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Other nations can learn much from Canada when it comes to artificial intelligence advances. For one thing, “the focus and nurturing of AI needs ongoing attention and investments; otherwise, that leadership in AI can be lost,” an industry analyst said Wednesday. Bill Wong, research fellow at Info-Tech Research Group, was responding to the recent appointment of MP Evan Solomon, a former journalist, as Canada’s first Minister of Artificial Intelligence and Digital Innovation in the federal cabinet of Prime Minister Mark Carney. In the past, he said, “Canada has been viewed as an AI leader around the world with respect to AI research, especially with thought leaders like Geoffrey Hinton, Yoshua Bengio, and Richard Sutton.” However, he noted, “despite the recognition, critics would cite that [it] has fallen behind and challenged when it comes to monetizing  AI investments. As part of the government’s election platform, the government promised to move fast on building data centers, introduce a tax credit to incentivize AI adoption by small and medium-sized businesses, and push to expand programs at Canada’s artificial intelligence institutes to drive AI commercialization.” In a commentary on the appointment, the Macdonald-Laurier Institute, a policy think tank based in Ottawa, Ontario, stated that it “signals a consolidation of federal focus on a field that has historically been spread across numerous portfolios … Solomon’s challenge will be to distinguish between productivity enhancing AI and ‘so-so’ automation — harnessing the benefits of AI, while ensuring adequate regulation to mitigate associated risks.” AI is a ‘geopolitical force’ Canada, the organization stated, “must close the gap between AI innovation and adoption by pursuing policies that encourage productivity-boosting AI — applications that augment workers and make them more efficient, rather than simply replace them. The answer is a multi-level policy framework that accelerates the uptake of AI in ways that enhance output, job quality, and workforce participation.” Wong noted, “Canada was the first country to deliver its national AI strategy; the appointment of the country’s first AI minister can be viewed as a natural evolution of Canada’s adoption of AI at a national level.” The appointment of Solomon, he said, “demonstrates just how important AI is to the future of Canada and its people. While AI is considered a technology disruptor, its impact is far-reaching, and it will impact every industry and the national economy.” And while having a government ministry of AI is not the norm for most countries today, he said, “the importance of this role to the country’s economy and national security is growing. Internationally, AI has become a geopolitical force; an example of this would be the US imposing export controls on high-end AI chip technology to China.” The upcoming  G7 meeting in Kananaskis, Alberta, from June 15 to 17,  said Wong, “provides an opportunity for Canada to demonstrate its AI leadership on an international stage. While it’s a short runway to that event, Canada should promote its best practices for deploying AI in the public sector, its plans to democratize the benefits of AI to its people, and demonstrate its thought leadership by sharing research and data.” The Carney government, he said, also has a “mandate to improve its use of AI to improve productivity as well as increase the adoption of AI by private industry. A recent Deloitte study cited that only 26% of Canadian organizations have implemented AI, compared with 34% globally.” AI compute fabric in the works In the private sector, Bell Canada on Wednesday announced Bell AI Fabric, an investment, it said, “that will create the country’s largest AI compute project.” The telco plans to create a national network that will start with a “data center supercluster in British Columbia that will aim to provide upwards of 500 MW of hydro-electric powered AI compute capacity across six facilities.” The first facility, a release stated, will come online this month in partnership with AI chip provider Groq, with additional facilities being operational by the end of 2026, including two at Thompson Rivers University (TRU) in Kamloops, BC. Bell said that the data centers at TRU “will be designed to host AI training and inference, providing students and faculty with access to cutting-edge compute capabilities, both at TRU and nationally through integration with the BCNET network. The data centre is also being integrated into the district energy system, with waste heat being repurposed to provide energy to TRU’s buildings.” Further reading: AI and economic pressures reshape tech jobs amid layoffs Microsoft cements its AI lead with one hosting service to rule them all Real-world use cases for agentic AI AI vs. copyright How to train an AI-enabled workforce — and why you need to > >

Air travel is such a common part of modern life that it’s easy to forget all the miraculous technology and communication infrastructure required to do it safely. But recent crashes, including near Washington, DC, and in San Diego — not to mention multiple near misses — have left many fliers wondering: Is it still safe to fly?That concern is particularly acute at Newark Liberty International Airport in New Jersey, which has recently experienced several frightening incidents and near misses in as radio and radar systems have gone dark. This has left an under-staffed and overworked group of air traffic controllers to manage a system moving at a frenetic pace with no room for error.Andrew Tangel, an aviation reporter for the Wall Street Journal, recently spoke to Jonathan Stewart, a Newark air traffic controller. In early May, Stewart experienced a brief loss of the systems showing him the locations of the many planes was directing. When the systems came back online, he realized there’d almost been a major crash.According to Tangel, Stewart “sent off a fiery memo to his managers, complaining about how he was put in that situation, which he felt he was being set up for failure.” Stewart now is taking trauma leave because of the stresses of the job. After many delayed flights, United Airlines just announced that it will move some of its flights to nearby John F. Kennedy International Airport. To understand how we arrived at our current aviation crisis, Today, Explained co-host Sean Rameswaram spoke with Darryl Campbell, an aviation safety writer for The Verge.Below is an excerpt of their conversation, edited for length and clarity. There’s much more in the full episode, so listen to Today, Explained wherever you get your podcasts, including Apple Podcasts, Pandora, and Spotify. You recently wrote about all these issues with flying for The Verge — and your take was that this isn’t just a Newark, New Jersey, problem. It’s systemic. Why?You’ve probably seen some of the news articles about it, and it’s really only in the last couple months because everybody’s been paying attention to aviation safety that people are really saying, Oh my gosh!Newark airport is losing the ability to see airplanes. They’re losing radar for minutes at a time, and that’s not something you want to hear when you have airplanes flying towards each other at 300 miles an hour. So it is rightfully very concerning. But the thing is, what’s been happening at Newark has actually been happening for almost a decade and a half in fits and starts. It’ll get really bad, and then it’ll get better again. Now we’re seeing a combination of air traffic control problems; we’re seeing a combination of infrastructure problems, and they’ve got a runway that’s entirely shut down. And the way that I think about it is, while Newark is its own special case today, all of the problems that it’s facing, other than the runway, are problems that every single airport in the entire country is going to be facing over the next five to 10 years, and so we’re really getting a preview of what’s going to happen if we don’t see some drastic change in the way that the air traffic control system is maintained.We heard about some of these issues after the crash at DCA outside Washington. What exactly is going on with air traffic controllers?The first problem is just one of staff retention and training. On the one hand, the air traffic control system and the people who work there are a pretty dedicated bunch, but it takes a long time to get to the point where you’re actually entrusted with airplanes. It can be up to four years of training from the moment that you decide, Okay, I want to be an air traffic controller. Couple that with the fact that these are government employees and like many other agencies, they haven’t really gotten the cost-of-living increases to keep pace with the actual cost of living, especially in places like the New York and New Jersey area, where it’s just gone