By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

Accessories firm PowerA have released a series of peripherals and items designed to look after your believed new Switch 2 console to avoid a broken, smashed machine while taking it on-the-goTech14:16, 15 Jun 2025The PowerA Slim case for Switch 2Gamers who have just snapped up their fancy new Switch 2 console need some protection for their latest purchase.Because this fine piece of tech can easily be dropped while gaming onto a hard floor.‌Thankfully, a host of peripherals and accessories are already hitting stores for the Nintendo machine just days after its summertime launch.‌And it means you’ve now got options to protect your pricey device from a nasty fall or screen smash early in its gaming life.The bods at Power A have dropped a series of items worth considering for you Switch 2.Our go-to here is the new Slim Case which is a bargain at just £14.99.Article continues belowOfficially licensed by Nintendo, it has a moulded interior with soft fabric lining that perfectly cups your console, keeping it tightly nested from movement when zipped in.The case has a clean, rugged designIt looks the part too, with a grey tough fabric feel and that all-important Switch 2 logo on the front, bottom right, so you can show off to your pals.‌Inside you can even tuck in 10 game cards for your favourite titles thanks to a dedicated rack area.And that has an integrated play stand for on-the-go gamers who want to put out the magnetic Joy-Cons and have the display stand up in the case at a nice viewable angle where it remains protected while you game outdoors with pals.The play stand doubles as a padded screen protector when the system is inside the case, which is ideal.‌We’ve tried this out and it feels of good quality and well padded to protect your console.You can also get a screen protector from the firm to cover your precious 7.9-inch 1080p LCD screen form a break during a fall.There are two in a pack for £9 and, just like mobile phone screen protectors, they’ll give you an extra layer of cover while not affecting the touch screen mechanisms.‌The pack includes a microfibre cleaning cloth, placement guides, dust removal stickers and applicator.The Mario Time advantage controller for Switch 2Finally, if you want to avoid the Joy-Cons altogether there are new controllers for the Switch 2 to consider.Article continues belowThe best looking one is arguably the Advantage wired controller dubbed ‘Mario Time’ which costs £29 and boasts hall-effect magnetic sensor thumb sticks for fluid gameplay, on board audio controls for your gaming headsets and a cool Super Mario themed look.‌‌‌

Becky Luigart-Stayner for Country LivingCountry Living editors select each product featured. If you buy from a link, we may earn a commission. Why Trust Us?Like a well-made quilt, a classic farmhouse aesthetic comes together gradually—a little bit of this, a touch of that. Each addition is purposeful and personal—and isn’t that what home is all about, really? If this type of slowed-down style speaks to you, you're probably already well aware that Etsy is a treasure trove of finds both new and old to fit your timeless farmhouse aesthetic. But with more than eight million active sellers on its marketplace, sometimes the possibilities—vintage feed sacks! primitive pie safes! galvanized grain scoops!—can quickly go from enticing to overwhelming.To better guide your search for the finest farmhouse furnishings, we’ve gathered a go-to list of editor-and designer-beloved Etsy shops which, time and again, turn out hardworking, homespun pieces of heirloom quality. From beautiful antique bureaus to hand-block-printed table linens, the character-rich wares from these sellers will help you design the farmhouse of your dreams, piece by precious piece. Related Stories For Antique AmericanaAcorn and Alice Every good old-fashioned farmhouse could use some traditional Americana to set the tone, and this Pennsylvania salvage shop offers rustic touches loaded with authentic antique allure. Aged wooden wares abound (think vintage milk crates, orchard fruit baskets, and berry boxes), as well as a grab bag of cotton and burlap feed sacks, perfect for framing as sets or crafting into footstool covers or throw pillows. For French Country TextilesForest and LinenThere’s nothing quite like breezy natural fabrics to make you want to throw open all the windows and let that country air in while the pie cools. Unfussy and lightweight, the hand-crafted curtains, bedding, and table linens