipped with a range of AI features.The company has also created subscription tiers for both enterprises and individuals to access these AI features. However, Microsoft will not be able to fully monetise its offerings unless its entire user base can access these features. But a marketing push might not be enough. According to The Verge, Microsoft has very strict hardware requirements for Windows 11, rendering millions of computers unable to upgrade to the latest operating system. The only way these users can switch to Windows 11 is if they purchase new PCs. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: Microsoft, Windows 10, Windows 11, Microsoft 365 Apps Akash Dutta Akash Dutta is a Senior Sub Editor at Gadgets 360. He is particularly interested in the social impact of technological developments and loves reading about emerging fields such as AI, metaverse, and fediverse. In his free time, he can be seen supporting his favourite football club - Chelsea, watching movies and anime, and sharing passionate opinions on food. More Related Stories #microsoft #apps #receive #security #updates

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Microsoft 365 Apps to Receive Security Updates on Windows 10 Until 2028

Microsoft 365 apps on Windows 10 will continue to receive updates after the company drops support for the older version of its desktop operating system. The Redmond-based tech giant recently updated its support page to announce that the Microsoft 365 apps (also known as Office apps) will continue to get security updates on Windows 10 until 2028. The company made a U-turn on its previous decision to drop support for these apps on the older OS version after October 14. Microsoft has been aggressively pushing businesses and individuals to upgrade to Windows 11. This is likely because the Copilot suite of artificial intelligence (AI) features is only available on the latest version of Windows.Microsoft Decides to Keep Updating Microsoft 365 Apps on Windows 10In its updated support article, the tech giant now says, “Microsoft will continue providing security updates for Microsoft 365 Apps on Windows 10 for three years after Windows 10 reaches end of support.” These will be available via the company's standard update channels, and end on October 10, 2028. The company said that the extension was provided to help maintain security while users transition to Windows 11.Even if users do not upgrade to Windows 11 after the support ends, they will be able to use the Office apps. However, as Microsoft notes in the document, using an unsupported operating system can cause performance and reliability issues. Further, without security updates, these systems are also vulnerable to malware, viruses, and hacking attempts.Microsoft has been aggressively pushing Windows 10 users to upgrade to the latest generation. At the Consumer Electronics Show (CES) 2025, the tech giant declared the ongoing year as “the year of the Windows 11 PC refresh.” The push is understandable, given that the company is heavily investing in Copilot+ PCs, which come equipped with a range of AI features.The company has also created subscription tiers for both enterprises and individuals to access these AI features. However, Microsoft will not be able to fully monetise its offerings unless its entire user base can access these features. But a marketing push might not be enough. According to The Verge, Microsoft has very strict hardware requirements for Windows 11, rendering millions of computers unable to upgrade to the latest operating system. The only way these users can switch to Windows 11 is if they purchase new PCs. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: Microsoft, Windows 10, Windows 11, Microsoft 365 Apps Akash Dutta Akash Dutta is a Senior Sub Editor at Gadgets 360. He is particularly interested in the social impact of technological developments and loves reading about emerging fields such as AI, metaverse, and fediverse. In his free time, he can be seen supporting his favourite football club - Chelsea, watching movies and anime, and sharing passionate opinions on food. More Related Stories

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2025-05-14 22:19:47 ·

Nexon says it's "delivering on promises" as it posts Q1 2025 results

Nexon says it's "delivering on promises" as it posts Q1 2025 results
Three biggest franchises deliver "aggregate 21% year-over-year growth"

Image credit: Nexon

News

by Vikki Blake
Contributor

Published on May 14, 2025

Maple Story publisher Nexon has released its Q1 2025-26 fiscal year earnings report, posting modest boosts in revenue and operating income.
Nexon's three biggest franchises - Dungeon&Fighter, Maple Story, and FC - delivered an "aggregate 21% year-over-year growth", up from 8% in Q4 2024.
The Numbers:
For the first quarter 2025

Revenue: ¥113.9 billionOperating income: ¥41.6 billionNet income: ¥26.3 billionThe Highlights:
Nexon's Dungeon&Fighter franchise delivered 60% year-over-year growth in Q1, driven by "contributions from Dungeon&Fighter Mobile in China and the global release of The First Berserker: Khazan." In Q2, Nexon expects franchise revenue to decline by approximately 40% "due to a difficult comparison with the explosive launch of Dungeon&Fighter Mobile one year ago, which increased franchise revenue by 162%."
While FC Online's Q1 revenue exceeded expectations, FC Mobile fell short, pushing the franchise into a year-over-year decline, if coming in within the expected range. However, Nexon expects player "excitement" to increase as we edge closer to the 2026 World Cup.
Maple Story, however, grew revenues of 8% YoY, "primarily driven by the strong performance of MapleStory in Korea and the West," with December's large winter update driving "strong improvements to player engagement, resulting in a 43% year-over-year increase in Q1 revenue, which exceeded outlook."
Shooter The First Descendant Q1 revenue "fell below" expectations due to "lower-than-anticipated sales from a new episode of Season 2, but player metrics improved," whilst The Finals Q1 came in at the higher end of predicted performance "supported by the Season 6 update in March, which generated improvements to key player metrics." Additional momentum is expected from new content planned for May.
A large, global tech test for ARC Raiders conducted earlier this month "significantly exceeded expectations for key metrics", including wishlisting on Steam.
Looking ahead
Nexon expects revenue across Q2 2025 to be in the range of ¥99.6 billion to ¥110.3 billion, down 10 to 19% year-over-year.
Operating income and expected net income are also expected to fall by 50%-31% and 58%-42%, respectively, to in the range of ¥22.5 billion to ¥31.1 billion and ¥16.8 billion to ¥23.3 billion.
However, Nexon expects Maple Story to grow approximately 20% year over year next quarter.
“Nexon is delivering on its promises to our players and our investors,” said Junghun Lee, president and CEO of Nexon. “In the past three months we saw a recovery in our key titles, Dungeon&Fighter and Maple Story, and launched two new games: The First Berserker: Khazan and Mabinogi Mobile. And we are making solid progress in our partnership initiatives with Tencent, including the release of new co-developed content for Dungeon&Fighter Mobile later this year and pre-registrations on The Finals and The First Berserker: Khazan in China.
"And in another breakthrough in our global expansion strategy, Embark Studios recently completed a large test on a new game, ARC Raiders, which exceeded our expectations for YouTube and Twitch views, and beat our wishlist goal on Steam by 50%. The Embark team is now working to integrate player feedback and polish the game ahead of the launch.
“Despite global economic turmoil, Nexon is deeply resilient and positioned for sustained growth," he added. "Our company is anchored by recurring revenue from multiple established franchises, a clearly defined growth plan, a robust pipeline of new games, strategic partnership for capturing growth opportunities in large markets, world-class live operations, and a balance sheet with approximately ¥600 billion in cash which can be used to capture new opportunities and enhance shareholder returns.”
#nexon #says #it039s #quotdelivering #promisesquot