up way faster than in the rest of the country.This is bad at Newark, but you say it promises to get bad everywhere else too. The cost of living is still outpacing the replacement level at a lot of these air traffic control centers. And the washout rate is pretty high. We’ve seen the average staffing level at a lot of American airports get down below 85, 80 percent, which is really where the FAA wants it to be, and it’s getting worse over time. At Newark in particular, it’s down to about 58 percent as of the first quarter of this year. This is an emergency level of staffing at a baseline. And then on top of that, you have — in order to keep the airplanes going — people working mandatory overtime, mandatory six-days-a-week shifts, and that’s accelerating that burnout that naturally happens. There’s a lot of compression and a lot of bad things happening independently, but all at the same time in that kind of labor system that’s really making it difficult to both hire and retain qualified air traffic controllers.These sound like very fixable problems, Darryl. Are we trying to fix them? I know former reality TV star and Fox News correspondent — and transportation secretary, in this day and age — Sean Duffy has been out to Newark. He said this: “What we are going to do when we get the money. We have the plan. We actually have to build a brand new state-of-the-art, air traffic control system.”To his credit, they have announced some improvements on it. They’ve announced a lot of new funding for the FAA. They’ve announced an acceleration of hiring, but it’s just a short-term fix. To put it in context, the FAA’s budget usually allocates about $1.7 billion in maintenance fees every year. And so they’ve announced a couple billion more dollars, but their backlog already is $5.2 billion in maintenance. And these are things like replacing outdated systems, replacing buildings that are housing some of these radars, things that you really need to just get the system to where it should be operating today, let alone get ahead of the maintenance things that are going to happen over the next couple of years. It’s really this fight between the FAA and Congress to say, We’re going to do a lot today to fix these problems.And it works for a little while, but then three years down the road, the same problems are still occurring. You got that one-time shot of new money, but then the government cuts back again and again and again. And then you’re just putting out one fire, but not addressing the root cause of why there’s all this dry powder everywhere.People are canceling their flights into or out of Newark, but there are also all these smaller accidents we’re seeing, most recently in San Diego, where six people were killed when a Cessna crashed.How should people be feeling about that?There’s really no silver bullet and all the choices are not great to actively bad at baseline. Number one is you get the government to pay what it actually costs to run the air traffic control system. That empirically has not happened for decades, so I don’t know that we’re going to get to do it, especially under this administration, which is focused on cutting costs.The second thing is to pass on fees to fliers themselves. And it’s just like the conversation that Walmart’s having with tariffs — they don’t want to do it. When they try to pass it on to the customer, President Trump yells at them, and it’s just not a great situation. The third option is to reduce the number of flights in the sky. Part of this is that airlines are competing to have the most flights, the most convenient schedules, the most options. That’s led to this logjam at places like Newark, where you really have these constraints on it. Right before all of this stuff happens, Newark was serving about 80 airplanes an hour, so 80 landings and takeoffs. Today, the FAA’s actually started to admit restrictions on it, and now it’s closer to 56 flights an hour, and that’s probably the level that it can actually handle and not have these issues where you have planes in danger.But no airline wants to hear, Hey, you have to cut your flight schedule. We saw that with United: Their CEO was saying that the air traffic controllers who took trauma leave had “walked off the job,” which seemed to suggest that he didn’t think they should be taking trauma leave because you have to have more planes coming in. That’s a competitive disadvantage for him, but you also have to balance safety. It’s difficult to understand. It costs a lot of money to fix. This is your textbook “why governments fail” case study and it’s not really reassuring that in 24 hours I’m going to be in the middle of it again, trying to fly out of Newark.See More:

June 1 Wreckage of American Airlines Flight 1420 1676 – Scanian War: The Swedish warship Kronan, one of the largest ships in the world at the time, sank at the Battle of Öland with the loss of around 800 men. 1857 – The Revolution of the Ganhadores, the first general strike in Brazil, began in Salvador, Bahia. 1974 – In an informal article in a medical journal, Henry Heimlich introduced the concept of abdominal thrusts, commonly known as the Heimlich maneuver, to treat victims of choking. 1988 – Group representation constituencies were introduced to the parliament of Singapore. 1999 – On landing at Little Rock National Airport in the U.S. state of Arkansas, American Airlines Flight 1420 overran the runway and crashed (wreckage pictured), resulting in 11 deaths. Kitabatake Chikafusa (d. 1354)Louisa Caroline Tuthill (d. 1879)Tom Holland (b. 1996)Faizul Waheed (d. 2021) More anniversaries: May 31 June 1 June 2 Archive By email List of days of the year About

1. Irregular Sleep Pattern Glasgow-based Irregular Sleep Pattern takes textiles to a whole new geometric level. Launched in 2020 by wife & husband team Jolene Crawford and Mil Stricevic, the duo grew tired of not finding cool bedding and sleepwear in bold patterns and fun colors that aligned with their aesthetic. Eschewing the typical nature of the fashion business which can produce excess and unnecessary waste, the pair follow their own path and add prints and products as they desire and not according to the seasonal fashion calendar. From mix and match pajamas to robes (and even eye masks), to duvet covers, sheets, and throws, Irregular Sleep Pattern will elevate not only your sleep game, but your home’s decor too. 2. Ippei Tsujio’s Bread Wrapping Paper Japanese graphic designer Ippei Tsujio has created wrapping paper that will turn any gift into something that looks good enough to eat. The tasty trio of realistic paper comes in a baguette, loaf, and ciabatta design that’s been making the rounds on Instagram lately. And while they aren’t yet available, Tsujio states on IG that they will be selling the no-carb designs soon. 3. Stella McCartney x Hydefy Fungi Crossbody Bag Stella McCartney’s groundbreaking Stella McCartney x Hydefy Fungi Crossbody Bag marks a bold leap forward in sustainable luxury. Debuting on the Spring/Summer 2025 runway, the Stella Ryder – crafted from Hydefy’s innovative fungi-based material – is the brand’s most sophisticated vegan handbag to date. With a sculptural design inspired by a horse’s back and a striking silver metallic finish, the bag shows how high fashion can embrace environmental responsibility without compromising elegance or durability. Hydefy’s cutting-edge material offers a refined, high-performance alternative to leather, ushering in a new era of eco-conscious design for luxury accessories and beyond. 4. Giant Agua Beach Towel by Volver Bring the sunshine with you wherever you go this summer with Volver’s vibrant and oversized Agua beach towel. Designed in Portugal, these super fun towels radiate pure vacation energy with playful blush pink and sunflower yellow shades woven in a graphic pattern. Made from 100% Oeko Tex certified cotton, it’s soft, absorbent, and lightweight – perfect for beach days, pool lounging, or sunny park visits. With its square(ish) 79″ x 83″ shape, fringed edges, and branded details, the Agua towel is big enough to share and stylish enough to stand out. Volver also makes smaller beach towels in other other colors if you’d rather not share ;) 5. Le Corbusier: Le Grand book from Phaidon Coming October 2025 from Phaidon, the new edition of Le Corbusier: Le Grand is a landmark visual biography celebrating one of the most influential architects of the twentieth century. Richly illustrated with sketches, photographs, and personal correspondences, this monumental book offers an intimate and comprehensive look at Le Corbusier’s groundbreaking work and complex persona. Spanning his prolific career across architecture, design, and urban planning, the book reveals the depth of his creative vision and enduring impact on the built environment. A must-have for architecture enthusiasts and design aficionados alike!

