ZDNET's key takeaways The Eufy E28 robot vacuum, mop, and spot cleaner combination is available for $999.The mop performs better than more expensive flagships, and the water tank system doubles as a portable spot cleaner with a self-cleaning hose.Unplugging the spot cleaner also unplugs the charging station, and the spot cleaner requires you to brush it to scrub. more buying choices The Eufy E28 Omni robot vacuum and mop just hit its lowest price ever at $850, a total of $450 off with an on-page Amazon coupon.Robot vacuum manufacturers are constantly trying to outdo one another. One company develops a detachable cordless vacuum for the robot's dock, and the next makes the robot's dustbin a detachable cordless vacuum. Now, Eufy is upping the ante with the first robot vacuum to also have a detachable spot cleaner for carpet and upholstery. Also: Finally, I found a robot and handheld vacuum combo that's ideal for apartment dwellersThe Eufy Omni E28 is a robot vacuum and mop with a portable spot cleaner for carpets and upholstery. You can run your robot vacuum as you would any other, but you can also pick up the top with a built-in retractable handle and do some deep cleaning on carpets, rugs, or upholstery. I've been testing this robot vacuum over the past couple of weeks, and I'm happy to report on its performance.  details View at Amazon Essentially, the deep cleaner you carry is the Omni station's clean and dirty water tank, so it's where the robot autonomously sources clean water for its mop when it's at the dock. The deep cleaner has a handle for spot-cleaning with a hose, so you can set it down near where you want to clean and plug it in without holding it as you clean. Aside from detachable cordless vacuums, a mop roller system is another big thing for robot vacuums; many makers, including SwitchBot, Yeedi, and Ecovacs, are moving away from detachable rotating mop pads and using mop rollers instead. Eufy's also done this before with the flagship S1 Pro.  Maria Diaz/ZDNETThe Omni E28 also has a mop roller, which looks similar to the S1 Pro but not identical. The Eufy Omni S1 Pro is unequivocally the best mopping robot vacuum I've ever tested, so I was excited to test the new Omni E28, which features a very similar system. Thankfully, the Omni E28 didn't disappoint. The large mop roller covers the length of the vacuum's width and leaves no streaks behind during mopping. Streaky floors are one of my biggest pet peeves when testing robot vacuum and mop combinations, and they're a more common occurrence than I'd like. Also: My favorite indoor security camera has no subscription fees and is on sale right nowEufy is also launching an E25 robot vacuum, which features the same HydroJet self-cleaning mop system as the E28. The robot's mop roller is continuously scraped clean as it spins, and it keeps clean and dirty water in separate tanks within its body, so it only mops with clean water. The mop also exerts more downward pressure to ensure deep cleaning than the S1 Pro, with 1.5kg (3.3 lbs) instead of 1kg.  Maria Diaz/ZDNETHowever, continuously spraying the roller with clean water inside the robot keeps it moist. Scraping off the dirt and wringing out the dirty water as the roller spins ensures your floors are clean instead of streaky or filmy. The Eufy Omni E28, like the S1 Pro, is the closest thing to a manual mopping result you can get from a robot vacuum and mop. Also: I love a vacuum and mop to clean dry and wet messes, especially when it's on saleThe E28 and E25 robot vacuums have 20,000Pa of suction power and anti-tangle technology, including a DuoSpiral double roller brush to remove pet hair and avoid entanglements. The robots are self-emptying robot vacuums with a self-washing mop roller. The only difference is the portable spot cleaner, which only the E28 has. The Eufy Omni E28 robot vacuum and mop has dual brush rollers and a roller mop. Maria Diaz/ZDNETThe spot cleaner proved to be very effective. It's heavy, like most spot cleaners when full of water, but it has a retractable handle on top that makes it easy to carry around. You also don't have to press any buttons or move anything to release it; just unplug it, pull the retractable handle, and go. I didn't like that the spot cleaner powers the base