Nexon says it's "delivering on promises" as it posts Q1 2025 results
Nexon says it's "delivering on promises" as it posts Q1 2025 results Three biggest franchises deliver "aggregate 21% year-over-year growth" Image credit: Nexon News by Vikki Blake Contributor Published on May 14, 2025 Maple Story publisher Nexon has released its Q1 2025-26 fiscal year earnings report, posting modest boosts in revenue and operating income. Nexon's three biggest franchises - Dungeon&Fighter, Maple Story, and FC - delivered an "aggregate 21% year-over-year growth", up from 8% in Q4 2024. The Numbers: For the first quarter 2025 Revenue: ¥113.9 billionOperating income: ¥41.6 billionNet income: ¥26.3 billionThe Highlights: Nexon's Dungeon&Fighter franchise delivered 60% year-over-year growth in Q1, driven by "contributions from Dungeon&Fighter Mobile in China and the global release of The First Berserker: Khazan." In Q2, Nexon expects franchise revenue to decline by approximately 40% "due to a difficult comparison with the explosive launch of Dungeon&Fighter Mobile one year ago, which increased franchise revenue by 162%." While FC Online's Q1 revenue exceeded expectations, FC Mobile fell short, pushing the franchise into a year-over-year decline, if coming in within the expected range. However, Nexon expects player "excitement" to increase as we edge closer to the 2026 World Cup. Maple Story, however, grew revenues of 8% YoY, "primarily driven by the strong performance of MapleStory in Korea and the West," with December's large winter update driving "strong improvements to player engagement, resulting in a 43% year-over-year increase in Q1 revenue, which exceeded outlook." Shooter The First Descendant Q1 revenue "fell below" expectations due to "lower-than-anticipated sales from a new episode of Season 2, but player metrics improved," whilst The Finals Q1 came in at the higher end of predicted performance "supported by the Season 6 update in March, which generated improvements to key player metrics." Additional momentum is expected from new content planned for May. A large, global tech test for ARC Raiders conducted earlier this month "significantly exceeded expectations for key metrics", including wishlisting on Steam. Looking ahead Nexon expects revenue across Q2 2025 to be in the range of ¥99.6 billion to ¥110.3 billion, down 10 to 19% year-over-year. Operating income and expected net income are also expected to fall by 50%-31% and 58%-42%, respectively, to in the range of ¥22.5 billion to ¥31.1 billion and ¥16.8 billion to ¥23.3 billion. However, Nexon expects Maple Story to grow approximately 20% year over year next quarter. “Nexon is delivering on its promises to our players and our investors,” said Junghun Lee, president and CEO of Nexon. “In the past three months we saw a recovery in our key titles, Dungeon&Fighter and Maple Story, and launched two new games: The First Berserker: Khazan and Mabinogi Mobile. And we are making solid progress in our partnership initiatives with Tencent, including the release of new co-developed content for Dungeon&Fighter Mobile later this year and pre-registrations on The Finals and The First Berserker: Khazan in China. "And in another breakthrough in our global expansion strategy, Embark Studios recently completed a large test on a new game, ARC Raiders, which exceeded our expectations for YouTube and Twitch views, and beat our wishlist goal on Steam by 50%. The Embark team is now working to integrate player feedback and polish the game ahead of the launch. “Despite global economic turmoil, Nexon is deeply resilient and positioned for sustained growth," he added. "Our company is anchored by recurring revenue from multiple established franchises, a clearly defined growth plan, a robust pipeline of new games, strategic partnership for capturing growth opportunities in large markets, world-class live operations, and a balance sheet with approximately ¥600 billion in cash which can be used to capture new opportunities and enhance shareholder returns.” #nexon #says #it039s #quotdelivering #promisesquot

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Nexon says it's "delivering on promises" as it posts Q1 2025 results

Nexon says it's "delivering on promises" as it posts Q1 2025 results Three biggest franchises deliver "aggregate 21% year-over-year growth" Image credit: Nexon News by Vikki Blake Contributor Published on May 14, 2025 Maple Story publisher Nexon has released its Q1 2025-26 fiscal year earnings report, posting modest boosts in revenue and operating income. Nexon's three biggest franchises - Dungeon&Fighter, Maple Story, and FC - delivered an "aggregate 21% year-over-year growth", up from 8% in Q4 2024. The Numbers: For the first quarter 2025 Revenue: ¥113.9 billion ($775.9 million, up 5% year-over-year) Operating income: ¥41.6 billion ($283 million, up 43% year-over-year) Net income: ¥26.3 billion ($179 million, down 31% year-over-year) The Highlights: Nexon's Dungeon&Fighter franchise delivered 60% year-over-year growth in Q1, driven by "contributions from Dungeon&Fighter Mobile in China and the global release of The First Berserker: Khazan." In Q2, Nexon expects franchise revenue to decline by approximately 40% "due to a difficult comparison with the explosive launch of Dungeon&Fighter Mobile one year ago, which increased franchise revenue by 162%." While FC Online's Q1 revenue exceeded expectations, FC Mobile fell short, pushing the franchise into a year-over-year decline, if coming in within the expected range. However, Nexon expects player "excitement" to increase as we edge closer to the 2026 World Cup. Maple Story, however, grew revenues of 8% YoY, "primarily driven by the strong performance of MapleStory in Korea and the West," with December's large winter update driving "strong improvements to player engagement, resulting in a 43% year-over-year increase in Q1 revenue, which exceeded outlook." Shooter The First Descendant Q1 revenue "fell below" expectations due to "lower-than-anticipated sales from a new episode of Season 2, but player metrics improved," whilst The Finals Q1 came in at the higher end of predicted performance "supported by the Season 6 update in March, which generated improvements to key player metrics." Additional momentum is expected from new content planned for May. A large, global tech test for ARC Raiders conducted earlier this month "significantly exceeded expectations for key metrics", including wishlisting on Steam. Looking ahead Nexon expects revenue across Q2 2025 to be in the range of ¥99.6 billion to ¥110.3 billion, down 10 to 19% year-over-year. Operating income and expected net income are also expected to fall by 50%-31% and 58%-42%, respectively, to in the range of ¥22.5 billion to ¥31.1 billion and ¥16.8 billion to ¥23.3 billion. However, Nexon expects Maple Story to grow approximately 20% year over year next quarter. “Nexon is delivering on its promises to our players and our investors,” said Junghun Lee, president and CEO of Nexon. “In the past three months we saw a recovery in our key titles, Dungeon&Fighter and Maple Story, and launched two new games: The First Berserker: Khazan and Mabinogi Mobile. And we are making solid progress in our partnership initiatives with Tencent, including the release of new co-developed content for Dungeon&Fighter Mobile later this year and pre-registrations on The Finals and The First Berserker: Khazan in China. "And in another breakthrough in our global expansion strategy, Embark Studios recently completed a large test on a new game, ARC Raiders, which exceeded our expectations for YouTube and Twitch views, and beat our wishlist goal on Steam by 50%. The Embark team is now working to integrate player feedback and polish the game ahead of the launch. “Despite global economic turmoil, Nexon is deeply resilient and positioned for sustained growth," he added. "Our company is anchored by recurring revenue from multiple established franchises, a clearly defined growth plan, a robust pipeline of new games, strategic partnership for capturing growth opportunities in large markets, world-class live operations, and a balance sheet with approximately ¥600 billion in cash which can be used to capture new opportunities and enhance shareholder returns.”

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2025-05-14 20:54:35 ·

Ubisoft Remains Unprofitable, Sales Drop 17% in 2024-25

At this point, it's fair to say that 2024 has been the most disastrous year in Ubisoft's history as far as reputation and goodwill within the gaming community are concerned, with the studio releasing flop after flop, angering players with questionable statements, pushing out NFT games, and seemingly doing everything under the sun to make itself seem as unlikeable as it can be.But reputation is but a smaller part of what keeps big-league AAA studios afloat, with their financial performance being a far more important element. Now, Ubisoft has finally released its financial report for the full year 2024-25, giving us insight into how one of the most disliked game developers has fared money-wise during its most turbulent 12 months to date.UbisoftSurprising virtually no one, the report shows that the company remains unprofitable, posting an €82.6 million loss in IFRS operating income and a €15.1 million loss in non-IFRS operating income.The studio's sales totaled €1.9 billion for the year, a 17.5% drop from last year's €2.3 billion, while net bookings reached €1.85 billion, a 20.5% decline from €2.3 billion in 2023-24. Although Ubisoft slightly improved its debt position in 2024, it still carries €885 million in debt, which it plans to cover in FY2025-26 by finalizing its deal with Tencent.In light of this performance, Ubisoft plans to continue laying off its developers, revealing that around 1,230 employees were terminated in 2024-25 – which helped them achieve €200m reduction in the fixed cost base ahead of schedule – and stating that it intends to reduce its fixed cost base by at least an additional €100 million over the next two years through "ongoing targeted restructurings and strict control on recruitments."Despite their losses, the culture of toxic positivity within Ubisoft continues to thrive, with the studio describing its biggest release of the year, Assassin's Creed Shadows, as a great success. In the report, the company repeated its earlier talking points about Shadows achieving the second-highest Day 1 sales revenue in franchise history and setting a new Day 1 record for Ubisoft on the PlayStation Store, proclaiming that the game holds a 91/100 average player score across first-party stores.Neither the number of Shadows' copies sold nor the revenue it generated for Ubisoft has been disclosed, which is also not surprising in the slightest, given Ubisoft's past tendency to disclose player numbers rather than actual sales.Also worth pointing out is the report breaking down the studio's net bookings by platform. Over the past twelve months, console sales accounted for 45% of net bookings, PC for 31%, mobile for 16%, and the remaining 8% went to other platforms. Compared to 2023-24 figures, the studio lost some ground on consolesbut gained on mobile.Check out the full report here and don't forget to join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more.
#ubisoft #remains #unprofitable #sales #drop