The Fresh Prince of Pasta Google’s Will Smith double is better at eating AI spaghetti … but it’s crunchy? Veo 3 is a major leap in AI video synthesis, but the sound effects need more cooking time. Benj Edwards – May 23, 2025 1:57 pm | 58 A still frame of "Will Smith eating spaghetti" in Google's Veo 3 AI video generator. A still frame of "Will Smith eating spaghetti" in Google's Veo 3 AI video generator. Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more On Tuesday, Google launched Veo 3, a new AI video synthesis model that can do something no major AI video generator has been able to do before: create a synchronized audio track. While from 2022 to 2024, we saw early steps in AI video generation, each video was silent and usually very short in duration. Now you can hear voices, dialog, and sound effects in eight-second high-definition video clips. Shortly after the new launch, people began asking the most obvious benchmarking question: How good is Veo 3 at faking Oscar-winning actor Will Smith at eating spaghetti? First, a brief recap. The spaghetti benchmark in AI video traces its origins back to March 2023, when we first covered an early example of horrific AI-generated video using an open source video synthesis model called ModelScope. The spaghetti example later became well-known enough that Smith parodied it almost a year later in February 2024. Here's what the original viral video looked like: One thing people forget is that at the time, the Smith example wasn't the best AI video generator out there—a video synthesis model called Gen-2 from Runway had already achieved superior results (though it was not yet publicly accessible). But the ModelScope result was funny and weird enough to stick in people's memories as an early poor example of video synthesis, handy for future comparisons as AI models progressed. AI app developer Javi Lopez first came to the rescue for curious spaghetti fans earlier this week with Veo 3, performing the Smith test and posting the results on X. But as you'll notice below when you watch, the soundtrack has a curious quality: The faux Smith appears to be crunching on the spaghetti. On X, Javi Lopez ran "Will Smith eating spaghetti" in Google's Veo 3 AI video generator and received this result. It's a glitch in Veo 3's experimental ability to apply sound effects to video, likely because the training data used to create Google's AI models featured many examples of chewing mouths with crunching sound effects. Generative AI models are pattern-matching prediction machines, and they need to be shown enough examples of various types of media to generate convincing new outputs. If a concept is over-represented or under-represented in the training data, you'll see unusual generation results, such as jabberwockies. We tried running the prompt ourselves in Veo 3 and "Will Smith" was blocked by Google's content filters, but upon requesting "A black man eating spaghetti," we got a similar crunchy sound result (either Lopez had early test access without filters, or perhaps one of his prompts got around the filter, which happens sometimes if you try different variations). AI-generated video from Google Veo 3: "A black man eating spaghetti." Veo 3 is remarkable in its ability to generate coherent dialog and music, and it's already led to many interesting examples you can find on X. Some are wildly realistic. Not content to merely enjoy a video of a man eating very al dente noodles, we thought we'd see if the man could sing and eat at the same time with the prompt, "A man singing an English language comedy opera about spaghetti at a kitchen table while eating it." AI-generated video from Google Veo 3: "A man singing an English language comedy opera about spaghetti at a kitchen table while eating it." We have come quite a long way since 2023, and AI video generators are only going to get more realistic and capable over time. If it weren't for the celebrity filter on Veo 3 at the moment, we could likely make Smith appear to do the singing—and to do just about anything else, which is the potentially troublesome part of AI video. The cultural singularity is upon us. AI-generated video from Veo 3: A man in a shark costume rapping about Ars Technica on stage. Speaking of which, we recently ran our own extended battery of video generation tests in Veo 3 and will have those for you soon in a separate feature. But for now, we thought we'd briefly update you on the Fresh Prince of noodle consumption. Bon appétit! Benj Edwards Senior AI Reporter Benj Edwards Senior AI Reporter Benj Edwards is Ars Technica's Senior AI Reporter and founder of the site's dedicated AI beat in 2022. He's also a tech historian with almost two decades of experience. In his free time, he writes and records music, collects vintage computers, and enjoys nature. He lives in Raleigh, NC. 58 Comments

This article contains spoilers for Big Mouth season 8. It’s become increasingly rare for a streaming series to end on its own terms, especially when that series has run for eight seasons and revolves around the uncontrollable hormonal impulses of a bunch of teenagers.  Big Mouth made waves upon its premiere back in 2017, yet it’s grown into one of Netflix’s longest-running shows and a program that’s experienced as many changes as its adolescent protagonists. The series is comfortable indulging in its cruder and more mature impulses, whether that’s relentless Hormone Monsters or anthropomorphic genitals. That being said, there’s an undeniable heart to Big Mouth and it’s an animated comedy that actually strives to educate and enlighten, as wild as that may seem, as it preaches inclusivity and a truly modern world of sex, relationships, and identity.  As Big Mouth reaches its splashy big finish with its eighth season, the comedy’s co-creators — Andrew Goldberg, Jennifer Flackett, and Mark Levin — open up on their animated project’s farewell year. Goldberg, Flackett, and Levin get candid on Big Mouth’s latest changes as its characters acclimate to high school, the highs and lows of pornography, and their trepidation over sticking the landing. Also: the one storyline that was almost turned into its own interactive episode! DEN OF GEEK: It’s been so much fun to see this series evolve since its beginning. Is it satisfying to get the rare luxury of bringing many of these characters’ stories to fruition across eight seasons as they all find their respective cliques and learn a little more about themselves? MARK LEVIN: I mean, it is a rare treat to be able to tell a story that long and to be able to really explore these characters in depth over so much time. To have anyone’s puberty last eight years is pretty cool.  JENNIFER FLACKETT: But also to age the characters and to have animation that changes was not something that [we anticipated]. Andrew often talks about the fact, because he’s from Family Guy. He never thought that the character models would change and we hadn’t really talked about that. Then when we realized that the show’s all about changes, that was really interesting to us.  ML: Also, to have the runway to be able to know that we were going to close out the show, and to be very thoughtful and intentional in our approach to that, was great. We went on a retreat with the writers in advance of season eight to just talk about everything and wrestling with this big idea. Ultimately, the big question was, “How do you end a story about characters who are just beginning their story – their lives,” you know? That’s the conclusion of the future being the thing they have to wrestle with most–the unknown of the future.  I’m glad you touched on that too, because I do think there are always really high expectations that surround any series finale and I think you guys handled this one very gracefully. Was this always kind of the ending that you had envisioned for the show? Did it change over time? ANDREW GOLDBERG: No, we don’t have plans. We even like to figure out each season with our staff as we go. I mean, it would be great if we had a plan from the very beginning, but we did not, and like Mark said, we really came into season eight with this dilemma of “how do you tell the end of a story about kids who are just starting out?” I remember when we were first talking about what the final episode would be, Gil Ozeri, who wrote it, kind of looked at us and was like, “Well, you guys, it’s your show. What do you think? What is the show about?” And I was like, “I don’t know.” Mark thought that the most salient thing that we’ve learned over the years is that the show is about this idea that you’re not alone. That was sort of our guiding principle for the final episode, too. This idea that the future is scary and unknown, but you’re not alone. You have your friends to go into it with.  