station, so if you take it somewhere else in your home to clean, the robot's charging station is left without power until you return it. This is fine for quick cleanups, but it can be annoying when a forgetful house member takes the spot cleaner upstairs and leaves it in a room for two days after they're done (totally not me). Also: This simple Amazon tablet became one of my biggest smart home upgrades yet (and it's on sale)The spot cleaner has a self-cleaning hose attached, but no other attachments. The hose ends in a static brush head that sprays clean water, which you use to clean messes on soft surfaces, like carpets, rugs, and upholstery. Since it isn't motorized, you must manually brush the rug or fabric with the brush head to scrub it clean. Once you're done, you just have to press a button along one end of the brush head to make the spot cleaner cycle clean water through the hose without spilling, cleaning the hose for you.  These pictures were taken three minutes apart. The left (before) shows yogurt stains on an ottoman. I sprayed a liquid spot cleaner and went over it with the brush and water; the results are on the right (after). Maria Diaz/ZDNETThere's no separate detergent tank for the spot cleaner, though you could add some detergent directly into the clean water tank. I recommend using just water in the clean water tank and spraying your preferred carpet or upholstery cleaning solution directly on the stains to pre-treat them. You can then scrub the mess clean with the Eufy E28 brush and rinse out the detergent. ZDNET's buying adviceThe Eufy Omni E28 is designed to solve a big problem for many US customers: the need for regular floor cleanings and the ability to quickly clean up messes on soft surfaces in a single device. This device isn't meant to replace your existing carpet cleaner, but it's perfect for consumers who may need a spot cleaner and are also in the market for one of the best robot vacuum and mops available.Also: Spring cleaning takes me no time with my favorite smart home devicesI'm not a fan of fully carpeted living spaces, but my home has carpeted bedrooms, one of which we use as our TV room. With three young kids who have movie nights and play time in that TV room, its carpet unfortunately sees a lot of spills. I was in the market for a spot cleaner for a while, but decided to buy a full carpet cleaner instead, which I use to clean our carpets at least once every quarter.  The E28 cleaned up the soy sauce stains comparably to the larger carpet cleaner. Maria Diaz/ZDNETBut there are always little messes in between -- whether it's spilled ketchup on the carpet, a muddy shoeprint on the entryway rug, or yogurt on the fabric ottoman. So I appreciate having the Eufy Omni E28's spot cleaner always handy. Instead of dragging out a heavy carpet cleaning machine and filling it with water to clean a 6-inch in diameter spill, I can just unplug and grab the E28, clean the mess, and return it to the dock with little work on my end. It's also priced quite well for a first-of-its-kind device with a flagship-level robot vacuum and mop. The Eufy Omni E28 robot vacuum, mop, and spot cleaning combination is now available on Eufy's website and Amazon for $1,000. The Eufy E25 robot vacuum and mop without the spot cleaner will be available in June for $900. When will this deal expire? While many sales events feature deals for a specific length of time, deals are on a limited-time basis, making them subject to expire at any time. ZDNET remains committed to finding, sharing, and updating the best offers to help you maximize your savings so you can feel as confident in your purchases as we feel in our recommendations. Our ZDNET team of experts constantly monitors the deals we feature to keep our stories up-to-date. If you missed out on this deal, don't worry -- we're always sourcing new savings opportunities at ZDNET.com. Show more Featured

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

Amazon’s revamped Alexa at center of Reddit’s legal fight with Anthropic.

Social media outlet Reddit filed a lawsuit Wednesday against artificial intelligence company Anthropic, accusing the startup of illegally scraping millions of user comments to train its Claude chatbot without permission or compensation.