Ubisoft Remains Unprofitable, Sales Drop 17% in 2024-25
At this point, it's fair to say that 2024 has been the most disastrous year in Ubisoft's history as far as reputation and goodwill within the gaming community are concerned, with the studio releasing flop after flop, angering players with questionable statements, pushing out NFT games, and seemingly doing everything under the sun to make itself seem as unlikeable as it can be.But reputation is but a smaller part of what keeps big-league AAA studios afloat, with their financial performance being a far more important element. Now, Ubisoft has finally released its financial report for the full year 2024-25, giving us insight into how one of the most disliked game developers has fared money-wise during its most turbulent 12 months to date.UbisoftSurprising virtually no one, the report shows that the company remains unprofitable, posting an €82.6 million loss in IFRS operating income and a €15.1 million loss in non-IFRS operating income.The studio's sales totaled €1.9 billion for the year, a 17.5% drop from last year's €2.3 billion, while net bookings reached €1.85 billion, a 20.5% decline from €2.3 billion in 2023-24. Although Ubisoft slightly improved its debt position in 2024, it still carries €885 million in debt, which it plans to cover in FY2025-26 by finalizing its deal with Tencent.In light of this performance, Ubisoft plans to continue laying off its developers, revealing that around 1,230 employees were terminated in 2024-25 – which helped them achieve €200m reduction in the fixed cost base ahead of schedule – and stating that it intends to reduce its fixed cost base by at least an additional €100 million over the next two years through "ongoing targeted restructurings and strict control on recruitments."Despite their losses, the culture of toxic positivity within Ubisoft continues to thrive, with the studio describing its biggest release of the year, Assassin's Creed Shadows, as a great success. In the report, the company repeated its earlier talking points about Shadows achieving the second-highest Day 1 sales revenue in franchise history and setting a new Day 1 record for Ubisoft on the PlayStation Store, proclaiming that the game holds a 91/100 average player score across first-party stores.Neither the number of Shadows' copies sold nor the revenue it generated for Ubisoft has been disclosed, which is also not surprising in the slightest, given Ubisoft's past tendency to disclose player numbers rather than actual sales.Also worth pointing out is the report breaking down the studio's net bookings by platform. Over the past twelve months, console sales accounted for 45% of net bookings, PC for 31%, mobile for 16%, and the remaining 8% went to other platforms. Compared to 2023-24 figures, the studio lost some ground on consolesbut gained on mobile.Check out the full report here and don't forget to join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more. #ubisoft #remains #unprofitable #sales #drop

80.LV

Ubisoft Remains Unprofitable, Sales Drop 17% in 2024-25

At this point, it's fair to say that 2024 has been the most disastrous year in Ubisoft's history as far as reputation and goodwill within the gaming community are concerned, with the studio releasing flop after flop, angering players with questionable statements, pushing out NFT games, and seemingly doing everything under the sun to make itself seem as unlikeable as it can be.But reputation is but a smaller part of what keeps big-league AAA studios afloat, with their financial performance being a far more important element. Now, Ubisoft has finally released its financial report for the full year 2024-25, giving us insight into how one of the most disliked game developers has fared money-wise during its most turbulent 12 months to date.UbisoftSurprising virtually no one, the report shows that the company remains unprofitable, posting an €82.6 million loss in IFRS operating income and a €15.1 million loss in non-IFRS operating income.The studio's sales totaled €1.9 billion for the year, a 17.5% drop from last year's €2.3 billion, while net bookings reached €1.85 billion, a 20.5% decline from €2.3 billion in 2023-24. Although Ubisoft slightly improved its debt position in 2024, it still carries €885 million in debt, which it plans to cover in FY2025-26 by finalizing its deal with Tencent.In light of this performance, Ubisoft plans to continue laying off its developers, revealing that around 1,230 employees were terminated in 2024-25 – which helped them achieve €200m reduction in the fixed cost base ahead of schedule – and stating that it intends to reduce its fixed cost base by at least an additional €100 million over the next two years through "ongoing targeted restructurings and strict control on recruitments."Despite their losses, the culture of toxic positivity within Ubisoft continues to thrive, with the studio describing its biggest release of the year, Assassin's Creed Shadows, as a great success. In the report, the company repeated its earlier talking points about Shadows achieving the second-highest Day 1 sales revenue in franchise history and setting a new Day 1 record for Ubisoft on the PlayStation Store, proclaiming that the game holds a 91/100 average player score across first-party stores.Neither the number of Shadows' copies sold nor the revenue it generated for Ubisoft has been disclosed, which is also not surprising in the slightest, given Ubisoft's past tendency to disclose player numbers rather than actual sales.Also worth pointing out is the report breaking down the studio's net bookings by platform. Over the past twelve months, console sales accounted for 45% of net bookings, PC for 31%, mobile for 16%, and the remaining 8% went to other platforms. Compared to 2023-24 figures, the studio lost some ground on consoles (which made up 56% last year) but gained on mobile (up from just 6%).Check out the full report here and don't forget to join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more.

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2025-05-14 16:32:06 ·

Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix

We all saw this coming

Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix

WBD is relenting on trying to get everyone to sign up for its streaming service.

Scharon Harding

–

May 14, 2025 12:27 pm

|

0

The new logo looks familiar.

The new logo looks familiar.

Story text

Size

Small
Standard
Large

Width
*

Standard
Wide

Links

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* Subscribers only
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Warner Bros. Discovery'sstreaming service Max will be called HBO Max starting this summer, bringing back a name that WBD curiously ditched a couple of years ago.
In May 2020, the company then known as WarnerMedia Group launched its flagship streaming service, HBO Max. The successor to the HBO Now subscription-based streaming service that launched in 2014, and not to be confused with the now-defunct HBO Go, HBO Max offered “the entire HBO service,” per WarnerMedia’s announcement. HBO Max also combined content from other titles WarnerMedia owned, including titles from DC Comics and Cartoon Network. But the main draw continued to be the ability to stream HBO’s prestigious library via a Netflix-like streaming subscription.
When WarnerMedia acquired Discovery in 2022 and became WBD, it sought to combine the libraries of HBO Max and the Discovery+ streaming service. WBD landed on Max as the name for the combined app. The name seemed to suggest access to a maximum amount of streaming content with maximum appeal. However, it questionably distanced itself from the legacy of high-budget, award-winning TV shows and recent popular movies that the HBO brand had been building since 1972.
Max wasn’t just about pushing the high-end stuff you’d expect from HBO but also reality shows from Discovery, including 90 Day Fiancé and Naked and Afraid. WBD CEO David Zaslav’s management team “concluded that the ‘HBO’ in the name positioned the general entertainment service as slightly too rarified to match rivals like Disney+ or Netflix,” Deadline reported at the time.

Today, Zaslav and company are doing an about-face, with the CEO saying that WBD is “bringing back HBO, the brand that represents the highest quality in media, to further accelerate” the streaming service’s “growth in the years ahead.”
WBD's announcement added that “returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect from the offering.”
“It is also a testament to WBD’s willingness to keep boldly iterating its strategy and approach—leaning heavily on consumer data and insights—to best position itself for success,” the media conglomerate claimed.
“Not everything for everyone”
The announcement is a result of WBD rethinking its streaming strategy as leadership acknowledges that it failed to sell Max as an essential streaming service.
Last month, executives admitted that Max is viewed as more of an add-on service, per The Wall Street Journal. Executives said at the time that they no longer want to try to push its streaming service as something for every member of the household.
“What people want from us in a world where they’ve got Netflix and Amazonare those things that differentiate us,” Casey Bloys, chairman and CEO of HBO and Max content, told WSJ.
The strategy pivot since has included moving further away from children’s programming and some Discovery content, like shows from the Food Network and HGTV. There have also been reports of WBD exploring splitting Discovery from Max.
“We’re not fighting for the more-is-better game,” JB Perrette, WBD's streaming president and CEO, told WSJ. “We’ll let others deal with the volume.”
In today’s announcement, Perrette doubled down on those sentiments:
We will continue to focus on what makes us unique—not everything for everyone in a household, but something distinct and great for adults and families. It’s really not subjective, not even controversial—our programming just hits different.

Scharon Harding
Senior Technology Reporter

Scharon Harding
Senior Technology Reporter

Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She's been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK.