Were there any other series finales that you looked to for inspiration? I felt the tiniest bit of Moonlighting in terms of the characters’ universe kind of being dismantled around them. Join our mailing list Get the best of Den of Geek delivered right to your inbox! AG: Not really. I wanted to do that Andrew was masturbating and right before he comes, it cuts to black, and we don’t know if he comes or not or if he gets shot by the guy in the diner. Nobody else got on board with that. JF: I will say, like when you were just talking about it – to me Cheers and Mary Tyler Moore–  AG: Cheers was a great finale.  JF: Those were two great finales that were funny and were emotional. That has always been our guiding light with Big Mouth. We didn’t really realize when we first started how important the emotionality was going to be. That these were kids with big feelings and everything mattered so much. So I think just that idea–we knew we wanted the end to be emotional, but it was also emotional for us! When we had our final table read and all those kids walked off, everyone was crying. So, I think that also a big part of it, too – being funny, emotional, and that we really wanted to do well by these characters. We wanted to feel like the future was pretty bright for them. AG: Sometimes with finales, shows try to reinvent the wheel. They’ll make the finale its whole own thing. As a fan, I always like a finale that’s just like a really good episode of the show. That was also one of our goals and one of the reasons why we went back to the middle school for the finale because that was the heart of the show. Big Mouth is obviously very silly, but it pushes some really important messages, too. It’s filled with encouraging examples of representation as well. Which storyline or piece of character development are you the most proud of bringing to life here? JF: I just think we all learned so much about human sexuality and human development making this show. I can really say I learned a lot and I feel like we really created something where the things that we learned–we really wanted to tell people about things like female pleasure. I did not think that was a story that I was going to do. Like, I knew there’d be periods. I knew there’d be masturbation, right? But beyond that–going into asexuality and all these things that really came from real students that we spoke to who said, “I don’t feel represented.” That was really interesting and we didn’t really know about that. I think that always interested us in all these different ways. Consent is something – both in the first and the last season – that we really talk about in a specific kind of way. Those were things we learned as the world changed. The world changed so much while we were making the show, so we had to really keep abreast of everything.  And Holly Hunter is Compassion. I really will say that Holly Hunter’s Compassion was a real thrill for all of us.  AG: I agree that the learning experience of making this show has been incredible and the breadth of who we’ve learned from. We had this moment in season one where we did “Girls Are Horny Too,” where we realized–we had read Peggy Orenstein’s book, Girls & Sex, and she had come to the writers’ room to talk to us. One of the things that she writes about is that in sex ed, we teach boys about their boners and ejaculation and girls about menstruation. We don’t teach–we don’t imply to girls as we’re teaching about sex–that they’re supposed to experience pleasure, too. We realized, “Oh my God, our first episode is literally about a boy masturbating and in the second episode a girl gets her period. We did the very thing that we’re not supposed to do. So we course-corrected with the fifth episode of the first season, “Girls Are Horny Too.”  Then, like Jen said, the idea for having an asexual kid was totally born out of how we speak to teenagers every year with their sex ed teacher, Shafia Zaloum, who’s a great sex ed teacher in the Bay Area. That storyline came directly from one of her students being like, “Hey, I’m asexual, and I’d really love to see a character like me on TV.” We were like, “Absolutely.” He actually read scripts for us and gave us his thoughts. It was a really great collaboration. So, we’ve had this amazing experience where we’re learning from experts, but also from teenagers; from kids. The pornography episode from this season is really strong, but it’s also exciting that you’re able to do an episode that helps normalize pornography, break it down, but also explore the more toxic behavior it can reinforce, too. Did this feel like significant subject matter to explore? JF: Well, that’s always how we like to explore any topic: like we’re having a conversation. The first one was about the head push and if it’s okay or if it’s not okay. We were like, “Oh, that’s got to go in the show.” Our kids need to basically be having the same conversation that we’re having. That’s often a way that leads us, but it was actually my daughter who was talking about guys and their relationship with porn. She was like, “It’s really kind of ruined them and it’s such a bummer.” So when we were coming into this last season, I thought that we should explore that. We had done porn in the very first season, but it didn’t get to the heart of the problem.  AG: It was more of an addiction story.  JF: It was more of an addiction story. It wasn’t really a porn story. We really realized–and this was another thing we talked to a lot of people about–just about how porn was becoming sex education and how unfortunate that is and what do we do about it. How do you masturbate again when you’ve gotten used to porn? All those things. It’s not just one thing. It turned out it was a lot of things, all of which play out over three episodes. You really get the chance to realize what’s going on and how it can actually affect your life in all these different ways. AG: We had this really cool experience where–as we were figuring out that story, we always, every season, meet with a group of teenagers via Zoom and really pick their brains and ask them questions. This time, for the first time ever, we split them up between boys and girls because we wanted to hear what the boys had to say and what the girls had to say. It was amazing just the disconnect that seemed to occur where – at least for the groups of kids that we talked to – the boys were kind of like, “We get it. Porn isn’t real. It doesn’t actually affect the way we behave.” While the girls were like, “No.” They did not feel the same way. JF: It was shocking, but true! All that was just so  interesting.  Absolutely, and then to have your characters at an age where they can emulate that behavior, too. I always love when the show will do a bit of a concept episode that does something structurally different, like the penultimate entry that has the whole grab bag of odds and ends formula. I think that’s such a smart way to touch on a bunch of stuff that couldn’t organically be covered in the series. ML: When you’re heading to the end of an experience like this, you realize there’s so much left to say and so much you still want to say. In this case, we reached out through social media to the fans and said, “Hey, what are the things you wish we talked about?” That’s really true, we really did do that.  So, are those real questions, then, from real fans?  ML: Yeah, those topics, they’re all real.  JF: And when we say that there was a ton about queefing, that’s also actually true. We had thousands of responses. We had this vaginismus story and one of the guys on the staff was like, “I don’t like the vaginismus story…” But a lot of people were asking about it so clearly there is interest there! So I wanted to find a way to do that. ML: It all really came from that experience of serving the fans. And we love form-breaker episodes. We love form-breakers, but this was a great one. It was an opportunity, in a grab bag kind of way, to race through all these things that we never got a chance to talk about. These probably would have been episodes or storylines, but maybe they’re even better for the fact that they don’t last for an entire episode. “What’s it like to go to the gynecologist?” That doesn’t need to be a whole episode. These ideas can be their own mini-movies, like the Looney Tunes one. Well, I was going to say exactly that. You dress each one up in a different style, whether it’s The Twilight Zone or the whole Looney Tunes aesthetic. Was this episode more of a challenge to bring together? AG: Yeah, I think that’s always the fun with the form-breakers. I think it’s fun for the fans. It’s fun for us, too, on a creative level. Last year we did the international episode, where we did a show in different languages. We did that Christmas episode with all the different kinds of animation. It’s always so much fun for us, but this one in particular was great because I do think our fans are so invested. They feel so much ownership over the show and we’re happy to share that with them. It was exciting to see all their questions that Maury explores in that episode.  