06/02 — 2025 by abduzeedo Explore how andstudio created a unified, nature-inspired branding and visual identity for Mana Hotels, blending luxury with authentic connection. Hey fellow creatives! Ever dive into a project that just clicks? Where the core idea shines through every design choice? That’s exactly what happened with Mana Hotels' unified brand identity, a beautiful piece of work by andstudio. It's a masterclass in how thoughtful branding and visual identity can truly elevate an experience. Mana Hotels isn't just another luxury escape. It’s an apartment-style hotel and wellness retreat, redefining relaxation by blending nature with well-being. Think seaside tranquility in Palanga or spa serenity in Druskininkai. The challenge for andstudio was clear: how to create a unified brand identity that resonates across diverse locations and audiences, while still feeling authentic and personalized. The Sun's Embrace: A Core Inspiration The design team at andstudio found their anchor in the rhythm of the sun. This natural cycle, from dawn to twilight, became the central inspiration. It's a smart move. The sun-inspired logo isn't just pretty; it represents vitality, blending luxury with approachability. This focus on a natural, constant element grounds the entire visual language. Color Palettes: Reflecting Local Soul One of the standout elements in this branding and visual identity project is the use of distinct color palettes for each location. For Palanga, the branding reflects the sunlit coast, evoking a bright, airy feel. In contrast, Druskininkai's palette captures the shift from day to night, aligning with the spa's focus on tranquility and restful sleep. You can see this subtle yet impactful differentiation in the visual identity artifacts. It’s a clever way to maintain unity while celebrating local character. Beyond the Logo: A Holistic Experience The branding extends far beyond a simple logo. It’s a comprehensive system that includes motion design, signage, and stationery. Look at the subtle branding on the stationery, like the "Hey Hepy, see you at the pool!" note, or the refined packaging elements. Even the robes feature the Mana logo. This consistent visual language, paired with authentic photography of peaceful moments, highlights a retreat centered on genuine human connection and relaxation. It’s about creating an overall soothing and luxurious experience that nurtures mind, body, and soul. Mana’s approach to branding and visual identity truly emphasizes human connection and a deep understanding of modern-day stresses. They’ve successfully bridged the gap between a service-oriented approach and a family-oriented atmosphere, creating a unique value proposition. This project by andstudio reminds us that great design isn't just about aesthetics; it's about understanding the core essence of a brand and translating that into a cohesive, meaningful visual story. It's about creating a feeling, an experience, and a connection that resonates deeply with the audience. Want to see more of their inspiring work? Check out andstudio's portfolio directly on Behance. Branding and visual identity artifacts Tags branding

Features Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist A new fan theory about the ending of Mission: Impossible - The Final Reckoning is gaining steam online. And it would fix what some consider to be the series' biggest mistake. By Tom Chapman | May 30, 2025 | | Photo: Paramount Pictures This article contains Mission: Impossible – The Final Reckoning spoilers. For now it looks like Christopher McQuarrie’s Mission: Impossible – The Final Reckoning really could be the end of the long-running spy series. While there’s plenty of talk about Tom Cruise hanging up his badge as the Impossible Missions Force’s Ethan Hunt or possibly handing over the baton to one of the many other unwilling recruits, there’s plenty of evidence that we’re not done yet. The critic scores and box office point to an appetite for Mission: Impossible 9, and now a popular online theory is taking off that a fan-favorite could soon be back in action. After Brian De Palma’s original Mission: ImpossibleRebecca Ferguson’s Isla Faust in 2023’s Mission: Impossible – Dead Reckoning that sticks out more than most. Although Ilsa was seemingly killed by Esai Morales’ villainous Gabriel during a tense Venice action scene, the fact that her death seemed so sudden and was glossed over so quickly led many to believe she’d be back for The Final Reckoning. That’s sadly not the case, but what about in the franchise’s future? Previous outings have shown that Ethan’s dangerous career path affects his ability to hold down a relationship (Michelle Monaghan’s Julia in Mission: Impossible III). Additionally, the franchise is no stranger to bringing characters back from the dead (Jon Voight’s Jim Phelps in Mission: Impossible springs to mind). When both features are coupled with Ilsa’s somewhat underwhelming death, it’s no surprise that fans are clinging onto the idea she’ll return in the inevitable next movie. And during The Final Reckoning’s final scene, where Ethan splits from his team in London, eagle-eyed fans spotted him veering close to an unnamed woman who looks a lot like Ferguson’s dearly departed assassin. Some suggested it was Hayley Atwell’s Grace, but with her having already said her goodbyes and gone in a different direction, it clearly can’t be her. Supporters of the theory have latched onto footage of Ilsa from Fallout and compared it to the mysterious Final Reckoning woman. The stranger has a similar wavy hairstyle to Ilsa, and a choice in baggy clothes. It would also be a neat parallel of the pair parting ways and going in different directions (in London, no less) during Rogue Nation. Others have likened this theory to Christian Bale’s Bruce Wayne meeting with Anne Hathaway’s Selina Kyle after he faked his death in The Dark Knight Rises. Given Ferguson’s raised profile in Silo and the Dune movies, landing her again would be a major coup, but what has the star herself said? Ferguson has previously explained why she felt the need to step away from Mission: Impossible, telling the Unwrapped podcast how it was more than just her three-movie deal being done: “Ilsa was becoming a team player. And we all can want different things, but for me, Ilsa was rogue. Ilsa was naughty. Ilsa was unpredictable. There was a lot of characters coming in, not leaving enough space for what she had been.” We previously said how Ilsa’s Dead Reckoning death effectively ‘fridged’ her character to catapult Ethan’s arc forward and leave more room for Grace to step up as a franchise lead. Most frustratingly, after becoming a mainstay of the previous two movies, she was forced to take a backseat in the first half of Dead Reckoning and given a quick demise that was barely referenced afterward. Going against the idea that we’ll see Ilsa again, Dead Reckoning’s Arabian-set opening already had Ethan help her fake her death. It’s true that we don’t see what happens to her body, but a double fake out might be even too much for a franchise that’s taught us to never trust what we see thanks to its mask technology and old-fashioned sleight of hand.  Another reason you shouldn’t start cheering Ilsa’s welcome return to Mission: Impossible is that McQuarrie might have shut down the theory before it even got to do the rounds. The issue of Ilsa’s absence has been a hotly contested one, especially considering Ferguson only appeared via archive footage without filming anything new. Despite the controversy, McQuarrie told theHappy Sad Confused podcast that “it’s the cost versus benefit. The death of essential characters has followed Ethan [Hunt] throughout every one of these movies. I don’t think up until that point a character that resonated so deeply with the audience had died.” While the director says he understands why some were dissatisfied with how it happened, he concluded, “Which is where I thought that wouldn’t motivate me to undo the one thing that gives Mission: Impossible teeth, which is ‘death is permanent’.” It’s no secret that the Mission: Impossible movies have tried their best to tie up loose ends. Thandiwe Newton denied rumors she was asked to reprise her role as Nyah Nordoff-Hall in Mission: Impossible III, Jeremy Renner recently told the Happy Sad Confused podcast that he turned down another chance to play William Brandt because he wanted to spend more time with his daughter, and Maggie Q told Yahoo in 2020 that she had to turn down two opportunities to reappear as Zhen Li due to filming commitments. Unfortunately for Faust fans, it sounds like McQuarrie thinks she got the ending he wanted. It might be hard to keep Ferguson’s return a secret if there’s another Mission: Impossible, and we’re still a long way from potentially seeing Isla Faust again. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

