AGI will be embedded into humanoid robots, which makes white-collar and blue-collar jobs a target ... More for walking/talking automation.getty In today’s column, I examine the highly worrisome qualms expressed that the advent of artificial general intelligence (AGI) is likely to usurp white-collar jobs. The stated concern is that since AGI will be on par with human intellect, any job that relies principally on intellectual pursuits such as typical white-collar work will be taken over via the use of AGI. Employers will realize that rather than dealing with human white-collar workers, they can more readily get the job done via AGI. This, in turn, has led to a rising call that people should aim toward blue-collar jobs, doing so because (presumably) those forms of employment will not be undercut via AGI. Sorry to say, that misses the bigger picture, namely that AGI when combined with humanoid robots is coming not only for white-collar jobs but also blue-collar jobs too. It is a proverbial double-whammy when it comes to the attainment of AGI. Let’s talk about it. This analysis of an innovative AI breakthrough is part of my ongoing Forbes column coverage on the latest in AI, including identifying and explaining various impactful AI complexities (see the link here). Heading Toward AGI And ASI First, some fundamentals are required to set the stage for this weighty discussion. There is a great deal of research going on to further advance AI. The general goal is to either reach artificial general intelligence (AGI) or maybe even the outstretched possibility of achieving artificial superintelligence (ASI). AGI is AI that is considered on par with human intellect and can seemingly match our intelligence. ASI is AI that has gone beyond human intellect and would be superior in many if not all feasible ways. The idea is that ASI would be able to run circles around humans by outthinking us at every turn. For more details on the nature of conventional AI versus AGI and ASI, see my analysis at the link here. We have not yet attained AGI. In fact, it is unknown as to whether we will reach AGI, or that maybe AGI will be achievable in decades or perhaps centuries from now. The AGI attainment dates that are floating around are wildly varying and wildly unsubstantiated by any credible evidence or ironclad logic. ASI is even more beyond the pale when it comes to where we are currently with conventional AI. AGI Problem Only Half Seen Before launching into the primary matter at hand in this discussion, let’s contemplate a famous quote attributed to Charles Kettering, a legendary inventor, who said, “A problem well-stated is a problem half-solved.” I bring this up because those loud clamors right now about the assumption that AGI will replace white-collar workers are only seeing half of the problem. The problem as they see it is that since AGI is intellectually on par with humans, and since white-collar workers mainly use intellect in their work endeavors, AGI is going to be used in place of humans for white-collar work. I will in a moment explain why that’s only half of the problem and there is a demonstrative need to more carefully and fully articulate the nature of the problem. Will AGI Axiomatically Take White-Collar Jobs On a related facet, the belief that AGI will axiomatically replace white-collar labor makes a number of other related key assumptions. I shall briefly explore those and then come back to why the problem itself is only half-baked. The cost of using AGI for doing white-collar work will need to be presumably a better ROI choice over human workers. If not, then an employer would be wiser to stick with humans rather than employing AGI. There seems to often be an unstated belief that AGI is necessarily going to be a less costly route than employing humans. We don’t know yet what the cost of using AGI will be. It could be highly expensive. Indeed, some are worried that the world will divide into the AGI haves and AGI have-nots, partially due to the exorbitant cost that AGI might involve. If AGI is free to use, well, that would seem to be the nail in the coffin related to using human workers for the same capacity. Another angle is that AGI is relatively inexpensive in comparison to human labor. In that case, the use of AGI is likely to win over human labor usage. But if the cost of AGI is nearer to the cost of human labor (all in), or more so, then employers would rationally need to weigh the use of one versus the other. Note that when referring to the cost of human labor, there is more to that calculation than simply the dollar-hour labor rate per se. There are lots of other less apparent costs, such as the cost to manage human labor, the cost of dealing with HR-related issues, and many other factors that come into the weighty matter. Thus, an AGI versus human labor ROI will be more complex than