austrian curtains diffuse sunlight across warm cement tiles and glowing polycarbonate surfaces, creating a luminous interior. The post translucent curtains drape over polycarbonate walls at nin hao restaurant in brooklyn appeared first on designboom

Launch week is finally here, and though I would love to be bringing you a proper review of the Nintendo Switch 2 right now, I still don’t have one at the time of writing. In its wisdom, Nintendo has decided not to send review units out until the day before release, so as you read this I will be standing impatiently by the door like a dog anxiously awaiting its owner.I have played the console, though, for a whole day at Nintendo’s offices, so I can give you some first impressions. Hardware-wise, it is the upgrade of my dreams: sturdier JoyCons, a beautiful screen, the graphical muscle to make games look as good as I want them to in 2025 (though still not comparable to the high-end PlayStation 5 Pro or a modern gaming PC). I like the understated pops of colour on the controllers, the refined menu with its soothing chimes and blips. Game sharing, online functionality and other basic stuff is frictionless now. I love that Nintendo Switch Online is so reasonably priced, at £18 a year, as opposed to about the same per month for comparable gaming services, and it gives me access to a treasure trove of Nintendo games from decades past.But here’s the key word in that paragraph: it’s an upgrade. After eight years, an upgrade feels rather belated. I was hoping for something actually new, and aside from the fact that you can now use those controllers as mice by turning them sideways and moving them around on a desk or on your lap, there isn’t much new in the Switch 2. Absorbed in Mario Kart World, the main launch title, it was easy to forget I was even playing a new console. I do wonder – as I did in January – whether many less gaming-literate families who own a Switch will see a reason to upgrade, given the £400 asking price.Brilliant … Mario Kart World. Photograph: NintendoSpeaking of Mario Kart World, though: it’s brilliant. Totally splendid. It will deservedly sell squillions. Alongside the classic competitive grand prix and time trial races, the headline feature is an open, driveable world that you can explore all you like, as any character, picking up characters and costumes and collectibles, and getting into elimination-style races that span the full continent. All the courses are part of one huge map, and they flow right into one another.Your kart transforms helpfully into a boat when you hit water, and I found an island with a really tricky challenge where I had to ride seaplanes up towards a skyscraper in the city, driving over their wings from one to the other. Anyone could lose hours driving aimlessly around the colourful collection of mountains, jungles and winding motorways here. There’s even a space-station themed course that cleverly echoes the original Donkey Kong arcade game, delivering a nostalgia hit as delightful as Super Mario Odyssey’s climactic New Donk City festival.Pushing Buttons correspondent Keith Stuart also had a great time with another launch game, Konami’s Survival Kids, which is a bit like Overcooked except all the players are working together to survive on a desert island. (Be reassured, if you generally find survival games hard work: it’s very much fun over peril.)However: I would steer clear of the Nintendo Switch Welcome Tour, an almost belligerently un-fun interactive tour of the console’s new features … that costs £7.99. Your tiny avatar walks around a gigantic recreation of a Switch 2 console, looking for invisible plaques that point out its different components. There are displays with uninteresting technical information about, say, the quality of the console’s HD rumble. One of the interactive museum displays shows a ball bounding across the screen and asks you to guess how many frames per second it is travelling at. As someone who aggressively does not care about fine technical detail, I was terrible at this. It’s like being on the least interesting school trip of your life.And it felt felt remarkably un-Nintendo, so dry and devoid of personality that it made me a little worried. Nintendo Labo, by contrast, was a super-fun and accessible way of showing off the original Switch’s technical features. I had assumed that Welcome Tour would be made by the same team, but evidently not.I couldn’t wait