Nacelle Unveils Wave 2 of Biker Mice From Mars Action Figures  Nacelle is expanding its NacelleVerse with a new wave of Biker Mice from Mars 1/12 scale figures, now featuring iconic villains and fresh heroes. The lineup includes Charley, Carbine, Lawrence Limburger, Doctor Karbunkle (with Fred the Mutant) and Greasepit. Each action figure will be packed with eccentric accessories and interchangeable parts. Following strong fan demand, production was fast-tracked to bring more characters and long-awaited villains to shelves. The beloved animated series is also being revived by Nacelle alongside Maximum Effort’s Ryan Reynolds.  Check out the full lineup here  Kevin Bacon and Kyra Sedgwick Reunite Onscreen for The Best You Can  Kevin Bacon puts his dancing shoes back on for Michael J. Weithorn’s new film The Best You Can, which premieres at the Tribeca Film Festival on June 7. This new Bacon feature, however, is far from a musical, and it will be the first time in over 20 years that Bacon and his wife Kyra Sedgwick reunite on the screen.  The new film will follow Stan (Bacon), who is home security guard, and Cynthia (Sedgwick), a doctor who forms an unlikely bond with Stan after her home gets invaded. Their friendship is formed entirely over text following their initial encounter.  Of course, working with actors who are married in real-life can throw off the illusion of an unexpected connection that Weithorn is trying to achieve. His solution? Weithorn tells Entertainment Weekly that he asked Bacon and Sedgwick to avoid rehearsing together; he also decided to put Sedgwick in a wig (brilliant) to hopefully make her appearance foreign to Bacon, and set the scene for the two meeting for the first time– and not that they’ve been married for like 36 years.  “For Weithorn, the experience opened him up to the idea of writing a film where texting is one of the primary modes of communication between his protagonists, reflecting its prevalence in day-to-day life. ‘With new people we find that, especially someone who’s a potential friend or someone you might be dating, sometimes it’ll be very awkward and you’re trying to struggle to figure out what they meant or why they didn’t text back,’ he notes. ‘All of the politics and the nuances of texting, it’s more often than not a little clunky.’” Read more at Entertainment Weekly  Nouvelle Vague Could Be France’s First Best International Film Winner at the Oscars in Over 30 Years   It’s been over 30 years since France has received a statuette for best international film, and in 2026, it might just be an American filmmaker to make that change.  Richard Linklater’s Nouvelle Vague recently premiered at Cannes, and has since been acquired by Netflix. Despite speculation, the film is eligible to be selected by France’s Oscar committee since it was shot mostly in French. Furthermore, Linklater employed a local artistic and production team, which heavily factors into the selection committee’s decision, given the Academy of Motion Picture Arts and Sciences requires the creative control of the film be mostly in the hands of the country’s citizens. The only opposing force would be the film’s current release date, which falls after AMPAS Sept. 30 deadline.  If you’re thinking: I think I’ve seen this film before– you’re not alone. France was just inches away from scoring best international film at the 2025 Oscars with Emilia Pérez, which Netflix also acquired; it only cost them $12 million, and was one of the most controversial films of the year. One almost certain deterrent from it winning best international film was a brewing controversy over lead actress’ Karla Sofia Gascon’s offensive tweets just in time for award season.  Still, following its Cannes premiere, though it did not win any prizes at the festival, critics have been abuzz with glowing reviews for Nouvelle Vague. The premiere even visibly moved Quentin Tarantino, who then led a burst of enthusiastic applause and a long standing-ovation from the audience.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! “It would certainly be ironic — and hard to swallow for some — to finally see an American filmmaker score France’s first international feature film Oscar after more than 30 years (the last one dates back to 1993 with Regis Wargnier with ‘Indochine’).’” Read more at Variety  Warner Bros. Delays Animal Friends Release  Reviving a beloved ’90s classic about animated space mice is not the only thing Ryan Reynolds has been up to– he’s also set to star in an upcoming live-action hybrid movie directed by Peter Atencio, Animal Friends.  The film was set to premiere in theaters on Oct. 10, but that date has since been moved to May 1, 2026. Alongside Reynolds will be Aubrey Plaza, Jason Momoa, Dan Levy and TikTok star/rising pop-princess, Addison Rae.  “The road trip adventure feature is now set to hit theaters May 1, 2026, after previously having been scheduled for Oct. 10, 2025. Peter Atencio directs the film from a script by Kevin Burrows and Matt Mider.”  Read more at The Hollywood Reporter