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#max #pivots #back #hbo #wbd

Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix
We all saw this coming Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix WBD is relenting on trying to get everyone to sign up for its streaming service. Scharon Harding – May 14, 2025 12:27 pm | 0 The new logo looks familiar. The new logo looks familiar. Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Warner Bros. Discovery'sstreaming service Max will be called HBO Max starting this summer, bringing back a name that WBD curiously ditched a couple of years ago. In May 2020, the company then known as WarnerMedia Group launched its flagship streaming service, HBO Max. The successor to the HBO Now subscription-based streaming service that launched in 2014, and not to be confused with the now-defunct HBO Go, HBO Max offered “the entire HBO service,” per WarnerMedia’s announcement. HBO Max also combined content from other titles WarnerMedia owned, including titles from DC Comics and Cartoon Network. But the main draw continued to be the ability to stream HBO’s prestigious library via a Netflix-like streaming subscription. When WarnerMedia acquired Discovery in 2022 and became WBD, it sought to combine the libraries of HBO Max and the Discovery+ streaming service. WBD landed on Max as the name for the combined app. The name seemed to suggest access to a maximum amount of streaming content with maximum appeal. However, it questionably distanced itself from the legacy of high-budget, award-winning TV shows and recent popular movies that the HBO brand had been building since 1972. Max wasn’t just about pushing the high-end stuff you’d expect from HBO but also reality shows from Discovery, including 90 Day Fiancé and Naked and Afraid. WBD CEO David Zaslav’s management team “concluded that the ‘HBO’ in the name positioned the general entertainment service as slightly too rarified to match rivals like Disney+ or Netflix,” Deadline reported at the time. Today, Zaslav and company are doing an about-face, with the CEO saying that WBD is “bringing back HBO, the brand that represents the highest quality in media, to further accelerate” the streaming service’s “growth in the years ahead.” WBD's announcement added that “returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect from the offering.” “It is also a testament to WBD’s willingness to keep boldly iterating its strategy and approach—leaning heavily on consumer data and insights—to best position itself for success,” the media conglomerate claimed. “Not everything for everyone” The announcement is a result of WBD rethinking its streaming strategy as leadership acknowledges that it failed to sell Max as an essential streaming service. Last month, executives admitted that Max is viewed as more of an add-on service, per The Wall Street Journal. Executives said at the time that they no longer want to try to push its streaming service as something for every member of the household. “What people want from us in a world where they’ve got Netflix and Amazonare those things that differentiate us,” Casey Bloys, chairman and CEO of HBO and Max content, told WSJ. The strategy pivot since has included moving further away from children’s programming and some Discovery content, like shows from the Food Network and HGTV. There have also been reports of WBD exploring splitting Discovery from Max. “We’re not fighting for the more-is-better game,” JB Perrette, WBD's streaming president and CEO, told WSJ. “We’ll let others deal with the volume.” In today’s announcement, Perrette doubled down on those sentiments: We will continue to focus on what makes us unique—not everything for everyone in a household, but something distinct and great for adults and families. It’s really not subjective, not even controversial—our programming just hits different. Scharon Harding Senior Technology Reporter Scharon Harding Senior Technology Reporter Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She's been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK. 0 Comments #max #pivots #back #hbo #wbd

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Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix

We all saw this coming Max pivots back to HBO Max as WBD rethinks ability to compete with Netflix WBD is relenting on trying to get everyone to sign up for its streaming service. Scharon Harding – May 14, 2025 12:27 pm | 0 The new logo looks familiar. The new logo looks familiar. Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Warner Bros. Discovery's (WBD) streaming service Max will be called HBO Max starting this summer, bringing back a name that WBD curiously ditched a couple of years ago. In May 2020, the company then known as WarnerMedia Group launched its flagship streaming service, HBO Max. The successor to the HBO Now subscription-based streaming service that launched in 2014, and not to be confused with the now-defunct HBO Go (which was a video on-demand streaming service accessible to those with subscriptions to the HBO cable channel), HBO Max offered “the entire HBO service,” per WarnerMedia’s announcement. HBO Max also combined content from other titles WarnerMedia owned, including titles from DC Comics and Cartoon Network. But the main draw continued to be the ability to stream HBO’s prestigious library via a Netflix-like streaming subscription. When WarnerMedia acquired Discovery in 2022 and became WBD, it sought to combine the libraries of HBO Max and the Discovery+ streaming service. WBD landed on Max as the name for the combined app. The name seemed to suggest access to a maximum amount of streaming content with maximum appeal. However, it questionably distanced itself from the legacy of high-budget, award-winning TV shows and recent popular movies that the HBO brand had been building since 1972. Max wasn’t just about pushing the high-end stuff you’d expect from HBO but also reality shows from Discovery, including 90 Day Fiancé and Naked and Afraid. WBD CEO David Zaslav’s management team “concluded that the ‘HBO’ in the name positioned the general entertainment service as slightly too rarified to match rivals like Disney+ or Netflix,” Deadline reported at the time. Today, Zaslav and company are doing an about-face, with the CEO saying that WBD is “bringing back HBO, the brand that represents the highest quality in media, to further accelerate” the streaming service’s “growth in the years ahead.” WBD's announcement added that “returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect from the offering.” “It is also a testament to WBD’s willingness to keep boldly iterating its strategy and approach—leaning heavily on consumer data and insights—to best position itself for success,” the media conglomerate claimed. “Not everything for everyone” The announcement is a result of WBD rethinking its streaming strategy as leadership acknowledges that it failed to sell Max as an essential streaming service. Last month, executives admitted that Max is viewed as more of an add-on service, per The Wall Street Journal (WSJ). Executives said at the time that they no longer want to try to push its streaming service as something for every member of the household. “What people want from us in a world where they’ve got Netflix and Amazon [Prime Video] are those things that differentiate us,” Casey Bloys, chairman and CEO of HBO and Max content, told WSJ. The strategy pivot since has included moving further away from children’s programming and some Discovery content, like shows from the Food Network and HGTV. There have also been reports of WBD exploring splitting Discovery from Max. “We’re not fighting for the more-is-better game,” JB Perrette, WBD's streaming president and CEO, told WSJ. “We’ll let others deal with the volume.” In today’s announcement, Perrette doubled down on those sentiments: We will continue to focus on what makes us unique—not everything for everyone in a household, but something distinct and great for adults and families. It’s really not subjective, not even controversial—our programming just hits different. Scharon Harding Senior Technology Reporter Scharon Harding Senior Technology Reporter Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She's been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK. 0 Comments

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NVIDIA een koppeling hebt gedeeld

2025-05-14 15:45:20 ·

Press Play on Don Diablo’s Music Video — Created With NVIDIA RTX-Powered Generative AI

Electronic music icon Don Diablo is known for pushing the boundaries of music, visual arts and live performance — and the music video for his latest single, “BLACKOUT,” explores using generative AI, combining NVIDIA RTX-powered and cloud-based tools in a hybrid workflow.
Set inside an industrial warehouse, the video features Diablo performing in front of an immersive, AI-generated environment — blending stylized effects, a cinematic mood and personalized elements.
The image creation and experimentation was done locally on a desktop powered by a NVIDIA GeForce RTX 5090 GPU, while the final animation was rendered using Kling AI, a cloud-based generative video tool. This hybrid approach gave the team creative control and high-fidelity results.
CTRL + ALT + Create With RTX
All image-based work in the music video — including stylization and identity modeling — was performed locally using ComfyUI, a visual, node-based interface for building and customizing generative AI workflows.
With minimal setup, the team could launch preconfigured workflows and experiment freely with different models and techniques. ComfyUI offered speed, ease of use and support for a wide range of open-source tools — enabling fast iteration and distinctive visuals that aligned with Diablo’s creative direction.
Diablo wanted the visuals to reflect his identity — not just serve as decor. To achieve this, a custom model was trained on a facial dataset of Diablo, using low-rank adaptation in the FLUXGYM user interface.
The resulting model was then loaded into ComfyUI and integrated into a Stable Diffusion pipeline for stylized image generation. An identity-embedding node ensured consistent facial features across frames, as well as stylistic cohesion.
Once the imagery was locked, the team turned to Kling AI in the cloud to animate the visuals into dynamic scenes, harnessing the tool’s advanced physics and cinematic capabilities.
This workflow, all running locally on an RTX 5090 GPU, enabled faster iteration, precise visual control, tighter feedback loops and full creative autonomy. It showcases how creators can use local RTX-powered tools — as well as cloud-based platforms for pre-defined workloads that require more compute — to quickly and easily produce high-impact content on their terms.
“Working with these new AI tools literally feels like stepping into my own mind,” said Diablo. “We were able to creatively raise the bar, shape the visuals in real time and stay focused on the story. AI is a powerful tool for creativity.”
Creative Workflows, Powered by RTX AI
Watch the full “BLACKOUT” music video to see how the team brought their creative ideas to life with RTX AI.