from these Lithuanian textile experts have a classic understated quality that would be right at home in the coziest guest room or most bustling kitchen. Warm, welcoming hues range from marigold yellow to cornflower blue, but soft gingham checkers and timeless French ticking feel especially farm-fresh. Our current favorite? These cherry-striped country cafe curtains. Becky Luigart-Stayner for Country LivingVintage red torchons feel right at home in a farmhouse kitchenFor Rustic RugsOld New HouseWhether or not you’re lucky enough to have gorgeous wide-plank floors, an antique area rug or runner can work wonders for giving a room instant character and warmth. This fifth-generation family-run retailer specializes in importing heirloom hand-knotted carpets dating back to the 1800s, with a focus on traditional designs from the masters in Turkey, India, Persia, and more. Their vast variety of sizes and styles offers something for every aesthetic, with one-of-a-kind patterns ranging from distressed neutrals to chain-stitched florals to ornate arabesques. For Pillows and ProvisionsHabitation BohemeIn true farmhouse fashion, this Indiana shop has curated an enticing blend of handcrafted and vintage homewares that work effortlessly well together. A line of cozy hand-stitched linen pillow covers (patterned with everything from block-printed blossoms to provincial pinstripes) sits prettily alongside a mix of found objects, from patinated brass candlesticks and etched cloisonné vases to sturdy stoneware crockery and woven wicker baskets. For Elegant Everyday DishwareConvivial ProductionSimple, yet undeniably stunning, the handcrafted dinnerware from this Missouri-based ceramist is designed with durability in mind. Produced in a single, time-tested shade of ivory white glaze, these practical stoneware cups, bowls, and plates make the perfect place settings for lively farm-to-table feasts with friends and family. Beautifully balancing softness and heft, each dish is meant to feel comfortable when being held and passed, but also to look attractive when stacked upon open shelving. For English Country Antiques1100 West Co.This Illinois antiques shop is stocked with all manner of versatile vintage vessels culled from the English countryside, from massive stoneware crocks to charming little escargot pots. Their collection of neutral containers can be adapted for nearly any provincial purpose (envision white ironstone pitchers piled high with fresh-picked hyacinths, or glass canning jars holding your harvest grains), but we especially love their assortment of old advertising—from toothpaste pots to marmalade jars and ginger beer bottles galore—for a nice little nod to the quintessential country practice of repurposing what you’ve got. Brian Woodcock/Country LivingPretty English ironstone will always have our heart.For a Cozy GlowOlde Brick LightingConstructed by hand from cord to shade, the vintage-inspired lighting produced by this Pennsylvania retailer is a tribute to the iconic quality and character of old American fixtures. Nostalgic design elements include hand-blown glass (crafted using cast-iron molds from over 80 years ago) and finishes ranging from matte black to brushed nickel and antique brass. To create an authentic farmhouse ambiance, check out their gooseneck sconces, enameled red and blue barn lights, and milky white striped schoolhouse flush mounts. For Enduring ArtifactsThrough the PortholeThe weathered, artisan-made wares curated by this California husband-and-wife duo have been hand-selected from around the globe for their time-etched character. From gorgeous gray-black terracotta vases and rust-colored Turkish clay pots to patinated brass cow bells and rustic reclaimed elm stools, each item is a testament to the lasting beauty of classic materials, with storied sun-bleaching and scratches befitting the most beloved, lived-in rooms. For Winsome Wall ArtEugenia Ciotola ArtThrough graceful brushstrokes and textural swirls of paint, Maryland-based artist Eugenia Ciotola has captured the natural joy of a life that’s simple and sweet. Her pieces celebrate quiet scenes of bucolic beauty, from billowing bouquets of peonies to stoic red barns sitting in fields of wavy green. For a parlor gallery or gathering space, we gravitate toward her original oils on canvas—an impasto still life, perhaps, or a plainly frocked maiden carrying a bountiful bowl of lemons—while her stately farm animal portraits (regal roosters! ruff collared geese!) would look lovely in a child’s nursery.For