Back from 2005 to 2009, Apple used to have a neat little software feature called ‘Front Row’. It essentially allowed you to utilize an with your Mac, and take advantage of a unique software interface for watching content. It didn’t last very long, b

It’s official: Elden Ring Nightreign is a success for Bandai Namco and FromSoftware, shipping over two million copies in less than a day. However, there are still plenty of issues, not the least of which includes unbalanced solo play. Thankfully, the development team is aware and confirmed a patch for next week. Patch 1.02 will increase the amount of Runes earned during solo expeditions and also allows for automatically reviving once after defeat during night boss battles. Other bug fixes are also inbound, though we’ll find out more details when the patch notes go live. Elden Ring Nightreign is available on Xbox Series X/S, PS4, PS5, PC, and Xbox One for $39.99. Check out our review, where we scored it an eight out of ten, praising the signature FromSoftware combat, art direction and overall rogue-like approach. While it’s not a live-service title, it will receive additional DLC in Q4 2025. Stay tuned for updates in the meantime. Nightfarers,Thank you for playing #ELDENRING #NIGHTREIGN. Next week, Patch 1.02 will be released, and will include several bug fixes as well as improvements for solo expeditions.Further details will be provided next week.— ELDEN RING (@ELDENRING) May 30, 2025 The following improvements for solo expeditions will be added to the game:– The effect "Automatic Revival Upon Defeat", which allows revival once per night boss battle, will be added to solo expeditions.– The amount of runes gained will be increased.Thank you for your support.— ELDEN RING (@ELDENRING) May 30, 2025

Elden Ring Nightreign is another bona fide success for Bandai Namco and FromSoftware, peaking at just under 314,000 concurrent players on Steam. It also saw over two million shipments and digital sales worldwide on its first day. However, some players have reported issues with matchmaking. The developer initially recommended restarting the matchmaking process when attempting an expedition. Those on PS4 and PS5 may also want to check their NAT Type by going into the Settings and checking Connection Status. NAT type 3 can affect matchmaking for those connecting to the PlayStation Network. How you fix this is a different question, but that could be the root cause. FromSoftware has confirmed a new patch this week, though its biggest fixes target solo players. It will allow for reviving once per night boss upon dying and increase the amount of Runes earned from solo expeditions. Stay tuned for more details when it goes live. Elden Ring Nightreign is available for Xbox One, PS4, PS5, PC, and Xbox Series X/S. Check out our review. Nightfarers, If you encounter issues finding other players when launching an expedition in #ELDENRING #NIGHTREIGN, please try restarting the matchmaking process. Thank you for your patience and understanding.— ELDEN RING (@ELDENRING) May 31, 2025 Nightfarers,If you have difficulty matchmaking on PS4 & PS5, please check your NAT type. NAT type 3 may affect matchmaking on PSN.Check your NAT type with the following steps:Home > Settings > Network > Connection Status > Check Connection StatusThank you for your support.— ELDEN RING (@ELDENRING) May 31, 2025

In April, Paul Graham, the founder of the tech startup accelerator Y Combinator, sent a tweet in response to former YC president and current OpenAI CEO Sam Altman. Altman had just bid a public goodbye to GPT-4 on X, and Graham had a follow-up question.  “If you had [GPT-4’s model weights] etched on a piece of metal in the most compressed form,” Graham wrote, referring to the values that determine the model’s behavior, “how big would the piece of metal have to be? This is a mostly serious question. These models are history, and by default digital data evaporates.”  There is no question that OpenAI pulled off something historic with its release of ChatGPT 3.5 in 2022. It set in motion an AI arms race that has already changed the world in a number of ways and seems poised to have an even greater long-term effect than the short-term disruptions to things like education and employment that we are already beginning to see. How that turns out for humanity is something we are still reckoning with and may be for quite some time. But a pair of recent books both attempt to get their arms around it with accounts of what two leading technology journalists saw at the OpenAI revolution.  