Artists and developers are already using generative AI to streamline their work and push creative boundaries, whether exploring concepts, designing virtual worlds or building intelligent apps. With RTX AI PCs, users can access the latest and greatest models and tools, as well as powerful AI performance.
Learn more about the NVIDIA Studio platform and RTX AI PCs.
Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations.
Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter.
Follow NVIDIA Workstation on LinkedIn and X.
#press #play #don #diablos #music

Press Play on Don Diablo’s Music Video — Created With NVIDIA RTX-Powered Generative AI
Electronic music icon Don Diablo is known for pushing the boundaries of music, visual arts and live performance — and the music video for his latest single, “BLACKOUT,” explores using generative AI, combining NVIDIA RTX-powered and cloud-based tools in a hybrid workflow. Set inside an industrial warehouse, the video features Diablo performing in front of an immersive, AI-generated environment — blending stylized effects, a cinematic mood and personalized elements. The image creation and experimentation was done locally on a desktop powered by a NVIDIA GeForce RTX 5090 GPU, while the final animation was rendered using Kling AI, a cloud-based generative video tool. This hybrid approach gave the team creative control and high-fidelity results. CTRL + ALT + Create With RTX All image-based work in the music video — including stylization and identity modeling — was performed locally using ComfyUI, a visual, node-based interface for building and customizing generative AI workflows. With minimal setup, the team could launch preconfigured workflows and experiment freely with different models and techniques. ComfyUI offered speed, ease of use and support for a wide range of open-source tools — enabling fast iteration and distinctive visuals that aligned with Diablo’s creative direction. Diablo wanted the visuals to reflect his identity — not just serve as decor. To achieve this, a custom model was trained on a facial dataset of Diablo, using low-rank adaptation in the FLUXGYM user interface. The resulting model was then loaded into ComfyUI and integrated into a Stable Diffusion pipeline for stylized image generation. An identity-embedding node ensured consistent facial features across frames, as well as stylistic cohesion. Once the imagery was locked, the team turned to Kling AI in the cloud to animate the visuals into dynamic scenes, harnessing the tool’s advanced physics and cinematic capabilities. This workflow, all running locally on an RTX 5090 GPU, enabled faster iteration, precise visual control, tighter feedback loops and full creative autonomy. It showcases how creators can use local RTX-powered tools — as well as cloud-based platforms for pre-defined workloads that require more compute — to quickly and easily produce high-impact content on their terms. “Working with these new AI tools literally feels like stepping into my own mind,” said Diablo. “We were able to creatively raise the bar, shape the visuals in real time and stay focused on the story. AI is a powerful tool for creativity.” Creative Workflows, Powered by RTX AI Watch the full “BLACKOUT” music video to see how the team brought their creative ideas to life with RTX AI. Artists and developers are already using generative AI to streamline their work and push creative boundaries, whether exploring concepts, designing virtual worlds or building intelligent apps. With RTX AI PCs, users can access the latest and greatest models and tools, as well as powerful AI performance. Learn more about the NVIDIA Studio platform and RTX AI PCs. Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations. Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter. Follow NVIDIA Workstation on LinkedIn and X. #press #play #don #diablos #music

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Press Play on Don Diablo’s Music Video — Created With NVIDIA RTX-Powered Generative AI

Electronic music icon Don Diablo is known for pushing the boundaries of music, visual arts and live performance — and the music video for his latest single, “BLACKOUT,” explores using generative AI, combining NVIDIA RTX-powered and cloud-based tools in a hybrid workflow. Set inside an industrial warehouse, the video features Diablo performing in front of an immersive, AI-generated environment — blending stylized effects, a cinematic mood and personalized elements. The image creation and experimentation was done locally on a desktop powered by a NVIDIA GeForce RTX 5090 GPU, while the final animation was rendered using Kling AI, a cloud-based generative video tool. This hybrid approach gave the team creative control and high-fidelity results. CTRL + ALT + Create With RTX All image-based work in the music video — including stylization and identity modeling — was performed locally using ComfyUI, a visual, node-based interface for building and customizing generative AI workflows. With minimal setup, the team could launch preconfigured workflows and experiment freely with different models and techniques. ComfyUI offered speed, ease of use and support for a wide range of open-source tools — enabling fast iteration and distinctive visuals that aligned with Diablo’s creative direction. Diablo wanted the visuals to reflect his identity — not just serve as decor. To achieve this, a custom model was trained on a facial dataset of Diablo, using low-rank adaptation in the FLUXGYM user interface. The resulting model was then loaded into ComfyUI and integrated into a Stable Diffusion pipeline for stylized image generation. An identity-embedding node ensured consistent facial features across frames, as well as stylistic cohesion. Once the imagery was locked, the team turned to Kling AI in the cloud to animate the visuals into dynamic scenes, harnessing the tool’s advanced physics and cinematic capabilities. This workflow, all running locally on an RTX 5090 GPU, enabled faster iteration, precise visual control, tighter feedback loops and full creative autonomy. It showcases how creators can use local RTX-powered tools — as well as cloud-based platforms for pre-defined workloads that require more compute — to quickly and easily produce high-impact content on their terms. “Working with these new AI tools literally feels like stepping into my own mind,” said Diablo. “We were able to creatively raise the bar, shape the visuals in real time and stay focused on the story. AI is a powerful tool for creativity.” Creative Workflows, Powered by RTX AI Watch the full “BLACKOUT” music video to see how the team brought their creative ideas to life with RTX AI. Artists and developers are already using generative AI to streamline their work and push creative boundaries, whether exploring concepts, designing virtual worlds or building intelligent apps. With RTX AI PCs, users can access the latest and greatest models and tools, as well as powerful AI performance. Learn more about the NVIDIA Studio platform and RTX AI PCs. Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations. Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter. Follow NVIDIA Workstation on LinkedIn and X.

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Building Design een koppeling hebt gedeeld

2025-05-14 13:28:58 ·

Simpson Haugh’s deferred Birmingham towers approved despite high-rise jitters

Five-tower Goods Station scheme signed off after developer Vita Group changes one tower to private sale

Simpson Haugh will be required to stay on the project as a ‘guardian of quality’ following changes to the scheme’s section 106 agreement
Birmingham council has approved Simpson Haugh’s plans for 1,200-home Goods Station scheme a month after councillors deferred a decision over fears about an excess of tall buildings in the city.
A recommendation to approve Vita Group’s five-tower redevelopment of a former office building occupied by Atkins was carried with seven votes in favour and one abstention.
The scheme, located next to the Mailbox, will consist of three blocks of 49, 39 and 10 storeys containing a combined 868 homes, a 29-storey student accommodation tower containing 720 bedpsaces and a 19-storey hotel building containing 229 serviced apartments.
The height, scale and housing mix of the scheme had come under attack in the council’s last planning committee in April, with one councillor warning approval would represent “another incremental twist towards a city of tall towers”.
Councillors also criticised the design of the proposals, which councillor Gareth Moore described as “just a collection of boxes”.
However, concerns over the scheme’s housing mix, which had consisted entirely of build-to-rent, were alleviated by Vita’s decision to change one of the residential towers to private sale following the vote for deferral in last month’s committee meeting.
Councillors had criticised the build-to-rent plans for contributing to an oversupply of housing targeted at single professionals rather than families.
A clause has also been added to the scheme’s section 106 requiring Simpson Haugh to be retained throughout the delivery of the scheme to act as a “guardian of quality”.
Councillor David Barker said: “I believe we have a much better scheme now than the one previously there… I do think this is probably a lesson and a reason to defer more things when we are unhappy with it, to actually be a bit braver in the committee in saying we are able to determine what is good enough for the city and clearly we’ve had success by doing it.
Planning committee chair Lee Marsham added: “I think it’s great to see a brownfield site brought into use. I think it’s good that they listened to our previous committee’s comments. I think as a committee we have to be mindful when we do show a bit of rigour and be careful when we do and this is an example where clearly that has made a difference.”
Commenting on the requirement for Simpson Haugh to stay on the project as delivery architect, he said: “Having that reassurance and that oversight is to be welcomed and i think we should be pushing for more of that, particularly on large schemes that have a huge impact on our city.”
The project team for the Goods Station scheme includes landscape architect LDA Design, planning consultant Turley, structural and civil engineer Ramboll, cost consultant Arcadis, commercial agent CBRE and daylight consultant GIA.
#simpson #haughs #deferred #birmingham #towers