to 3d or not to 3d What I learned from my first few months with a Bambu Lab A1 3D printer, part 1 One neophyte's first steps into the wide world of 3D printing. Andrew Cunningham – May 22, 2025 7:30 am | 21 The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham The hotend on my Bambu Lab A1 3D printer. Credit: Andrew Cunningham Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more For a couple of years now, I've been trying to find an excuse to buy a decent 3D printer. Friends and fellow Ars staffers who had them would gush about them at every opportunity, talking about how useful they can be and how much can be printed once you get used to the idea of being able to create real, tangible objects with a little time and a few bucks' worth of plastic filament. But I could never quite imagine myself using one consistently enough to buy one. Then, this past Christmas, my wife forced the issue by getting me a Bambu Lab A1 as a present. Since then, I've been tinkering with the thing nearly daily, learning more about what I've gotten myself into and continuing to find fun and useful things to print. I've gathered a bunch of thoughts about my learning process here, not because I think I'm breaking new ground but to serve as a blueprint for anyone who has been on the fence about Getting Into 3D Printing. "Hyperfixating on new hobbies" is one of my go-to coping mechanisms during times of stress and anxiety, and 3D printing has turned out to be the perfect combination of fun, practical, and time-consuming. Getting to know my printer My wife settled on the Bambu A1 because it's a larger version of the A1 Mini, Wirecutter's main 3D printer pick at the time (she also noted it was "hella on sale"). Other reviews she read noted that it's beginner-friendly, easy to use, and fun to tinker with, and it has a pretty active community for answering questions, all assessments I agree with so far. Note that this research was done some months before Bambu earned bad headlines because of firmware updates that some users believe will lead to a more locked-down ecosystem. This is a controversy I understand—3D printers are still primarily the realm of DIYers and tinkerers, people who are especially sensitive to the closing of open ecosystems. But as a beginner, I'm already leaning mostly on the first-party tools and built-in functionality to get everything going, so I'm not really experiencing the sense of having "lost" features I was relying on, and any concerns I did have are mostly addressed by Bambu's update about its update. I hadn't really updated my preconceived notions of what home 3D printing was since its primordial days, something Ars has been around long enough to have covered in some depth. I was wary of getting into yet another hobby where, like building your own gaming PC, fiddling with and maintaining the equipment is part of the hobby. Bambu's printers (and those like them) are capable of turning out fairly high-quality prints with minimal fuss, and nothing will draw you into the hobby faster than a few successful prints. Basic terminology Extrusion-based 3D printers (also sometimes called "FDM," for "fused deposition modeling") work by depositing multiple thin layers of melted plastic filament on a heated bed. Credit: Andrew Cunningham First things first: The A1 is what’s called an “extrusion” printer, meaning that it functions by melting a long, slim thread of plastic (filament) and then depositing this plastic onto a build plate seated on top of a heated bed in tens, hundreds, or even thousands of thin layers. In the manufacturing world, this is also called “fused deposition modeling,” or FDM. This layer-based extrusion gives 3D-printed objects their distinct ridged look and feel and is also why a 3D printed piece of plastic is less detailed-looking and weaker than an injection-molded piece of plastic like a Lego brick. The other readily available home 3D printing technology takes liquid resin and uses UV light to harden it into a plastic structure, using a process called “stereolithography” (SLA). You can get inexpensive resin printers in the same price range as the best cheap extrusion printers, and the SLA process can create much more detailed, smooth-looking, and watertight 3D prints (it’s popular for making figurines for tabletop games). Some downsides are that the print beds in these printers are smaller, resin is a bit fussier than filament, and multi-color printing isn’t possible. There are two main types of home extrusion printers. The Bambu A1 is a Cartesian printer, or in more evocative and colloquial terms, a "bed slinger." In these, the head of the printer can move up and down on one or two rails and from side to side on another rail. But the print bed itself has to move forward and backward to "move" the print head on the Y axis. More expensive home 3D printers, including higher-end Bambu models in the P- and X-series, are "CoreXY" printers, which include a third rail or set of rails (and more Z-axis rails) that allow the print head to travel in all three directions. The A1 is also an "open-bed" printer, which means that it ships without an enclosure. Closed-bed printers are more expensive, but they can maintain a more consistent temperature inside and help contain the fumes from the melted plastic. They can also reduce the amount of noise coming from your printer. Together, the downsides of a bed-slinger (introducing more wobble for tall prints, more opportunities for parts of your print to come loose from the plate) and an open-bed printer (worse temperature, fume, and dust control) mainly just mean that the A1 isn't well-suited for printing certain types of plastic and has more potential points of failure for large or delicate prints. My experience with the A1 has been mostly positive now that I know about those limitations, but the printer you buy could easily change based on what kinds of things you want to print with it. Setting up Overall, the setup process was reasonably simple, at least for someone who has been building PCs and repairing small electronics for years now. It's not quite the same as the "take it out of the box, remove all the plastic film, and plug it in" process of setting up a 2D printer, but the directions in the start guide are well-illustrated and clearly written; if you can put together prefab IKEA furniture, that's roughly the level of complexity we're talking about here. The fact that delicate electronics are involved might still make it more intimidating for the non-technical, but figuring out what goes where is fairly simple. The only mistake I made while setting the printer up involved the surface I initially tried to put it on. I used a spare end table, but as I discovered during the printer's calibration process, the herky-jerky movement of the bed and print head was way too much for a little table to handle. "Stable enough to put a lamp on" is not the same as "stable enough to put a constantly wobbling contraption" on—obvious in retrospect, but my being new to this is why this article exists. After some office rearrangement, I was able to move the printer to my sturdy L-desk full of cables and other doodads to serve as ballast. This surface was more than sturdy enough to let the printer complete its calibration process—and sturdy enough not to transfer the printer's every motion to our kid's room below, a boon for when I'm trying to print something after he has gone to bed. The first-party Bambu apps for sending files to the printer are Bambu Handy (for iOS/Android, with no native iPad version) and Bambu Studio (for Windows, macOS, and Linux). Handy works OK for sending ready-made models from MakerWorld (a mostly community-driven but Bambu-developer repository for 3D printable files) and for monitoring prints once they've started. But I'll mostly be relaying my experience with Bambu Studio, a much more fully featured app. Neither app requires sign-in, at least not yet, but the path of least resistance is to sign into your printer and apps with the same account to enable easy communication and syncing. Bambu Studio: A primer Bambu Studio is what's known in the hobby as a "slicer," software that takes existing 3D models output by common CAD programs (Tinkercad, FreeCAD, SolidWorks, Autodesk Fusion, others) and converts them into a set of specific movement instructions that the printer can follow. Bambu Studio allows you to do some basic modification of existing models—cloning parts, resizing them, adding supports for overhanging bits that would otherwise droop down, and a few other functions—but it's primarily there for opening files, choosing a few settings, and sending them off to the printer to become tangible objects. Bambu Studio isn't the most approachable application, but if you've made it this far, it shouldn't be totally beyond your comprehension. For first-time setup, you'll choose your model of printer (all Bambu models and a healthy selection of third-party printers are officially supported), leave the filament settings as they are, and sign in if you want to use Bambu's cloud services. These sync printer settings and keep track of the models you save and download from MakerWorld, but a non-cloud LAN mode is available for the Bambu skeptics and privacy-conscious. For any newbie, pretty much all you need to do is connect your printer, open a .3MF or .STL file you've downloaded from MakerWorld or elsewhere, select your filament from the drop-down menu, click "slice plate," and then click "print." Things like the default 0.4 mm nozzle size and Bambu's included Textured PEI Build Plate are generally already factored in, though you may need to double-check these selections when you open a file for the first time. When you slice your build plate for the first time, the app will spit a pile of numbers back at you. There are two important ones for 3D printing neophytes to track. One is the "total filament" figure, which tells you how many grams of filament the printer will use to make your model (filament typically comes in 1 kg spools, and the printer generally won't track usage for you, so if you want to avoid running out in the middle of the job, you may want to keep track of what you're using). The second is the "total time" figure, which tells you how long the entire print will take from the first calibration steps to the end of the job. Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham Selecting your filament and/or temperature presets. If you have the Automatic Material System (AMS), this is also where you'll manage multicolor printing. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham The main way to tweak print quality is to adjust the height of the layers that the A1 lays down. Andrew Cunningham Adding some additional infill can add some strength to prints, though 15 percent usually gives a decent amount of strength without overusing filament. Andrew Cunningham For some prints, scaling them up or down a bit can make them fit your needs better. Andrew Cunningham For items that are small enough, you can print a few at once using the clone function. For filaments with a gradient, this also makes the gradient effect more pronounced. Andrew Cunningham Bambu Studio estimates the amount of filament you'll use and the amount of time a print will take. Filament usually comes in 1 kg spools. Andrew Cunningham When selecting filament, people who stick to Bambu's first-party spools will have the easiest time, since optimal settings are already programmed into the app. But I've had almost zero trouble with the "generic" presets and the spools of generic Inland-branded filament I've bought from our local Micro Center, at least when sticking to PLA (polylactic acid, the most common and generally the easiest-to-print of the different kinds of filament you can buy). But we'll dive deeper into plastics in part 2 of this series. I won't pretend I'm skilled enough to do a deep dive on every single setting that Bambu Studio gives you access to, but here are a few of the odds and ends I've found most useful: The "clone" function, accessed by right-clicking an object and clicking "clone." Useful if you'd like to fit several copies of an object on the build plate at once, especially if you're using a filament with a color gradient and you'd like to make the gradient effect more pronounced by spreading it out over a bunch of prints. The "arrange all objects" function, the fourth button from the left under the "prepare" tab. Did you just clone a bunch of objects? Did you delete an individual object from a model because you didn't need to print that part? Bambu Studio will arrange everything on your build plate to optimize the use of space. Layer height, located in the sidebar directly beneath "Process" (which is directly underneath the area where you select your filament. For many functional parts, the standard 0.2 mm layer height is fine. Going with thinner layer heights adds to the printing time but can preserve more detail on prints that have a lot of it and slightly reduce the visible layer lines that give 3D-printed objects their distinct look (for better or worse). Thicker layer heights do the opposite, slightly reducing the amount of time a model takes to print but preserving less detail. Infill percentage and wall loops, located in the Strength tab beneath the "Process" sidebar item. For most everyday prints, you don't need to worry about messing with these settings much; the infill percentage determines the amount of your print's interior that's plastic and the part that's empty space (15 percent is a good happy medium most of the time between maintaining rigidity and overusing plastic). The number of wall loops determines how many layers the printer uses for the outside surface of the print, with more walls using more plastic but also adding a bit of extra strength and rigidity to functional prints that need it (think hooks, hangers, shelves and brackets, and other things that will be asked to bear some weight). My first prints A humble start: My very first print was a wall bracket for the remote for my office's ceiling fan. Credit: Andrew Cunningham When given the opportunity to use a 3D printer, my mind went first to aggressively practical stuff—prints for organizing the odds and ends that eternally float around my office or desk. When we moved into our current house, only one of the bedrooms had a ceiling fan installed. I put up remote-controlled ceiling fans in all the other bedrooms myself. And all those fans, except one, came with a wall-mounted caddy to hold the remote control. The first thing I decided to print was a wall-mounted holder for that remote control. MakerWorld is just one of several resources for ready-made 3D-printable files, but the ease with which I found a Hampton Bay Ceiling Fan Remote Wall Mount is pretty representative of my experience so far. At this point in the life cycle of home 3D printing, if you can think about it and it's not a terrible idea, you can usually find someone out there who has made something close to what you're looking for. I loaded up my black roll of PLA plastic—generally the cheapest, easiest-to-buy, easiest-to-work-with kind of 3D printer filament, though not always the best for prints that need more structural integrity—into the basic roll-holder that comes with the A1, downloaded that 3MF file, opened it in Bambu Studio, sliced the file, and hit print. It felt like there should have been extra steps in there somewhere. But that's all it took to kick the printer into action. After a few minutes of warmup—by default, the A1 has a thorough pre-print setup process where it checks the levelness of the bed and tests the flow rate of your filament for a few minutes before it begins printing anything—the nozzle started laying plastic down on my build plate, and inside of an hour or so, I had my first 3D-printed object. Print No. 2 was another wall bracket, this time for my gaming PC's gamepad and headset. Credit: Andrew Cunningham It wears off a bit after you successfully execute a print, but I still haven't quite lost the feeling of magic of printing out a fully 3D object that comes off the plate and then just exists in space along with me and all the store-bought objects in my office. The remote holder was, as I'd learn, a fairly simple print made under near-ideal conditions. But it was an easy success to start off with, and that success can help embolden you and draw you in, inviting more printing and more experimentation. And the more you experiment, the more you inevitably learn. This time, I talked about what I learned about basic terminology and the different kinds of plastics most commonly used by home 3D printers. Next time, I'll talk about some of the pitfalls I ran into after my initial successes, what I learned about using Bambu Studio, what I've learned about fine-tuning settings to get good results, and a whole bunch of 3D-printable upgrades and mods available for the A1. Andrew Cunningham Senior Technology Reporter Andrew Cunningham Senior Technology Reporter Andrew is a Senior Technology Reporter at Ars Technica, with a focus on consumer tech including computer hardware and in-depth reviews of operating systems like Windows and macOS. Andrew lives in Philadelphia and co-hosts a weekly book podcast called Overdue. 21 Comments

The buzz in Silicon Valley around AI agents has many asking: What’s real and what’s hype? Box’s cofounder and CEO, Aaron Levie, helps decipher between fact and fiction, breaking down the fast-paced evolution of agents and their impact on the future of enterprise AI. Plus, Levie unpacks how AI is really being adopted in the workplace and what it takes to legitimately build an AI-first organization. This is an abridged transcript of an interview from Rapid Response, hosted by the former editor-in-chief of Fast Company Bob Safian. From the team behind the Masters of Scale podcast, Rapid Response features candid conversations with today’s top business leaders navigating real-time challenges. Subscribe to Rapid Response wherever you get your podcasts to ensure you never miss an episode. I talked with Marc Benioff at Salesforce several months ago about his embrace of AI agents, but the use of his agents hasn’t quite taken off the way he hoped. I know you launched Box AI Studio to help organizations build their own custom AI agents. I’m curious how that’s going. So far, it’s either at or exceeding our expectations on all the use cases that customers are coming up with. So we’re pretty blown away about what we’re starting to see. We’re still very early days to be clear, but the rate of adoption is going fairly exponential, and the imagination that customers now have on this is blowing us away.  I’ve rarely been in a customer conversation, either one-on-one or at a dinner, where I’m not hearing about a new idea that the customer has for Box AI that we did not already have on a whiteboard. And what’s exciting—and this is counterintuitive, I think, to a lot of folks outside of AI—you initially sort of see AI in sci-fi and sometimes in news headlines, The New York Times or whatever, as like, “Okay, it’s going after jobs. It’s going to replace these types of work.” From my anecdotes, I’ve had at least 100 interactions with customers in the first quarter of this year, the vast majority, 80%, I’m guessing, the bulk of the time of AI use case kind of conversation was spent on things that the company didn’t do before AI. So it wasn’t, “Hey, I want to take this type of work, and I want AI to go replace it.” There’s a type of work that we never get around to in our company. I want AI to go and do that, because finally, it’s affordable for me to deploy AI agents at the kind of work that we could not fund before. It’s opening up people’s imagination to, “Hey, I’m like sitting on 50,000 customer contracts. What if I could have an AI agent go around all those customer contracts, and figure out which customers have the highest propensity to buy this next product from me?” And this is not something that they would have people ever do. So it’s not replacing anybody’s job. They never said, “Oh, let’s have 50 people go read all the contracts again.” It just never happened. But now, if it only costs them $5,000 for an AI agent to go do that, they would do that all day long. And then guess what? When they get those insights, they’re probably going to now have more work for the humans in their business to go and do as a result of this, that hopefully, if it’s effective, drives more growth in their business—which then causes even more productivity, and then ultimately hiring and growth. And so it’s not kind of everybody’s first instinct, but most of the use cases that we’re hearing about are things where, “Because it is now affordable to deploy AI at a problem, I’m actually expanding the set of things my company can go do, and then the work that we can now execute on.” And that’s not only very, I think, exciting, but I think it’s going to be the default case for most AI adoption in the enterprise. In some of the conversations that I have, it feels almost like some of the businesses and leaders, they don’t really know what they’re looking for from AI. And hearing you, it sounds a little bit like you have to think about your mindset on it a little differently to open up and find those things that are most valuable to you. Yes. Yeah, every business is going to be different because some of the upside is a virtue of your business model. What are the core parts of your business model that, as a result of access to information, can change or be modified or improved? If I am a law firm, I could either reduce my cost, because now AI is going to do more of the, let’s say, paralegal work, or I could expand my service offerings, because now, all of a sudden, my team can venture into more domains because they can take their expertise and use AI to augment that. The default assumption is, “Oh, no, it’s going to go after the hours of a law firm.” But once this technology hits an individual business, they can actually decide to expand their customer base. They can go after, previously, customers that would’ve been unprofitable for them to serve. So these industries are not as static and zero-sum. The software industry . . . on one hand, everybody says, “Okay, if AI can do coding, then will we hire fewer engineers?” And in general, my argument is that we’ll probably hire as many—if not more—engineers if AI can get really good at coding, because what will happen is the productivity rate of our engineer goes up, which means that we can then ascribe a higher degree of value per engineer in the company. So your ROI is even better on each of those positions? Exactly. And take something like sales. If we can make a sales rep able to sell 5% more, because we give them better data, and they can prepare for a customer meeting that much better, or they can understand exactly the best pitch because they have access to all of Box’s data and they can ask it questions, I’m not going to just bank that as 5% more profit. Because what will happen is we’re going to internally, in some planning session, we’re going to get greedy, and we’re going to say, “Wait a second, that 5% gain that we just got in sales productivity, what if we reinvested that back into the sales team to grow even faster and get that much more market share?” And so you have an entire economy of companies making those individual decisions of, “Do you bank the profit, or do you use it to go and accelerate growth?” And what we tend to know from history is that the companies that get too greedy on the profit side, you just end up leaving yourself vulnerable to being outflanked by competitors. So capitalism has a pretty convenient way of almost driving the sort of productivity gains of these types of innovations to get reinvested back into the business. You’ve been talking about running Box in an AI-first way, and encouraging other leaders to do it. Are you like Shopify and Duolingo, who’ve announced that staffers have to justify anything that’s not AI-produced? What does AI-first mean? Yeah. So for us, AI-first means that we want to use AI as a means of driving an acceleration of the customer outcome, an acceleration of decision-making, an acceleration of building new features. So just think about it as mostly a metric of speed. On one hand, you could think about AI as going after like a massive work, and you could say AI is going to remove some part of that massive work and do it instantly, so the massive work goes down, or think about work as a timeline, and not a mass. All we’re doing is trying to get through each step so that way, we can get to the next step and so on. And everything’s faster. And everything’s faster. So I want to have us use AI to move faster down the timeline, not just purely to reduce the total mass of work that we’re doing. There’s probably one pronounced difference versus, let’s say, the Duolingo memo. There’s some emerging idea, which is sort of you have to prove that AI can’t do this thing for you to get then head count, and our general instinct is actually the opposite. If you can prove that you can use AI, then that’s actually when you will get head count, because what we want is we want the dollars of the business to go back into the areas that are the increasing areas of productivity gain, because those areas will then be higher ROI for us over time.

This list contains spoilers for the Mission: Impossible franchise.A new Mission: Impossible film is hitting theaters this month – the final one in the franchise, if we’re to believe Tom Cruise and the suits at Paramount – and if you’re like us, you’re probably knee deep in a series rewatch right now.The focus of the films, spectacular action set pieces aside, has been Cruise’s lead spy, Ethan Hunt. Fellow team agents have often come and gone, and supposedly impossible missions have varied time after time, but Ethan has remained. The only other constant has been a steady supply of villains – men and women with big plans fueled by greed and/or malice, who think they’ll be the one to outwit, outsmart, and outrun Hunt. Fools.It might seem counterintuitive ranking the Mission: Impossible villains under the banner of “best,” but every great hero needs an equally great villain. Numerous elements come into play when determining the best villain, but we’re zeroing in on the scale of their threat, the weight of the violence (both physical and emotional) they commit against Hunt and his team, and the palpable degree of villainous charisma they exhibit.So cue up that classic Lalo Schifrin theme, here are the 10 Best Mission: Impossible Villains, Ranked!Top 10 Mission Impossible Villains10. A.I. The Entity (Mission: Impossible - Dead Reckoning Part One)Director: Christopher McQuarrie | Writer: Christopher McQuarrie and Erik Jendresen | Stars: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson | Release Date: July 12, 2023 | Runtime: 163 mins“A self-aware, self-learning, truth-eating digital parasite infesting all of cyberspace” sounds like a pretty cool threat in any other high-octane thriller, but in the Mission: Impossible franchise it’s only good enough to land at number ten. It underwhelms compared to its human counterparts, because let’s be real – zeroes and ones ain’t got shit and madness and guns – but its power and immense reach are undeniable. The Entity began “life” as a digital weapon designed by the U.S. government before going rogue and hopping through cyberspace with the giddiness of a puppy experiencing its first snowfall.Most villainous act of villainy: While toying with and killing a submarine filled with Russian sailors is an act of murderous cruelty, it’s the Entity’s bigger, broader acts of deception that mark it as a true villain. Its early days of online manipulation saw it shifting public opinion and behavior through social media, and it’s a brutal reminder of events in the real world. We live in a present where people with nefarious agendas are influencing easily shaped minds, and with the increased use of A.I. in our online dealings, it’s not hard to imagine something like the Entity stepping in and really turning our daily lives into a nightmare.Where to WatchPowered by9. John Musgrave (Mission: Impossible III)Director: J.J. Abrams | Writer: Alex Kurtzman, Robert Orci, and J.J. Abrams | Stars: Tom Cruise, Philip Seymour Hoffman, Ving Rhames, Billy Crudup, Michelle Monaghan | Release Date: May 5, 2006 | Runtime: 126 minsNot every villain has direct blood on his hands, but that doesn’t mean they’re any less dangerous. Musgrave is Hunt’s Operations Manager at the IMF, and it’s suggested they may even be minor friends – understandable as he’s played by Billy Crudup, and who wouldn’t want to be friends with Billy Crudup. He brings Hunt in on a mission to rescue one of his proteges, Lindsey Farris, and when that goes wrong and Hunt is blamed for the fallout, it’s Musgrave who helps the agent escape to pursue justice. See? A friend.Surprise! It’s all a ruse, and Musgrave is actually a traitor working with a man named Owen Davian on some elaborate plan to retrieve a piece of tech nicknamed “the rabbit’s foot.” Musgrave’s a hero in his own mind, though, as he’s hoping to use this as motivation for first strikes against enemy forces. He wants the U.S. and the IMF to play a more aggressive role in the fight against terrorism, and if that means supporting terrorists along the way, well, he’s all for it.Most villainous act of villainy: Musgrave might think his heart is in the right place here, but in addition to enabling a murderous terrorist in Davian, he crosses an equally big line by pulling Ethan’s wife, Julia, into danger. Worse, he lets Davian shoot Julia in the head right in front of Hunt. Sure, she’s revealed to have been a minor henchwoman in a mask, but the emotional damage is real.Mission: Impossible IIIParamount PicturesMay 5, 2006PG-13Where to WatchPowered by8. Kurt Hendricks (Mission: Impossible - Ghost Protocol)Director: Brad Bird | Writer: Josh Applebaum and Andre Nemec | Stars: Tom Cruise, Paula Patton, Simon Pegg, Jeremy Renner, Michael Nyqvist | Release Date: December 21, 2011 | Runtime: 132 minsWhile some villains act out of greed and others cause misery simply for the fun of it, Kurt Hendricks is a man who only wants the best for humanity. What is the best, you ask? Well, in Hendricks’ mind, our species would benefit from something of a cleanse. From the great biblical flood to the atomic bombing of Japanese cities during World War II, immense disasters lead to rebuilding, recovery, and real improvement… apparently.Sounds logical, so Hendricks sets out to trigger just such a global debacle starting with a massive attack on the Kremlin in Moscow and leading to the acquisition of nuclear codes. He proves himself to be one of the greatest threats Ethan Hunt has faced to that point.Except, and this is where casting comes into serious play, the film wants us to see him as a physical threat to Hunt – but that’s nearly impossible. Michael Nyqvist was a fantastic actor, and he makes for a compelling villain through dialogue and intent. But a serious contender in a fight with Cruise? It’s difficult to buy, but that doesn’t stop director Brad Bird from letting him go toe to toe with the film’s star for a weirdly long fight. (To be fair, Chad Stahelski started it by letting Nyqvist seemingly hold his own for a bit with Keanu Reeves in John Wick.) So, while Hendricks is a grand threat on the world stage, he tumbles some in the ranking here as an unserious brawler against the highly trained and in far better shape Hunt. Most villainous act of villainy: Like Musgrave above, Hendricks seriously thinks he’s doing the world a favor by causing harm. His final act results in a nuclear missile being fired towards San Francisco, something that would have killed tens of thousands of people immediately before triggering the death of millions more. That’s no small thing, and he would have gotten away with it, too, if it hadn’t been for those meddling IMF agents.Where to WatchPowered by7. August Walker (Mission: Impossible - Fallout)Director: Christopher McQuarrie | Writer: Christopher McQuarrie and Erik Jendresen | Stars: Tom Cruise, Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson | Release Date: July 27, 2018 | Runtime: 147 minsHunt and his IMF team have been betrayed by double agents and traitors on numerous occasions, but most of them are greedy middle-aged men in suits who don’t pose an immediate physical threat to our intrepid hero. August Walker is something different entirely. He towers over Hunt and is jacked from his mustache on down. Henry Cavill’s portrayal ensures that he’s already menacing even while pretending to be on Hunt’s side, but once the truth comes out, the gloves come off.Walker is revealed to be working in cahoots with the brilliant Solomon Lane, and together they frame Hunt and once again pull the love of his life, Julia, into harm’s way. His motivation for it all is a bit over the top and dramatic – he wants the old world to implode and give rise to something better – but what else would you expect from a man who seems to cock his arms like guns during fist fights.Most villainous act of villainy: Walker and Lane are planning to detonate nuclear bombs, and while the latter stays behind to die in his greatest act of terror, Walker is on a chopper heading to safety. Hunt, of course, catches up to him in pursuit of the detonator that’s needed to stop the countdown. While Walker could have easily escaped by giving up the detonator, his desire to cause suffering – especially Hunt’s suffering if Julia were to die – leads him to a one-on-one fight to the death with the agent. It’s a decision built on rage and self-righteous justification, and it rightfully ends in his painful demise.Mission: Impossible - FalloutParamount PicturesJul 27, 2018Where to WatchPowered by6. Paris (Mission: Impossible - Dead Reckoning Part One)Director: Christopher McQuarrie | Writer: Christopher McQuarrie and Erik Jendresen | Stars: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson | Release Date: July 12, 2023 | Runtime: 163 minsWhen it comes to villains in the Mission: Impossible universe, few can touch Pom Klementieff’s Paris on style and charisma points. A henchwoman to Gabriel, she lets her gleefully murderous skillset do most of her talking, and it’s a refreshing change of pace from baddies who seem compelled to share their life stories before pulling a trigger.Her costume and face makeup see her stand apart from the crowd, but don’t let her doll-like appearance fool you. Paris is a merciless fighter who refuses to quit despite the odds, as evidenced by a shootout and car chase in Rome that sees her literally plowing through obstacles both human and otherwise in her pursuit of Hunt. Most villainous act of villainy: While Paris makes mincemeat out of numerous threats, she ultimately succumbs to Hunt during an alleyway brawl. He spares her life, though, and after being punished by Gabriel – he basically tries to kill her – she chooses to betray both him and her villainous tendencies by saving Hunt’s life. Maybe I’m stretching the definition here, but it takes a real badass to turn your back on villainy with the discovery of unexpected morals and a change of heart.Where to WatchPowered by5. Gabriel (Mission: Impossible - The Final Reckoning)Director: Christopher McQuarrie | Writer: Christopher McQuarrie and Erik Jendresen | Stars: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson | Release Date: July 12, 2023 & May 23, 2025 | Runtime: 163 mins & 169 minsThe mysterious Gabriel arrives in the penultimate entry of the franchise, and he’s a man with deadly skills and an alliance with the Entity. He also comes with a backstory suggesting an integral role in Ethan Hunt’s life. It seems Gabriel killed a woman named Marie thirty years ago, someone Hunt was apparently fond of, and it’s that murder that landed Hunt at the IMF – where he went on to save thousands of lives. Hundreds of thousands, even. So maybe Gabriel is a hero? I kid, I kid.He’s obviously a villain, and he may even be something of a seer (?), but while his late-to-the-party franchise arrival unavoidably undercuts his dramatic weight, the character’s casting lifts Gabriel right back up again. Esai Morales brings real charm and a calm menace to the character, and it’s immediately made clear that he’s not someone to be trifled with. You believe both his physical abilities and deadly intentions, and Morales’ added dramatic weight makes him a real threat to Hunt. He also earns a bump in the rankings by gifting viewers with the best, most unforgettable villain death in the entire franchise.Most villainous act of villainy: Gabriel’s killed a lot of people, and he even destroyed a rolling Agatha Christie landmark, so it’s clear he’s a bad guy. His most vicious act, though, comes as a bookend to having “fridged” Marie three decades earlier. Gabriel threatens to do it again by killing either Ilsa or Grace – Hunt’s current love interest or the woman who just landed in his lap mere hours ago – and while the film wants to trick viewers into thinking it’s going to be the latter, it’s Ilsa who dies by Gabriel’s blade instead. McQuarrie and Cruise are obviously the real villains here for introducing this tired trope of a woman’s death being responsible for a man’s life, but it’s ultimately Gabriel who thrusts the knife into Ilsa’s gut. It could have been Grace who died. Hell, it should have been Benji. Instead, Gabriel extinguishes the franchise’s brightest flame this side of Hunt himself. J’accuse!Where to WatchPowered byNot yet available for streaming.4. Jim Phelps (Mission: Impossible)Director: Brian De Palma | Writer: David KoeppSteven Zaillian, and Robert Towne | Stars: Tom Cruise, Jon Voight, Emmanuelle Beart, Henry Czerny, Jean Reno | Release Date: May 22, 1996 | Runtime: 110 minsJim Phelps wasn’t the only friend/fellow agent to betray Hunt over the years, but he was the first – and arguably the most shocking. The character, as played by Peter Graves, was the IMF’s lead agent for the bulk of the television series’ seven-season run from 1966 to 1973. He was unquestionably a good guy, so there was no reason to suspect that his presence in the first Mission: Impossible film would be anything different – well, Jon Voight in the role was probably a clue.Audiences expected Phelps to essentially hand the reins over to Tom Cruise’s Ethan Hunt, but while he did just that, he did so with a major act of betrayal. As he tells Hunt once his ruse is discovered, the end of the Cold War threatens to end the need for the IMF – this is as naive a statement as ever uttered in the entirety of the franchise – and he was worried about becoming a relic barely scraping by on sixty-two thousand dollars a year.Most villainous act of villainy: The betrayal itself is already brutal as Phelps turns his back on friends and agents who’ve risked their lives together over the years, but it’s the specifics of his traitorous act that hits hardest. In his effort to frame someone else for his crime, Phelps kills off three members of his team during an operation and then fakes his own death. What could have been a simple theft, instead becomes an act of cruelty making his betrayal sting even more.Where to WatchPowered by3. Sean Ambrose (Mission: Impossible II)Director: John Woo | Writer: Robert Towne | Stars: Tom Cruise, Dougray Scott, Thandiwe Newton, Ving Rhames | Release Date: May 24, 2000 | Runtime: 123 mins“That was always the hardest part of having to portray you,” says ex-IMF agent Sean Ambrose to a beaten and angered Ethan Hunt, “grinning like an idiot every fifteen minutes.” That line alone makes Ambrose a top villain as it’s a terrific zing at both Hunt and Cruise himself. He’s equally dismissive of women as evidenced by his comment that they’re like monkeys when it comes to the men in their lives, that they “won’t let go of one branch until they get a grip on the next.” Say what you will about his greedy desires, but Ambrose (Dougray Scott) understands the assignment when it comes to being a charismatic villain.That greed has led him to steal a deadly plague with plans to unleash it on whole populations if his demands aren’t met. While cash money is his primary motivator, though, Ambrose also seems fueled by a splash of jealousy towards Hunt. That makes their faceoffs all the more entertaining whether they’re jousting on motorcycles or sharing beatdowns in the sand as only the great John Woo can capture it.Most villainous act of villainy: The film opens with Ambrose masquerading as Hunt in order to acquire the Chimera plague, but rather than just kill one man, Ambrose and his team crash an entire passenger jet filled with innocent civilians. Acts of terror would claim higher body counts in later films, but this puts faces to the dead in a far more direct way making it more personal and affecting.Mission: Impossible IIParamount PicturesMay 24, 2000PG-13Where to WatchPowered by2. Solomon Lane (Mission: Impossible - Rogue Nation)Director: Christopher McQuarrie | Writer: Christopher McQuarrie | Stars: Tom Cruise, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris | Release Date: July 31, 2015 & July 27, 2018 | Runtime: 131 mins & 147 minsWhether due to low pay or poor benefits, the world is seemingly overflowing with ex-government employees ready and willing to betray their nations and jump on the train to villain town. Solomon Lane is one such agent, but he goes a step or three further by helping create an organization called The Syndicate that’s built entirely on those bitter, trigger happy ex-agents. They want to sow chaos and reap financial rewards, and they’ve been doing it for years.Lane is introduced killing a young, unarmed female agent right in front of Hunt, and it’s soon revealed that he’s responsible for thousands of deaths over the years through events made to look like accidents or the work of wholly unrelated perpetrators. Lane’s history of manipulating trust and the world’s various systems makes him one of the most dangerous villains in the franchise. He’s ahead of Hunt at every step, and his mantra – “The greater the suffering, the greater the peace.” – marks him as a man willing to do anything to accomplish his goals.While many actors go big playing villains, Sean Harris takes the opposite approach and makes Lane a weasel of a man who you just want to see get beaten senseless. It’s an unusually bold choice that leaves him without a darkly appealing persona or personality – he’s just a very bad man who couldn’t care less about you or your loved ones.Most villainous act of villainy: As the rare villain to be an active threat across more than one film, Lane inflicts plenty of pain, suffering, and stress on Hunt and his team. The bulk of his evil acts were committed before Mission: Impossible - Rogue Nation even begins, but his cruelest and most personal action unfolds during the followup, Fallout. Along with August Walker, Lane manages to activate two nuclear bombs threatening not only the water supply for billions of people, but also the life of Hunt’s greatest love, Julia. Seeing her in harm’s way is the kind of gut punch that Hunt felt only once before, and it’s clear just how sorry he is that his choices have once again brought her so close to dying.Where to WatchPowered by1. Owen Davian (Mission: Impossible III)Director: J.J. Abrams | Writer: Alex Kurtzman, Robert Orci, and J.J. Abrams | Stars: Tom Cruise, Philip Seymour Hoffman, Ving Rhames, Billy Crudup, Michelle Monaghan | Release Date: May 5, 2006 | Runtime: 126 minsThere’s a lot of competition when it comes to selecting the best villain in the Mission: Impossible franchise, but there was never any doubt who’d land at the top of the heap. Davian doesn’t care about much beyond his own wants and needs, and the film reflects that by never revealing exactly what his end goal is – we know he wants the so-called rabbit’s foot, but what it is and what it does are never made clear. We just know that Davian will cut through anyone and anything to get it, and that makes him an exceptionally dangerous man.J.J. Abrams’ Mission: Impossible III is unfairly maligned, but even those underwhelmed by the film itself can’t help but applaud Philip Seymour Hall’s frighteningly effective and highly entertaining portrayal of Davian. His blistering stares, his lightning quick shifts from dead silence to raging outbursts, and his deceptively calm way of threatening everything that Hunt holds dear all work to make him a villain who commands the screen and even steals every scene from Cruise himself.There may not be a big, global threat at play here, but Davian is the man who arguably gets closer than any other villain to actually killing Hunt. He injects the agent’s head with an explosive device that gets within seconds of churning Hunt’s brain tissue into ground beef, and he even gets some serious licks in while brawling. You wouldn’t think a Cruise versus Hoffman fight would convince, but the latter’s pure ferocity paired with Hunt’s incapacitation due to the pain in his head makes for a viciously compelling bout.Most villainous act of villainy: Davian is a mean bastard who, while still in restraints, coldly threatens to murder Hunt’s fiance Julia. “I’m gonna make her bleed and cry and call out your name”, he says, and it’s one of the few times where Hunt’s legendary control tips into real fear and emotion. Davian later comes close to doing just that after abducting Julia, tying her up, and appearing to shoot her in the head. Hunt’s pain is palpable, and it’s enough to damage his heart to the point that he’d go on to never let someone that close again. Davian has literally halted Hunt’s ability to connect with someone on a deeply personal level, and it’s the kind of attack that bullets and bombs just can’t compete with.Mission: Impossible IIIParamount PicturesMay 5, 2006PG-13Where to WatchPowered by

From the beginning of season 2 of Andor, I was angry on behalf of Bix Caleen. Adria Arjona’s character on the show spent a lot of the season getting what fans of reality competition shows lovingly call “the loser edit,” where every time the series checked in with her, it found her at a new low — suffering a fresh humiliation, or struggling with the PTSD from the last batch of suffering. Her slow downward arc, and its clear effect on series protagonist Cassian Andor (Diego Luna), seemed to lead toward an exhausting, familiar story cliché — especially since this entire series is a prequel to the Star Wars movie Rogue One, and unlike many of the show’s characters, Bix is noticeably absent from Rogue One. For more than half the season, Bix felt like she on her way to getting fridged. And I just want to take a breath and personally thank series creator Tony Gilroy for pulling out of that narrative dive instead of taking the obvious crash-landing. [Ed. note: Spoilers ahead for Bix’s season 2 storyline, including how it ends.] Andor season 1 put Bix in the hands of Imperial interrogator (and ironic cupcake-enjoyer) Doctor Gorst (Joshua James), and season 2 arc focused on how she navigated the aftermath of torture. When we pick back up with Bix, she has screaming nightmares about Doctor Gorst, or debilitating insomnia as she avoids sleeping. She lives in terror of the Empire finding her again. She nearly gets raped by an Imperial officer. She takes dangerous drugs to repress her trauma. She haunts the Coruscant safehouse she and Cassian share like an increasingly wan ghost. Cassian sincerely wants to help, but she can’t let him in, so his worries for her keep compromising or complicating his work with the rebellion against the Empire. Once Cassian and Bix get to Coruscant, her scenes get repetitive and wearying. When she harries Cassian and his handler Luthen (Stellan Skarsgård) to include her on rebel missions, it’s unclear who we’re meant to feel more sympathy for: Them, for having to manage this traumatized, erratic woman who keeps insisting she should be trusted with delicate undercover work she doesn’t seem capable of; or her, for being kept like a canary in a cage, with no clear purpose and nothing to do but wait for the next round of trying to convince her patronizing keepers to let her do something meaningful that would distract and focus her. But her arc takes a sharp upswing at the end of episode 6, “What a Festive Evening,” when Bix confronts Doctor Gorst, subjects him to his own horrific torture device, and blows the hell out of him, all with a cold, rational confidence that suggests Luthen and Cassian were wrong to handle her with kid gloves all along. When she and Cassian walk away from his office together, too cool to look back at Gorst’s exploding building, they’re finally confident, competent partners instead of caretaker and patient — or worse, the regressive “damsel in despair and valiant savior” pairing Andor has flirted with turning them into. Granted, that scene is Bix’s high point for season 2 — from that point forward, she’s mostly around to serve Cassian’s arc, by pushing him to accept a Force healer’s read on him instead of shrugging her off, and eventually, nobly breaking up with him so his concerns for her won’t hold him back in his fight against the rebellion. (Side note, “I’m dumping you in order to not hamper your great destiny” is a pretty baller tactic, and if I was still in the dating field, I’d definitely keep that one in my back pocket.) Bix was never on the top 10 list of Andor’s most developed, nuanced, or interesting characters, and apart from the Doctor Gorst payoff, she’s mostly in a pretty thankless role throughout the show. She’s the designated smallest-scale representative of the Empire’s predations, and the one most personal to Cassian. She’s the problem he can’t fix until the Empire is defeated, the person he needs to protect and can’t, needs to save and can’t, not without bringing down an entire fascist regime. She’s a focus for his heroism first, a sounding board for his angst second, and a character in her own right last. Which is why I was positive she was going to get killed in order to motivate him further, in order to deepen that angst and firm up his resolve. Having Bix instead basically say “You’re better off without me, and the best thing I can give the rebellion is all the time and energy you’re spending on me” is such a bold, strange move that I suspect Tony Gilroy is well aware of what fridging narratives look like, and how much it seemed like he was toying with one. The problem with that resolution, though, is that there’s so little drama in it. Bix is right — she is a drag on Cassian’s attention and resources, and they are better off without each other. Their separation doesn’t have the sting of a tragic love story where starcrossed lovers have to leave each other. To me, it just felt like a relief to have it over with. But it isn’t over. Andor’s very final shot has Bix back on the agricultural planet of Mina-Rau, smiling bravely toward the future in a post-Death Star world, holding Cassian Andor’s child. (In case there’s any debate there, Tony Gilroy has expressly confirmed that the child she’s holding is theirs, and that she knew she was already pregnant when she left Cassian.) It’s meant as a moment of hope and looking toward the future, an acknowledgement that Cassian is about to die (in the action of Rogue One), but that even if he doesn’t know it, his bloodline will live on. I’m not a fan of that ending — it plays into another huge cliché for female characters in media, the “lost my love but still have his baby” circle-of-life schtick that’s meant to make the death of a beloved character feel OK because their lineage lives on. To me, that particular trope has always felt more cynical and manipulative than heartfelt: People aren’t like Kleenex, with another new one popping up whenever the last one goes off to its reward, and all of them essentially fulfilling the same purpose. Having someone’s genetics in the world isn’t a replacement for having them around. (Not even in a galaxy where Force talent and destiny seem to be passed down in the bloodline.) It’s nice to learn at the end of Black Panther: Wakanda Forever that T’Challa had a secret kid, I guess, but it doesn’t make me miss Chadwick Boseman any less, or soften the blow of losing a talented actor with a bright future so early. I’ve argued a lot about this one with less-cynical people at Polygon and elsewhere, though, and they’ve rightly pointed out that Cassian having a child that he’ll never know about is a pointed answer to Luthen’s incandescent “burning my life to make a sunrise I know I’ll never see” speech from season 1. Cassian and Luthen and all the others who did die while fighting the good fight throughout Andor were fighting on behalf of people like this nameless child, who will get to see the sunrise they made possible. It’s meant as a reminder that all this suffering had a purpose beyond the immediate moment. That purpose includes Bix as well: Her safety and security in the show’s final moments is meant to pay off all the pain Cassian endured. He’s finally fixed the problem she posed, I guess, to put it in the bitterest terms. But in spite of all my dubiousness over her Andor plotline — especially in the shadow of the show’s far more nuanced, complicated, and especially interesting female characters — I’m just so grateful she didn’t have to die to make that happen.

It’s flagship wireless headphones season, and Sony has revealed its highly anticipated WH-1000XM6—a pair of over-ear noise-cancelling Bluetooth headphones three or five or even nine years in the making, depending on how you look at it. I’ve had a few days to go hands-on with the WH-1000XM6, so here are my first impressions. The Sony WH line has long been an excellent all-rounder, a perennial best-for-most recommendation (the XM10004 was one of the first things I reviewed for this very publication). So, if you’re familiar with Sony’s headphones since at least 2022 (and many commuters and frequent flyers will be), you’ll recognize most aspects of the new 1000XM6’s aesthetic. With its vegan leatherette-wrapped cylinder of a headband and matte, touch-sensitive (and fingerprint-friendly) earcups, the 1000XM6’s build is 95 percent 1000XM5—an gentle evolution from the last model rather than a revolution. But it does address the biggest complaint of the previous generation: the lack of foldability. That’s right, hinges—last seen on 2020’s 1000XM4—are back. And a folding mechanism means a more compact carrying case, with a new magnetic lock so no inconvenient zippers to get stuck or wear out. Despite the similarities to the 1000XM5, there are many small, purposeful tweaks blended into the 1000XM6 chassis. The headband is a touch wider, flared toward the back for both stability and as a directional cue on how to wear them. Similarly, the asymmetrical earcups (which now have replaceable pleather cushions) feature the power button—now a round, recessed button rather than raised tab—on the lower left as another indicator. And that’s accompanied by a tiny tactile marker in the rear center of the housing, just in case you weren’t sure. Point being, Sony has addressed long-term comfort and portability and made it easier than ever to get the headphones to your head correctly, whether you’re sprawled out at home or feeling cramped in basic economy. Once on, the clamping power is higher than the 1000XM5 but not excessive, and the weight is an easily manageable 254g (for comparison, the AirPods Max weigh 385g). The Sony WH-1000XM5 and Sony WH-1000XM6 (in the case and on the right) shown side by side. The sound So, what should you expect once the 1000XM6 is on. Much is being made of the tuning, done through a collaboration with material science and mix engineers. The 1000XM6 features a 30mm driver, consistent with the 1000XM5, but featuring new components. And it’s not the size, it’s how you use it. When asked about the choice of materials in the driver units, Sony Electronics’ Shimo Hiroaki commented, “There are various advantages to using carbon in the dome [diaphragm] of headphones. For example, high rigidity allows the diaphragm to move precisely as intended, resulting in less sound distortion. Additionally, the lightweight yet rigid carbon material can respond quickly to vibrations in the high-frequency range.” That translates to a more crisp, articulate, authoritative sound. The high-frequency reproduction is further refined by the use of a perforated bobbin—an unassuming support in the voice coil that can extend and smooth response through resonance dampening and controlled airflow. As for the voicing, it’s informed by Grammy-winning and -nominated engineers from Battery Studios, Sterling Sound, and Coast Mastering. Following in the “as the creator intended” messaging of the BRAVIA home entertainment launches of the last couple of years, Sony drew on internal resources (in this case Sony Music Entertainment facilities and personnel) to achieve a more “truthful” house sound. While I don’t know all their target curve or individual signal chains, per se, this crew of new release, catalogue, and immersive mastering engineers brings a wealth of golden ears. Beyond the acoustic architecture and artistic input, digital signal processing (DSP) plays its part. Sound quality starts with the quality of signal, and Multipoint Bluetooth 5.3 with support for AAC, LDAC, and LC3 lets the 1000XM6 connect to your device of choice in the most optimal way. There’s no support for aptX Adaptive, however, and there won’t be as LDAC is Sony’s proprietary high-resolution codec. (While I keep an Android smartpone and several DAPs around for testing because I believe LDAC at 990kbps is perceivably superior to AAC on an iPhone, YMMV. And thanks to all of the software efforts on both ends, AAC isn’t bad, I’m just an acknowledged snob—if I can stream uncompressed audio, I don’t want to bottleneck it as much as possible. The ultimate solution would be to use the 3.5mm headphone jack, if you have a source that supports it.) The result of all this fine-tuning? On its default settings, the 1000XM6 is less bassy, more taut than its predecessor. Listening to the deep, post-disco house of “Blind (Frankie Knuckles Remix)” by Hercules & Love Affair, the kick drum is less fuzzy than on the 1000XM5. The groove of the bassline is more defined, the edges of the brass section more clearly etched, the lush piano chords allowed to billow and breath. While the melancholy yet uplifting vocal from Anohni sustains its intensity more effortlessly. It’s more soulful, more propulsive, cleaner and more detailed compared to previous Sony drive units. Undoubtedly enjoyable. As to whether it’s more “natural” and an authentic connection to the source, that will require more close listening and A/B testing with other top-tier wireless headphones to firmly determine. And, as always, the Sony app provides ample ways to tweak the sonic signature. There’s the familiar DSEE Extreme for upscaling compressed sources and a 10-band EQ (versus the 1000XM5’s 5-band) thanks to the upgraded processor—the first new chipset in several generations. Noise cancellation To test the noise cancellation, now supported by 12 microphones (up from 8 in the 1000XM5), I would have liked to have taken a flight. While timing didn’t allow that, I had the next best thing: a flight path. I live within walking distance of Ronald Reagan Washington National Airport (the most infamous airport at the moment after Newark, unfortunately). And this means almost constant rumbling roars from every trajectory (reinforced by the railroad tracks between me and the runway). You learn to tune it all out naturally, but being able to cancel it digitally is even better. So, with DCA and Amtrak as my backdrop, I went on a walk. At first, I thought something was wrong. Not only was the noise not being cancelled, but I could hear birds chirping clear as day. Looking at the app, I realized I’d left Adaptive Sound Control on and Ambient Sound—jacked up to the top level (20)—had triggered when I started moving. Then, as I was checking the settings, the background suddenly went black. Apparently, it didn’t take a lot of standing still to send the headphones back into a focused state. So, that’s a quality passthrough mode proof of concept, if your day involves more interaction and/or you want more automation. And there are customizable Scenes to help you dictate when silence and situational awareness should be prioritized, as well as what music service should be used. Back to the planes. What planes? Toggling between Ambient Sound and Noise Canceling instantly took the stretched thunder of ascent from a whoosh to a whisper. And with music playing, it disappeared all together. Would the effect be even more pronounced if I didn’t wear glasses? Would it be less pronounced if I had hair? Sony claims no, as the new 7x faster QN3 processor adapts ANC to compensate for hats, air pressure, eyewear, etc. As a near-sighted bald, I appreciate my head coverings and corrective lenses being considered, even if I’ll never know what part a hairstyle plays. What I do know is that what I hear, or didn’t hear in this case, reinforces the XM series’ reputation as a preferred travel companion and I look forward to an actual in-transit test. And a quick dip into a coffeeshop on the way home gave the impression that the broad spectrum of ambient noise is being addressed, including chatter and clatter. I them sat through my wife’s work check-in without the need to sign an NDA; I couldn’t hear a thing (the deafheaven album playing surely helped). Call quality The Sony WH line has always bridged the gap between headphones and headset for business leaders, and the latest iteration improves directivity for when you just have to be in on that meeting but you’re off-site. On a recent call testing the XM5 versus the XM6, the person I was speaking with commented that my voice on the XM6 sounded clearer and cleaner, particularly in the sibilants (think the many, many times you make an s, z, sh, or zh sound). The XM6’s combination of six beamforming mics—two more than the XM5—plus AI noise reduction/voice isolation regulated all my higher amplitude utterances while exhibiting lower compression artifacts. If you’re someone who likes to dictate texts, notes, etc., these will work well to ensure intelligibility. Battery life and charging capability One last new feature of note is that you can use the 1000XM6 while charging it via USB-C cable, though charging will stop at 80 percent when in use in order to reduce battery wear. To achieve a 100 percent charge, turn off the headphones. And if the battery is running dry but you’d rather not remained tethered, a three-minute charge can give the 1000XM6 three hours of juice. As for the total run-time advertised, it’s the same as the 1000XM5: 30 hours with ANC off, 400 with ANC on. And an effective wear sensor helps conserve that. The Sony WH-1000XM6 headphones are available to order now for $449.99 in Black, Platinum Silver, and Midnight Blue.

Wireless mics fail when they rely too much on perfect conditions. BOYAMIC 2 fixes that by making every part of the system self-contained. Each transmitter records on its own. Each receiver controls levels, backups, and signal without needing an app. Noise is filtered in real time. Recording keeps going even if the connection drops. Designer: BOYAMIC There’s no need for a separate recorder or post-edit rescue. The unit handles gain shifts, background interference, and voice clarity without user intervention. Everything shows on screen. Adjustments happen through physical controls. Files are saved directly to internal memory. This system is built to capture clean audio without depending on external gear. It records immediately, adapts instantly, and stores everything without breaking the workflow. Industrial Design and Physical Form Each transmitter is small but solid. It’s 40 millimeters tall with a ridged surface that helps with grip and alignment. The finish reduces glare and makes handling easier. You can clip it or use the built-in magnet. Placement is quick, and it stays put. The record button is recessed, so you won’t hit it by mistake. An LED shows when it’s active. The mic capsule stays exposed but protected, avoiding interference from hands or clothing. Nothing sticks out or gets in the way.   The receiver is built around a screen and a knob. The 1.1-inch display shows battery, signal, gain, and status. The knob adjusts volume and selects settings. It works fast, without touchscreen lag. You can see and feel every change. Connections are spaced cleanly. One side has a USB-C port. The other has a 3.5 mm jack. A plug-in port supports USB-C or Lightning. The mount is fixed and locks into rigs without shifting. The charging case holds two transmitters and one receiver. Each has its own slot with magnetic contacts. Drop them in, close the lid, and they stay in place. LEDs on the case show power levels. There are no loose parts, exposed pins, or extra steps. Every shape and control supports fast setup and clear operation. You can press, turn, mount, and move without second-guessing. The design doesn’t try to be invisible; it stays readable, durable, and direct. Signal Processing and Audio Control BOYAMIC 2 uses onboard AI to separate voice from background noise. The system was trained on over 700,000 real-world sound samples. It filters traffic, crowds, wind, and mechanical hum in real time. Depending on the environment, you can toggle between strong and weak noise reduction. Both modes work directly from the transmitter or through the receiver. The mic uses a 6mm condenser capsule with a 48 kHz sample rate and 24-bit depth. The signal-to-noise ratio reaches 90 dB. Two low-cut filter options, at 75 Hz and 150 Hz, handle low-end rumble. These are effective against HVAC, engine hum, or low vibration. Gain is managed with automatic control. The system boosts quiet voices and pulls back when sound gets too loud. Built-in limiters stop clipping during spikes. A safety track records a second copy at -12 dB for backup. This makes it harder to lose a usable take even when volume jumps suddenly. Each setting is adjustable on screen. You don’t need a mobile app to access basic controls. Everything runs live and updates immediately. There are no delays or sync problems during capture. Recording and Storage Each transmitter records internally without needing the receiver. Files are saved in 32-bit float or 24-bit WAV formats. Internal storage is 8 GB. That gives you about ten hours of float audio or fifteen hours of 24-bit. When full, the system loops and overwrites older files. Recording continues even if the connection drops. Every session is split into timestamped chunks for fast transfer. You can plug the transmitter into any USB-C port and drag the files directly. No software is needed. This setup protects against signal loss, battery drops, or app crashes. The mic stays live, and the recording stays intact. Each transmitter runs for up to nine hours without noise cancellation or recording. With both features on, the runtime is closer to six hours. The receiver runs for about fifteen hours. The charging case holds enough power to recharge all three units twice. The system uses 2.4 GHz digital transmission. Its range can reach up to 300 meters in open areas. With walls or obstacles, it drops to around 60 meters. Latency stays at 25 milliseconds, even at long distances. You get reliable sync and stable audio across open ground or indoor spaces. Charging is handled through the included case or by direct USB-C. Each device takes under two hours to recharge fully. Compatibility and Multi-Device Support The system supports cameras, smartphones, and computers. USB-C and Lightning adapters are included. A 3.5 mm TRS cable connects the receiver to most cameras or mixers. While recording, you can charge your phone through the receiver, which is useful for long mobile shoots. One transmitter can send audio to up to four receivers at once, which helps with multi-angle setups or backup channels. The receiver also supports stereo, mono, and safety track modes. Based on your workflow, you choose how audio is split or merged. Settings can be changed from the receiver screen or through the BOYA app. The app adds firmware updates, custom EQ profiles, and gain presets for different camera brands. But the core controls don’t depend on it.The post BOYAMIC 2 Rebuilds Mobile Audio with AI and Onboard Capture first appeared on Yanko Design.