it might seem at an initial glance. In addition, keep in mind that AGI would seemingly be readily switched on and off, and have other capacities that human labor would not equally tend to allow. The Other Half Is Coming Too Assume that by and large the advent of AGI will decimate the need for white-collar human labor. The refrain right now is that people should begin tilting toward blue-collar jobs as an alternative to white-collar jobs. This is a logical form of thinking in the sense that AGI as an intellectual mechanism would be unable to compete in jobs that involve hands-on work. A plumber needs to come to your house and do hands-on work to fix your plumbing. This is a physicality that entails arriving at your physical home, physically bringing and using tools, and physically repairing your faulty home plumbing. A truck driver likewise needs to sit in the cab of a truck and drive the vehicle. These are physically based tasks. There is no getting around the fact that these are hands-on activities. Aha, yes, those are physical tasks, but that doesn’t necessarily mean that only human hands can perform them. The gradual emergence of humanoid robots will provide an alternative to human hands. A humanoid robot is a type of robot that is built to resemble a human in form and function. You’ve undoubtedly seen those types of robots in the many online video recordings showing them walking, jumping, grasping at objects, and so on. A tremendous amount of active research and development is taking place to devise humanoid robots. They look comical right now. You watch those videos and laugh when the robot trips over a mere stick lying on the ground, something that a human would seldom trip over. You scoff when a robot tries to grasp a coffee cup and inadvertently spills most of the coffee. It all seems humorous and a silly pursuit. Keep in mind that we are all observing the development process while it is still taking place. At some point, those guffaws of the humanoid robots will lessen. Humanoid robots will be as smooth and graceful as humans. This will continue to be honed. Eventually, humanoid robots will be less prone to physical errors that humans make. In a sense, the physicality of a humanoid robot will be on par with humans, if not better, due to its mechanical properties. Do not discount the coming era of quite physically capable humanoid robots. AGI And Humanoid Robots Pair Up You might remember that in The Wonderful Wizard of Oz, the fictional character known as The Strawman lacked a brain. Without seeming to anthropomorphize humanoid robots, the current situation is that those robots typically use a form of AI that is below the sophistication level of modern generative AI. That’s fine for now due to the need to first ensure that the physical movements of the robots get refined. I have discussed that a said-to-be realm of Physical AI is going to be a huge breakthrough with incredible ramifications, see my analysis at the link here. The idea underlying Physical AI is that the AI of today is being uplifted by doing data training on the physical world. This also tends to include the use of World Models, consisting of broad constructions about how the physical world works, such as that we are bound to operate under conditions of gravity, and other physical laws of nature, see the link here. The bottom line here is that there will be a close pairing of robust AI with humanoid robots. Imagine what a humanoid robot can accomplish if it is paired with AGI. I’ll break the suspense and point out that AGI paired with humanoid robots means that those robots readily enter the blue-collar worker realm. Suppose your plumbing needs fixing. No worries, a humanoid robot that encompasses AGI will be sent to your home. The AGI is astute enough to carry on conversations with you, and the AGI also fully operates the robot to undertake the plumbing tasks. How did the AGI-paired humanoid robot get to your home? Easy-peasy, it drove a car or truck to get there. I’ve previously predicted that all the work on devising autonomous vehicles and self-driving cars will get shaken up once we have suitable humanoid robots devised. There won’t be a need for a vehicle to contain self-driving capabilities. A humanoid robot will simply sit in the driver’s seat and drive the vehicle. This is a much more open-ended solution than having to craft components that go into and onto a vehicle to enable self-driving. See my coverage at the link here. Timing Is Notable One of the reasons that many do not give much thought to the pairing of AGI with humanoid robots is that today’s humanoid robots seem extraordinarily rudimentary and incapable of performing physical dexterity tasks on par with human capabilities. Meanwhile, there is brazen talk that AGI is just around the corner. AGI is said to be within our grasp. Let’s give the