Simpson Haugh’s deferred Birmingham towers approved despite high-rise jitters
Five-tower Goods Station scheme signed off after developer Vita Group changes one tower to private sale Simpson Haugh will be required to stay on the project as a ‘guardian of quality’ following changes to the scheme’s section 106 agreement Birmingham council has approved Simpson Haugh’s plans for 1,200-home Goods Station scheme a month after councillors deferred a decision over fears about an excess of tall buildings in the city. A recommendation to approve Vita Group’s five-tower redevelopment of a former office building occupied by Atkins was carried with seven votes in favour and one abstention. The scheme, located next to the Mailbox, will consist of three blocks of 49, 39 and 10 storeys containing a combined 868 homes, a 29-storey student accommodation tower containing 720 bedpsaces and a 19-storey hotel building containing 229 serviced apartments. The height, scale and housing mix of the scheme had come under attack in the council’s last planning committee in April, with one councillor warning approval would represent “another incremental twist towards a city of tall towers”. Councillors also criticised the design of the proposals, which councillor Gareth Moore described as “just a collection of boxes”. However, concerns over the scheme’s housing mix, which had consisted entirely of build-to-rent, were alleviated by Vita’s decision to change one of the residential towers to private sale following the vote for deferral in last month’s committee meeting. Councillors had criticised the build-to-rent plans for contributing to an oversupply of housing targeted at single professionals rather than families. A clause has also been added to the scheme’s section 106 requiring Simpson Haugh to be retained throughout the delivery of the scheme to act as a “guardian of quality”. Councillor David Barker said: “I believe we have a much better scheme now than the one previously there… I do think this is probably a lesson and a reason to defer more things when we are unhappy with it, to actually be a bit braver in the committee in saying we are able to determine what is good enough for the city and clearly we’ve had success by doing it. Planning committee chair Lee Marsham added: “I think it’s great to see a brownfield site brought into use. I think it’s good that they listened to our previous committee’s comments. I think as a committee we have to be mindful when we do show a bit of rigour and be careful when we do and this is an example where clearly that has made a difference.” Commenting on the requirement for Simpson Haugh to stay on the project as delivery architect, he said: “Having that reassurance and that oversight is to be welcomed and i think we should be pushing for more of that, particularly on large schemes that have a huge impact on our city.” The project team for the Goods Station scheme includes landscape architect LDA Design, planning consultant Turley, structural and civil engineer Ramboll, cost consultant Arcadis, commercial agent CBRE and daylight consultant GIA. #simpson #haughs #deferred #birmingham #towers

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Simpson Haugh’s deferred Birmingham towers approved despite high-rise jitters

Five-tower Goods Station scheme signed off after developer Vita Group changes one tower to private sale Simpson Haugh will be required to stay on the project as a ‘guardian of quality’ following changes to the scheme’s section 106 agreement Birmingham council has approved Simpson Haugh’s plans for 1,200-home Goods Station scheme a month after councillors deferred a decision over fears about an excess of tall buildings in the city. A recommendation to approve Vita Group’s five-tower redevelopment of a former office building occupied by Atkins was carried with seven votes in favour and one abstention. The scheme, located next to the Mailbox, will consist of three blocks of 49, 39 and 10 storeys containing a combined 868 homes, a 29-storey student accommodation tower containing 720 bedpsaces and a 19-storey hotel building containing 229 serviced apartments. The height, scale and housing mix of the scheme had come under attack in the council’s last planning committee in April, with one councillor warning approval would represent “another incremental twist towards a city of tall towers”. Councillors also criticised the design of the proposals, which councillor Gareth Moore described as “just a collection of boxes”. However, concerns over the scheme’s housing mix, which had consisted entirely of build-to-rent, were alleviated by Vita’s decision to change one of the residential towers to private sale following the vote for deferral in last month’s committee meeting. Councillors had criticised the build-to-rent plans for contributing to an oversupply of housing targeted at single professionals rather than families. A clause has also been added to the scheme’s section 106 requiring Simpson Haugh to be retained throughout the delivery of the scheme to act as a “guardian of quality”. Councillor David Barker said: “I believe we have a much better scheme now than the one previously there… I do think this is probably a lesson and a reason to defer more things when we are unhappy with it, to actually be a bit braver in the committee in saying we are able to determine what is good enough for the city and clearly we’ve had success by doing it. Planning committee chair Lee Marsham added: “I think it’s great to see a brownfield site brought into use. I think it’s good that they listened to our previous committee’s comments. I think as a committee we have to be mindful when we do show a bit of rigour and be careful when we do and this is an example where clearly that has made a difference.” Commenting on the requirement for Simpson Haugh to stay on the project as delivery architect, he said: “Having that reassurance and that oversight is to be welcomed and i think we should be pushing for more of that, particularly on large schemes that have a huge impact on our city.” The project team for the Goods Station scheme includes landscape architect LDA Design, planning consultant Turley, structural and civil engineer Ramboll, cost consultant Arcadis, commercial agent CBRE and daylight consultant GIA.

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Creative Boom een koppeling hebt gedeeld

2025-05-14 12:09:30 ·

National Festival of Making unveils 2025 Art in Manufacturing commissions

What happens when globally renowned artists trade studios for the clatter of machines, industrial dyes, and production lines? At the National Festival of Making in Blackburn, the result is a bold, joyful, and often surprising collision of creativity and craft.
Now entering its ninth year, the festival's flagship commissioning programme, Art in Manufacturing, has announced three major new residencies for 2025.
This year's headline artists are Matter at Hand, the new studio of Lewis Jones (co-founder of Turner Prize-winning Assemble), graphic artist and community powerhouse Morag Myerscough, and collage and sculpture specialist Liaqat Rasul.
Each will embed themselves inside a leading UK manufacturer in Lancashire, creating ambitious site-specific works that celebrate the region's legacy of making while pushing the boundaries of material and form.
Held annually in Blackburn town centre, the National Festival of Making draws tens of thousands each July for a free weekend of performances, exhibitions, talks, and installations.
Its Art in Manufacturing strand has become a vital national model for artist-industry collaboration, pairing artists with factories to produce original work from heritage processes, specialist tools, and skilled workforces.
Since its launch in 2016, over 30 artists have taken part across 20 manufacturers.
Lewis Jones.
Credit: Niamh Riordan
"These commissions have always been about shining a light on the extraordinary creativity behind closed doors," says Elena Jackson, Co-Director and Curator of Art in Manufacturing.
"It's an invitation for artists to experiment with materials and scale." This year, she adds, is no exception: "The artists are exploring clay, colour and collage - making new permanent work for Blackburn, turning industrial waste into finely crafted collage, and through an expanded two-year placement, developing in-depth research into sustainable making practices through new architectural and sculptural outcomes."
Jones's project, through his new practice Matter at Hand, marks the start of an extended two-year residency inside Darwen Terracotta, one of the UK's leading manufacturers of architectural ceramics.
Stationed on the factory floor, Jones is working on an interactive installation inside Blackburn Cathedral that reimagines clay as a sustainable material for the built environment.
His installation will showcase new prototypes and sculptural experiments drawn from Darwen's heritage techniques, blending material innovation with architectural storytelling.
Morag Myerscough.
Credit: Marc Sethi
For Morag Myerscough, the festival is a chance to inject her signature burst of positivity into Blackburn's urban fabric.
Working with Crown Paints, she will create three new public-facing works, including a permanent mural, participatory workshops, and a garden-inspired installation that speaks to greening the high street.
Her 'Colour Factory' takeover of Prism Contemporary promises to be one of the festival's most immersive and energetic moments.
Meanwhile, Liaqat Rasul will bring his deeply personal, collage-based practice to Herbert Parkinson, part of the John Lewis Partnership.
Through intimate workshops with John Lewis Partners, Rasul will explore themes of memory, identity and community.
His final installation of sculptural mobiles will invite audiences to slow down and reflect, celebrating the human stories behind everyday manufacturing.
Liaqat Arnold.
Credit: Daniel Farmer Photography
These three projects exemplify the festival's ethos: that art and making are not separate spheres but overlapping, collaborative forces.
By embedding artists within factories, Art in Manufacturing collapses the distance between creative experimentation and real-world production and, in doing so, gives both artists and manufacturers a platform to innovate.
A new publication, Radical Pairings, will launch at this year's festival.
It documents the programme's history and legacy and features an essay by art critic Elizabeth Fullerton.
The essay explores the unusual and inspiring nature of these residencies and the potential of creative partnerships to reframe both industry and art.
Art in Manufacturing 2025 will debut at the National Festival of Making on 5–6 July, with installations continuing in venues across Blackburn thereafter.
For those curious about what happens when artists roll up their sleeves and step into the engine rooms of British industry, it's not one to miss.