Time-Tested Storage SolutionsMaterials DivisionFunction is forefront for this farmhouse supplier operating out of New York, whose specialized selection of vintage provisions have lived out dutiful lives of purpose. Standouts include a curated offering of trusty antique tool boxes and sturdy steel-clad trunks whose rugged patina tells the story of many-a household project. Meanwhile, a hardworking mix of industrial wire and woven wood gathering baskets sits handsomely alongside heavy-duty galvanized garbage bins and antique fireplace andirons.For Pastoral PrimitivesComfort Work RoomFull of history and heritage, the old, hand-fabricated furnishings and primitive wooden tools in this unique Ukrainian antique shop are rural remnants of simpler times gone by. Quaint kitchen staples like chippy chiseled spoons, scoops, and cutting boards make an accessible entry point for the casual collector, while scuffed up dough troughs, butter churns, washboards, and barrels are highly desirable conversation pieces for any antique enthusiast who’s dedicated to authentic detail. Becky Luigart-Stayner for Country LivingAntique washboards make for on-theme wall art in a laundry roomFor Heirloom-Quality CoverletsBluegrass QuiltsNo layered farmhouse look would be complete without the homey, tactile touch of a hand-pieced quilt or two draped intentionally about the room. From harvest-hued sawtooth stars to playful patchwork pinwheels, each exquisite blanket from this Kentucky-based artisan is slow-crafted in traditional fashion from 100% cotton materials, and can even be custom stitched from scratch to match your personal color palette and decorative purpose. For a classic country aesthetic, try a log cabin, double diamond, or star patch pattern. For Hand-Crafted GiftsSelselaFeaturing a busy barnyard’s worth of plucky chickens, cuddly sheep, and happy little Holstein cows, this Illinois woodworker’s whimsical line of farm figurines and other giftable goodies (think animal wine stoppers, keychains, fridge magnets, and cake toppers) is chock-full of hand-carved charm. Crafted from 100% recycled birch and painted in loving detail, each creature has a deliberately rough-hewn look and feel worthy of any cozy and collected home. For Open-Concept CabinetryFolkhausA hallmark of many modern farmhouses, open-concept shelving has become a stylish way to show that the practical wares you use everyday are the same ones you’re proud to put on display. With their signature line of bracketed wall shelves, Shaker-style peg shelves, and raw steel kitchen rails, the team at Folkhaus has created a range of open storage solutions that beautifully balances elevated design and rustic utility. Rounding out their collection is a selection of open-shelved accent pieces like bookcases, benches, and console tables—each crafted from character-rich kiln-dried timber and finished in your choice of stain.Related StoryFor Antique Farmhouse FurnitureCottage Treasures LVThe foundation of a well-furnished farmhouse often begins with a single prized piece. Whether it’s a slant-front desk, a primitive jelly cabinet, or a punched-tin pie safe, this established New York-based dealer has a knack for sourcing vintage treasures with the personality and presence to anchor an entire space. Distressed cupboards and cabinets may be their bread and butter (just look at this two-piece pine hutch!) but you’ll also find a robust roundup of weathered farm tables, Windsor chairs, and blanket chests—and currently, even a rare 1500s English bench. For Lively Table LinensMoontea StudioAs any devotee of slow decorating knows, sometimes it’s the little details that really bring a look home. For a spot of cheer along with your afternoon tea, we love the hand-stamped table linens from this Washington-based printmaker, which put a peppy, modern spin on farm-fresh produce. Patterned with lush illustrations of bright red tomatoes, crisp green apples, and golden sunflowers—then neatly finished with a color-coordinated hand-stitched trim—each tea towel, placemat, and napkin pays homage to the hours we spend doting over our gardens. For Traditional TransferwarePrior TimeThere’s lots to love about this Massachusetts antiques shop, which admittedly skews slightly cottagecore (the pink Baccarat perfume bottles! the hobnail milk glass vases! the huge primitive bread boards!) but the standout, for us, is the seller’s superior selection of dinner and serving ware. In addition to a lovely lot of mottled white ironstone platters and pitchers, you’ll find a curated mix of Ridgeway and Wedgwood transferware dishes in not only classic cobalt blue, but beautiful browns, greens, and purples, too.Becky Luigart-Stayner for Country LivingPretty brown transferware could be yours with one quick "add to cart."For Folk Art for Your FloorsKinFolk ArtworkDesigned by a West Virginia watercolor and oils artist with a penchant for painting the past, these silky chenille floor mats feature an original cast of colonial characters and folksy scenes modeled after heirloom textiles from the 18th and 19th centuries. Expect lots of early American and patriotic motifs, including old-fashioned flags, Pennsylvania Dutch fraktur, equestrian vignettes, and colonial house samplers—each made to mimic a vintage hooked rug for that cozy, homespun feeling. (We have to admit, the folk art-inspired cow and chicken is our favorite.)For Historical ReproductionsSchooner Bay Co.Even in the most painstakingly appointed interior, buying antique originals isn’t always an option (don’t ask how many times we’ve been outbid at an estate auction). And that’s where this trusted Pennsylvania-based retailer for historical reproductions comes in. Offering a colossal collection of framed art prints, decorative trays, and brass objects (think magnifying glasses, compasses, paperweights, and letter openers), these connoisseurs of the classics have decor for every old-timey aesthetic, whether it’s fox hunt prints for your cabin, Dutch landscapes for your cottage, or primitive animal portraits for your farmstead.For General Store StaplesFarmhouse EclecticsHand-plucked from New England antique shops, estate sales, and auctions, the salvaged sundries from this Massachusetts-based supplier (who grew up in an 1850s farmhouse himself) are the type you might spy in an old country store—wooden crates emblazoned with the names of local dairies, antique apple baskets, seed displays, signs, and scales. Whether you’re setting up your farmstand or styling your entryway, you’ll have plenty of storage options and authentic accents to pick from here. Becky Luigart-Stayner for Country LivingSo many food scales, so little time.Related StoriesJackie BuddieJackie Buddie is a freelance writer with more than a decade of editorial experience covering lifestyle topics including home decor how-tos, fashion trend deep dives, seasonal gift guides, and in-depth profiles of artists and creatives around the globe. She holds a degree in journalism from the University of North Carolina at Chapel Hill and received her M.F.A. in creative writing from Boston University. Jackie is, among other things, a collector of curiosities, Catskills land caretaker, dabbling DIYer, day hiker, and mom. She lives in the hills of Bovina, New York, with her family and her sweet-as-pie rescue dog.

Big and Small Underwater Faces — 3rd Place. Trips to the Antarctic Peninsula always yield amazing encounters with leopard seals (Hydrurga leptonyx). Boldly approaching me and baring his teeth, this individual was keen to point out that this part of Antarctica was his territory. This picture was shot at dusk, resulting in the rather moody atmosphere.   Credit: Lars von Ritter Zahony (Germany) / World Ocean’s Day Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. The striking eye of a humpback whale named Sweet Girl peers at the camera. Just four days later, she would be dead, hit by a speeding boat and one of the 20,000 whales killed by ship strikes each year. Photographer Rachel Moore’s captivating image (seen below) of Sweet Girl earned top honors at the 2025 United Nations World Oceans Day Photo Competition. Wonder: Sustaining What Sustains Us — WinnerThis photo, taken in Mo’orea, French Polynesia in 2024, captures the eye of a humpback whale named Sweet Girl, just days before her tragic death. Four days after I captured this intimate moment, she was struck and killed by a fast-moving ship. Her death serves as a heartbreaking reminder of the 20,000 whales lost to ship strikes every year. We are using her story to advocate for stronger protections, petitioning for stricter speed laws around Tahiti and Mo’orea during whale season. I hope Sweet Girl’s legacy will spark real change to protect these incredible animals and prevent further senseless loss.Credit: Rachel Moore (USA) / United Nations World Oceans Day www.unworldoceansday.org Now in its twelfth year, the competition coordinated in collaboration between the UN Division for Ocean Affairs and the Law of the Sea, DivePhotoGuide (DPG), Oceanic Global, and  the Intergovernmental