You mentioned before that you don’t like to plan things out, but this season brings closure to the Ponytail Killer after so long, which is super funny to me. I can see this being an idea that just kept getting pushed back during previous seasons, but had you planned to do more with this tangent over the years? Did you know that this was the killer’s identity from the start? JF: And it was! We had tried to do something with the Ponytail Killer a couple of other times, but it just didn’t feel right. This felt good though and we were finally able to pay that one off. ML: At one point, we were talking about doing an interactive “Choose-Your-Own Adventure” episode like Black Mirror’s “Bandersnatch.” There was a minute where everything was going to be interactive! We flirted with the idea of doing a “Choose-Your-Own Adventure” episode where you solve the Ponytail Killer’s murders. We went down that road, but we realized just how much work it would take–it would have been like a whole season’s worth of work just to make all the multiple threads. So we were happy to at least bring closure to it inside this season.  AG: My favorite part of that is when Lola is like, “What? Who cares?” There are Reddit threads out there that have guessed it! There are people that will be very satisfied with this season. JF: One of my favorite Reddit threads is about, “Does Cyrus wear the radish bra?” Eight seasons is a lot of time to spend with these characters, but would you ever want to return to them and this universe, perhaps when they’re adults with kids of their own? Is there a possibility that you might do something like periodic Big Mouth specials in the future or some further extension of the series? ML: Yeah, I mean, we love these kids. We really want to see what happens to them. It’s fun to just let them go off into the void and imagine what would happen, but I’m sure that over time, we’ll miss them and want to revisit them again. Whether it’s the college years or some other thing, you know?  JF: It’s funny, because what happens is before you know exactly when your show is going to end, you’re like, “It’s so hard to find these stories…” But then when you know that you’re going to end, we suddenly had more stories to tell because we moved them to high school. It was ironic, but also kind of lovely, because you always want to leave people wanting more. That’s a great feeling and it’s nice to not feel like we’ve completely exhausted everything. It’s very bittersweet. We’ve had an amazing run here and we were at Netflix at just the right time. I’m not sure if Big Mouth could have existed at any other time. It seems like Big Mouth got to tell its full story, but that this might not have necessarily been the case with Human Resources. Can you talk a little on where else that show had gone if it lasted longer? Were there any ideas for future Human Resources stories that were incorporated into this final season as a way of providing closure? JF: We loved Human Resources. I mean, we just thought that was a great, great show, and such a wonderful universe.  ML: They’re infinite things that could be done there! And you know, there is an episode this season that visits Human Resources again. We really wanted to go back to Human Resources, whether it was in that episode where we had the Keke Palmer and Aidy Bryant characters come back. Rosie Perez’s character, too. The whole cast! We wanted to weave them all into this season to make sure that they were acknowledged as such an important part of the universe. We were fortunate to get to explore all of that in the same show, but just through a flipped perspective. We were seeing it all from the monsters’ point of view, but now we’re back to the kids. But we absolutely loved, loved Human Resources.  Big Mouth has ended, but your new animated series, Mating Season, has been announced. Can you talk at all on how this idea came together, what this show was born out of, and if it will have a similar vibe to Big Mouth or be a different type of animal? ML: The vibe will be similar in some ways, in that, it’s very honest and it deals, frankly, with things that we all deal with. In Big Mouth, it was puberty and that temporary change, but Mating Season is looking kind of into your twenties – your late twenties – when you’re trying to find a mate. You find your person, or hook up, or, you know – have sex, get married, all those things that we struggled with then. JF: What we always found in Big Mouth, when we were trying to depict sex, was that it was better when it had a metaphor behind it. But we realized that you really don’t want to see humans having sex. However, with animals, it’s a lot funnier.  ML: You’re not going to see anything you don’t see in the zoo, or in the forest, or in your backyard. I’m looking forward to it. I appreciated the Animorphs reference this season, so if you can make one of the characters an Animorph–just have one be an animal that is actually a human in disguise. I think that’s a fun approach. ML: That is a good idea. We’re putting it on the list. JF: We’re putting it on the list. Beautiful. That’s all I ask. All eight seasons of Big Mouth are now streaming on Netflix

Observation Rocket Report: SpaceX’s expansion at Vandenberg; India’s PSLV fails in flight China's diversity in rockets was evident this week, with four types of launchers in action. Stephen Clark – May 23, 2025 7:00 am | 7 Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Welcome to Edition 7.45 of the Rocket Report! Let's talk about spaceplanes. Since the Space Shuttle, spaceplanes have, at best, been a niche part of the space transportation business. The US Air Force's uncrewed X-37B and a similar vehicle operated by China's military are the only spaceplanes to reach orbit since the last shuttle flight in 2011, and both require a lift from a conventional rocket. Virgin Galactic's suborbital space tourism platform is also a spaceplane of sorts. A generation or two ago, one of the chief arguments in favor of spaceplanes was that they were easier to recover and reuse. Today, SpaceX routinely reuses capsules and rockets that look much more like conventional space vehicles than the winged designs of yesteryear. Spaceplanes are undeniably alluring in appearance, but they have the drawback of carrying extra weight (wings) into space that won't be used until the final minutes of a mission. So, do they have a future? As always, we welcome reader submissions. If you don't want to miss an issue, please subscribe using the box below (the form will not appear on AMP-enabled versions of the site). Each report will include information on small-, medium-, and heavy-lift rockets, as well as a quick look ahead at the next three launches on the calendar. One of China's commercial rockets returns to flight. The Kinetica-1 rocket launched Wednesday for the first time since a failure doomed its previous attempt to reach orbit in December, according to the vehicle's developer and operator, CAS Space. The Kinetica-1 is one of several small Chinese solid-fueled launch vehicles managed by a commercial company, although with strict government oversight and support. CAS Space, a spinoff of the Chinese Academy of Sciences, said its Kinetica-1 rocket deployed multiple payloads with "excellent orbit insertion accuracy." This was the seventh flight of a Kinetica-1 rocket since its debut in 2022. Back in action ... "Kinetica-1 is back!" CAS Space posted on X. "Mission Y7 has just successfully sent six satellites into designated orbits, making a total of 63 satellites or 6 tons of payloads since its debut. Lots of missions are planned for the coming months. 