Source: https://www.creativeboom.com/news/national-festival-of-making-unveils-2025-art-in-manufacturing-commissions/" style="color: #0066cc;">https://www.creativeboom.com/news/national-festival-of-making-unveils-2025-art-in-manufacturing-commissions/
#national #festival #making #unveils #art #manufacturing #commissions

National Festival of Making unveils 2025 Art in Manufacturing commissions
What happens when globally renowned artists trade studios for the clatter of machines, industrial dyes, and production lines? At the National Festival of Making in Blackburn, the result is a bold, joyful, and often surprising collision of creativity and craft. Now entering its ninth year, the festival's flagship commissioning programme, Art in Manufacturing, has announced three major new residencies for 2025. This year's headline artists are Matter at Hand, the new studio of Lewis Jones (co-founder of Turner Prize-winning Assemble), graphic artist and community powerhouse Morag Myerscough, and collage and sculpture specialist Liaqat Rasul. Each will embed themselves inside a leading UK manufacturer in Lancashire, creating ambitious site-specific works that celebrate the region's legacy of making while pushing the boundaries of material and form. Held annually in Blackburn town centre, the National Festival of Making draws tens of thousands each July for a free weekend of performances, exhibitions, talks, and installations. Its Art in Manufacturing strand has become a vital national model for artist-industry collaboration, pairing artists with factories to produce original work from heritage processes, specialist tools, and skilled workforces. Since its launch in 2016, over 30 artists have taken part across 20 manufacturers. Lewis Jones. Credit: Niamh Riordan "These commissions have always been about shining a light on the extraordinary creativity behind closed doors," says Elena Jackson, Co-Director and Curator of Art in Manufacturing. "It's an invitation for artists to experiment with materials and scale." This year, she adds, is no exception: "The artists are exploring clay, colour and collage - making new permanent work for Blackburn, turning industrial waste into finely crafted collage, and through an expanded two-year placement, developing in-depth research into sustainable making practices through new architectural and sculptural outcomes." Jones's project, through his new practice Matter at Hand, marks the start of an extended two-year residency inside Darwen Terracotta, one of the UK's leading manufacturers of architectural ceramics. Stationed on the factory floor, Jones is working on an interactive installation inside Blackburn Cathedral that reimagines clay as a sustainable material for the built environment. His installation will showcase new prototypes and sculptural experiments drawn from Darwen's heritage techniques, blending material innovation with architectural storytelling. Morag Myerscough. Credit: Marc Sethi For Morag Myerscough, the festival is a chance to inject her signature burst of positivity into Blackburn's urban fabric. Working with Crown Paints, she will create three new public-facing works, including a permanent mural, participatory workshops, and a garden-inspired installation that speaks to greening the high street. Her 'Colour Factory' takeover of Prism Contemporary promises to be one of the festival's most immersive and energetic moments. Meanwhile, Liaqat Rasul will bring his deeply personal, collage-based practice to Herbert Parkinson, part of the John Lewis Partnership. Through intimate workshops with John Lewis Partners, Rasul will explore themes of memory, identity and community. His final installation of sculptural mobiles will invite audiences to slow down and reflect, celebrating the human stories behind everyday manufacturing. Liaqat Arnold. Credit: Daniel Farmer Photography These three projects exemplify the festival's ethos: that art and making are not separate spheres but overlapping, collaborative forces. By embedding artists within factories, Art in Manufacturing collapses the distance between creative experimentation and real-world production and, in doing so, gives both artists and manufacturers a platform to innovate. A new publication, Radical Pairings, will launch at this year's festival. It documents the programme's history and legacy and features an essay by art critic Elizabeth Fullerton. The essay explores the unusual and inspiring nature of these residencies and the potential of creative partnerships to reframe both industry and art. Art in Manufacturing 2025 will debut at the National Festival of Making on 5–6 July, with installations continuing in venues across Blackburn thereafter. For those curious about what happens when artists roll up their sleeves and step into the engine rooms of British industry, it's not one to miss. Source: https://www.creativeboom.com/news/national-festival-of-making-unveils-2025-art-in-manufacturing-commissions/ #national #festival #making #unveils #art #manufacturing #commissions

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National Festival of Making unveils 2025 Art in Manufacturing commissions

What happens when globally renowned artists trade studios for the clatter of machines, industrial dyes, and production lines? At the National Festival of Making in Blackburn, the result is a bold, joyful, and often surprising collision of creativity and craft. Now entering its ninth year, the festival's flagship commissioning programme, Art in Manufacturing, has announced three major new residencies for 2025. This year's headline artists are Matter at Hand, the new studio of Lewis Jones (co-founder of Turner Prize-winning Assemble), graphic artist and community powerhouse Morag Myerscough, and collage and sculpture specialist Liaqat Rasul. Each will embed themselves inside a leading UK manufacturer in Lancashire, creating ambitious site-specific works that celebrate the region's legacy of making while pushing the boundaries of material and form. Held annually in Blackburn town centre, the National Festival of Making draws tens of thousands each July for a free weekend of performances, exhibitions, talks, and installations. Its Art in Manufacturing strand has become a vital national model for artist-industry collaboration, pairing artists with factories to produce original work from heritage processes, specialist tools, and skilled workforces. Since its launch in 2016, over 30 artists have taken part across 20 manufacturers. Lewis Jones. Credit: Niamh Riordan "These commissions have always been about shining a light on the extraordinary creativity behind closed doors," says Elena Jackson, Co-Director and Curator of Art in Manufacturing. "It's an invitation for artists to experiment with materials and scale." This year, she adds, is no exception: "The artists are exploring clay, colour and collage - making new permanent work for Blackburn, turning industrial waste into finely crafted collage, and through an expanded two-year placement, developing in-depth research into sustainable making practices through new architectural and sculptural outcomes." Jones's project, through his new practice Matter at Hand, marks the start of an extended two-year residency inside Darwen Terracotta, one of the UK's leading manufacturers of architectural ceramics. Stationed on the factory floor, Jones is working on an interactive installation inside Blackburn Cathedral that reimagines clay as a sustainable material for the built environment. His installation will showcase new prototypes and sculptural experiments drawn from Darwen's heritage techniques, blending material innovation with architectural storytelling. Morag Myerscough. Credit: Marc Sethi For Morag Myerscough, the festival is a chance to inject her signature burst of positivity into Blackburn's urban fabric. Working with Crown Paints, she will create three new public-facing works, including a permanent mural, participatory workshops, and a garden-inspired installation that speaks to greening the high street. Her 'Colour Factory' takeover of Prism Contemporary promises to be one of the festival's most immersive and energetic moments. Meanwhile, Liaqat Rasul will bring his deeply personal, collage-based practice to Herbert Parkinson, part of the John Lewis Partnership. Through intimate workshops with John Lewis Partners, Rasul will explore themes of memory, identity and community. His final installation of sculptural mobiles will invite audiences to slow down and reflect, celebrating the human stories behind everyday manufacturing. Liaqat Arnold. Credit: Daniel Farmer Photography These three projects exemplify the festival's ethos: that art and making are not separate spheres but overlapping, collaborative forces. By embedding artists within factories, Art in Manufacturing collapses the distance between creative experimentation and real-world production and, in doing so, gives both artists and manufacturers a platform to innovate. A new publication, Radical Pairings, will launch at this year's festival. It documents the programme's history and legacy and features an essay by art critic Elizabeth Fullerton. The essay explores the unusual and inspiring nature of these residencies and the potential of creative partnerships to reframe both industry and art. Art in Manufacturing 2025 will debut at the National Festival of Making on 5–6 July, with installations continuing in venues across Blackburn thereafter. For those curious about what happens when artists roll up their sleeves and step into the engine rooms of British industry, it's not one to miss.

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The Guardian een koppeling hebt gedeeld