Oceanographic Commission of UNESCO. Each year, thousands of underwater photographers submit images that judges award prizes for across four categories: Big and Small Underwater Faces, Underwater Seascapes, Above Water Seascapes, and Wonder: Sustaining What Sustains Us. This year’s winning images include a curious leopard seal, a swarm of jellyfish, and a very grumpy looking Japanese warbonnet. Given our oceans’ perilous state, all competition participants were required to sign a charter of 14 commitments regarding ethics in photography. Underwater Seascapes — Honorable MentionWith only orcas as their natural predators, leopard seals are Antarctica’s most versatile hunters, preying on everything from fish and cephalopods to penguins and other seals. Gentoo penguins are a favored menu item, and leopard seals can be observed patrolling the waters around their colonies. For this shot, I used a split image to capture both worlds: the gentoo penguin colony in the background with the leopard seal on the hunt in the foreground.Credit: Lars von Ritter Zahony (Germany) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes – WinnerA serene lake cradled by arid dunes, where a gentle stream breathes life into the heart of Mother Earth’s creation: Captured from an airplane, this image reveals the powerful contrasts and hidden beauty where land and ocean meet, reminding us that the ocean is the source of all life and that everything in nature is deeply connected. The location is a remote stretch of coastline near Shark Bay, Western Australia.Credit: Leander Nardin (Austria) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — 3rd PlaceParadise Harbour is one of the most beautiful places on the Antarctic Peninsula. When I visited, the sea was extremely calm, and I was lucky enough to witness a wonderfully clear reflection of the Suárez Glacier (aka Petzval Glacier) in the water. The only problem was the waves created by our speedboat, and the only way to capture the perfect reflection was to lie on the bottom of the boat while it moved towards the glacier.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 3rd Place“La Rapadura” is a natural hidden treasure on the northern coast of Tenerife, in the Spanish territory of the Canary Islands. Only discovered in 1996, it is one of the most astonishing underwater landscapes in the world, consistently ranking among the planet’s best dive sites. These towering columns of basalt are the result of volcanic processes that occurred between 500,000 and a million years ago. The formation was created when a basaltic lava flow reached the ocean, where, upon cooling and solidifying, it contracted, creating natural structures often compared to the pipes of church organs. Located in a region where marine life has been impacted by once common illegal fishing practices, this stunning natural monument has both geological and ecological value, and scientists and underwater photographers are advocating for its protection. (Model: Yolanda Garcia)Credit: Pedro Carrillo (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — WinnerThis year, I had the incredible opportunity to visit a jellyfish lake during a liveaboard trip around southern Raja Ampat, Indonesia. Being surrounded by millions of jellyfish, which have evolved to lose their stinging ability due to the absence of predators, was one of the most breathtaking experiences I’ve ever had.Credit: Dani Escayola (Spain) / United Nations World Oceans Day www.unworldoceansday.org Underwater Seascapes — 2nd PlaceThis shot captures a school of rays resting at a cleaning station in Mauritius, where strong currents once attracted them regularly. Some rays grew accustomed to divers, allowing close encounters like this. Sadly, after the severe bleaching that the reefs here suffered last year, such gatherings have become rare, and I fear I may not witness this again at the same spot.Credit: Gerald Rambert (Mauritius) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 3rd PlaceShot in Cuba’s Jardines de la Reina—a protected shark sanctuary—this image captures a Caribbean reef shark weaving through a group of silky sharks near the surface. Using a slow shutter and strobes as the shark pivoted sharply, the motion blurred into a wave-like arc across its head, lit by the golden hues of sunset. The abundance and behavior of sharks here is a living symbol of what protected oceans can look like.Credit: Steven Lopez (USA) / United Nations World Oceans Day www.unworldoceansday.org  Above Water Seascapes — 2nd PlaceNorthern gannets (Morus bassanus) soar above the dramatic cliffs of Scotland’s Hermaness National Nature Reserve, their sleek white bodies and black-tipped wings slicing through the Shetland winds. These seabirds, the largest in the North Atlantic, are renowned for their striking plunge-dives, reaching speeds up to 100 kph (60 mph) as they hunt for fish beneath the waves. The cliffs of Hermaness provide ideal nesting sites, with updrafts aiding their take-offs and landings. Each spring, thousands return to this rugged coastline, forming one of the UK’s most significant gannet colonies. It was a major challenge to take photos at the edge of these cliffs at almost 200 meters (650 feet) with the winds up to 30 kph (20 mph).Credit: Nur Tucker (UK/Turkey) / United Nations World Oceans Day www.unworldoceansday.org Above Water Seascapes — Honorable MentionA South Atlantic swell breaks on the Dungeons Reef off the Cape Peninsula, South Africa, shot while photographing a big-wave surf session in October 2017. It’s the crescendoing sounds of these breaking swells that always amazes me.Credit: Ken Findlay (South Africa) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — Honorable MentionHumpback whales in their thousands migrate along the Ningaloo Reef in Western Australia every year on the way to and from their calving grounds. In four seasons of swimming with them on the reef here, this is the only encounter I’ve had like this one. This pair of huge adult whales repeatedly spy-hopped alongside us, seeking to interact with and investigate us, leaving me completely breathless. The female in the foreground was much more confident than the male behind and would constantly make close approaches, whilst the male hung back a little, still interested but shy. After more than 10 years working with wildlife in the water, this was one of the best experiences of my life.Credit: Ollie Clarke (UK) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces — 2nd PlaceOn one of my many blackwater dives in Anilao, in the Philippines, my guide and I spotted something moving erratically at a depth of around 20 meters (65 feet), about 10 to 15 centimeters in size. We quickly realized that it was a rare blanket octopus (Tremoctopus sp.). As we approached, it opened up its beautiful blanket, revealing its multicolored mantle. I managed to take a few shots before it went on its way. I felt truly privileged to have captured this fascinating deep-sea cephalopod. Among its many unique characteristics, this species exhibits some of the most extreme sexual size-dimorphism in nature, with females weighing up to 40,000 times more than males.Credit: Giacomo Marchione (Italy) / United Nations World Oceans Day www.unworldoceansday.org Big and Small Underwater Faces – WinnerThis photo of a Japanese warbonnet (Chirolophis japonicus) was captured in the Sea of Japan, about 50 miles (80 kilometers) southwest of Vladivostok, Russia. I found the ornate fish at a depth of about 30 meters (100 feet), under the stern of a shipwreck. This species does not appear to be afraid of divers—on the contrary, it seems to enjoy the attention—and it even tried to sit on the dome port of my camera.Credit: Andrey Nosik (Russia) / United Nations World Oceans Day www.unworldoceansday.org Wonder: Sustaining What Sustains Us — 2nd PlaceA juvenile pinnate batfish (Platax pinnatus) captured with a slow shutter speed, a snooted light, and deliberate camera panning to create a sense of motion and drama. Juvenile pinnate batfish are known for their striking black bodies outlined in vibrant orange—a coloration they lose within just a few months as they mature. I encountered this restless subject in the tropical waters of Indonesia’s Lembeh Strait. Capturing this image took patience and persistence over two dives, as these active young fish constantly dart for cover in crevices, making the shot particularly challenging.Credit: Luis Arpa (Spain) / United Nations World Oceans Day www.unworldoceansday.org