to get back to Mario Kart World, which, once again, is fantastic. I’m excited to spend the rest of the week playing it for a proper review. And if you’ve pre-ordered a Switch 2, you’ll have it in your hands in the next 24 hours. For those holding off: we’ll have plenty more Switch 2 info and opinions in the next few weeks to help you make a decision.What to playArms akimbo … to a T is funny and weird. Illustration: Annapurna interactive/SteamLast week I played through to a T, the beautifully strange, unexpectedly thoughtful new game from Katamari Damacy creator Keita Takahashi. It is about a young teenager who is forever stuck in a T-pose, arms akimbo. As you might imagine, this makes life rather difficult for them, and they must rely on their fluffy little dog to help them through life. It’s a kid-friendly game about accepting who you are – I played it with my sons – but it is also extremely funny and weird, and features a song about a giraffe who loves to make sandwiches. I love a game where you don’t know what to expect, and I bet that if I asked every single reader of this newsletter to guess how it ends, not one of you would be anywhere close.Available on: PS5, Xbox, PC Estimated playtime: What to readTake chances … Remy Siu (left) and Nhi Do accept the Peabody award for 1000xRESIST. Photograph: Charley Gallay/Getty images 1000xRESIST, last year’s critical darling sci-fi game about the immigrant experience and the cost of political resistance, won a Peabody award this week. From the creators’ acceptance speech: “I want to say to the games industry, resource those on the margins and seek difference. Take chances again and again. This art form is barely unearthed. It’s too early to define it. Fund the indescribable.” Keith Stuart wrote about the largely lost age of midnight launch parties – for the Switch 2 launch, only Smyths Toys is hosting midnight releases. Did you ever go to one of these events? Write in and tell me if so – I remember feeling intensely embarrassed queuing for a Wii on Edinburgh’s Princes Street as a teenager. The developers of OpenAI are very proud that their latest artificial “intelligence” model can play Pokémon Red. It’s terrible at it, and has so far taken more than 80 hours to obtain three gym badges. I’m trying not to think about the environmental cost of proving AI is terrible at video games. When Imran Khan had a stroke last year, he lost the ability to play games. I found this essay about the role that Kaizo Mario (super-difficult hacked Mario levels) played in his recovery extremely moving. 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 promotionWhat to clickQuestion BlockSoothing … Unpacking. Illustration: Humble Games/SteamReader Gemma asks:“At this moment I am cuddling my three-month-old as he naps on the sofa while I’m playing Blue Prince. It might be the best postnatal game: it has very little background sound or music; can be paused any time; is very chill with zero jeopardy; but also has a fascinating storyline and incredible puzzles. I also find myself narrating the letters and talking out loud for the maths puzzles. (Do three-month-olds understand algebra?) Your article [about Nintendo at naptime] made me feel less guilty, so thank you. Any other updated tips for similar games that you’ve discovered in the last eight years for postnatal gaming?”In the small-baby years I played two types of games: five-hour ones that I could complete in a couple of evenings, or endless Stardew Valley/Animal Crossing-type games where you could just drop in and zone out for as long as you needed, and it didn’t matter whether you were “achieving” anything. I couldn’t play anything with a linear plot because my brain was often mush and I’d simply forget what had happened an hour ago. It’s different for everyone, though – my friend Sarah was obsessed with Grand Theft Auto when her baby was wee.I became hooked on a couple of exploitative phone games that I won’t recommend – don’t go near those in a vulnerable brain-state, you’ll end up spending hours and £££ on virtual gems to buy dopamine with. Something like Unpacking or A Little to the Left might be soothing for a puzzle-brain like yours (and they’re short). I’ll throw this out there to other gamer mums: what did you play in the early months of parenthood?If you’ve got a question for Question Block – or anything else to say about the newsletter – email us on pushingbuttons@theguardian.com.

Welcome to the Claylight Home, designed by Salma Khaled. In this sanctuary, soft neutrals and warm woods are design elements. The space is designed with intention and layered with natural light. As such, it celebrates calm, comfort, and quiet beauty. From tactile walls to curved furniture, every corner tells a story of understated elegance. If you’ve ever dreamt of living in a home that feels like a warm hug, this is your mood board come to life. The living room at the Claylight Home features curved, cloud-like seating wrapped in tactile boucle. This invites you to sink in and stay awhile, while the layered neutrals create a visual hush that feels grounding. Earthy textures, like the ribbed floor lamp, carved wooden tables, and textured art panels add depth without disrupting the calm. Sunlight filters through sheer drapes, dancing across the natural wood tones. This is not just a place to gather; it’s a place to exhale. The Claylight Home’s dining space is anchored by a solid wood table and surrounded by plush, sculptural chairs. The type that invites slow dinners and long conversations. A trio of pleated pendant lamps floats above (that feel much like candlelight). But what truly sets this space apart is the custom coffee and tea station tucked into a wood-lined niche. This is complete with open shelving, backlighting, and thoughtfully styled ceramics. The kitchen in the Claylight Home is a perfect expression of understated luxury. With its clean lines, matte cabinetry, and seamless stone backsplash, it proves that simplicity can be stunning. Warm wood details wrap around integrated appliances and open shelving. This creates visual continuity with the rest of the home. Every element in this kitchen feels intentional, from the black sink to the curated shelf styling. The bedroom at the Claylight Home is a retreat within a retreat… an intimate cocoon where layers of texture meet sculptural calm. A palette of warm neutrals flows from the ribbed wall panels to the low-profile bed. Frosted glass wardrobes and floating nightstands keep the visual weight minimal, while statement lighting adds style. In the Claylight Home, the nursery is designed as a multipurpose space. This cozy corner brings together baby essentials and adult serenity. The soft curves of the crib and changing station echo the design language of the entire home. The whimsical animal prints and plush toys add playfulness. Next to it, a generously sized sectional invites the whole family to snuggle in. It’s a space made for moments—reading books, sipping coffee, or simply watching your little one dream. The bathrooms at the Claylight Home channels spa-like serenity. Smooth stone tiles, warm wood accents, and ambient lighting set the tone for a tranquil escape. Fluted wall details bring depth without distraction, while the floating vanity and open shelving keep the space feeling light and grounded.

Designing a girly bedroom is about so much more than picking a pretty color. It’s about creating a space that reflects personality, inspires creativity, and feels like a true escape, whether it’s for a little girl, a growing tween, or a style-loving teen. From playful wallpaper tricks to smart storage ideas and cozy reading nooks, the right design choices can turn a simple bedroom into something magical and meaningful. In this guide, we’re skipping over-the-top themes and diving into real, creative design tips that anyone can use. Whether you’re decorating from scratch or giving an existing space a fresh update, these 15 girly bedroom ideas will help you build a room that’s both beautiful and completely personal. Let’s get into the ideas that make a room not just look pretty,but feel like home. 1. Master the Mix-and-Match Look Image Source: House Beautiful Mixing and matching styles, textures, and prints can create a beautifully curated bedroom full of personality. Instead of sticking to one look, combine modern and vintage pieces or pair graphic prints with soft florals. You might match a velvet headboard with rattan nightstands, or polka dot bedding with a plaid throw.  The key is consistency in your color palette,stick to 2–3 dominant hues to make the mix feel intentional. Balance is essential: if you’re using a bold pattern on the bed, keep the walls subtle. This technique creates a room that feels playful, personal, and effortlessly stylish. 2. Be Creative with Wallpaper Image Source: Ghayda Nsour Wallpaper can completely transform a room,but don’t stop at the walls! Use it behind shelves, inside closets, on the ceiling, or even on drawer fronts. Choose designs that reflect your personality, like watercolor florals, animal prints, or dreamy clouds. For a modern look, try graphic shapes in soft pastels. Use peel-and-stick wallpaper if you’re renting or want a low-commitment option. Mix one bold feature wall with neutral paint elsewhere to keep the space grounded. Wallpaper isn’t just background,it’s a design statement that can define the whole vibe of the room. 3. Create a Magical Reading Nook Image Source: House Beautiful A cozy, magical reading nook makes a bedroom feel like a retreat. Pick a quiet corner by the window or even under a loft bed. Add a plush bean bag, floor cushions, or a hanging chair. Use soft lighting,think fairy lights or a mushroom-shaped lamp,and layer in blankets and pillows.  Install a small bookshelf or floating ledges for easy access to books. Add a canopy or sheer curtain for privacy and charm. This tiny space becomes a personal hideaway, perfect for getting lost in a book or daydreaming in comfort. 4. Keep Things Crisp with White and Neutrals Image Source: House Beautiful A white or neutral color scheme is timeless, clean, and chic. Use white walls as a canvas, then layer in soft greys, taupes, or blush accents for warmth. Choose bedding with subtle embroidery or ruffles, and use natural textures like linen, cotton, and jute to add depth.  Light-colored wood furniture adds to the serene vibe. This look works beautifully in both small and large spaces, as it keeps everything bright and airy. Add interest with small pops of color,like a lavender throw or gold-accented lamp,to keep it from feeling too sterile. 5. Design a Fairy Tale Hideaway Image Source: House Beautiful Bring fairy tale magic to life with soft, whimsical touches. Start with pastel or dusty-tone paint,think lilac, blush, or icy blue. Add a canopy over the bed with tulle or lace, and incorporate soft lighting like fairy lights or a tiny chandelier. Choose furniture with elegant curves, like a vintage-inspired vanity or a carved wood headboard.  Add elements like star-shaped pillows, storybook art prints, or a tiny dress-up corner. This style isn’t just for little girls,it can be adapted for any age with the right balance of enchantment and elegance. 6. Try an Unexpected Color Scheme Image Source: House Beautiful Go beyond typical “girly” colors and experiment with fresh combinations. Try pairing emerald green with blush pink, or mustard yellow with lavender. Using non-traditional combos instantly modernizes the space.  To keep it cohesive, let one color dominate while the other plays a supporting role. You can also anchor the palette with neutral base tones like white, grey, or wood textures. Use the fun color in accessories, pillows, rugs, art, and let the secondary color pop through bedding or an accent wall. This bold choice makes the room stand out and feel grown-up and creative. 7. Make a Statement with an Accent Wall Image Source: Samar Gamal A bold accent wall can completely elevate a girly bedroom without overwhelming the space. To create a showstopping backdrop, choose a rich color (like plum or mauve), velvet paneling, or wallpaper with texture or pattern. Framing the wall with architectural elements—like arches or built-in lighting, adds even more drama and depth. This technique works beautifully behind the bed, transforming it into a focal point. Keep the surrounding walls neutral so the accent shines, and tie the rest of the room’s palette into the wall’s tones through bedding, curtains, or rugs. Whether soft or striking, an accent wall sets the tone for the entire space. 8. Create a Personalized Gallery Wall Image Source: Samira Mahmudlu Turn a blank wall into a living collage of favorite things. Mix framed art prints, personal photos, inspirational quotes, and even fabric swatches or pressed flowers. Use a variety of frame shapes and sizes for an eclectic look, or keep them uniform for a cleaner style. Arrange everything on the floor first to find the perfect layout before you hang. This gallery wall becomes a rotating story of who she is,what she loves, what inspires her, and where she dreams of going. It’s an easy way to update the space regularly. 9. Add a Canopy or Curtain Accent Image Source: House Beautiful Canopies aren’t just for beds, use soft, sheer curtains to frame a reading corner, a vanity, or even an entire wall. Install ceiling hooks or curtain rods to drape the fabric, and layer with twinkle lights for added charm. Choose materials like tulle, gauze, or voile in light pastel tones to keep things dreamy. This instantly gives the room a soft, cozy vibe and creates that “fairy tale” feel without going over the top. 10. Make Storage Beautiful and Practical Image Source: House Beautiful Smart storage is essential, but it can also be part of the decor. Use decorative bins in woven, velvet, or metallic finishes. Floating wall cubes can hold books, plants, or collectibles.  Opt for under-bed storage drawers or a bed frame with built-in shelves. A cute coat rack, jewelry organizer, or peg rail keeps accessories tidy and stylish. When everything has its place, the room feels more peaceful and easier to enjoy. 11. Embrace Pink as a Primary Design Element Don’t just use pink as an accent, let it lead the entire design. Choose a range of tones like blush, rose, and dusty mauve, then layer them throughout the space: on walls, bedding, furniture, and décor. Vary the textures to prevent the room from feeling flat, think velvet upholstery, cotton bedding, matte finishes, and metallic accents.  Pair your pinks with soft neutrals like white, beige, or light wood to balance the color and keep the room light and breathable. Pink doesn’t have to be overly sweet; with the right shades and balance, it feels calm, modern, and elegant. This approach works beautifully for girls’ rooms that want to lean feminine without feeling too “theme-y.” 12. Use Architectural Curves and Built-In Shapes Image Source: Kaiwan Hamza Incorporating soft curves in your design instantly adds charm and sophistication. Instead of standard square furniture and sharp lines, opt for arched wall cutouts, rounded shelves, circular reading nooks, and oval mirrors. You can mimic architectural curves through painted arches, custom cabinetry, or even curved headboards.  These shapes soften the room’s feel and make it visually unique. For a truly cohesive look, repeat the curve motif across several areas, window treatments, lighting, or even rugs. This technique is especially powerful when paired with soft colors and layered textures, as it creates a space that feels whimsical yet mature. 13. Stick to the Classics Image Source: Sara Al Refai There’s a reason some design elements never go out of style,they work. Sticking to the classics means using timeless materials, shapes, and palettes that grow with the child. Think white furniture, soft pink or lavender walls, floral bedding, and elegant drapery.  Go for a tufted headboard, framed artwork, and crystal-inspired lighting for a touch of sophistication. These pieces can be updated with accessories as tastes change, but the core elements remain versatile and stylish. This approach also helps future-proof the room, saving time and money on constant redecoration. If you’re unsure where to start, lean into a classic French or vintage-inspired style, delicate moldings, soft patterns, and warm lighting are always a win. 14. Design with Symmetry for a Polished Look Image Source: Menna Hussien Symmetry creates balance, calm, and a naturally pleasing layout, especially in shared bedrooms. This image is a perfect example: identical beds, mirrored bedding, and a centered nightstand create harmony and order. To use this concept in a girly bedroom, start by repeating core pieces on each side, beds, lamps, pillows, or wall sconces.  Choose neutral tones like beige, blush, or ivory to maintain a serene vibe. You can also mirror wall decor or shelving to extend the symmetry across the space. It doesn’t need to be exact, balance can come from visual weight, not just identical pieces. This method works particularly well for siblings, guest rooms, or for a clean and elegant design that feels effortlessly organized. 15. Design a Minimalistic Girly Bedroom Image Source: Miral Tarek Minimal doesn’t mean boring, it means intentional. A minimal girly bedroom uses clean lines, soft pastels, and refined details to create a calm, elevated space. Stick to a restrained color palette like blush and powder blue, then let furniture and texture do the talking. Choose sleek pieces: a tufted headboard, elegant side tables, and delicate lighting. Avoid clutter by limiting accessories and keeping surfaces clean. One or two standout pieces (like a floral painting or sculpted ceiling fixture) add character without overloading the room. The result is peaceful, polished, and perfect for a girl who prefers subtle over sparkly. Finishing Notes Designing a girly bedroom isn’t about following trends or sticking to one color—it’s about creating a space that reflects personality, sparks imagination, and grows with time. Whether you’re planning a soft pastel retreat, a bold and modern haven, or something whimsical in between, the ideas shared here are meant to inspire creativity and confidence in your design choices. At Home Designing, we believe that every corner of a home, especially a child’s bedroom, should be both beautiful and functional. Our mission is to help you transform everyday spaces into something extraordinary through smart layouts, thoughtful details, and timeless inspiration.

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”