Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azurio (Cranny) from Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent:  […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.  We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

Humans learn the norms, values and behaviors of society from each other — and Bernt Børnich, founder and CEO of 1X Technologies, thinks robots should learn like this, too. “For robots to be truly intelligent and show nuances like being careful around your pet, holding the door open for an elderly person and generally behaving like we want robots to behave, they have to live and learn among us,” Børnich told the AI Podcast. 1X Technologies is committed to building fully autonomous humanoid robots, with a focus on safety, affordability and adaptability. Børnich explained how 1X Technologies uses a combination of reinforcement learning, expert demonstrations and real-world data to enable its robots to continuously learn and adapt to new situations. NEO, the company’s upcoming robot, can perform household tasks like vacuuming, folding laundry, tidying and retrieving items. It’s built with operational safety at its core, using tendon-driven mechanisms inspired by the human musculoskeletal system to achieve low energy consumption. Børnich highlights the potential for robots to enhance human productivity by helping handle mundane tasks, freeing people up to focus more on interpersonal connections and creative activities. Learn more about the latest in physical AI and robotics at NVIDIA GTC Paris, which takes place from June 10-12. Register to attend humanoid-related sessions, including: “An Introduction to Humanoid Robots” for a deep dive into NVIDIA Isaac GR00T “How Physical AI Is Shaping the Next Generation of Industrial Robots” to learn how robotics leaders are making robots more intuitive and effective across industries Time Stamps 05:18 – 1X Technologies’ approach to robot safety. 11:36 – How world models enable robots to search backwards from the goal. 16:51 – How robots can free humans up for more meaningful activities. 22:29 – NEO answers the door so Børnich can interview a candidate. You Might Also Like…  How World Foundation Models Will Advance Physical AI With NVIDIA’s Ming-Yu Liu AI models that can accurately simulate and predict outcomes in physical, real-world environments will enable the next generation of physical AI systems. Ming-Yu Liu, vice president of research at NVIDIA and an IEEE Fellow, explains the significance of world foundation models — powerful neural networks that can simulate physical environments. Roboflow Helps Unlock Computer Vision for Every Kind of AI Builder Roboflow’s mission is to make the world programmable through computer vision. By simplifying computer vision development, the company helps bridge the gap between AI and people looking to harness it. Cofounder and CEO Joseph Nelson discusses how Roboflow empowers users in manufacturing, healthcare and automotive to solve complex problems with visual AI. Imbue CEO Kanjun Qiu on Transforming AI Agents Into Personal Collaborators Kanjun Qiu, CEO of Imbue, explores the emerging era where individuals can create and use their own AI agents. Drawing a parallel to the PC revolution of the late 1970s and ‘80s, Qiu discusses how modern AI systems are evolving to work collaboratively with users, enhancing their capabilities rather than just automating tasks.

According to Bloomberg, the next versions of Apple’s operating systems may be labeled by year, starting now. It makes sense. At this point, we’ve got VisionOS 2, watchOS 11, macOS 15, iOS 18 and iPadOS 18. Instead, they might all be tagged 26 — even if they launch this year. It’s not the first tech company to align new products with the year of release. Samsung started naming its phones by year of release in 2020 with the S20, which followed the S10. We’ll learn for sure in under two weeks: WWDC kicks off June 9. — Mat Smith Get Engadget's newsletter delivered direct to your inbox. Subscribe right here! The news you might have missed Fujifilm GFX100RF review: A powerful, fun camera that’s far from perfect Can you still buy a Switch 2 on launch day? Maybe Weber Smoque review: A simplified smart grill that’s still a workhorse Video Games Weekly: Grand Theft Auto is no friend to the queer community Volkswagen ID.Buzz review: A head-turning EV microbus with unfortunate flaws PlayStation’s DualSense Edge wireless controller is cheaper than ever Sony is discounting consoles, accessories, games and subscriptions. Engadget One of the standout deals of this year’s Days of Play sale is the PS5 DualSense Edge controller. You can pick one up for $169, which is 15 percent off its usual price. The deal is available on Amazon and directly from Sony. The Edge resembles a regular DualSense controller, but there’s a lot more to it. For instance, there are function buttons below each thumbstick and rear paddles, and you can choose between a set of levers or shorter half-domes. If you haven’t jumped on the PS5 yet, the PS5 Pro also gets a $50 discount. Continue reading. The new Opera browser can surf the web for you It’s not Chrome, Safari or Edge, but if you’re willing to be different… Opera has launched another… Opera browser. Neon is its first fully agentic browser. That means it’s baked in AI chat with users and can surf the web on their behalf.  It… clicks for you. It can even fill out forms and shop for you. If you’re feeling more ambitious, you can ask Neon to build websites, animations, even games, and it can continue chipping away at big projects while you’re offline. Will that all be enough to swing you away from all your Chrome plugins or Safari passwords? According to recent figures, just over 2 percent of internet users use Opera. You can try it for yourself now. Oh wait, no, there’s a waitlist. Continue reading. This gaming mouse has a tiny fan inside For the pro gamers. Pulsar Pulsar’s latest competitive gaming mouse features a premium tiny fan from Noctua, the renowned fan brand. (Apparently, no one makes fans quite like the Austrians). With a skeletal shell designed to enhance airflow, it’s for sweaty-palmed professional gamers. Like the original Feinmann mouse from Pulsar, it has a 32,00 DPI sensor and an ultra-fast 8,000 Hz polling rate. Due to the fan, it’s a little heavier than the original at 65 grams. And the price of dry palm calm? $180. Continue reading.This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-engadget-newsletter-121525453.html?src=rss

Parametric design is a transformative approach to product development that integrates interconnected parameters to enhance a product’s performance and adaptability. This approach maximizes the relationships between parameters like color, size, and material by defining and adjusting them to improve design results. In contrast to conventional design systems, parametric design encourages creativity by making it possible to create adaptable and dynamic solutions that are suited to changing requirements. The use of sophisticated algorithms makes it easier to create intricate patterns and structures, changing the way engineers and designers approach architectural, industrial, and urban planning projects. Parametric design is based on systems that are naturally based on parametric principles and are inspired by biological and natural patterns. The Flip chair, inspired by the natural beauty of wind-blown grass, combines asymmetry and craftsmanship to create a unique seating experience. Designers focused on the “flip” as the central element, allowing the bent wood to flow through gradual transitions, and infusing the piece with vitality. The challenging process of steam-bending thick wood was repeated multiple times, ensuring that each chair is handmade, one-of-a-kind, and exhibits a distinctive form, making it an elegant yet functional addition to any space. Developed with the support of the National Taiwan Craft Research and Development Institute (NTCRI), the Flip chair seamlessly blends traditional craftsmanship with modern parametric design. The result is a chair that not only offers aesthetic appeal but also carries a story of innovation and meticulous workmanship. Its organic texture and thoughtful design make it a statement piece that is ideal for those seeking a functional yet artistic element to complement their home or office decor. What are the Applications of Parametric Design? Parametric design enables the creation of customized product designs by allowing users to adjust shape, size, and functionality based on specific inputs. This approach combines various algorithms and parameters to create and refine designs that enhance the functionality and aesthetics of the product. Designers begin by defining key parameters, which can then be adjusted to optimize efficiency and performance. CAD software and similar tools are commonly used in this process and by utilizing parameters, the design process becomes more controlled and enables innovative solutions. Multiple design options can be explored quickly which heps in reducing time and waste, and making parametric design a powerful tool for innovation. Located in Jakarta’s business district, the Stalk Tree-Hugger, designed by RAD+ar, integrates five existing tall trees with a parametric fabric structure that creates an engaging play of light and shadows. This innovative design combines a restaurant and lounge, offering a unique spatial experience while blending seamlessly with the surrounding greenery. The shifting shadows from the trees foster an intimate, inviting atmosphere, while the dynamic tensile structures, swaying with the wind, create a nature-centric ambiance. The 750-square-meter bar restaurant showcases minimal intervention in nature, providing a versatile space for commercial activities. The lightweight steel-timber thatch roof offers both shade and support to the parametric fabric, transforming into a lantern at night, enhancing the cityscape and event ambiance. Designed by Antonius Richard and the RAD+ar team, the project emphasizes reducing environmental impact while maintaining the commercial value of the land. With constant movement and changing lighting, the design creates a relaxing, tranquil space, where visitors can observe and interact with nature. The Generico Chair, created by Marco Hemmerling and Ulrich Nether, exemplifies the power of generative algorithms in computational or parametric design. This innovative process allows the software to optimize the design to meet specific parameters and results in a lightweight yet strong structure. The chair’s Voronoi-inspired design reduces material usage significantly while maintaining strength and flexibility in the backrest. The careful application of generative design principles ensures the chair’s efficiency without compromising its functionality. Designed for both performance and comfort, the Generico Chair retains its ergonomic qualities despite its reduced volume. The chair is 3D printed to accommodate the complexities of its generative design, which introduces specific manufacturing constraints. The result is a visually captivating piece with a skeletal charm that blends creativity and precision. Its unique form showcases how software-aided design can produce functional and aesthetically pleasing furniture pieces while adhering to sustainability, precision, and material efficiency goals. How does Parametric design bring innovation to product design? Parametric design, powered by CAD software, achieves a harmonious balance between complexity and simplicity, streamlining the processes of product creation and modification. By defining specific parameters, designers can make adjustments with ease, minimizing waste and improving efficiency. This highly versatile approach adapts to various products, such as adjusting the height and tilt of a chair or modifying the color, angle, and brightness of lighting design. Therefore, parametric design promotes flexibility, providing a wide range of solutions to complex challenges. By establishing parameters at the outset, significant time is saved, enabling refinements during the design phase before creating a physical prototype. It excels in managing intricate shapes and patterns while opening new possibilities for innovation and creativity. John Mauriello, the designer behind the Coral Lighting Collection, articulates his creations as moments frozen in time. These lamps are the result of complex algorithms simulating natural growth, each one capturing a unique form by pausing the simulation at a precise point. The collection features three distinct designs namely Timor, Sargasso, and Celebes, each inspired by different types of coral. Mauriello’s deep connection to the ocean, fostered through his experience as a surfer, is reflected in his tribute to coral’s inherent beauty and vibrant life. The lamps are meticulously designed to be visually appealing both when illuminated and when turned off. Crafted from a white, ceramic-like material, they are 3D printed in the USA using sustainable methods that enable the recycling of any waste materials. The integrated LED lights interact with the lamp’s uneven cross-sections to produce dynamic lighting effects of brightness and shadow. The manufacturing process is eco-conscious and allows any waste material that is produced during the design process to be recycled. A Guide to Parametric Design Software Parametric modeling is a computer-aided design (CAD) tool used to create and manipulate parametric models. Several software programs incorporate advanced algorithms for parametric design, combining computer software with AI to offer innovative design solutions. These sophisticated algorithms enable an interactive design process, allowing designers and engineers to input specific constraints directly within the software. This approach minimizes errors and ensures the creation of accurate digital models. Furthermore, the integration of virtual reality enhances the experience, providing immersive and interactive opportunities to visualize and refine concepts. Designers can explore complex geometries and design intricacies, enabling the creation of 3D shapes and models with greater precision and flexibility. CATIA’s Visual Scripting app, part of the 3DEXPERIENCE Platform, makes parametric design easier and more accessible. This no-code tool lets designers, engineers, and architects create complex designs without needing to write code. Using a simple, node-based interface, users can define parameters and generate detailed 3D models effortlessly. The tool’s Capture & Reuse feature boosts efficiency by allowing users to share and reuse design algorithms across different projects. By combining CATIA’s CAD software with a visual approach to parametric and generative modeling, Visual Scripting enhances creativity and speeds up design iterations. Its smooth integration with the 3DEXPERIENCE platform provides a streamlined workflow, making algorithmic design a built-in feature. Beyond traditional modeling, it also enables mesh manipulation and the creation of custom lattice structures—perfect for 3D printing in industries like aerospace, furniture, and jewelry design. Parametric design is transforming the product design industry by fostering creativity, improving efficiency, and enabling customization. Its seamless integration with digital manufacturing and sustainability efforts makes it an essential tool for modern designers. As technology continues to evolve, parametric design will remain at the forefront, driving ethical and innovative advancements in product development.The post Parametric Design And a Guide to Creating Adaptable, High-Performance Products with Algorithms first appeared on Yanko Design.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

For a few months of the year, the Alaskan Arctic becomes flooded with birds. From shorebirds to waterfowl, these avians arrive in the spring to breed, nest, and raise their young, and to take advantage of the ample plants and prey (invertebrates and other animals) that thrive in Alaska’s short summers. They do it today, and they did it around 73 million years ago, too. Documenting the earliest evidence ever discovered of birds breeding and nesting in the Arctic, a new study in Science describes a collection of avian fossils and fossil fragments from around 73 million years ago. The collection comprises dozens of bones and teeth from adult and baby birds, and it shows that avians similar to modern shorebirds and waterfowl reproduced in the Arctic in the Cretaceous period, when dinosaurs still dominated the Alaskan terrain.“Birds have existed for 150 million years,” said Lauren Wilson, a study author and a student at Princeton University, who worked on the study while at the University of Alaska Fairbanks, according to a press release. “For half of the time they have existed, they have been nesting in the Arctic.”An Arctic NurseryA fossil fragment of a beak from a baby bird. (Image Credit: Photo by Pat Druckenmiller)Millions of birds travel to the Arctic, and they’ve been traveling there for millions of years. (In fact, some 250 species of birds migrate to Alaska for the spring and summer breeding and nesting seasons today.) But up until now, the earliest traces of birds reproducing in the Arctic dated back to around 47 million years ago, following the disappearance of the non-avian dinosaurs from the Arctic terrain. Now, the authors of the new study claim that birds and non-avian dinosaurs shared the Alaskan Arctic as far back as the Cretaceous period. Sifting bones and teeth from the sediment of Alaska’s Prince Creek Formation, the authors identified an assortment of Cretaceous fossils and fossil fragments, which resembled the remains of modern gulls, geese, ducks, and loons. That the specimens belonged to adult and baby birds suggests that these species were breeding, nesting, and raising their young in Alaska, more than 20 million years earlier than previously thought. “The Arctic is considered the nursery for modern birds,” said Pat Druckenmiller, another study author and a professor at the University of Alaska Fairbanks, according to a press release. “They have been doing this for 73 million years.”Finding Fossils, From Adult and Baby BirdsStudy authors Joe Keeney, Jim Baichtal, and Patrick Druckenmiller in Alaska. (Image Credit: Photo by Lauren Wilson) According to the authors, the bones and teeth of adult birds are often too fragile to survive in the fossil record, and those from baby birds are even more delicate. “Finding bird bones from the Cretaceous is already a very rare thing,” Wilson said in the release. “To find baby bird bones is almost unheard of. That is why these fossils are significant.” Though the majority of specimens that are taken from the Prince Creek Formation are large, the study authors opted to collect the smaller fossils and fossil fragments that most other studies miss. To do so, they inspected screened sediment with a microscope, which revealed their tiny finds. “We put Alaska on the map for fossil birds,” Druckenmiller said in the release. “It wasn’t on anyone’s radar.”Whether the find includes bones and teeth from the Neornithes — or the modern birds — is yet to be determined, though the authors stress that some of the fossils and fossil fragments feature skeletal and dental traits, such as fused leg bones and toothless jawbones, that are seen only in modern birds. “If they are part of the modern bird group, they would be the oldest such fossils ever found,” Druckenmiller said in the release. “But it would take us finding a partial or full skeleton to say for sure.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Science. Arctic Bird Nesting Traces Back to the CretaceousSam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.

Male fertility rates have been plummeting over the past half-century. An analysis from 1992 noted a steady decrease in sperm counts and quality since the 1940s. A more recent study found that male infertility rates increased nearly 80% from 1990 to 2019. The reasons driving this trend remain a mystery, but frequently cited culprits include obesity, poor diet, and environmental toxins. Infectious diseases such as gonorrhea or chlamydia are often overlooked factors that affect fertility in men. Accumulating evidence suggests that a common single-celled parasite called Toxoplasma gondii may also be a contributor: An April 2025 study showed for the first time that “human sperm lose their heads upon direct contact” with the parasite. I am a microbiologist, and my lab studies Toxoplasma. This new study bolsters emerging findings that underscore the importance of preventing this parasitic infection. The many ways you can get toxoplasmosis Infected cats defecate Toxoplasma eggs into the litter box, garden or other places in the environment where they can be picked up by humans or other animals. Water, shellfish and unwashed fruits and vegetables can also harbor infectious parasite eggs. In addition to eggs, tissue cysts present in the meat of warm-blooded animals can spread toxoplasmosis as well if they are not destroyed by cooking to proper temperature. While most hosts of the parasite can control the initial infection with few if any symptoms, Toxoplasma remains in the body for life as dormant cysts in brain, heart and muscle tissue. These cysts can reactivate and cause additional episodes of severe illness that damage critical organ systems. Between 30% and 50% of the world’s population is permanently infected with Toxoplasma due to the many ways the parasite can spread. Toxoplasma can target male reproductive organs Upon infection, Toxoplasma spreads to virtually every organ and skeletal muscle. Evidence that Toxoplasma can also target human male reproductive organs first surfaced during the height of the AIDS pandemic in the 1980s, when some patients presented with the parasitic infection in their testes. While immunocompromised patients are most at risk for testicular toxoplasmosis, it can also occur in otherwise healthy individuals. Imaging studies of infected mice confirm that Toxoplasma parasites quickly travel to the testes in addition to the brain and eyes within days of infection. Toxoplasma cysts floating in cat feces. DPDx Image Library/CDC In 2017, my colleagues and I found that Toxoplasma can also form cysts in mouse prostates. Researchers have also observed these parasites in the ejaculate of many animals, including human semen, raising the possibility of sexual transmission. Knowing that Toxoplasma can reside in male reproductive organs has prompted analyses of fertility in infected men. A small 2021 study in Prague of 163 men infected with Toxoplasma found that over 86% had semen anomalies. A 2002 study in China found that infertile couples are more likely to have a Toxoplasma infection than fertile couples, 34.83% versus 12.11%. A 2005 study in China also found that sterile men are more likely to test positive for Toxoplasma than fertile men. Not all studies, however, produce a link between toxoplasmosis and sperm quality. Toxoplasma can directly damage human sperm Toxoplasmosis in animals mirrors infection in humans, which allows researchers to address questions that are not easy to examine in people. Testicular function and sperm production are sharply diminished in Toxoplasma-infected mice, rats and rams. Infected mice have significantly lower sperm counts and a higher proportion of abnormally shaped sperm. In that April 2025 study, researchers from Germany, Uruguay, and Chile observed that Toxoplasma can reach the testes and epididymis, the tube where sperm mature and are stored, two days after infection in mice. This finding prompted the team to test what happens when the parasite comes into direct contact with human sperm in a test tube. After only five minutes of exposure to the parasite, 22.4% of sperm cells were beheaded. The number of decapitated sperm increased the longer they interacted with the parasites. Sperm cells that maintained their head were often twisted and misshapen. Some sperm cells had holes in their head, suggesting the parasites were trying to invade them as it would any other type of cell in the organs it infiltrates. In addition to direct contact, Toxoplasma may also damage sperm because the infection promotes chronic inflammation. Inflammatory conditions in the male reproductive tract are harmful to sperm production and function. The researchers speculate that the harmful effects Toxoplasma may have on sperm could be contributing to large global declines in male fertility over the past decades. Sperm exposed to Toxoplasma. Arrows point to holes and other damage to the sperm; asterisks indicate where the parasite has burrowed. The two nonconfronted controls at the bottom show normal sperm. Rojas-Barón et al/The FEBS Journal, CC BY-SA Preventing toxoplasmosis The evidence that Toxoplasma can infiltrate male reproductive organs in animals is compelling, but whether this produces health issues in people remains unclear. Testicular toxoplasmosis shows that parasites can invade human testes, but symptomatic disease is very rare. Studies to date that show defects in the sperm of infected men are too small to draw firm conclusions at this time. Additionally, some reports suggest that rates of toxoplasmosis in high-income countries have not been increasing over the past few decades while male infertility was rising, so it’s likely to only be one part of the puzzle. Regardless of this parasite’s potential effect on fertility, it is wise to avoid Toxoplasma. An infection can cause miscarriage or birth defects if someone acquires it for the first time during pregnancy, and it can be life-threatening for immunocompromised people. Toxoplasma is also the leading cause of death from foodborne illness in the United States. Taking proper care of your cat, promptly cleaning the litter box and thoroughly washing your hands after can help reduce your exposure to Toxoplasma. You can also protect yourself from this parasite by washing fruits and vegetables, cooking meat to proper temperatures before consuming and avoiding raw shellfish, raw water and raw milk. Bill Sullivan, Professor of Microbiology and Immunology, Indiana University. This article is republished from The Conversation under a Creative Commons license. Read the original article.

Titans of industry cannot come to terms. Despite the literal gap between them being a matter of feet—maybe 30 or so by my count—when their two locomotives come to a standstill in a tunnel with miles of track in either direction, Zsa-zsa Korda (Benicio del Toro, tyrannical, avuncular) is unable to bridge the final inches with Leland and Reagan (Tom Hanks and Bryan Cranston, stone-faced). It’s an odd situation that becomes odder still when all parties realize the fate of their multimillion-dollar venture must now come down to a game of chance: and this one a bet on whether a Middle Eastern prince (Riz Ahmed) can sink a granny shot from below his knees while playing basketball’s ugly, redheaded step-cousin, HORSE.  It was at this exact moment I realized Wes Anderson had returned to full, magnificently daffy form. As easily the prodigal Texan’s best film in over a decade, The Phoenician Scheme rekindles much of the mirth that informed so many of Anderson’s early films. It is also the first instance one has had any narrative propulsion or tension since his last masterpiece, The Grand Budapest Hotel. While I would hesitate to place such lofty titles onto Phoenician, rest assured that it’s a balmy good time at the cinema where longtime fans get to again spend an evening with impeccably dressed cheats, droll scoundrels, and other variants on the unseemly father figure. Take del Toro’s Korda for instance. He begins the film by surviving what is jointly his sixth plane crash and assassination attempt. (The industrialist’s pilots fare less happily from his habit of falling out of the sky.) He isn’t sure who wants to kill him, but he seems confident it’s probably justified. Of his nine children, eight prepubescent boys live at home with him where their resentments already border on the homicidal. And the other offspring, a daughter he never really knew, wants nothing to do with him, even after he promises to bequeath her his entire fortune “on a trial basis.” Indeed, despite being a novitiate nun, Liesl (Mia Threapleton) has a tough time with forgiveness, especially when it comes to a would-be patriarch or patron. She does agree to at least get to know the old man, though, after he decides to gallivant around the world in a bid to save his empire (hence the aforementioned HORSE of fate). Rather boldly they even board plane after plane, alongside Korda’s ineffectual Swedish nanny-turned-attendant, Bjorn (a chipper Michael Cera doing an accent about three clicks south of the Muppets’ Chef). Together they meet a starry ensemble of walk-on cameos and eccentric business partners, my favorite of which is a preternaturally giddy Jeffrey Wright. Yet always operating beneath the surface is another tale of resentments between bad parents and their adult children. That plus a kooky murder mystery where Zsa-Zsa somehow keeps avoiding being the dead body. From the name of the protagonist alone, Anderson seems intent to signal to audiences with any degree of film knowledge that he is playing once more in the sandbox of his influences. It is hard to imagine a cineaste like Anderson, for example, hearing the moniker “Korda” and not thinking of anti-fascist Hungarian refugee-turned-British filmmaker, Alexander Korda, who directed aesthetic classics like The Thief of Baghdad (1940) and That Hamilton Woman (1941). Furthermore, Anderson pulls just as much from Korda contemporaries like fellow Hungarian ex-pat Michael Curtiz, particularly when Korda and Lisel wind up at a nightclub owned by Marseille Bob (Mathieu Amalric). And yes, another movie about traveling nannies and a precocious Liesl is alluded to as well. But the reason The Phoenician Scheme works so much better than Anderson’s last several movies is that while the filmmaker is visibly delighting in his references and what are almost assuredly private jokes between himself and co-writer Roman Coppola, the director also is avoiding the trap of becoming distracted by the aesthetics. Phoenician is still a beautifully designed world of straight lines and adroit square compositions, courtesy of cinematographer Bruno Delbonnel, where nothing feels natural. Not even the sun or tree vines discovered after Korda, Liesl, and Bjorn become lost in a jungle have any reality about them. But the simple pleasure of observing visual confections is not the be-all end unto itself that it previously was. The travelogue nature of the plot, in which a father and daughter go on an odyssey of unconventional boardroom meetings that include assassins, freedom fighters, and organized crime bigwigs, provides a skeletal structure where Anderson can graft on his increasing preference for narrative vignettes, but there is an emotional spine as well between Korda and Liesl that makes both the jokes and the pathos ebullient. Del Toro has never seemed bigger or more unshackled than as Zsa-zsa. Like most Anderson protagonists, Korda rarely speaks above a polite monotone, but his double-breasted confidence and adventurism provides del Toro with a refreshingly uninhibited floorspace. It also pairs nicely when bantering with Threapleton, a real discovery of a young talent who plays a nun with conviction, even as the twinge of curling judgment on her smile suggests she may never see Heaven. But then she dryly must channel the patience of Job when dodging the advances of a tipsy Bjorn (again, Cera is having too much fun) and the would-be buy-offs of an absentee father. The terrain of an unhappy adult and their aging parent is terrain Anderson has walked many times, but there’s a renewed vigor in his step in The Phoenician Scheme, perhaps because it is the first time he has crossed this territory where he is closer in age to the latter than the former. There is empathy for all parties, though, and new tricks to his whimsy, such as his elegant compositions repeatedly being shattered in close-ups where the camera is assaulted by various subjects filled with so much rage that they literally assail the fourth wall. The Phoenician Scheme is simply a lovely work from an artist with a fresh spring in his step. If you already count yourself among his admirers, it’s a return to form with moments of divine inspiration (just wait until you see who he cast as God). For the rest, it may not cause conversion, but it’s certainly worth sharing some communion wine over. The Phoenician Scheme premiered at the Cannes Film Festival on May 18. It opens in limited release on May 30 and wide on June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

Warning: contains spoilers for Doctor Who series 15 episode 7 “Wish World” Well, why not? Doctor Who’s previous series finale “Empire of Death” brought back a creepy mask-wearing villain from the classic era, so where’s the harm in making it two on the trot? In the final moments of series 15’s penultimate episode “Wish World”, villainous Time Lady The Rani shared her master plan with the Doctor. First in the form of Anita Dobson’s Mrs Flood and now bi-generated to include Archie Panjabi’s leather-clad baddie, The Rani has been following the Doctor around so that she could trap him in a fantasy world and then use the power of his doubt to tear that world apart, look under the universe’s carpet, and free somebody trapped in “the Underverse”.     Which somebody? Omega, who, according to Conrad Clark’s potted bio is “The first Time Lord. The creator of the Time Lords. The greatest and most terrifying Time Lord of all.” Well, that depends how great and terrifying you find pointy gold masks bearing the face of Grumpy Cat, H.R. Geiger-style tubey guys with skeletal chicken sidekicks, or Peter Davison’s face covered in green pork scratchings. Omega has previously appeared in the form of all three in Doctor Who, first in 10th anniversary special “The Three Doctors”, then a decade later in Fifth Doctor serial “Arc of Infinity”. (There’s also a blink-and-you’ll-miss-him uncredited and dialogue-free appearance in the Gallifreyan flashback around 28 minutes in to “The Timeless Children” but we only know about that one from a stage direction on the script.) So, who is Omega and what is his deal? He’s a Gallifreyan who, ages ago, harnessed the power of an exploding supernova to give his people the power to travel through time, hence “The first Time Lord. The Creator of the Time Lords.” Only, the experiment went south when some gubbins involving a black hole caused him to become trapped in an anti-matter universe, after which the Time Lords mistook him for dead. In TV show continuity, we first met Omega in multi-Doctor story “The Three Doctors” when he tried to take his revenge on the Time Lords for having, as he saw it, abandoned him. Using some 1970s special FX and red bubble wrap monsters, Omega created a trap to send the Third Doctor from Earth through space to his anti-matter universe, where he intended to swap places with him and escape. It almost worked, but it turned out that all that time living in the irradiated anti-matter universe had destroyed Omega’s physical form, leaving only his will inside his imposing metallic armour. Then some gubbins about the second Doctor’s recorder (yes, keep up) destroyed the anti-matter universe, the Doctor(s) escaped, and Omega was once again thought dead. But, surprise! In season 20 serial “Arc of Infinity”, it turns out that Omega had survived and was colluding with a member of the Gallifreyan High Council to biologically bond what was left of him to the Fifth Doctor so that he could regain corporeality. And it worked! For a bit, anyway, allowing Omega in the form of Peter Davison to do some sightseeing in Amsterdam, until some gubbins about the failed bio-bond meant that he turned green and bumpy. The Doctor then used an antimatter converter on him to send him back to his old universe, where, on TV at least, he’s been ever since. Until now. In “Wish World”, we heard a disembodied voice (that may or may not have been a recording of original but now-departed Omega actor Stephen Thorne) declaring: “Long live Omega! Omega shall be free!” That’s The Rani’s plan anyway. She’s organising a kind of Time Lord/Lady reunion for herself, the Doctor and Omega, which will presumably play out in series 15 finale “The Reality War.” Will Omega be matter or anti-matter, corporeal or empty suit of armour, and will he still hold a grudge against the Doctor for all that Amsterdam business? More importantly, does anybody have a recorder handy? Join our mailing list Get the best of Den of Geek delivered right to your inbox! Doctor Who series 15 concludes with “The Reality War” on Saturday May 31 on BBC One in the UK and on Disney+ around the world.