Casa Morena | © Fernando Guerra / FG+SG In the coastal enclave of Lagos, Portugal, Mário Martins Atelier has crafted Casa Morena. This residence quietly asserts itself as an ode to the dialogue between architecture and its natural setting. Completed in 2024, this project demonstrates a considered response to its environment, where the interplay of light, material, and landscape defines a sense of place rather than architectural imposition. Casa Morena Technical Information Architects1-5: Mário Martins Atelier Location: Lagos, Portugal Project Years: 2024 Photographs: © Fernando Guerra / FG+SG A simple house, one that wishes to be discreet and to be influenced by its location, to become a house that is pleasant with thoughtful landscaping. – Mário Martins Atelier Casa Morena Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG A Contextual Response to Landscape and Light The design of Casa Morena finds its genesis in the site itself, a pine-scented plot overlooking the expanse of a bay. The pine trees, longstanding witnesses to the landscape’s evolution, provide the project’s visual anchor and spatial logic. In a move that both respects and celebrates these natural elements, Mário Martins Atelier structured the house’s reticulated plan to echo the presence of the trees, creating a composition that unfolds as a series of volumes harmonizing with the vertical rhythm of the trunks. The solid base of the house, built from locally sourced schist, emerges directly from the terrain. These robust walls establish a tactile continuity with the ground, their rough textures anchoring the architecture within the landscape. In contrast, the upper volumes of the house adopt a distinctly lighter expression: horizontal planes rendered in white plaster, their smooth surfaces catching and refracting the region’s luminous sun. This duality, earthbound solidity, and aerial lightness establish an architectural narrative rooted in the elemental. Casa Morena Experiential Flow Casa Morena’s spatial arrangement articulates a clear hierarchy of public and private domains. On the ground floor, the house embraces openness and transparency. An expansive entrance hall blurs the threshold inside and out, guiding inhabitants and visitors into a luminous social heart. The lounge, kitchen, and office flow seamlessly into the garden, unified by a continuous glazed façade that invites the outside in. This deliberate porosity extends to a covered terrace, an intermediary space that dissolves the boundary between shelter and exposure. The terrace, framed by the garden’s green canopy and the swimming pool’s long line, becomes a place of repose and contemplation. The pool itself demarcates the transition from a cultivated garden to the looser, more rugged landscape beyond, its linear form echoing the horizon’s expanse. Ascending to the upper floor, the architectural language shifts towards intimacy. The bedrooms, each with direct access to terraces and patios, create secluded zones that still maintain a fluid relationship with the outdoors. A discreet rooftop terrace, accessible from these private quarters, offers a hidden sanctuary where the interplay of views and light remains uninterrupted. Material Tectonics and Environmental Strategy Casa Morena’s material palette is rooted in regional specificity and tactile sensibility. Schist, extracted from the site, is not merely a structural element but a narrative thread linking the building to its geological past. Its earthy warmth and rugged surface provide a counterpoint to the luminous white of the upper volumes, an articulation of contrast that enlivens the building’s silhouette. White, the chromatic signature of the Algarve region, is employed with restraint and nuance. Its reflective qualities intensify the play of shadow and light, a dynamic that shifts with the passing of the day. In this interplay, architecture becomes an instrument for registering the ephemeral, and the environment itself becomes a participant in the spatial drama. Environmental stewardship is also woven into the project’s DNA. Discreetly integrated systems on the roof harness solar energy and manage water resources, extending the house’s commitment to a sustainable coexistence with its setting. Casa Morena Plans Basement | © Mario Martins Atelier Ground Level | © Mario Martins Atelier Upper Level | © Mario Martins Atelier Roof Plan | © Mario Martins Atelier Elevations | © Mario Martins Atelier Casa Morena Image Gallery About Mário Martins Atelier Mário Martins Atelier is an architectural studio based in Lagos and Lisbon, Portugal, led by Mário Martins. The practice is known for its context-sensitive approach, crafting contemporary projects seamlessly integrating with their surroundings while prioritizing regional materials and environmental considerations. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Nuno Colaço, Sónia Fialho, Susana Jóia, Mariana Franco, Ana Graça Engineering: Nuno Grave Engenharia Landscape: HB-Hipolito Bettencourt – Arquitectura Paisagista, Lda. Building Contractor: Marques Antunes Engenharia Lda.