In Empire of AI: Dreams and Nightmares in Sam Altman’s OpenAI, Karen Hao tells the story of the company’s rise to power and its far-reaching impact all over the world. Meanwhile, The Optimist: Sam Altman, OpenAI, and the Race to Invent the Future, by the Wall Street Journal’s Keach Hagey, homes in more on Altman’s personal life, from his childhood through the present day, in order to tell the story of OpenAI. Both paint complex pictures and show Altman in particular as a brilliantly effective yet deeply flawed creature of Silicon Valley—someone capable of always getting what he wants, but often by manipulating others.  Hao, who was formerly a reporter with MIT Technology Review, began reporting on OpenAI while at this publication and remains an occasional contributor. One chapter of her book grew directly out of that reporting. And in fact, as Hao says in the acknowledgments of Empire of AI, some of her reporting for MIT Technology Review, a series on AI colonialism, “laid the groundwork for the thesis and, ultimately, the title of this book.” So you can take this as a kind of disclaimer that we are predisposed to look favorably on Hao’s work.  With that said, Empire of AI is a powerful work, bristling not only with great reporting but also with big ideas. This comes across in service to two main themes.  The first is simple: It is the story of ambition overriding ethics. The history of OpenAI as Hao tells it (and as Hagey does too) is very much a tale of a company that was founded on the idealistic desire to create a safety-focused artificial general intelligence but instead became more interested in winning. This is a story we’ve seen many times before in Big Tech. See Theranos, which was going to make diagnostics easier, or Uber, which was founded to break the cartel of “Big Taxi.” But the closest analogue might be Google, which went from “Don’t be evil” to (at least in the eyes of the courts) illegal monopolist. For that matter, consider how Google went from holding off on releasing its language model as a consumer product out of an abundance of caution to rushing a chatbot out the door to catch up with and beat OpenAI. In Silicon Valley, no matter what one’s original intent, it always comes back to winning.   The second theme is more complex and forms the book’s thesis about what Hao calls AI colonialism. The idea is that the large AI companies act like traditional empires, siphoning wealth from the bottom rungs of society in the forms of labor, creative works, raw materials, and the like to fuel their ambition and enrich those at the top of the ladder. “I’ve found only one metaphor that encapsulates the nature of what these AI power players are: empires,” she writes. “During the long era of European colonialism, empires seized and extracted resources that were not their own and exploited the labor of the people they subjugated to mine, cultivate, and refine those resources for the empires’ enrichment.” She goes on to chronicle her own growing disillusionment with the industry. “With increasing clarity,” she writes, “I realized that the very revolution promising to bring a better future was instead, for people on the margins of society, reviving the darkest remnants of the past.”  To document this, Hao steps away from her desk and goes out into the world to see the effects of this empire as it sprawls across the planet. She travels to Colombia to meet with data labelers tasked with teaching AI what various images show, one of whom she describes sprinting back to her apartment for the chance to make a few dollars. She documents how workers in Kenya who performed data-labeling content moderation for OpenAI came away traumatized by seeing so much disturbing material. In Chile she documents how the industry extracts precious resources—water, power, copper, lithium—to build out data centers.  She lands on the ways people are pushing back against the empire of AI across the world. Hao draws lessons from New Zealand, where Maori people are attempting to save their language using a small language model of their own making. Trained on volunteers’ voice recordings and running on just two graphics processing units, or GPUs, rather than the thousands employed by the likes of OpenAI, it’s meant to benefit the community, not exploit it.  Hao writes that she is not against AI. Rather: “What I reject is the dangerous notion that broad benefit from AI can only be derived from—indeed will ever emerge from—a vision of the technology that requires the complete capitulation of our privacy, our agency, and our worth, including the value of our labor and art, toward an ultimately imperial centralization project … [The New Zealand model] shows us another way. It imagines how AI could be exactly the opposite. Models can be small and task-specific, their training data contained and knowable, ridding the incentives for widespread exploitative and psychologically harmful labor practices and the all-consuming extractivism of producing and running massive supercomputers.”  