2025 is going to be awesome." The Kinetica-1 is designed to place up to 2 metric tons of payload into low-Earth orbit. A larger liquid-fueled rocket, Kinetica-2, is scheduled to debut later this year. The Ars Technica Rocket Report The easiest way to keep up with Eric Berger's and Stephen Clark's reporting on all things space is to sign up for our newsletter. We'll collect their stories and deliver them straight to your inbox. Sign Me Up! French government backs a spaceplane startup. French spaceplane startup AndroMach announced May 15 that it received a contract from CNES, the French space agency, to begin testing an early prototype of its Banger v1 rocket engine, European Spaceflight reports. Founded in 2023, AndroMach is developing a pair of spaceplanes that will be used to perform suborbital and orbital missions to space. A suborbital spaceplane will utilize turbojet engines for horizontal takeoff and landing, and a pressure-fed biopropane/liquid oxygen rocket engine to reach space. Test flights of this smaller vehicle will begin in early 2027. A risky proposition ... A larger ÉTOILE "orbital shuttle" is designed to be launched by various small launch vehicles and will be capable of carrying payloads of up to 100 kilograms (220 pounds). According to the company, initial test flights of ÉTOILE are expected to begin at the beginning of the next decade. It's unclear how much CNES is committing to AndroMach through this contract, but the company says the funding will support testing of an early demonstrator for its propane-fueled engine, with a focus on evaluating its thermodynamic performance. It's good to see European governments supporting developments in commercial space, but the path to a small commercial orbital spaceplane is rife with risk. (submitted by EllPeaTea) Dawn Aerospace is taking orders. Another spaceplane company in a more advanced stage of development says it is now taking customer orders for flights to the edge of space. New Zealand-based Dawn Aerospace said it is beginning to take orders for its remotely piloted, rocket-powered suborbital spaceplane, known as Aurora, with first deliveries expected in 2027, Aviation Week & Space Technology reports. "This marks a historic milestone: the first time a space-capable vehicle—designed to fly beyond the Kármán line (100 kilometers or 328,000 feet)—has been offered for direct sale to customers," Dawn Aerospace said in a statement. While it hasn't yet reached space, Dawn's Aurora spaceplane flew to supersonic speed for the first time last year and climbed to an altitude of 82,500 feet (25.1 kilometers), setting a record for the fastest climb from a runway to 20 kilometers. Further along ... Aurora is small in stature, measuring just 15.7 feet (4.8 meters) long. It's designed to loft a payload of up to 22 pounds (10 kilograms) above the Kármán line for up to three minutes of microgravity, before returning to a runway landing. Eventually, Dawn wants to reduce the turnaround time between Aurora flights to less than four hours. "Aurora is set to become the fastest and highest-flying aircraft ever to take off from a conventional runway, blending the extreme performance of rocket propulsion with the reusability and operational simplicity of traditional aviation," Dawn said. The company's business model is akin to commercial airlines, where operators can purchase an aircraft directly from a manufacturer and manage their own operations. (submitted by EllPeaTea) India's workhorse rocket falls short of orbit. In a rare setback, Indian Space Research Organisation's (ISRO) launch vehicle PSLV-C61 malfunctioned and failed to place a surveillance satellite into the intended orbit last weekend, the Times of India reported. The Polar Satellite Launch Vehicle lifted off from a launch pad on the southeastern coast of India early Sunday, local time, with a radar reconnaissance satellite named EOS-09, or RISAT-1B. The satellite was likely intended to gather intelligence for the Indian military. "The country's military space capabilities, already hindered by developmental challenges, have suffered another setback with the loss of a potential strategic asset," the Times of India wrote. What happened? ... V. Narayanan, ISRO's chairman, later said that the rocket’s performance was normal until the third stage. The PSLV's third stage, powered by a solid rocket motor, suffered a "fall in chamber pressure" and the mission could not be accomplished, Narayanan said. Investigators are probing the root cause of the failure. Telemetry data indicated the rocket deviated from its planned flight path around six minutes after launch, when it was traveling more than 12,600 mph (5.66 kilometers per second), well short of the speed it needed to reach orbital velocity. The rocket and its payload fell into the Indian Ocean south of the launch site. This was the first PSLV launch failure in eight years, ending a streak of 21 consecutive successful flights. (submitted by EllPeaTea) SES makes a booking with Impulse Space. SES, owner of the world's largest fleet of geostationary satellites, plans to use Impulse Space’s Helios kick stage to take advantage of lower-cost, low-Earth-orbit (LEO) launch vehicles and get its satellites quickly into higher orbits, Aviation Week & Space Technology reports. SES hopes the combination will break a traditional launch conundrum for operators of medium-Earth-orbit (MEO) and geostationary orbit (GEO). These operators often must make a trade-off between a lower-cost launch that puts them farther from their satellite's final orbit, or a more expensive launch that can expedite their satellite's entry into service. A matter of hours ... On Thursday, SES and Impulse Space announced a multi-launch agreement to use the methane-fueled Helios kick stage. "The first mission, currently planned for 2027, will feature a dedicated deployment from a medium-lift launcher in LEO, followed by Helios transferring the 4-ton-class payload directly to GEO within eight hours of launch," Impulse said in a statement. Typically, this transit to GEO takes several weeks to several months, depending on the satellite's propulsion system. "Today, we’re not only partnering with Impulse to bring our satellites faster to orbit, but this will also allow us to extend their lifetime and accelerate service delivery to our customers," said Adel Al-Saleh, CEO of SES. "We're proud to become Helios' first dedicated commercial mission." Unpacking China's spaceflight patches. There's a fascinating set of new patches Chinese officials released for a series of launches with top-secret satellites over the last two months, Ars reports. These four patches depict Buddhist gods with a sense of artistry and sharp colors that stand apart from China's previous spaceflight emblems, and perhaps—or perhaps not—they can tell us something about the nature of the missions they represent. The missions launched so-called TJS satellites toward geostationary orbit, where they most likely will perform missions in surveillance, signals intelligence, or missile warning.  Making connections ... It's not difficult to start making connections between the Four Heavenly Gods and the missions that China's TJS satellites likely carry out in space. A protector with an umbrella? An all-seeing entity? This sounds like a possible link to spy craft or missile warning, but there's a chance Chinese officials approved the patches to misdirect outside observers, or there's no connection at all. China aims for an asteroid. China is set to launch its second Tianwen deep space exploration mission late May, targeting both a near-Earth asteroid and a main belt comet, Space News reports. The robotic Tianwen-2 spacecraft is being integrated with a Long March 3B rocket at the Xichang Satellite Launch Center in southwest China, the country's top state-owned aerospace contractor said. Airspace closure notices indicate a four-hour-long launch window opening at noon EDT (16:00–20:00 UTC) on May 28. Backup launch windows are scheduled for May 29 and 30. New frontiers ... Tianwen-2's first goal is to collect samples from a near-Earth asteroid designated 469219 Kamoʻoalewa, or 2016 HO3, and return them to Earth in late 2027 with a reentry module. The Tianwen-2 mothership will then set a course toward a comet for a secondary mission. This will be China's first sample return mission from beyond the Moon. The asteroid selected as the target for Tianwen-2 is believed by scientists to be less than 100 meters, or 330 feet, in diameter, and may be made of material thrown off the Moon some time in its ancient past. Results from Tianwen-2 may confirm that hypothesis. (submitted by EllPeaTea) Upgraded methalox rocket flies from Jiuquan. Another one of China's privately funded launch companies achieved a milestone this week. Landspace launched an upgraded version of its Zhuque-2E rocket Saturday from the Jiuquan launch base in northwestern China, Space News reports. The rocket delivered six satellites to orbit for a range of remote sensing, Earth observation, and technology demonstration missions. The Zhuque-2E is an improved version of the Zhuque-2, which became the first liquid methane-fueled rocket in the world to reach orbit in 2023. Larger envelope ... This was the second flight of the Zhuque-2E rocket design, but the first to utilize a wider payload fairing to provide more volume for satellites on their ride into space. The Zhuque-2E is a stepping stone toward a much larger rocket Landspace is developing called the Zhuque-3, a stainless steel launcher with a reusable first stage booster that, at least outwardly, bears some similarities to SpaceX's Falcon 9. (submitted by EllPeaTea) FAA clears SpaceX for Starship Flight 9. The Federal Aviation Administration