2025-05-14 11:02:50 ·

Despelote review – a beautiful, utterly transportive game of football fandom
Video games have been simulating football since the 1970s, but they have rarely ever thought about simulating fandom.
You can play a whole international tournament in the Fifa titles, but what they never show is the way the competition seeps into the everyday lives of supporters, how whole towns are overtaken, how a World Cup can become a national obsession.
The way most of us experience the really big matches is through stolen moments of vicarious glory on televisions and giant pub screens, surrounded by friends and family and the sounds and images of real life.This is the territory of Despelote, a beautiful, utterly transportive game about childhood and memory, set during Ecuador’s historic 2002 World Cup qualifying campaign.
Football-mad eight-year-old Julián – a semi-autobiographical version of the game’s co-designer Julián Cordero – has just watched the team beat Peru, but now four more matches stand between Ecuador and the World Cup finals in Japan and Korea.
Structured as a series of short, immersive tableaux, Despelote gives us control of Julián as he goes about his life, buffeted by his parents and teachers between shopping trips, car journeys and school lessons.Something of what it was like to be a kid … Despelote.
Photograph: Panic GamesThe key scenes are where you are left alone, perhaps in a town square, or at a family get-together – and you experience something of what it was like to be a kid given crucial moments of freedom and agency.
You listen in on adult conversations, watch an old man feeding pigeons, say hi to a shopkeeper, have a kickabout with friends – the world is depicted as a series of grainy photos, washed with single colours – a beautiful visual device replicating the haziness of our oldest memories, the background details indistinct behind the personal, emotional events.As the game goes on, depictions of Julián’s childhood merge and interchange with recollections of later teenage parties and responsibilities.
We also learn about the sociopolitical background to the World Cup campaign: Ecuador is in the midst of a financial crisis, hyperinflation has bankrupted companies and gobbled up savings – in this context, the potential glory of footballing success becomes vital and talismanic.
The tournament is discussed in the streets and at weddings, it permeates everything.But other aspects of Ecuadorian life and culture are drawn in too.
You learn about the music, the food and the rebirth of the domestic film industry, via the 1999 crime film Ratas, ratones, rateros directed by Julián Cordero’s father, Sebastián Cordero.
In this way, real life impinges on the game world, like a poetic and self-referential Agnès Varda film, and in one lovely sequence, while Julián is engrossed in a footie sim on the family’s console, his onscreen player leaves the pitch and wanders home – to Julián’s own house: a beautiful, subtle comment on embodiment, fantasy and the act of playing.Despelote recalls some of the great works of independent narrative game design – The Unfinished Swan, Gravity Bone, Virginia – yet it is also something thrillingly of itself.
Even though it’s a game about one small boy in a specific rendering of Ecuador, it communicates the near-universal power of football as a cohesive social narrative: the way the Dutch team of 74, Maradona’s genius in 1986, and Gascoigne’s goal against Scotland at Euro 96 came to say something about the nations that produced them.
At the same time, as we draw closer to the final matches of the qualifying round and the excitement and tension becomes palpable, the camera and narration pull back, beyond the structured world of the game and into a meditation on the creative process itself.
This is fascinating, formally daring stuff that, in its two-hour playtime, asks more questions about the nature of memory, simulation and identity than a dozen 100-hour epics.skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties.
For more information see our Privacy Policy.
We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotion
Source: https://www.theguardian.com/games/2025/may/14/despelote-review-football-fans-world-cup-panic-pc-ps4-5-xbox">https://www.theguardian.com/games/2025/may/14/despelote-review-football-fans-world-cup-panic-pc-ps4-5-xbox">https://www.theguardian.com/games/2025/may/14/despelote-review-football-fans-world-cup-panic-pc-ps4-5-xbox
#despelote #review #beautiful #utterly #transportive #game #football #fandom

Despelote review – a beautiful, utterly transportive game of football fandom
Video games have been simulating football since the 1970s, but they have rarely ever thought about simulating fandom. You can play a whole international tournament in the Fifa titles, but what they never show is the way the competition seeps into the everyday lives of supporters, how whole towns are overtaken, how a World Cup can become a national obsession. The way most of us experience the really big matches is through stolen moments of vicarious glory on televisions and giant pub screens, surrounded by friends and family and the sounds and images of real life.This is the territory of Despelote, a beautiful, utterly transportive game about childhood and memory, set during Ecuador’s historic 2002 World Cup qualifying campaign. Football-mad eight-year-old Julián – a semi-autobiographical version of the game’s co-designer Julián Cordero – has just watched the team beat Peru, but now four more matches stand between Ecuador and the World Cup finals in Japan and Korea. Structured as a series of short, immersive tableaux, Despelote gives us control of Julián as he goes about his life, buffeted by his parents and teachers between shopping trips, car journeys and school lessons.Something of what it was like to be a kid … Despelote. Photograph: Panic GamesThe key scenes are where you are left alone, perhaps in a town square, or at a family get-together – and you experience something of what it was like to be a kid given crucial moments of freedom and agency. You listen in on adult conversations, watch an old man feeding pigeons, say hi to a shopkeeper, have a kickabout with friends – the world is depicted as a series of grainy photos, washed with single colours – a beautiful visual device replicating the haziness of our oldest memories, the background details indistinct behind the personal, emotional events.As the game goes on, depictions of Julián’s childhood merge and interchange with recollections of later teenage parties and responsibilities. We also learn about the sociopolitical background to the World Cup campaign: Ecuador is in the midst of a financial crisis, hyperinflation has bankrupted companies and gobbled up savings – in this context, the potential glory of footballing success becomes vital and talismanic. The tournament is discussed in the streets and at weddings, it permeates everything.But other aspects of Ecuadorian life and culture are drawn in too. You learn about the music, the food and the rebirth of the domestic film industry, via the 1999 crime film Ratas, ratones, rateros directed by Julián Cordero’s father, Sebastián Cordero. In this way, real life impinges on the game world, like a poetic and self-referential Agnès Varda film, and in one lovely sequence, while Julián is engrossed in a footie sim on the family’s console, his onscreen player leaves the pitch and wanders home – to Julián’s own house: a beautiful, subtle comment on embodiment, fantasy and the act of playing.Despelote recalls some of the great works of independent narrative game design – The Unfinished Swan, Gravity Bone, Virginia – yet it is also something thrillingly of itself. Even though it’s a game about one small boy in a specific rendering of Ecuador, it communicates the near-universal power of football as a cohesive social narrative: the way the Dutch team of 74, Maradona’s genius in 1986, and Gascoigne’s goal against Scotland at Euro 96 came to say something about the nations that produced them. At the same time, as we draw closer to the final matches of the qualifying round and the excitement and tension becomes palpable, the camera and narration pull back, beyond the structured world of the game and into a meditation on the creative process itself. This is fascinating, formally daring stuff that, in its two-hour playtime, asks more questions about the nature of memory, simulation and identity than a dozen 100-hour epics.skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotion Source: https://www.theguardian.com/games/2025/may/14/despelote-review-football-fans-world-cup-panic-pc-ps4-5-xbox #despelote #review #beautiful #utterly #transportive #game #football #fandom

WWW.THEGUARDIAN.COM

Despelote review – a beautiful, utterly transportive game of football fandom

Video games have been simulating football since the 1970s, but they have rarely ever thought about simulating fandom. You can play a whole international tournament in the Fifa titles, but what they never show is the way the competition seeps into the everyday lives of supporters, how whole towns are overtaken, how a World Cup can become a national obsession. The way most of us experience the really big matches is through stolen moments of vicarious glory on televisions and giant pub screens, surrounded by friends and family and the sounds and images of real life.This is the territory of Despelote, a beautiful, utterly transportive game about childhood and memory, set during Ecuador’s historic 2002 World Cup qualifying campaign. Football-mad eight-year-old Julián – a semi-autobiographical version of the game’s co-designer Julián Cordero – has just watched the team beat Peru, but now four more matches stand between Ecuador and the World Cup finals in Japan and Korea. Structured as a series of short, immersive tableaux, Despelote gives us control of Julián as he goes about his life, buffeted by his parents and teachers between shopping trips, car journeys and school lessons.Something of what it was like to be a kid … Despelote. Photograph: Panic GamesThe key scenes are where you are left alone, perhaps in a town square, or at a family get-together – and you experience something of what it was like to be a kid given crucial moments of freedom and agency. You listen in on adult conversations, watch an old man feeding pigeons, say hi to a shopkeeper, have a kickabout with friends – the world is depicted as a series of grainy photos, washed with single colours – a beautiful visual device replicating the haziness of our oldest memories, the background details indistinct behind the personal, emotional events.As the game goes on, depictions of Julián’s childhood merge and interchange with recollections of later teenage parties and responsibilities. We also learn about the sociopolitical background to the World Cup campaign: Ecuador is in the midst of a financial crisis, hyperinflation has bankrupted companies and gobbled up savings – in this context, the potential glory of footballing success becomes vital and talismanic. The tournament is discussed in the streets and at weddings, it permeates everything.But other aspects of Ecuadorian life and culture are drawn in too. You learn about the music, the food and the rebirth of the domestic film industry, via the 1999 crime film Ratas, ratones, rateros directed by Julián Cordero’s father, Sebastián Cordero. In this way, real life impinges on the game world, like a poetic and self-referential Agnès Varda film, and in one lovely sequence, while Julián is engrossed in a footie sim on the family’s console, his onscreen player leaves the pitch and wanders home – to Julián’s own house: a beautiful, subtle comment on embodiment, fantasy and the act of playing.Despelote recalls some of the great works of independent narrative game design – The Unfinished Swan, Gravity Bone, Virginia – yet it is also something thrillingly of itself. Even though it’s a game about one small boy in a specific rendering of Ecuador, it communicates the near-universal power of football as a cohesive social narrative: the way the Dutch team of 74, Maradona’s genius in 1986, and Gascoigne’s goal against Scotland at Euro 96 came to say something about the nations that produced them. At the same time, as we draw closer to the final matches of the qualifying round and the excitement and tension becomes palpable, the camera and narration pull back, beyond the structured world of the game and into a meditation on the creative process itself. This is fascinating, formally daring stuff that, in its two-hour playtime, asks more questions about the nature of memory, simulation and identity than a dozen 100-hour epics.skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotion

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