Hagey’s book is more squarely focused on Altman’s ambition, which she traces back to his childhood. Yet interestingly, she also  zeroes in on the OpenAI CEO’s attempt to create an empire. Indeed, “Altman’s departure from YC had not slowed his civilization-building ambitions,” Hagey writes. She goes on to chronicle how Altman, who had previously mulled a run for governor of California, set up experiments with income distribution via Tools for Humanity, the parent company of Worldcoin. She quotes Altman saying of it, “I thought it would be interesting to see … just how far technology could accomplish some of the goals that used to be done by nation-states.”  Overall, The Optimist is the more straightforward business biography of the two. Hagey has packed it full with scoops and insights and behind-the-scenes intrigue. It is immensely readable as a result, especially in the second half, when OpenAI really takes over the story. Hagey also seems to have been given far more access to Altman and his inner circles, personal and professional, than Hao did, and that allows for a fuller telling of the CEO’s story in places. For example, both writers cover the tragic story of Altman’s sister Annie, her estrangement from the family, and her accusations in particular about suffering sexual abuse at the hands of Sam (something he and the rest of the Altman family vehemently deny). Hagey’s telling provides a more nuanced picture of the situation, with more insight into family dynamics.  Hagey concludes by describing Altman’s reckoning with his role in the long arc of human history and what it will mean to create a “superintelligence.” His place in that sweep is something that clearly has consumed the CEO’s thoughts. When Paul Graham asked about preserving GPT-4, for example, Altman had a response at the ready. He replied that the company had already considered this, and that the sheet of metal would need to be 100 meters square.

Presentation Pavillon des arts Cite du Havre. Image credit: CIAC The Montreal International Centre for Contemporary Art (CIAC) is proposing to redevelop the former Expo 67 Art Museum into the Cité-du-Havre Arts Pavilion; a project which aims to revitalize a site rich in Montreal’s cultural history, and transform it into a hub for artistic expression and public engagement. The building, located at 2190 Pierre-Dupuy Street, was originally designed for Expo 67 and later housed the Montreal Museum of Contemporary Art from 1968 to 1992. After, it served as a warehouse for the Casino de Montréal from 1998 to 2023. Designed by architects Paul Gauthier, Gilles Guité, and Gilles Côté, the building is an important legacy of Expo 67. While a 2023 request to designate the building as a protected heritage site was denied, many still recognize its heritage value, reports La Presse. It remains one of the last surviving pavilions from Expo 67, alongside Habitat 67, making its preservation a matter of public interest. A previous heritage study from 2006 highlighted the building’s “advanced decay” and numerous inappropriate modifications. Recent visits by project initiator Claude Gosselin suggest that the exhibition halls remain in good condition and could be restored for cultural use. Renovation costs are estimated at between $5 million and $10 million. The proposal for the site supports the City of Montreal’s plans to build 13,500 housing units in the Bridge-Bonaventure sector. As part of this expansion, the inclusion of the Cité-du-Havre Cultural Park would provide a cultural and recreational space for the public. The park and arts pavilion are also envisioned as important elements of a broader plan to improve the quality of life in this area. Gosselin envisions restoring the pavilion for its original purpose as a space for contemporary art and proposes that the museum be dedicated to Les Automatistes, an influential artistic movement in Quebec. The museum would also include a documentation center, exhibition rooms for CIAC, and a sculpture garden surrounding the building, which aims to be reminiscent of the one that existed during Expo 67. Despite this proposal being in the works, the building’s future remains uncertain. When the property was listed for sale in October 2023, a real estate developer expressed interest in demolishing it to build a condominium tower, causing concern among heritage advocates. For more information, click here.   The post CIAC proposes reviving Expo 67 Art Museum as an arts pavilion appeared first on Canadian Architect.