timing considerations a bit of scrutiny. There are three primary timing angles: Option 1: AGI first, then humanoid robots. AGI is attained before humanoid robots are sufficiently devised. Option 2: Humanoid robots first, then AGI. Humanoid robots are physically fluently adept before AGI is attained. Option 3: AGI and humanoid robots arrive about at the same time. AGI is attained and at the same time, it turns out that humanoid robots are fluently adept too, mainly by coincidence and not due to any cross-mixing. A skeptic would insist that there is a fourth possibility, consisting of the possibility that we never achieve AGI and/or we fail to achieve sufficiently physically capable humanoid robots. I am going to reject that possibility. Perhaps I am overly optimistic, but it seems to me that we will eventually attain AGI, and we will eventually attain physically capable humanoid robots. I shall next respectively consider each of the three genuinely reasonable possibilities. Option 1: AGI First, Then Humanoid Robots What if we manage to attain AGI before we manage to achieve physically fluent humanoid robots? That’s just fine. We would indubitably put AGI to work as a partner with humans in figuring out how we can push along the budding humanoid robot development process. It seems nearly obvious that with AGI’s capable assistance, we would overcome any bottlenecks and soon enough arrive at top-notch physically adept humanoid robots. At that juncture, we would then toss AGI into the humanoid robots and have ourselves quite an amazing combination. Option 2: Humanoid Robots First, Then AGI Suppose that we devise very physically adept humanoid robots but have not yet arrived at AGI. Are we in a pickle? Nope. We could use conventional advanced AI inside those humanoid robots. The combination would certainly be good enough for a wide variety of tasks. The odds are that we would need to be cautious about where such robots are utilized. Nonetheless, we would have essentially walking, talking, and productive humanoid robots. If AGI never happens, oh well, we end up with pretty good humanoid robots. On the other hand, once we arrive at AGI, those humanoid robots will be stellar. It’s just a matter of time. Option 3: AGI And Humanoid Robots At The Same Time Let’s consider the potential of AGI and humanoid robots perchance being attained around the same time. Assume that this timing isn’t due to an outright cross-mixing with each other. They just so happen to advance on a similar timeline. I tend to believe that’s the most likely of the three scenarios. Here’s why. First, despite all the hubris about AGI being within earshot, perhaps in the next year or two, which is a popular pronouncement by many AI luminaries, I tend to side with recent surveys of AI developers that put the date around the year 2040 (see my coverage at the link here). Some AI luminaires sneakily play with the definition of AGI in hopes of making their predictions come true sooner, akin to moving the goalposts to easily score points. For my coverage on Sam Altman’s efforts of moving the cheese regarding AGI attainment, see the link here. Second, if you are willing to entertain the year 2040 as a potential date for achieving AGI, that’s about 15 years from now. In my estimation, the advancements being made in humanoid robots will readily progress such that by 2040 they will be very physically adept. Probably be sooner, but let’s go with the year 2040 for ease of contemplation. In my view, we will likely have humanoid robots doing well enough that they will be put into use prior to arriving at AGI. The pinnacle of robust humanoid robots and the attainment of AGI will roughly coincide with each other. Two peas in a pod.Impact Of Enormous Consequences In an upcoming column posting, I will examine the enormous consequences of having AGI paired with fully physically capable humanoid robots. As noted above, this will have a humongous impact on white-collar work and blue-collar work. There will be gargantuan economic impacts, societal impacts, cultural impacts, and so on. Some final thoughts for now. A single whammy is already being hotly debated. The debates currently tend to be preoccupied with the loss of white-collar jobs due to the attainment of AGI. A saving grace seems to be that at least blue-collar jobs are going to be around and thriving, even once AGI is attained. The world doesn’t seem overly gloomy if you can cling to the upbeat posture that blue-collar tasks remain intact. The double whammy is a lot more to take in. But the double whammy is the truth. The truth needs to be faced. If you are having doubts as a human about the future, just remember the famous words of Vince Lombardi: “Winners never quit, and quitters never win.” Humankind can handle the double whammy. Stay tuned for my upcoming coverage of what this entails.