gave the green light Thursday for SpaceX to launch the next test flight of its Starship mega-rocket as soon as next week, following two consecutive failures earlier this year, Ars reports. The failures set back SpaceX's Starship program by several months. The company aims to get the rocket's development back on track with the upcoming launch, Starship's ninth full-scale test flight since its debut in April 2023. Starship is central to SpaceX's long-held ambition to send humans to Mars and is the vehicle NASA has selected to land astronauts on the Moon under the umbrella of the government's Artemis program. Targeting Tuesday, for now ... In a statement Thursday, the FAA said SpaceX is authorized to launch the next Starship test flight, known as Flight 9, after finding the company "meets all of the rigorous safety, environmental and other licensing requirements." SpaceX has not confirmed a target launch date for the next launch of Starship, but warning notices for pilots and mariners to steer clear of hazard areas in the Gulf of Mexico suggest the flight might happen as soon as the evening of Tuesday, May 27. The rocket will lift off from Starbase, Texas, SpaceX's privately owned spaceport near the US-Mexico border. The FAA's approval comes with some stipulations, including that the launch must occur during "non-peak" times for air traffic and a larger closure of airspace downrange from Starbase. Space Force is fed up with Vulcan delays. In recent written testimony to a US House of Representatives subcommittee that oversees the military, the senior official responsible for purchasing launches for national security missions blistered one of the country's two primary rocket providers, Ars reports. The remarks from Major General Stephen G. Purdy, acting assistant secretary of the Air Force for Space Acquisition and Integration, concerned United Launch Alliance and its long-delayed development of the large Vulcan rocket. "The ULA Vulcan program has performed unsatisfactorily this past year," Purdy said in written testimony during a May 14 hearing before the House Armed Services Committee's Subcommittee on Strategic Forces. This portion of his testimony did not come up during the hearing, and it has not been reported publicly to date. Repairing trust ... "Major issues with the Vulcan have overshadowed its successful certification resulting in delays to the launch of four national security missions," Purdy wrote. "Despite the retirement of highly successful Atlas and Delta launch vehicles, the transition to Vulcan has been slow and continues to impact the completion of Space Force mission objectives." It has widely been known in the space community that military officials, who supported Vulcan with development contracts for the rocket and its engines that exceeded $1 billion, have been unhappy with the pace of the rocket's development. It was originally due to launch in 2020. At the end of his written testimony, Purdy emphasized that he expected ULA to do better. As part of his job as the Service Acquisition Executive for Space (SAE), Purdy noted that he has been tasked to transform space acquisition and to become more innovative. "For these programs, the prime contractors must re-establish baselines, establish a culture of accountability, and repair trust deficit to prove to the SAE that they are adopting the acquisition principles necessary to deliver capabilities at speed, on cost and on schedule." SpaceX's growth on the West Coast. SpaceX is moving ahead with expansion plans at Vandenberg Space Force Base, California, that will double its West Coast launch cadence and enable Falcon Heavy rockets to fly from California, Spaceflight Now reports. Last week, the Department of the Air Force issued its Draft Environmental Impact Statement (EIS), which considers proposed modifications from SpaceX to Space Launch Complex 6 (SLC-6) at Vandenberg. These modifications will include changes to support launches of Falcon 9 and Falcon Heavy rockets, the construction of two new landing pads for Falcon boosters adjacent to SLC-6, the demolition of unneeded structures at SLC-6, and increasing SpaceX’s permitted launch cadence from Vandenberg from 50 launches to 100. Doubling the fun ... The transformation of SLC-6 would include quite a bit of overhaul. Its most recent tenant, United Launch Alliance, previously used it for Delta IV rockets from 2006 through its final launch in September 2022. The following year, the Space Force handed over the launch pad to SpaceX, which lacked a pad at Vandenberg capable of supporting Falcon Heavy missions. The estimated launch cadence between SpaceX’s existing Falcon 9 pad at Vandenberg, known as SLC-4E, and SLC-6 would be a 70-11 split for Falcon 9 rockets in 2026, with one Falcon Heavy at SLC-6, for a total of 82 launches. That would increase to a 70-25 Falcon 9 split in 2027 and 2028, with an estimated five Falcon Heavy launches in each of those years. (submitted by EllPeaTea) Next three launches May 23: Falcon 9 | Starlink 11-16 | Vandenberg Space Force Base, California | 20:36 UTC May 24: Falcon 9 | Starlink 12-22 | Cape Canaveral Space Force Station, Florida | 17:19 UTC May 27: Falcon 9 | Starlink 17-1 | Vandenberg Space Force Base, California | 16:14 UTC Stephen Clark Space Reporter Stephen Clark Space Reporter Stephen Clark is a space reporter at Ars Technica, covering private space companies and the world’s space agencies. Stephen writes about the nexus of technology, science, policy, and business on and off the planet. 7 Comments

The stars are out at the 2025 Cannes Film Festival.This year's event kicked off on May 13 with an opening ceremony and the premiere of the French film "Leave One Day." The festival will continue until May 24, providing nearly two weeks of French street style and red-carpet fashion.So far, some celebrities have turned heads in bold ensembles, while others have missed the mark with their looks.From Bella Hadid to Halle Berry, here are the best and worst looks we've seen. Elle Fanning's strapless gown was simple, but effective. Elle Fanning at the Cannes Film Festival. Reuters She walked the "Affeksjonsverdi" red carpet on Wednesday in a strapless Giorgio Armani design that looked pretty and chic.It was fitted to her body, decorated with pink rose appliqués, and completed with a plunging sweetheart neckline. Alex Consani wore a two-piece set that was almost perfect. Alex Consani at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She arrived for "The Phoenician Scheme" screening on Sunday in a uniquely shaped Schiaparelli set.The model's structured top had a beaded, off-the-shoulder neckpiece that covered her chest and a high-low peplum waistband. Her pants, on the other hand, were oversize and wide.Though her statement blouse had potential, Consani's pants were a little too big and needed tailoring. A form-fitting skirt might have looked better with the top piece. Alexander Skarsgard faced a similar issue. Alexander Skarsgard at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP The actor could have looked classic with a traditional tuxedo for the red-carpet event, or he could have attempted a more daring style.Instead, he tried to do both at the same time.He wore a sharp Saint Laurent tux with his trousers tucked into thigh-high leather boots — a style the fashion house first revealed in its January runway show.The shoes were distracting and felt out of place with his otherwise basic look. Mariska Hargitay had a glamorous pink moment on Saturday. Mariska Hargitay at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP For the "Die, My Love" screening, Hargitay chose an off-the-shoulder gown crafted with black satin and sparkling hot-pink fabric.The color combination was sharp, the gown's straight silhouette fit the actor perfectly, and her elbow-length gloves made the outfit even more elegant. For the "Eddington" red carpet on Friday, Jeremy Strong should have picked a different suit. Jeremy Strong at the 2025 Cannes Film Festival. Michael Buckner/Getty Images His brown ensemble included a button-up shirt, a wrap blazer, straight-leg trousers, and a bow tie, all cut with raw hems.While the rough style might have worked for a different event, it looked too casual at Cannes. His black loafers were also too harsh against the lighter outfit. Natalie Portman showed the best of Dior. Natalie Portman at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP She walked the "Eddington" red carpet in a strapless, sparkling creation from the French fashion house.Its silver top was covered in sparkles and wrapped with a black bow, while its floor-length skirt had Dior's classic Junon petals.Portman accessorized the look perfectly with a bun hairstyle and a thick diamond necklace. Angelina Jolie's gown would have worked better in a different