An open international contest is being held to retrofit and upgrade the former Palace Hotel in Ostrava, Czechia (Deadline: 6 June) The two-stage competition – organised by the Centre for Central European Architecture (CCEA MOBA) on behalf of the developer ANTRACIT – will select a design team to upgrade the historic complex located on a prominent site in the centre of Czechia’s third largest settlement. The £20 million (600 million CZK) project will transform the landmark building – which first opened in 1913, became abandoned in the 1990s and was later converted into a student accommodation complex – into a new vibrant city block playing a key role in Ostrava's urban and social fabric. Competition site: Palace Hotel, Ostrava According to the brief: ‘We'd like to invite you to participate in an international architectural competition as a competitive dialogue, aimed at reviving the Hotel Palace in the heart of Ostrava. ‘This building bears the marks of its era – it is a witness to changing ideals, visions, and the city's rhythm. Now, the time has come for it to become a vibrant place once again – a home for new residents, open to services and unexpected encounters. ‘We are seeking a solution that connects historical value with the needs of the present, one that understands Ostrava and the people who shape it.’ Founded in 1267, Ostrava is a large industrial city located close to the Polish border in the north-east of Czechia. The settlement is home to around 280,000 people and local landmarks include the contest-winning Ostrava Concert Hall by Steven Holl Architects. In January, the City of Ostrava launched a competition create a new €100 million (CZK 2.5 billion) football stadium for FC Baník Ostrava on the location of the club’s existing grounds which have been in use since 1959 and are located near to Ostrava’s New City Hall. The latest contest also comes just months after international competitions were announced for a new urban quarter in Jindřichův Hradec, for the €244 million upgrade of flood defences in Olomouc and to transform the disused Hotel Strojař in nearby Přerov. Competition site: Palace Hotel, Ostrava Judges will include Silvia Forlati, architect and co-founder of a Viennese studio SHARE; Pascal Müller, architect and co-founder of the office Müller Sigrist Architekten; Zuzana Bajgarová, director of ANTRACIT; and Michaela Yaparsidi, architect and project manager in HESTA Immobilien in Zurich. The contest language is Czech and English. Submissions will be judged on architectural quality, urban context, design economy and the potential benefits for city residents and visitors. The overall winner will receive a £27,000 (CZK 800,000) prize while a second prize of £20,000 (CZK 600,000), third prize of £15,000 (CZK 450,000) and a fourth and fifth prize each worth £13,500 (CZK 400,000) will also be awarded. How to apply Deadline: 6 June Competition funding source: ANTRACIT Palace 2 Project funding source: ANTRACIT Palace 2 Owner of site(s): ANTRACIT Palace 2 Contact details: karin@cceamoba.czVisit the competition website for more information

Space Available Jakarta Community Center / Space AvailableSave this picture!© Ernest Theofilus•Kecamatan Mampang Prapatan, Indonesia Architects: Space Available Area Area of this architecture project Area:  12 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Ernest TheofilusMore SpecsLess Specs Save this picture! Text description provided by the architects. This project began as a renovation of a significant early work by renowned Indonesian architect Andra Matin. Over the years, the building had undergone many uses and transformations, each adding layers of complexity to its structure. Reviving it required a careful balance between preservation and innovation. Many unforeseen challenges emerged as we peeled back its history, uncovering structural inconsistencies and outdated systems that needed upgrading. Our mission was not just to restore the building, but to reimagine its purpose-bringing it back to life as a cultural and community-driven destination as well as reviving the neighborhood of Kemang, the once cultural hotspot of Jakarta.Save this picture!Save this picture!Save this picture!Save this picture!From the outset, we envisioned the space as an open platform-modular, flexible, and constantly evolving. Instead of traditional fixed architecture, we treated the interior more like a large-scale installation within a gallery. This allowed for adaptable use of the space and encouraged participation and co-creation. Most of the structural elements are crafted from over 11 tons of locally recycled plastic, all handmade by artisans in Jakarta and across Indonesia. The building's facade and interiors showcase this material innovation, merging sustainability with craftsmanship.Save this picture!Our approach is craft-led: handwoven furniture, naturally dyed soft furnishings, and circular design methodologies shape the environment. Dedicated zones include a conversation pit equipped with plastic recycling machines and upcycling stations where visitors can repair garments. Each element is intentionally designed to serve both function and education, providing opportunities for hands-on engagement and learning.Save this picture!This is more than a store. It is a self-care community center, an ecosystem built around five core pillars: movement, meditation, learning, listening, and nourishing. These values inform the spatial layout and programming, giving rise to dedicated areas such as a meditation room, sound library, workshop zones, a reading room, and a medicinal restaurant and bar. We designed each space to offer not only a service or product but a moment of meaningful interaction.Save this picture!Save this picture!Rather than operate as a traditional retail outlet, the space invites people to slow down, participate, and connect with themselves, others, and the environment. Events, talks, cultural gatherings, and educational workshops animate the space, ensuring it evolves over time. The building's generous scale allowed us to provide each program with its own distinct zone, ensuring fluid yet defined transitions between uses. The result is a living, breathing community hub that blends architecture, craft, sustainability, and wellbeing.Save this picture! Project gallerySee allShow less Project locationAddress:Jl. Kemang Raya.8B 9, RT.9/RW.1, Bangka, Kec. Mampang Prpt., Kota Jakarta Selatan, Daerah Khusus Ibukota Jakarta, IndonesiaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office Published on May 24, 2025Cite: "Space Available Jakarta Community Center / Space Available" 24 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030327/space-available-jakarta-space-available&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

This review contains spoilers for season 2, episode 7 of Doctor Who, “Wish World.”For long-time Doctor Who fans, the return of a villain like The Rani might sound like an event. It certainly felt like one last week, when she turned up with theatrical flair in the mid-credits sting of “The Interstellar Song Contest” – a neat surprise, powered by Archie Panjabi’s steely presence and a dash of proper mystery. But in this week’s “Wish World”? That spark dies on arrival. Her comeback is just another awkward throwback in an episode that doesn’t know how to handle its past, let alone make the present feel like it matters.“Wish World” represents the worst instincts of Doctor Who’s Disney era dialled up: glossy, confused, and screaming for attention. It’s a limp cocktail of shameless lore dumping, shallow storytelling, and a truly baffling sense of self-satisfaction. It spends a tiresome 45 minutes of build-up to just point at old names like a magician revealing a bent spoon, hoping the gesture alone is enough to amaze. The Rani’s return should feel seismic. It’s been 38 years since the evil Time Lord made her last onscreen appearance – 32 if you count her face-off against all the then-living Doctors and the cast of EastEnders in a charity special. That’s a long time, and in theory, this ought to carry the same weight as The Master crashing back into things in 2007’s “Utopia”. That twist didn’t just rely on nostalgia; it weaponised it, using it to amplify character and raise the stakes. Instead, now, we get a Rani written like a stock villain with a backstory cribbed from a half-read wiki page. There’s no sense of danger, no theatrical flair, no mystique. Just a few arch lines, a plot that barely scans, and a breadcrumb trail to yet another dusty Time Lord pulled from the show’s attic: Omega. It’s a name that’ll light up a handful of Reddit threads, sure, but it lands with a shrug for the vast majority who haven’t been revisiting “The Three Doctors” on BritBox. Which is, to be clear, mostly everyone.What’s baffling isn’t just the lack of payoff, it’s how proudly this outing squanders every opportunity to deliver one. “Wish World” relies entirely on prior recognition, but never lifts a finger to earn that investment in the here and now. It’s obsessed with nods, references, and several meandering mystery boxes, but utterly uninterested in what any of it means. This is fan service at its most vacant, a frustrating mess that treats characters like mere collectibles that get pulled from a shelf when you’re having a fancy dinner party. It’s not quite the sludgy CG necromancy of The Flash, but it’s cut from the same cloth: a hollow echo chamber of reveals with no buildup, and a premise that promises tension but fizzles into a joyless trudge through stiff dialogue and characters who feel barely sketched in. Conrad pops up again with all the charisma of a queue at the post office, Ruby is inexplicably present but does almost nothing, and even Belinda, usually a bright spot, is reduced to exposition and reaction shots. The whole plot moves like it's dragging a piano through quicksand, slowly collapsing under the weight of its pointless name-dropping bore fest of script."Wish World" has the promise of tension but fizzles into a joyless trudge through stiff dialogue and characters who feel barely sketched in.“With only one episode left, the finale now has to perform miracles: justify this mess, tie the threads together, and inject meaning where there's currently none. Doctor Who used to remix its past into something alive, urgent, and new; here, it just gawks at its own reflection, hoping a few barely recognisable names will do all the heavy lifting. Once upon a time, Russell T Davies brought heart and clarity to a show left for dead, reviving it with enough energy and emotional force to make it essential playground currency across Britain. Now, it feels like he’s coasting. This isn’t Doctor Who with something to say, it’s a desperate exposition dump, stitched together from scraps of nostalgia and noise. Worst of all, it expects that to be enough.