With reclaimed land previously allocated to cars, the Grijalva River boardwalk offers generous public spaces and reconnects the Mexican city of Villahermosa to its river In Villahermosa, nature reigns supreme. Surrounded by rivers, lagoons, wild vegetation and the scorching heat of a humid tropical climate, the city’s identity is shaped by intense and unpredictable natural forces. The capital of the Mexican state of Tabasco was founded in 1564 on the banks of the Grijalva River, a vital trade route that has significantly shaped the city’s development. For locals, the river has long been both blessing and threat; major floods have been recorded since the 17th century. A devastating flood in 2007 submerged what officials estimated to be 80 per cent of the city, damaging or destroying more than 120,000 homes. In the aftermath of the inundation, high concrete retaining walls were built along both banks of the Grijalva River to prevent further flooding. While this was an understandable measure at first glance, it consequently caused residents to lose both their visual and physical connection with the river. As a result, people moved, particularly from the western bank where the historical centre is located, to new areas further away from the Grijalva River. The riverfront was left to deteriorate into a troubled zone. On the eastern bank, the neighbourhood of Gaviotas was already considered unsafe before the flood, yet it maintained more of its residential character. In 2022, 15 years after the dramatic flood, then‑president Andrés Manuel López Obrador, more commonly known as AMLO, announced the construction of a new 6km‑long riverfront promenade in Villahermosa, the capital of his home state. The idea was to enable the population to once again take pride in and live with their river, looking to Paris and Rome as examples. The monumental task, with its large urban scale and the population’s psychological trauma, was entrusted to the Ministry of Agricultural, Territorial and Urban Development (SEDATU) as part of their Programa de Mejoramiento Urbano (Urban Improvement Programme, or PMU). This programme aimed to use architecture as an ‘instrument of social transformation’. High expectations were placed on these projects; architects were asked to create ‘places of national pride’ while improving everyday living conditions. The architectural trio of Alejandro Castro Jiménez Labora, Mauricio Rocha Iturbide, and Óscar Rodríguez Castañeda, along with their teams, were commissioned to design a linear park along both banks of the Grijalva. Each architect contributed their strength: Castro brought his expertise in poetic urban furniture; Rocha his sensitive and atmospheric architectural approach; and Rodríguez his thoughtful urban and traffic planning skills. The SEDATU team provided technical and participatory expertise, enabling contextual sensitivity by sharing essential information about the site’s topography, soil conditions and water flows. From the city’s existing observatory, the Torre del Caballero landmark, visitors enjoy an excellent view over the redesigned riverbanks. The historical centre and the Gaviotas neighbourhood now form a single ensemble, while the intervention carefully responds to the different conditions found along the length of the river. The project’s main objective is to reclaim some of the land previously allocated to cars and create a promenade for pedestrians and slower vehicles, punctuated with public spaces and facilities. On both sides of the river, cars are now limited to just one or two grey asphalt lanes. Running alongside are generous cycle paths and pedestrian walkways made of earth‑coloured concrete. Speed bumps in the same material and colour connect the pavements on either side of the road while helping to limit traffic speed to 30km/h, further enhancing pedestrian safety. Several design elements are found along almost the entire promenade. A ribbon of light‑grey benches delineates the edge of the elevated riverfront; stone walls, steps and ramps are used to negotiate the slight changes in level; planters and lush vegetation soften the transition to the walkways, creating a welcome buffer from street traffic. The most visually striking components are the tall, red‑pigmented concrete light poles on the elevated path, adorned with elegant L‑shaped steel light fixtures, which establish a strong and cohesive visual rhythm. Only upon closer inspection you notice the 2007 retaining walls peeking through the dense tropical vegetation. Removing these unattractive concrete barriers was never an option; they stand as a symbol of successful flood protection for the local population. The architectural team ingeniously built the elevated promenade atop the existing wall – an effective concealment from the street side while simultaneously inviting residents to reconnect with the Grijalva.  At the foot of the observatory, directly below the retaining wall, the earth‑toned concrete platforms of the Carlos A Madrazo Becerra Park stretch towards the river. Visitors can access the park via a ramp from the promenade on the western bank or by ferry from the opposite side. In the park, concrete furnishings invite visitors to linger among tropical vegetation set against tall natural stone walls. Importantly, it is a space that is durable and requires minimal maintenance – a survival formula for public parks in the Mexican context. Small traces on the concrete benches reveal that the park weathered its baptism of fire last year: the design accommodates the river’s natural dynamics, adapting to fluctuating water levels without compromising public safety. Beyond providing much‑needed shade, the extensive planting of native, low‑maintenance plants on both riverbanks has improved soil stability. Above the park, on a broad extension of the elevated pathway, stand three long, elegant buildings with large cantilevered roofs supported by hefty beams resting on distinctive double columns. The tall glass walls that enclose the interiors are set back, creating a visual flow between interior and exterior spaces. While the beams evoke timber construction, they – like the columns – are made of the same pigmented concrete used for the promenade paving. Despite their refined composition, these structures have remained largely unused since their completion over a year ago, neither serving their intended function as restaurants nor hosting alternative uses. Even the beautifully designed park sees only limited public engagement. The ambitious goal of SEDATU with the PMU projects to ‘counteract violence and strengthen the social fabric’ appears, for now, to have fallen short in this area. According to national statistics, Villahermosa ranks first in perceived insecurity among Mexican cities. This sense of insecurity is tangible on the promenade by the city centre, where buildings that look abandoned contribute to an atmosphere of neglect. The situation is markedly different on the opposite riverbank, in the Gaviotas neighbourhood. Construction of the 3.5km promenade on this side began in 2021 with three open pavilions housing several small kiosks, which quickly evolved into popular taco stands. The Plaza Solidaridad, revitalised by the architectural trio, draws people from the surrounding vibrant neighbourhood. Further south, the final section that was built is a large sports area and children’s playground, which were embraced by the local community even before their official inauguration in February 2024. Especially after sunset, when the air cools, the well‑lit Gaviotas riverfront comes to life. During daylight hours, however, air‑conditioned shopping centres remain the preferred gathering places for the residents of Villahermosa. Rocha describes the city’s new promenade as a ‘jazz composition’, a striking metaphor that speaks of rhythmic complexity and the freedom to improvise. With just a few designed elements and carefully selected colours, the architects have harmoniously layered the river’s urban spaces. The project is earning international recognition but, in Mexico, it faced sharp criticism and was overshadowed by accusations of nepotism. Castro is a friend of AMLO’s son, and the fact that the intervention took place in the home state of the then‑president, coupled with its substantial budget by local standards, drew considerable attention. According to residents, this undermined public acceptance. When asked about the negative press, Rocha speaks of the need to develop a ‘crisis muscle’; he says architects working on public projects in Mexico must ‘let go of perfectionism’ as much lies beyond their control.  During AMLO’s six‑year term, which ended in 2024, SEDATU implemented 1,300 PMU projects in 193 highly marginalised municipalities across the country. While many of these interventions undoubtedly improved people’s quality of life, the Villahermosa riverside project also reveals architecture’s limitations, exposing some of the programme’s weaknesses: architectural interventions often act as sticking plasters on an extensively damaged urban fabric. They are handed over from a national ministry with comprehensive expertise and funding to local governments lacking the means to sustain them. Although SEDATU conducted participatory consultations during the project’s implementation, this engagement was absent once the project was completed. Public acceptance and appropriation can take time; what this project does is send an invitation out. 2025-06-05 Reuben J Brown Share AR June 2025RoadsBuy Now

John Edwards, Technology Journalist & AuthorJune 5, 20254 Min ReadSailGP Australia, USA, and Great Britain racing on San Francisco Bay, CaliforniaDannaphotos via Alamy StockWarren Jones is CTO at SailGP, the organizer of what he describes as the world's most exciting race on water. The event features high-tech F50 boats that speed across the waves at 100 kilometers-per-hour (62 miles-per-hour).  Working in cooperation with Oracle, Jones focuses on innovative solutions for remote broadcast production, data management and distribution, and a newly introduced fan engagement platform. He also leads the team that has won an IBC Innovation Awards for its ambitious and ground-breaking remote production strategy. Among the races Jones organizes is the Rolex SailGP Championship, a global competition featuring national teams battling each other in identical high-tech, high-speed 50-foot foiling catamarans at celebrated venues around the world. The event attracts the sport's top athletes, with national pride, personal glory, and bonus prize money of $12.8 million at stake. Jones also supports event and office infrastructures in London and New York, and at each of the global grand prix events over the course of the season. Prior to joining SailGP, he was IT leader at the America's Cup Event Authority and Oracle Racing. In an online interview, Jones discusses the challenges he faces in bringing reliable data services to event vessels, as well as onshore officials and fans. Related:Warren JonesWhat's the biggest challenge you've faced during your tenure? One of the biggest challenges I faced was ensuring real-time data transmission from our high-performance F50 foiling catamarans to teams, broadcasters, and fans worldwide. SailGP relies heavily on technology to deliver high-speed racing insights, but ensuring seamless connectivity across different venues with variable conditions was a significant hurdle. What caused the problem? The challenge arose due to a combination of factors. The high speeds and dynamic nature of the boats made data capture and transmission difficult. Varying network infrastructure at different race locations created connectivity issues. The need to process and visualize massive amounts of data in real time placed immense pressure on our systems. How did you resolve the problem? We tackled the issue by working with T-Mobile and Ericsson in a robust and adaptive telemetry system capable of transmitting data with minimal latency over 5G. Deploying custom-built race management software that could process and distribute data efficiently [was also important]. Working closely with our global partner Oracle, we optimized Cloud Compute with the Oracle Cloud.  Related:What would have happened if the problem wasn't quickly resolved? Spectator experience would have suffered. Teams rely on real-time analytics for performance optimization, and broadcasters need accurate telemetry for storytelling. A failure here could have resulted in delays, miscommunication, and a diminished fan experience. How long did it take to resolve the problem? It was an ongoing challenge that required continuous innovation. The initial solution took several months to implement, but we’ve refined and improved it over multiple seasons as technology advances and new challenges emerge. Who supported you during this challenge? This was a team effort -- with our partners Oracle, T-Mobile, and Ericsson with our in-house engineers, data scientists, and IT specialists all working closely. The support from SailGP's leadership was also crucial in securing the necessary resources. Did anyone let you down? Rather than seeing it as being let down, I'd say there were unexpected challenges with some technology providers who underestimated the complexity of what we needed. However, we adapted by seeking alternative solutions and working collaboratively to overcome the hurdles. What advice do you have for other leaders who may face a similar challenge? Related:Embrace adaptability. No matter how well you plan, unforeseen challenges will arise, so build flexible solutions. Leverage partnerships. Collaborate with the best in the industry to ensure you have the expertise needed. Stay ahead of technology trends. The landscape is constantly evolving; being proactive rather than reactive is key. Prioritize resilience. Build redundancy into critical systems to ensure continuity even in the face of disruptions. Is there anything else you would like to add? SailGP is as much a technology company as it is a sports league. The intersection of innovation and competition drives us forward and solving challenges like these is what makes this role both demanding and incredibly rewarding. About the AuthorJohn EdwardsTechnology Journalist & AuthorJohn Edwards is a veteran business technology journalist. His work has appeared in The New York Times, The Washington Post, and numerous business and technology publications, including Computerworld, CFO Magazine, IBM Data Management Magazine, RFID Journal, and Electronic Design. He has also written columns for The Economist's Business Intelligence Unit and PricewaterhouseCoopers' Communications Direct. John has authored several books on business technology topics. His work began appearing online as early as 1983. Throughout the 1980s and 90s, he wrote daily news and feature articles for both the CompuServe and Prodigy online services. His "Behind the Screens" commentaries made him the world's first known professional blogger.See more from John EdwardsWebinarsMore WebinarsReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like

Wellness is no longer something we seek out. It’s something we’re building into our homes. From infrared panels and cold plunges to entire rooms designed for rest and recovery, the wellness-at-home movement is reshaping how we live and reset. Thermasol, a pioneer in steam and sauna innovation since 1958, embraces this shift with a new collection of Scandinavian-inspired saunas that bring spa-level luxury to both indoor and outdoor spaces in your home. With natural materials, European craftsmanship, and smart features like WiFi-enabled controls and ambient lighting, each sauna is designed to transform daily rituals into immersive moments of restoration. Aalto Indoor Sauna The new indoor models – Aalto, Astra, and Lumaria – each take a distinct approach to serenity. Aalto, named after the Finnish word for “wave,” features sculptural lines and a seamless blend of wood and glass, creating an organic sense of flow. Astra Indoor Sauna Astra, derived from the Latin word for “stars,” offers a luminous experience with a sleek, corner-friendly layout that maximizes space without compromising elegance. Lumaria Indoor Sauna Lumaria, a combination of the words “lumina” (which means light) and “aria” (or melody), lives up to its name by blending gentle illumination and refined design in two flexible sizes. The Medium fits two to three people while the Large fits up to five – perfect for home wellness areas of all shapes and scales. Ombra Outdoor Sauna Designed by award-winning designer Bojan Črešnar, Thermasol’s five new outdoor saunas feel like you’re stepping away for a short vacation away from home. Each model is a study in contrast – bold yet serene, architectural yet inviting. The Ombra uses tinted, reflective glass that offers privacy while maximizing the views. Wavy wood accents add an organic warmth to the otherwise streamlined facade. Ombra Outdoor Sauna Ombra Outdoor Sauna Ombra Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna Vue Outdoor Sauna The Vue opens up to nature with a striking full-glass front, while the Fortis leans into warmth and durability with thermally modified wood and layered insulation. Fortis Outdoor Sauna Fortis Outdoor Sauna Spectra Outdoor Sauna For those with smaller footprints, the Spectra delivers big on style in a compact form, and the Vera is tailored for balconies, rooftops, and garden corners, bringing wellness to even the coziest of spaces. Spectra Outdoor Sauna With this new collection, Thermasol continues to evolve what wellness can look and feel like at home. These saunas merge design, technology, and tradition in ways that feel both elevated and deeply personal. Whether you’re carving out a moment of stillness indoors or soaking in the quiet of your backyard, these saunas invite you to pause, reset, and reconnect – no spa membership required. Vera Outdoor Sauna To learn more about Thermasol’s newest saunas and bring tranquility into your own home, visit thermasol.com. Imagery courtesy of Thermosol.

“Pillars” (2024), oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style June 4, 2025 Kate Mothes In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history. Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens. “The Patron Saint of Urban Farming” (2025), oil on linen, 72 x 48 inches In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes. The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present. An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War. Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations. “Watermelon Man” (2025), oil on linen, 51 1/2 x 42 inches Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride. For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community. For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says. Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram. “International Detroit Playa: Sheefy” (2022), oil on linen, 108 x 96 inches “These Are Not Yams But They Are Damn Good” (2025), oil on linen, 51 1/2 x 42 inches “Creation of a Revolutionary (Helen Moore)” (2023), oil on linen, 76 x 52 inches “Black” (2023), oil on linen, 48 x 48 inches “Garland of Resilience” (2025), oil on linen, 51 1/2 x 42 inches “Birth of Cool” (2023), oil on linen, 72 x 48 inches Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit Previous articleNext article

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.

Jun 04, 2025Ravie Lakshmanan Threat Intelligence / Data Breach Google has disclosed details of a financially motivated threat cluster that it said "specialises" in voice phishing (aka vishing) campaigns designed to breach organizations' Salesforce instances for large-scale data theft and subsequent extortion. The tech giant's threat intelligence team is tracking the activity under the moniker UNC6040, which it said exhibits characteristics that align with threat groups with ties to an online cybercrime collective known as The Com. "Over the past several months, UNC6040 has demonstrated repeated success in breaching networks by having its operators impersonate IT support personnel in convincing telephone-based social engineering engagements," the company said in a report shared with The Hacker News. This approach, Google's Threat Intelligence Group (GTIG) added, has had the benefit of tricking English-speaking employees into performing actions that give the threat actors access or lead to the sharing of valuable information such as credentials, which are then used to facilitate data theft. A noteworthy aspect of UNC6040's activities involves the use of a modified version of Salesforce's Data Loader that victims are deceived into authorizing so as to connect to the organization's Salesforce portal during the vishing attack. Data Loader is an application used to import, export, and update data in bulk within the Salesforce platform. Specifically, the attackers guide the target to visit Salesforce's connected app setup page and approve the modified version of the Data Loader app that carries a different name or branding (e.g., "My Ticket Portal") from its legitimate counterpart. This action grants them unauthorized access to the Salesforce customer environments and exfiltrate data. Beyond data loss, the attacks serve as a stepping stone for UNC6040 to move laterally through the victim's network, and then access and harvest information from other platforms such as Okta, Workplace, and Microsoft 365. Select incidents have also involved extortion activities, but only "several months" after the initial intrusions were observed, indicating an attempt to monetize and profit off the stolen data presumably in partnership with a second threat actor. "During these extortion attempts, the actor has claimed affiliation with the well-known hacking group ShinyHunters, likely as a method to increase pressure on their victims," Google said. UNC6040's overlaps with groups linked to The Com stem from the targeting of Okta credentials and the use of social engineering via IT support, a tactic that has been embraced by Scattered Spider, another financially motivated threat actor that's part of the loose-knit organized collective. The vishing campaign hasn't gone unnoticed by Salesforce, which, in March 2025, warned of threat actors using social engineering tactics to impersonate IT support personnel over the phone and trick its customers' employees into giving away their credentials or approving the modified Data Loader app. "They have been reported luring our customers' employees and third-party support workers to phishing pages designed to steal credentials and MFA tokens or prompting users to navigate to the login.salesforce[.]com/setup/connect page in order to add a malicious connected app," the company said. "In some cases, we have observed that the malicious connected app is a modified version of the Data Loader app published under a different name and/or branding. Once the threat actor gains access to a customer's Salesforce account or adds a connected app, they use the connected app to exfiltrate data." The development not only highlights the continued sophistication of social engineering campaigns, but also shows how IT support staff are being increasingly targeted as a way to gain initial access. "The success of campaigns like UNC6040's, leveraging these refined vishing tactics, demonstrates that this approach remains an effective threat vector for financially motivated groups seeking to breach organizational defenses," Google said. "Given the extended time frame between initial compromise and extortion, it is possible that multiple victim organizations and potentially downstream victims could face extortion demands in the coming weeks or months." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE    

As part of the Mix, Craftlings shared a new Gameplay trailer alongside an updated demo in anticipation of Next Fest. Check out the trailer below: Craftlings are as diligent as they are hapless, and it’ll take a keen strategic mind and refined sense of resource management to channel these creatures’ unique focused energy into something productive and prevent them from plunging off the nearest cliff in their attempt to build their settlement. With the goal of tackling each level’s unique challenge, players will assign tasks, grow their settlement, optimize production chains, and upgrade their Town Hall to unlock new possibilities. Don’t forget to try out the new demo and wishlist the game today: The post Craftlings gets new gameplay trailer at The Mix appeared first on Raw Fury.

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.”