color. Angelina Jolie at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Also on the "Eddington" red carpet, Jolie wore a strapless Brunello Cucinelli design. It had a thick floor-length skirt, a fitted bodice, and all-over sparkles that highlighted its rope texture.Though the actor looked pretty, her gown's ivory color matched her skin tone too closely and washed her out. The same dress in a pink or lilac shade could have worked better. Elaine Zhong stunned in a cream-colored ball gown. Elaine Zhong at the 2025 Cannes Film Festival. Gisela Schober/Getty Images The Chinese actor wore the strapless dress on the "Dossier 137" red carpet. Its structured bodice was decorated with beaded appliques, and its cups were shaped with flower petals.To accessorize the glamorous look, she added a sparkling diamond choker, matching earrings, a thick bracelet, and vibrant red lipstick. Zoe Saldaña's all-black ensemble didn't stand out. Zoe Saldaña at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She attended the "Mission: Impossible - The Final Reckoning" red carpet in a black Saint Laurent gown.Though her sleeveless dress was classic, it was also overly simple. Statement jewels could have easily enhanced the look.She also draped a dark leather jacket around her arms, which was much more casual than the rest of her outfit. Araya Alberta Hargate sparkled down the same red carpet. Araya Hargate at the 2025 Cannes Film Festival. Benoit Tessier/Reuters She wore a crystal-covered dress that looked like it was molded to her body with its form-fitting design.Its strapless, snake-print bodice was corseted with a deep plunge down the middle, and its floor-length skirt was pink and embellished with countless sparkles.The Thai actor completed her look with a large diamond necklace crafted in the shape of leaves. Heidi Klum had a pearlescent moment, but it wasn't her best. Heidi Klum at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Elie Saab designed the model's off-the-shoulder gown. It had a deep V-neckline, see-through stripes, and all-over sparkles in blue and purple.Some of those details might have worked on their own. But together, especially with the gown's mermaid shape, its accents made it look more theatrical than glamorous. Tom Cruise looked sharp in maroon. Tom Cruise at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Cruise attended a promotional event for "Mission: Impossible - The Final Reckoning" at Cannes.In doing so, he became one of the best-dressed men at the festival so far this year.He wore a fitted, textured knit polo and matching trousers with sharp pleats. The outfit was understated and vibrant on its own, while his brown dress shoes and dark sunglasses gave it an edge. Halle Berry made a last-minute fashion change, but her new outfit didn't work for her. Halle Berry at the 2025 Cannes Film Festival. Reuters When Berry walked onto the Cannes red carpet, she wore a shapeless Jacquemus gown with a black-and-white stripe print.She later told reporters that she'd originally planned to wear an "amazing dress" from Gaurav Gupta, but had to find a new look when Cannes announced a new dress code that prohibits voluminous gowns with long trains the day before the festival began.Unfortunately for Berry, the bold dress she chose was so flowy and oversize that it seemed to wear her, when it should have been the other way around. Isabeli Fontana could have been mistaken for a princess in a metallic gown. Isabeli Fontana at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Nicolas Jebran designed her halter gown. The form-fitting piece had knotted fabric at the hip, a floor-length skirt with a short train, and a hip-high slit that revealed her sparkling pumps.The gown was also adorned with a sparkling silver piece that covered one shoulder and was embedded with turquoise stones.The ensemble was elegant and fit Fontana perfectly. Bella Hadid is always one of the best-dressed stars at Cannes, but her outfit choice for the 2025 opening ceremony was underwhelming. Bella Hadid at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Saint Laurent designed her sleeveless black dress with some interesting details. Its straps crisscrossed across her back to create cutouts and a deep plunge on the side of her chest.However, the front of the gown was overly simple. It had an asymmetrical neckline that looked mishapen, and a thigh-high slit that was cut too far to the side.Even her massive emerald earrings from Chopard weren't enough to make the ensemble memorable. Eva Longoria sparkled down the red carpet in a stunning gown. Eva Longoria at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Her Tamara Ralph gown was strapless and covered in square metallic pieces that sparkled in the light as she walked.It also had velvet panels at the waist that gave the dress some shape and matched its glamorous train.Not only was the dress tailored perfectly to Longoria, but the actor also accessorized strongly. She wore a statement necklace, rings, and earrings from Pasquale Bruni. Irina Shayk wore a fun gown, but a different hairstyle could have elevated the whole look. Irina Shayk at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP The model arrived wearing a black Armani Privé gown with all-over white polka dots. It had a strapless neckline, off-the-shoulder puffed sleeves, and a full skirt.On its own, the dress was fun, frilly, and perfect for Cannes.But Shayk wore her hair styled in a dramatic shape — a bun atop a strip of pin-straight hair — that distracted from her outfit.

In their comprehensive report about the bombshell acquisition of Jony Ive’s AI startup by OpenAI, Bloomberg’s Mark Gurman and Shirin Ghaffary said OpenAI’s CEO believed Apple’s co-founder would have been “‘damn proud’ of Ive’s latest move”. He may be right. Then vs. now Jobs and Ive’s partnership has been well-documented and widely discussed over the years, so there’s no need to revisit it. What’s more interesting is what Ive’s deeply conceptual (and sometimes overly abstract) creative approach to technology might mean for what’s to come. If you’ve read Leander Kahney’s excellent book Jony Ive: The Genius Behind Apple’s Greatest Products, you probably know that the Jony Ive we see today is precisely the same Jony Ive who used to “coat the back of the film with gouache” to get the transparency effect just right on a translucent sketch. Right from the start, Ive has been passionate about two things: the creative process itself, and the meaning of its result. For better or worse, that has only deepened in the last few years. How many times has Ive talked about intention during his interviews? How often has he gone on tangents about the way we relate to technology, and how that should make us feel? When it was first reported that Ive and Altman were discussing a “new hardware for the age of AI”, any long-time tech enthusiast probably felt a combination of “Oh!” and “Oh…”. I sure did. But here’s the thing: the market is currently stuck between dumb hardware ChatGPT wrappers that are rushed out as AI iPhone killers, and software ChatGPT wrappers that aren’t allowed to leverage the full potential of the iPhone as the irreplaceable mobile hub of our digital lives. That leaves a huge gap in the AI hardware market. And this gap can only be filled by someone who actually knows what they are doing, while at the same time having enough runway not to have to turn a profit in their lifetime. That’s a pretty slim list. Meanwhile, you just know that Ive has been sitting in his many studios and truly, deeply, earnestly thinking about what his AI hardware would do if he had infinite funding and unfettered access to the lifeblood of the frontierest of the frontier AI companies out there. As it happens, that’s precisely what he got. Hopefully. Filling the gap In an alternative universe, Ive’s AI company would have been acquired by Apple, mirroring Jobs’ return when the company acquired NeXT. But be honest: if you were Ive, with everything that he accomplished at Apple (Butterfly Keyboards and portless laptops aside), and seeing how far behind the AI game Apple will probably still be for at least a good part of the next decade (considering the competition will keep evolving), what would you do? As flawed and PR-oriented as Steve Jobs was, he was also, at his core, an uncompromising idealist when it came to product vision, just like Ive. And while he might have been insanely pissed to see Ive join someone else’s company to go build the best possible version of the next chapter of consumer tech, I can’t help but think he’d be a little bit relieved, or possibly proud, to see Ive go after the very best chance to go and do just that, other people’s feelings be damned. That feels pretty Jobsian to me. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel