• Time Complexity of Sorting Algorithms in Python, Java, and C++

    Posted on : June 13, 2025

    By

    Tech World Times

    Development and Testing 

    Rate this post

    Sorting helps organize data in a specific order. It is used in search, reports, and efficient storage. Different sorting algorithms offer different performance. In this article, we will explain the Time Complexity of Sorting Algorithms in simple words. We will cover Python, Java, and C++ examples.
    1. What Is Time Complexity?
    Time complexity tells how fast an algorithm runs. It measures the number of steps as input grows. It is written in Big-O notation. For example, Omeans steps grow with the square of inputs.
    2. Types of Time Complexity
    Here are common types:

    O: Constant time
    O: Linear time
    O: Log-linear time
    O: Quadratic time

    We will now apply these to sorting.
    3. Bubble Sort
    Bubble Sort compares two numbers and swaps them if needed. It repeats until the list is sorted.
    Time Complexity:

    Best Case: OAverage Case: OWorst Case: OPython Example:
    pythonCopyEditdef bubble_sort:
    n = lenfor i in range:
    for j in range:
    if arr> arr:
    arr, arr= arr, arrJava Example:
    javaCopyEditvoid bubbleSort{
    int n = arr.length;
    forforif{
    int temp = arr;
    arr= arr;
    arr= temp;
    }
    }

    C++ Example:
    cppCopyEditvoid bubbleSort{
    forforifswap;
    }

    4. Selection Sort
    This sort picks the smallest number and places it at the front.
    Time Complexity:

    Best Case: OAverage Case: OWorst Case: OPython Example:
    pythonCopyEditdef selection_sort:
    for i in range):
    min_idx = i
    for j in range):
    if arr< arr:
    min_idx = j
    arr, arr= arr, arr5. Insertion Sort
    This algorithm builds the final list one item at a time.
    Time Complexity:

    Best Case: OAverage Case: OWorst Case: OJava Example:
    javaCopyEditvoid insertionSort{
    for{
    int key = arr;
    int j = i - 1;
    while{
    arr= arr;
    j = j - 1;
    }
    arr= key;
    }
    }

    6. Merge Sort
    Merge Sort splits the array into halves and merges them back in order.
    Time Complexity of Sorting Algorithms like Merge Sort is usually better.

    Best Case: OAverage Case: OWorst Case: OPython Example:
    pythonCopyEditdef merge_sort:
    if len> 1:
    mid = len// 2
    left = arrright = arrmerge_sortmerge_sorti = j = k = 0
    while i < lenand j < len:
    if left< right:
    arr= lefti += 1
    else:
    arr= rightj += 1
    k += 1

    arr= left+ right7. Quick Sort
    Quick Sort picks a pivot and places smaller numbers before it.
    Time Complexity:

    Best Case: OAverage Case: OWorst Case: OC++ Example:
    cppCopyEditint partition{
    int pivot = arr;
    int i = low - 1;
    for{
    if{
    i++;
    swap;
    }
    }
    swap;
    return i + 1;
    }

    void quickSort{
    if{
    int pi = partition;
    quickSort;
    quickSort;
    }
    }

    8. Built-in Sort Methods
    Languages have built-in sort functions. These are well-optimized.

    Python: sortedor list.sortuses TimSort

    Time Complexity: OJava: Arrays.sortuses Dual-Pivot QuickSort

    Time Complexity: OC++: std::sortuses IntroSort

    Time Complexity: OThese are better for most real-world tasks.
    9. Time Complexity Comparison Table
    AlgorithmBestAverageWorstStableBubble SortOOOYesSelection SortOOONoInsertion SortOOOYesMerge SortOOOYesQuick SortOOONoTimSortOOOYesIntroSortOOONo
    10. How to Choose the Right Algorithm?

    Use Merge Sort for large stable data.
    Use Quick Sort for faster average speed.
    Use Insertion Sort for small or nearly sorted lists.
    Use built-in sort functions unless you need control.

    Conclusion
    The Time Complexity of Sorting Algorithms helps us pick the right tool. Bubble, Selection, and Insertion Sort are simple but slow. Merge and Quick Sort are faster and used often. Built-in functions are highly optimized. Python, Java, and C++ each have their strengths.
    Understand your problem and input size. Then pick the sorting method. This ensures better speed and performance in your code.
    Tech World TimesTech World Times, a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com
    #time #complexity #sorting #algorithms #python
    Time Complexity of Sorting Algorithms in Python, Java, and C++
    Posted on : June 13, 2025 By Tech World Times Development and Testing  Rate this post Sorting helps organize data in a specific order. It is used in search, reports, and efficient storage. Different sorting algorithms offer different performance. In this article, we will explain the Time Complexity of Sorting Algorithms in simple words. We will cover Python, Java, and C++ examples. 1. What Is Time Complexity? Time complexity tells how fast an algorithm runs. It measures the number of steps as input grows. It is written in Big-O notation. For example, Omeans steps grow with the square of inputs. 2. Types of Time Complexity Here are common types: O: Constant time O: Linear time O: Log-linear time O: Quadratic time We will now apply these to sorting. 3. Bubble Sort Bubble Sort compares two numbers and swaps them if needed. It repeats until the list is sorted. Time Complexity: Best Case: OAverage Case: OWorst Case: OPython Example: pythonCopyEditdef bubble_sort: n = lenfor i in range: for j in range: if arr> arr: arr, arr= arr, arrJava Example: javaCopyEditvoid bubbleSort{ int n = arr.length; forforif{ int temp = arr; arr= arr; arr= temp; } } C++ Example: cppCopyEditvoid bubbleSort{ forforifswap; } 4. Selection Sort This sort picks the smallest number and places it at the front. Time Complexity: Best Case: OAverage Case: OWorst Case: OPython Example: pythonCopyEditdef selection_sort: for i in range): min_idx = i for j in range): if arr< arr: min_idx = j arr, arr= arr, arr5. Insertion Sort This algorithm builds the final list one item at a time. Time Complexity: Best Case: OAverage Case: OWorst Case: OJava Example: javaCopyEditvoid insertionSort{ for{ int key = arr; int j = i - 1; while{ arr= arr; j = j - 1; } arr= key; } } 6. Merge Sort Merge Sort splits the array into halves and merges them back in order. Time Complexity of Sorting Algorithms like Merge Sort is usually better. Best Case: OAverage Case: OWorst Case: OPython Example: pythonCopyEditdef merge_sort: if len> 1: mid = len// 2 left = arrright = arrmerge_sortmerge_sorti = j = k = 0 while i < lenand j < len: if left< right: arr= lefti += 1 else: arr= rightj += 1 k += 1 arr= left+ right7. Quick Sort Quick Sort picks a pivot and places smaller numbers before it. Time Complexity: Best Case: OAverage Case: OWorst Case: OC++ Example: cppCopyEditint partition{ int pivot = arr; int i = low - 1; for{ if{ i++; swap; } } swap; return i + 1; } void quickSort{ if{ int pi = partition; quickSort; quickSort; } } 8. Built-in Sort Methods Languages have built-in sort functions. These are well-optimized. Python: sortedor list.sortuses TimSort Time Complexity: OJava: Arrays.sortuses Dual-Pivot QuickSort Time Complexity: OC++: std::sortuses IntroSort Time Complexity: OThese are better for most real-world tasks. 9. Time Complexity Comparison Table AlgorithmBestAverageWorstStableBubble SortOOOYesSelection SortOOONoInsertion SortOOOYesMerge SortOOOYesQuick SortOOONoTimSortOOOYesIntroSortOOONo 10. How to Choose the Right Algorithm? Use Merge Sort for large stable data. Use Quick Sort for faster average speed. Use Insertion Sort for small or nearly sorted lists. Use built-in sort functions unless you need control. Conclusion The Time Complexity of Sorting Algorithms helps us pick the right tool. Bubble, Selection, and Insertion Sort are simple but slow. Merge and Quick Sort are faster and used often. Built-in functions are highly optimized. Python, Java, and C++ each have their strengths. Understand your problem and input size. Then pick the sorting method. This ensures better speed and performance in your code. Tech World TimesTech World Times, a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com #time #complexity #sorting #algorithms #python
    TECHWORLDTIMES.COM
    Time Complexity of Sorting Algorithms in Python, Java, and C++
    Posted on : June 13, 2025 By Tech World Times Development and Testing  Rate this post Sorting helps organize data in a specific order. It is used in search, reports, and efficient storage. Different sorting algorithms offer different performance. In this article, we will explain the Time Complexity of Sorting Algorithms in simple words. We will cover Python, Java, and C++ examples. 1. What Is Time Complexity? Time complexity tells how fast an algorithm runs. It measures the number of steps as input grows. It is written in Big-O notation. For example, O(n²) means steps grow with the square of inputs. 2. Types of Time Complexity Here are common types: O(1): Constant time O(n): Linear time O(n log n): Log-linear time O(n²): Quadratic time We will now apply these to sorting. 3. Bubble Sort Bubble Sort compares two numbers and swaps them if needed. It repeats until the list is sorted. Time Complexity: Best Case: O(n) (if already sorted) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef bubble_sort(arr): n = len(arr) for i in range(n): for j in range(n - i - 1): if arr[j] > arr[j+1]: arr[j], arr[j+1] = arr[j+1], arr[j] Java Example: javaCopyEditvoid bubbleSort(int arr[]) { int n = arr.length; for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) { int temp = arr[j]; arr[j] = arr[j+1]; arr[j+1] = temp; } } C++ Example: cppCopyEditvoid bubbleSort(int arr[], int n) { for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) swap(arr[j], arr[j+1]); } 4. Selection Sort This sort picks the smallest number and places it at the front. Time Complexity: Best Case: O(n²) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef selection_sort(arr): for i in range(len(arr)): min_idx = i for j in range(i+1, len(arr)): if arr[j] < arr[min_idx]: min_idx = j arr[i], arr[min_idx] = arr[min_idx], arr[i] 5. Insertion Sort This algorithm builds the final list one item at a time. Time Complexity: Best Case: O(n) Average Case: O(n²) Worst Case: O(n²) Java Example: javaCopyEditvoid insertionSort(int arr[]) { for (int i = 1; i < arr.length; i++) { int key = arr[i]; int j = i - 1; while (j >= 0 && arr[j] > key) { arr[j + 1] = arr[j]; j = j - 1; } arr[j + 1] = key; } } 6. Merge Sort Merge Sort splits the array into halves and merges them back in order. Time Complexity of Sorting Algorithms like Merge Sort is usually better. Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n log n) Python Example: pythonCopyEditdef merge_sort(arr): if len(arr) > 1: mid = len(arr) // 2 left = arr[:mid] right = arr[mid:] merge_sort(left) merge_sort(right) i = j = k = 0 while i < len(left) and j < len(right): if left[i] < right[j]: arr[k] = left[i] i += 1 else: arr[k] = right[j] j += 1 k += 1 arr[k:] = left[i:] + right[j:] 7. Quick Sort Quick Sort picks a pivot and places smaller numbers before it. Time Complexity: Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n²) C++ Example: cppCopyEditint partition(int arr[], int low, int high) { int pivot = arr[high]; int i = low - 1; for (int j = low; j < high; j++) { if (arr[j] < pivot) { i++; swap(arr[i], arr[j]); } } swap(arr[i+1], arr[high]); return i + 1; } void quickSort(int arr[], int low, int high) { if (low < high) { int pi = partition(arr, low, high); quickSort(arr, low, pi - 1); quickSort(arr, pi + 1, high); } } 8. Built-in Sort Methods Languages have built-in sort functions. These are well-optimized. Python: sorted() or list.sort() uses TimSort Time Complexity: O(n log n) Java: Arrays.sort() uses Dual-Pivot QuickSort Time Complexity: O(n log n) C++: std::sort() uses IntroSort Time Complexity: O(n log n) These are better for most real-world tasks. 9. Time Complexity Comparison Table AlgorithmBestAverageWorstStableBubble SortO(n)O(n²)O(n²)YesSelection SortO(n²)O(n²)O(n²)NoInsertion SortO(n)O(n²)O(n²)YesMerge SortO(n log n)O(n log n)O(n log n)YesQuick SortO(n log n)O(n log n)O(n²)NoTimSort (Python)O(n)O(n log n)O(n log n)YesIntroSort (C++)O(n log n)O(n log n)O(n log n)No 10. How to Choose the Right Algorithm? Use Merge Sort for large stable data. Use Quick Sort for faster average speed. Use Insertion Sort for small or nearly sorted lists. Use built-in sort functions unless you need control. Conclusion The Time Complexity of Sorting Algorithms helps us pick the right tool. Bubble, Selection, and Insertion Sort are simple but slow. Merge and Quick Sort are faster and used often. Built-in functions are highly optimized. Python, Java, and C++ each have their strengths. Understand your problem and input size. Then pick the sorting method. This ensures better speed and performance in your code. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com
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  • Tutorial: Practical Lighting for Production

    Saturday, June 14th, 2025
    Posted by Jim Thacker
    Tutorial: Practical Lighting for Production

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";

    The Gnomon Workshop has released Practical Lighting for Production, a guide to VFX and cinematics workflows recorded by former Blizzard lighting lead Graham Cunningham.
    The intermediate-level workshop provides four hours of training in Maya, Arnold and Nuke.
    Discover professional workflows for lighting a CG shot to match a movie reference
    In the workshop, Cunningham sets out the complete process of lighting and compositing a shot to match a movie reference, using industry-standard software.
    He begins by setting up a basic look development light rig in Maya, importing a 3D character, assigning materials and shading components, and creating a turntable setup.
    Next, he creates a shot camera and set dresses the environment using kitbash assets.
    Cunningham also discusses strategies for lighting a character, including how to use dome lights and area lights to provide key, fill and rim lighting, and how to use HDRI maps.
    From there, he moves to rendering using Arnold, discussing render settings, depth of field, and how to create render passes.
    Cunningham then assembles the render passes in Nuke, splits out the light AOVs, and sets out how to adjust light colors and intensities.
    He also reveals how to add atmosphere, how to use cryptomattes to fine tune the results, how to add post effects, and how to apply a final color grade to match a chosen movie reference.
    As well as the tutorial videos, viewers of the workshop can download one of Cunningham’s Maya files.
    The workshop uses 3D Scan Store’s commercial Female Explorer Game Character, and KitBash3D’s Wreckage Kit, plus assets from KitBash3D’s Cargo.
    About the artist
    Graham Cunningham is a Senior Lighting, Compositing and Lookdev Artist, beginning his career as a generalist working in VFX for film and TV before moving to Blizzard Entertainment.
    At Blizzard, he contributed to cinematics for Diablo IV, Diablo Immortal, Starcraft II, Heroes of the Storm, World of Warcraft, Overwatch, and Overwatch 2, many of them as a lead lighting artist.
    Pricing and availability
    Practical Lighting for Production is available via a subscription to The Gnomon Workshop, which provides access to over 300 tutorials.
    Subscriptions cost /month or /year. Free trials are available.
    about Practical Lighting for Production on The Gnomon Workshop’s website

    Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    Full disclosure: CG Channel is owned by Gnomon.

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    Master professional CG lighting workflows with former Blizzard lighting lead Graham Cunningham's tutorial for The Gnomon Workshop.
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    #tutorial #practical #lighting #production
    Tutorial: Practical Lighting for Production
    Saturday, June 14th, 2025 Posted by Jim Thacker Tutorial: Practical Lighting for Production html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; The Gnomon Workshop has released Practical Lighting for Production, a guide to VFX and cinematics workflows recorded by former Blizzard lighting lead Graham Cunningham. The intermediate-level workshop provides four hours of training in Maya, Arnold and Nuke. Discover professional workflows for lighting a CG shot to match a movie reference In the workshop, Cunningham sets out the complete process of lighting and compositing a shot to match a movie reference, using industry-standard software. He begins by setting up a basic look development light rig in Maya, importing a 3D character, assigning materials and shading components, and creating a turntable setup. Next, he creates a shot camera and set dresses the environment using kitbash assets. Cunningham also discusses strategies for lighting a character, including how to use dome lights and area lights to provide key, fill and rim lighting, and how to use HDRI maps. From there, he moves to rendering using Arnold, discussing render settings, depth of field, and how to create render passes. Cunningham then assembles the render passes in Nuke, splits out the light AOVs, and sets out how to adjust light colors and intensities. He also reveals how to add atmosphere, how to use cryptomattes to fine tune the results, how to add post effects, and how to apply a final color grade to match a chosen movie reference. As well as the tutorial videos, viewers of the workshop can download one of Cunningham’s Maya files. The workshop uses 3D Scan Store’s commercial Female Explorer Game Character, and KitBash3D’s Wreckage Kit, plus assets from KitBash3D’s Cargo. About the artist Graham Cunningham is a Senior Lighting, Compositing and Lookdev Artist, beginning his career as a generalist working in VFX for film and TV before moving to Blizzard Entertainment. At Blizzard, he contributed to cinematics for Diablo IV, Diablo Immortal, Starcraft II, Heroes of the Storm, World of Warcraft, Overwatch, and Overwatch 2, many of them as a lead lighting artist. Pricing and availability Practical Lighting for Production is available via a subscription to The Gnomon Workshop, which provides access to over 300 tutorials. Subscriptions cost /month or /year. Free trials are available. about Practical Lighting for Production on The Gnomon Workshop’s website Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. Full disclosure: CG Channel is owned by Gnomon. Latest News DreamWorks Animation releases MoonRay 2.15 Check out the new features in the open-source release of DreamWorks Animation's production renderer. used on movies like The Wild Robot. Sunday, June 15th, 2025 Tutorial: Practical Lighting for Production Master professional CG lighting workflows with former Blizzard lighting lead Graham Cunningham's tutorial for The Gnomon Workshop. Saturday, June 14th, 2025 Boris FX releases Mocha Pro 2025.5 Planar tracking tool gets new AI face recognition system for automatically obscuring identities in footage. Check out its other new features. Friday, June 13th, 2025 Leopoly adds voxel sculpting to Shapelab 2025 Summer 2025 update to the VR modeling app expands the new voxel engine for blocking out 3D forms. See the other new features. Friday, June 13th, 2025 iRender: the next-gen render farm for OctaneRenderOnline render farm iRender explains why its powerful, affordable GPU rendering solutions are a must for OctaneRender users. Wednesday, June 11th, 2025 Master Architectural Design for Games using Blender & UE5 Discover how to create game environments grounded in architectural principles with The Gnomon Workshop's new tutorial. Monday, June 9th, 2025 More News Epic Games' free Live Link Face app is now available for Android Adobe launches Photoshop on Android and iPhone Sketchsoft releases Feather 1.3 Autodesk releases 3ds Max 2026.1 Autodesk adds AI animation tool MotionMaker to Maya 2026.1 You can now sell MetaHumans, or use them in Unity or Godot Epic Games to rebrand RealityCapture as RealityScan 2.0 Epic Games releases Unreal Engine 5.6 Pulze releases new network render manager RenderFlow 1.0 Xencelabs launches Pen Tablet Medium v2 Desktop edition of sculpting app Nomad enters free beta Boris FX releases Silhouette 2025 Older Posts #tutorial #practical #lighting #production
    Tutorial: Practical Lighting for Production
    Saturday, June 14th, 2025 Posted by Jim Thacker Tutorial: Practical Lighting for Production html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Gnomon Workshop has released Practical Lighting for Production, a guide to VFX and cinematics workflows recorded by former Blizzard lighting lead Graham Cunningham. The intermediate-level workshop provides four hours of training in Maya, Arnold and Nuke. Discover professional workflows for lighting a CG shot to match a movie reference In the workshop, Cunningham sets out the complete process of lighting and compositing a shot to match a movie reference, using industry-standard software. He begins by setting up a basic look development light rig in Maya, importing a 3D character, assigning materials and shading components, and creating a turntable setup. Next, he creates a shot camera and set dresses the environment using kitbash assets. Cunningham also discusses strategies for lighting a character, including how to use dome lights and area lights to provide key, fill and rim lighting, and how to use HDRI maps. From there, he moves to rendering using Arnold, discussing render settings, depth of field, and how to create render passes. Cunningham then assembles the render passes in Nuke, splits out the light AOVs, and sets out how to adjust light colors and intensities. He also reveals how to add atmosphere, how to use cryptomattes to fine tune the results, how to add post effects, and how to apply a final color grade to match a chosen movie reference. As well as the tutorial videos, viewers of the workshop can download one of Cunningham’s Maya files. The workshop uses 3D Scan Store’s commercial Female Explorer Game Character, and KitBash3D’s Wreckage Kit, plus assets from KitBash3D’s Cargo. About the artist Graham Cunningham is a Senior Lighting, Compositing and Lookdev Artist, beginning his career as a generalist working in VFX for film and TV before moving to Blizzard Entertainment. At Blizzard, he contributed to cinematics for Diablo IV, Diablo Immortal, Starcraft II, Heroes of the Storm, World of Warcraft, Overwatch, and Overwatch 2, many of them as a lead lighting artist. Pricing and availability Practical Lighting for Production is available via a subscription to The Gnomon Workshop, which provides access to over 300 tutorials. Subscriptions cost $57/month or $519/year. Free trials are available. Read more about Practical Lighting for Production on The Gnomon Workshop’s website Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. Full disclosure: CG Channel is owned by Gnomon. Latest News DreamWorks Animation releases MoonRay 2.15 Check out the new features in the open-source release of DreamWorks Animation's production renderer. used on movies like The Wild Robot. Sunday, June 15th, 2025 Tutorial: Practical Lighting for Production Master professional CG lighting workflows with former Blizzard lighting lead Graham Cunningham's tutorial for The Gnomon Workshop. Saturday, June 14th, 2025 Boris FX releases Mocha Pro 2025.5 Planar tracking tool gets new AI face recognition system for automatically obscuring identities in footage. Check out its other new features. Friday, June 13th, 2025 Leopoly adds voxel sculpting to Shapelab 2025 Summer 2025 update to the VR modeling app expands the new voxel engine for blocking out 3D forms. See the other new features. Friday, June 13th, 2025 iRender: the next-gen render farm for OctaneRender [Sponsored] Online render farm iRender explains why its powerful, affordable GPU rendering solutions are a must for OctaneRender users. Wednesday, June 11th, 2025 Master Architectural Design for Games using Blender & UE5 Discover how to create game environments grounded in architectural principles with The Gnomon Workshop's new tutorial. Monday, June 9th, 2025 More News Epic Games' free Live Link Face app is now available for Android Adobe launches Photoshop on Android and iPhone Sketchsoft releases Feather 1.3 Autodesk releases 3ds Max 2026.1 Autodesk adds AI animation tool MotionMaker to Maya 2026.1 You can now sell MetaHumans, or use them in Unity or Godot Epic Games to rebrand RealityCapture as RealityScan 2.0 Epic Games releases Unreal Engine 5.6 Pulze releases new network render manager RenderFlow 1.0 Xencelabs launches Pen Tablet Medium v2 Desktop edition of sculpting app Nomad enters free beta Boris FX releases Silhouette 2025 Older Posts
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • The art of two Mickeys

    Classic splitscreens, traditional face replacements and new approaches to machine learning-assisted face swapping allowed for twinning shots in ‘Mickey 17’. An excerpt from issue #32 of befores & afters magazine.
    The art of representing two characters on screen at the same time has become known as ‘twinning’. For Mickey 17 visual effects supervisor Dan Glass, the effect of seeing both Mickey 17 and 18 together was one he looked to achieve with a variety of methodologies. “With a technique like that,” he says, “you always want to use a range of tricks, because you don’t want people to figure it out. You want to keep them like, ‘Oh, wait a minute. How did they…?”
    “Going back to the way that Director Bong is so prepared and organized,” adds Glass, “it again makes the world of difference with that kind of work, because he thumbnails every shot. Then, some of them are a bit more fleshed out in storyboards. You can look at it and go, ‘Okay, in this situation, this is what the camera’s doing, this is what the actor’s doing,’ which in itself is quite interesting, because he pre-thinks all of this. You’d think that the actors show up and basically just have to follow the steps like robots. It’s not like that. He gives them an environment to work in, but the shots do end up extraordinarily close to what he thumbnails, and it made it a lot simpler to go through.”

    Those different approaches to twinning ranged from simple splitscreens, to traditional face replacements, and then substantially with a machine learned AI approach, now usually termed ‘face swapping’. What made the twinning work a tougher task than usual, suggests Glass, was the fact that the two Pattinson characters are virtually identical.
    “Normally, when you’re doing some kind of face replacement, you’re comparing it to a memory of the face. But this was right in front of you as two Mickeys looking strikingly similar.”
    Here’s how a typical twinning shot was achieved, as described by Glass. “Because Mickey was mostly dressed the same, with only a slight hair change, we were able to have Robert play both roles and to do them one after another. Sometimes, you have to do these things where hair and makeup or costume has a significant variation, so you’re either waiting a long time, which slows production, or you’re coming back at another time to do the different roles, which always makes the process a lot more complicated to match, but we were able to do that immediately.”

    “Based on the design of the shot,” continues Glass, “I would recommend which of Robert’s parts should be shot first. This was most often determined by which role had more impact on the camera movement. A huge credit goes to Robert for his ability to flip between the roles so effortlessly.”
    In the film, Mickey 17 is more passive and Mickey 18 is more aggressive. Pattinson reflected the distinct characters in his actions, including for a moment in which they fight. This fight, overseen by stunt coordinator Paul Lowe, represented moments of close interaction between the two Mickeys. It was here that a body double was crucial in shooting. The body double was also relied upon for the classic twinning technique of shooting ‘dirty’ over-the- shoulder out of focus shots of the double—ie. 17 looking at 18. However, it was quickly determined that even these would need face replacement work. “Robert’s jawline is so distinct that even those had to be replaced or shot as split screens,” observes Glass.

    When the shot was a moving one, no motion control was employed. “I’ve never been a big advocate for motion control,” states Glass. “To me it’s applicable when you’re doing things like miniatures where you need many matching passes, but I think when performances are involved, it interferes too much. It slows down a production’s speed of movement, but it’s also restrictive. Performance and camera always benefit from more flexibility.”
    “It helped tremendously that Director Bong and DOP Darius Khondji shot quite classically with minimal crane and Steadicam moves,” says Glass. “So, a lot of the moves are pan and dolly. There are some Steadicams in there that we were sometimes able to do splitscreens on. I wasn’t always sure that we could get away with the splitscreen as we shot it, but since we were always shooting the two roles, we had the footage to assess the practicality later. We were always prepared to go down a CG or machine learning route, but where we could use the splitscreen, that was the preference.”
    The Hydralite rig, developed by Volucap. Source:
    Rising Sun Pictureshandled the majority of twinning visual effects, completing them as splitscreen composites, 2D face replacements, and most notably via their machine learning toolset REVIZE, which utilized facial and body capture of Pattinson to train a model of his face and torso to swap for the double’s. A custom capture rig, dubbed the ‘Crazy Rig’ and now officially, The Hydralite, was devised and configured by Volucap to capture multiple angles of Robert on set in each lighting environment in order to produce the best possible reference for the machine learning algorithm. “For me, it was a completely legitimate use of the technique,” attests Glass, in terms of the machine learning approach. “All of the footage that we used to go into that process was captured on our movie for our movie. There’s nothing historic, or going through past libraries of footage, and it was all with Robert’s approval. I think the results were tremendous.”
    “It’s staggering to me as I watch the movie that the performances of each character are so flawlessly consistent throughout the film, because I know how much we were jumping around,” notes Glass. “I did encourage that we rehearse scenes ahead. Let’s say 17 was going to be the first role we captured, I’d have them rehearse it the other way around so that the double knew what he was going to do. Therefore, eyelines, movement, pacing and in instances where we were basically replacing the likeness of his head or even torso, we were still able to use the double’s performance and then map to that.”

    Read the full Mickey 17 issue of befores & afters magazine in PRINT from Amazon or as a DIGITAL EDITION on Patreon. Remember, you can also subscribe to the DIGITAL EDITION as a tier on the Patreon and get a new issue every time one is released.
    The post The art of two Mickeys appeared first on befores & afters.
    #art #two #mickeys
    The art of two Mickeys
    Classic splitscreens, traditional face replacements and new approaches to machine learning-assisted face swapping allowed for twinning shots in ‘Mickey 17’. An excerpt from issue #32 of befores & afters magazine. The art of representing two characters on screen at the same time has become known as ‘twinning’. For Mickey 17 visual effects supervisor Dan Glass, the effect of seeing both Mickey 17 and 18 together was one he looked to achieve with a variety of methodologies. “With a technique like that,” he says, “you always want to use a range of tricks, because you don’t want people to figure it out. You want to keep them like, ‘Oh, wait a minute. How did they…?” “Going back to the way that Director Bong is so prepared and organized,” adds Glass, “it again makes the world of difference with that kind of work, because he thumbnails every shot. Then, some of them are a bit more fleshed out in storyboards. You can look at it and go, ‘Okay, in this situation, this is what the camera’s doing, this is what the actor’s doing,’ which in itself is quite interesting, because he pre-thinks all of this. You’d think that the actors show up and basically just have to follow the steps like robots. It’s not like that. He gives them an environment to work in, but the shots do end up extraordinarily close to what he thumbnails, and it made it a lot simpler to go through.” Those different approaches to twinning ranged from simple splitscreens, to traditional face replacements, and then substantially with a machine learned AI approach, now usually termed ‘face swapping’. What made the twinning work a tougher task than usual, suggests Glass, was the fact that the two Pattinson characters are virtually identical. “Normally, when you’re doing some kind of face replacement, you’re comparing it to a memory of the face. But this was right in front of you as two Mickeys looking strikingly similar.” Here’s how a typical twinning shot was achieved, as described by Glass. “Because Mickey was mostly dressed the same, with only a slight hair change, we were able to have Robert play both roles and to do them one after another. Sometimes, you have to do these things where hair and makeup or costume has a significant variation, so you’re either waiting a long time, which slows production, or you’re coming back at another time to do the different roles, which always makes the process a lot more complicated to match, but we were able to do that immediately.” “Based on the design of the shot,” continues Glass, “I would recommend which of Robert’s parts should be shot first. This was most often determined by which role had more impact on the camera movement. A huge credit goes to Robert for his ability to flip between the roles so effortlessly.” In the film, Mickey 17 is more passive and Mickey 18 is more aggressive. Pattinson reflected the distinct characters in his actions, including for a moment in which they fight. This fight, overseen by stunt coordinator Paul Lowe, represented moments of close interaction between the two Mickeys. It was here that a body double was crucial in shooting. The body double was also relied upon for the classic twinning technique of shooting ‘dirty’ over-the- shoulder out of focus shots of the double—ie. 17 looking at 18. However, it was quickly determined that even these would need face replacement work. “Robert’s jawline is so distinct that even those had to be replaced or shot as split screens,” observes Glass. When the shot was a moving one, no motion control was employed. “I’ve never been a big advocate for motion control,” states Glass. “To me it’s applicable when you’re doing things like miniatures where you need many matching passes, but I think when performances are involved, it interferes too much. It slows down a production’s speed of movement, but it’s also restrictive. Performance and camera always benefit from more flexibility.” “It helped tremendously that Director Bong and DOP Darius Khondji shot quite classically with minimal crane and Steadicam moves,” says Glass. “So, a lot of the moves are pan and dolly. There are some Steadicams in there that we were sometimes able to do splitscreens on. I wasn’t always sure that we could get away with the splitscreen as we shot it, but since we were always shooting the two roles, we had the footage to assess the practicality later. We were always prepared to go down a CG or machine learning route, but where we could use the splitscreen, that was the preference.” The Hydralite rig, developed by Volucap. Source: Rising Sun Pictureshandled the majority of twinning visual effects, completing them as splitscreen composites, 2D face replacements, and most notably via their machine learning toolset REVIZE, which utilized facial and body capture of Pattinson to train a model of his face and torso to swap for the double’s. A custom capture rig, dubbed the ‘Crazy Rig’ and now officially, The Hydralite, was devised and configured by Volucap to capture multiple angles of Robert on set in each lighting environment in order to produce the best possible reference for the machine learning algorithm. “For me, it was a completely legitimate use of the technique,” attests Glass, in terms of the machine learning approach. “All of the footage that we used to go into that process was captured on our movie for our movie. There’s nothing historic, or going through past libraries of footage, and it was all with Robert’s approval. I think the results were tremendous.” “It’s staggering to me as I watch the movie that the performances of each character are so flawlessly consistent throughout the film, because I know how much we were jumping around,” notes Glass. “I did encourage that we rehearse scenes ahead. Let’s say 17 was going to be the first role we captured, I’d have them rehearse it the other way around so that the double knew what he was going to do. Therefore, eyelines, movement, pacing and in instances where we were basically replacing the likeness of his head or even torso, we were still able to use the double’s performance and then map to that.” Read the full Mickey 17 issue of befores & afters magazine in PRINT from Amazon or as a DIGITAL EDITION on Patreon. Remember, you can also subscribe to the DIGITAL EDITION as a tier on the Patreon and get a new issue every time one is released. The post The art of two Mickeys appeared first on befores & afters. #art #two #mickeys
    BEFORESANDAFTERS.COM
    The art of two Mickeys
    Classic splitscreens, traditional face replacements and new approaches to machine learning-assisted face swapping allowed for twinning shots in ‘Mickey 17’. An excerpt from issue #32 of befores & afters magazine. The art of representing two characters on screen at the same time has become known as ‘twinning’. For Mickey 17 visual effects supervisor Dan Glass, the effect of seeing both Mickey 17 and 18 together was one he looked to achieve with a variety of methodologies. “With a technique like that,” he says, “you always want to use a range of tricks, because you don’t want people to figure it out. You want to keep them like, ‘Oh, wait a minute. How did they…?” “Going back to the way that Director Bong is so prepared and organized,” adds Glass, “it again makes the world of difference with that kind of work, because he thumbnails every shot. Then, some of them are a bit more fleshed out in storyboards. You can look at it and go, ‘Okay, in this situation, this is what the camera’s doing, this is what the actor’s doing,’ which in itself is quite interesting, because he pre-thinks all of this. You’d think that the actors show up and basically just have to follow the steps like robots. It’s not like that. He gives them an environment to work in, but the shots do end up extraordinarily close to what he thumbnails, and it made it a lot simpler to go through.” Those different approaches to twinning ranged from simple splitscreens, to traditional face replacements, and then substantially with a machine learned AI approach, now usually termed ‘face swapping’. What made the twinning work a tougher task than usual, suggests Glass, was the fact that the two Pattinson characters are virtually identical. “Normally, when you’re doing some kind of face replacement, you’re comparing it to a memory of the face. But this was right in front of you as two Mickeys looking strikingly similar.” Here’s how a typical twinning shot was achieved, as described by Glass. “Because Mickey was mostly dressed the same, with only a slight hair change, we were able to have Robert play both roles and to do them one after another. Sometimes, you have to do these things where hair and makeup or costume has a significant variation, so you’re either waiting a long time, which slows production, or you’re coming back at another time to do the different roles, which always makes the process a lot more complicated to match, but we were able to do that immediately.” “Based on the design of the shot,” continues Glass, “I would recommend which of Robert’s parts should be shot first. This was most often determined by which role had more impact on the camera movement. A huge credit goes to Robert for his ability to flip between the roles so effortlessly.” In the film, Mickey 17 is more passive and Mickey 18 is more aggressive. Pattinson reflected the distinct characters in his actions, including for a moment in which they fight. This fight, overseen by stunt coordinator Paul Lowe, represented moments of close interaction between the two Mickeys. It was here that a body double was crucial in shooting. The body double was also relied upon for the classic twinning technique of shooting ‘dirty’ over-the- shoulder out of focus shots of the double—ie. 17 looking at 18. However, it was quickly determined that even these would need face replacement work. “Robert’s jawline is so distinct that even those had to be replaced or shot as split screens,” observes Glass. When the shot was a moving one, no motion control was employed. “I’ve never been a big advocate for motion control,” states Glass. “To me it’s applicable when you’re doing things like miniatures where you need many matching passes, but I think when performances are involved, it interferes too much. It slows down a production’s speed of movement, but it’s also restrictive. Performance and camera always benefit from more flexibility.” “It helped tremendously that Director Bong and DOP Darius Khondji shot quite classically with minimal crane and Steadicam moves,” says Glass. “So, a lot of the moves are pan and dolly. There are some Steadicams in there that we were sometimes able to do splitscreens on. I wasn’t always sure that we could get away with the splitscreen as we shot it, but since we were always shooting the two roles, we had the footage to assess the practicality later. We were always prepared to go down a CG or machine learning route, but where we could use the splitscreen, that was the preference.” The Hydralite rig, developed by Volucap. Source: https://volucap.com Rising Sun Pictures (visual effects supervisor Guido Wolter) handled the majority of twinning visual effects, completing them as splitscreen composites, 2D face replacements, and most notably via their machine learning toolset REVIZE, which utilized facial and body capture of Pattinson to train a model of his face and torso to swap for the double’s. A custom capture rig, dubbed the ‘Crazy Rig’ and now officially, The Hydralite, was devised and configured by Volucap to capture multiple angles of Robert on set in each lighting environment in order to produce the best possible reference for the machine learning algorithm. “For me, it was a completely legitimate use of the technique,” attests Glass, in terms of the machine learning approach. “All of the footage that we used to go into that process was captured on our movie for our movie. There’s nothing historic, or going through past libraries of footage, and it was all with Robert’s approval. I think the results were tremendous.” “It’s staggering to me as I watch the movie that the performances of each character are so flawlessly consistent throughout the film, because I know how much we were jumping around,” notes Glass. “I did encourage that we rehearse scenes ahead. Let’s say 17 was going to be the first role we captured, I’d have them rehearse it the other way around so that the double knew what he was going to do. Therefore, eyelines, movement, pacing and in instances where we were basically replacing the likeness of his head or even torso, we were still able to use the double’s performance and then map to that.” Read the full Mickey 17 issue of befores & afters magazine in PRINT from Amazon or as a DIGITAL EDITION on Patreon. Remember, you can also subscribe to the DIGITAL EDITION as a tier on the Patreon and get a new issue every time one is released. The post The art of two Mickeys appeared first on befores & afters.
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • JAMF puts AI inside Apple device management

    When it comes to Apple, all eyes are on AI. Generative AIis the most disruptive technology we’ve seen in years; it is weaving itself into all parts of life – so why should IT management be left unscathed? It won’t be, and the latest AI-powered IT management features within the Jamf platform will soon be the kind of tools IT expects.

    Jamf is a leading Apple-in-the-enterprise device management . The company has been working away on AI features to support its solutions for some time, and has at last introduced some of these at its Jamf Nation Live event. The tools are designed to boost efficiency and support better decision-making when it comes to handling your fleets.

    Of course, you’d expect anyone fielding genAI solutions to say something like that, so what do these tools do?

    Introducing Jamf AI Assistant

    Available as a beta, AI Assistant is designed to support tech support! That means it will help IT admins find what they need and help them understand how and why devices they do find are configured. Jamf splits these two paths into two categories: Search skill and Explain skill.

    Search skill lets admins perform natural language inventory queries across their managed fleets, enabling them to quickly find devices within their flotilla that meet the search parameters. The goal is to make it quicker and easier to audit managed devices for compliance, and to troubleshoot when things go wrong.

    Explain skill caters to another facet of an IT admin’s daily challenges. As Jamf explains, it means the genAI can translate complex configurations and policies into clear, easy-to-understand language. This helps admins make informed decisions, streamline troubleshooting and manage policies more confidently, says Jamf.

    While these new Jamf tools don’t automate much of the workload facing IT, it’s not hard to see how once the AI can understand what’s happening on a Mac and identify those devices that meet a set of parameters, the only missing piece is to automate some of the workflow in between.

    This, of course, is the direction of travel and will likely ripple across IT and every platform. Who knows, it might even make the cost of supporting Windows fleets almost as affordable as that of managing fleets of Apple devices.Beyond AI

    Jamf also made a handful of announcements outside of AI, including the general availability of Blueprints, a set of tools the company announced at JNUC last year. Blueprints builds on Apple’s Declarative Device Management framework and is designed to simplify and accelerate device configuration by consolidating policies, profiles and restrictions into a single, unified workflow.

    This makes a lot of sense on a road map to further AI deployment, as well as for anyone attempting to manage and deploy large Apple fleets. I imagine admins preparing for mammoth college- or school-wide deployments will have some optimism that Blueprints could help save time. Don’t neglect that education tech is expected to deploy thousands of devices in a few weeks, so these tools should be significant to them.

    Jamf continues working on Blueprints, and has introduced a beta release of Configuration Profiles within Blueprints. This tech consists of a new dynamic framework designed to help teams manage devices at scale, thanks to the new dynamic framework for MDM key delivery.

    Ticket to ride

    Jamf has offered a Self Service+ portal since earlier this year. Aimed at end-users, the system lets users request, download and update apps, as well as monitor their device security. Those features have been expanded with identity management tools, so users can view their accounts change passwords, and request things like temporary admin access.

    The beauty of Self Service+ is that it enables users to do these things autonomously while keeping their devices fully auditable and compliant. The idea is that it’s a lot better to focus the expensive tech support teams on the big problems, rather than seeing them bogged down in small, transient, challenges. 

    The company also introduced Compliance Benchmarks. Based on Apple’s macOS Security Compliance Project, this system helps IT automate the process of securing their Apple devices.

    Jamf has also added malware detection to its App Installers module, which means every application made available through that system is scanned to maintain security confidence. That’s really important to companies attempting to provision apps to employees, particularly if they want to avoid accidental installs of hacked malware posing as the original app.

    You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.
    #jamf #puts #inside #apple #device
    JAMF puts AI inside Apple device management
    When it comes to Apple, all eyes are on AI. Generative AIis the most disruptive technology we’ve seen in years; it is weaving itself into all parts of life – so why should IT management be left unscathed? It won’t be, and the latest AI-powered IT management features within the Jamf platform will soon be the kind of tools IT expects. Jamf is a leading Apple-in-the-enterprise device management . The company has been working away on AI features to support its solutions for some time, and has at last introduced some of these at its Jamf Nation Live event. The tools are designed to boost efficiency and support better decision-making when it comes to handling your fleets. Of course, you’d expect anyone fielding genAI solutions to say something like that, so what do these tools do? Introducing Jamf AI Assistant Available as a beta, AI Assistant is designed to support tech support! That means it will help IT admins find what they need and help them understand how and why devices they do find are configured. Jamf splits these two paths into two categories: Search skill and Explain skill. Search skill lets admins perform natural language inventory queries across their managed fleets, enabling them to quickly find devices within their flotilla that meet the search parameters. The goal is to make it quicker and easier to audit managed devices for compliance, and to troubleshoot when things go wrong. Explain skill caters to another facet of an IT admin’s daily challenges. As Jamf explains, it means the genAI can translate complex configurations and policies into clear, easy-to-understand language. This helps admins make informed decisions, streamline troubleshooting and manage policies more confidently, says Jamf. While these new Jamf tools don’t automate much of the workload facing IT, it’s not hard to see how once the AI can understand what’s happening on a Mac and identify those devices that meet a set of parameters, the only missing piece is to automate some of the workflow in between. This, of course, is the direction of travel and will likely ripple across IT and every platform. Who knows, it might even make the cost of supporting Windows fleets almost as affordable as that of managing fleets of Apple devices.Beyond AI Jamf also made a handful of announcements outside of AI, including the general availability of Blueprints, a set of tools the company announced at JNUC last year. Blueprints builds on Apple’s Declarative Device Management framework and is designed to simplify and accelerate device configuration by consolidating policies, profiles and restrictions into a single, unified workflow. This makes a lot of sense on a road map to further AI deployment, as well as for anyone attempting to manage and deploy large Apple fleets. I imagine admins preparing for mammoth college- or school-wide deployments will have some optimism that Blueprints could help save time. Don’t neglect that education tech is expected to deploy thousands of devices in a few weeks, so these tools should be significant to them. Jamf continues working on Blueprints, and has introduced a beta release of Configuration Profiles within Blueprints. This tech consists of a new dynamic framework designed to help teams manage devices at scale, thanks to the new dynamic framework for MDM key delivery. Ticket to ride Jamf has offered a Self Service+ portal since earlier this year. Aimed at end-users, the system lets users request, download and update apps, as well as monitor their device security. Those features have been expanded with identity management tools, so users can view their accounts change passwords, and request things like temporary admin access. The beauty of Self Service+ is that it enables users to do these things autonomously while keeping their devices fully auditable and compliant. The idea is that it’s a lot better to focus the expensive tech support teams on the big problems, rather than seeing them bogged down in small, transient, challenges.  The company also introduced Compliance Benchmarks. Based on Apple’s macOS Security Compliance Project, this system helps IT automate the process of securing their Apple devices. Jamf has also added malware detection to its App Installers module, which means every application made available through that system is scanned to maintain security confidence. That’s really important to companies attempting to provision apps to employees, particularly if they want to avoid accidental installs of hacked malware posing as the original app. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon. #jamf #puts #inside #apple #device
    WWW.COMPUTERWORLD.COM
    JAMF puts AI inside Apple device management
    When it comes to Apple, all eyes are on AI. Generative AI (genAI) is the most disruptive technology we’ve seen in years; it is weaving itself into all parts of life – so why should IT management be left unscathed? It won’t be, and the latest AI-powered IT management features within the Jamf platform will soon be the kind of tools IT expects. Jamf is a leading Apple-in-the-enterprise device management (and security vendor recently began offering enterprise support for Android devices). The company has been working away on AI features to support its solutions for some time, and has at last introduced some of these at its Jamf Nation Live event. The tools are designed to boost efficiency and support better decision-making when it comes to handling your fleets. Of course, you’d expect anyone fielding genAI solutions to say something like that, so what do these tools do? Introducing Jamf AI Assistant Available as a beta, AI Assistant is designed to support tech support! That means it will help IT admins find what they need and help them understand how and why devices they do find are configured. Jamf splits these two paths into two categories: Search skill and Explain skill. Search skill lets admins perform natural language inventory queries across their managed fleets, enabling them to quickly find devices within their flotilla that meet the search parameters. The goal is to make it quicker and easier to audit managed devices for compliance, and to troubleshoot when things go wrong. Explain skill caters to another facet of an IT admin’s daily challenges. As Jamf explains, it means the genAI can translate complex configurations and policies into clear, easy-to-understand language. This helps admins make informed decisions, streamline troubleshooting and manage policies more confidently, says Jamf. While these new Jamf tools don’t automate much of the workload facing IT, it’s not hard to see how once the AI can understand what’s happening on a Mac and identify those devices that meet a set of parameters, the only missing piece is to automate some of the workflow in between. This, of course, is the direction of travel and will likely ripple across IT and every platform. Who knows, it might even make the cost of supporting Windows fleets almost as affordable as that of managing fleets of Apple devices. (Though I doubt it.) Beyond AI Jamf also made a handful of announcements outside of AI, including the general availability of Blueprints, a set of tools the company announced at JNUC last year. Blueprints builds on Apple’s Declarative Device Management framework and is designed to simplify and accelerate device configuration by consolidating policies, profiles and restrictions into a single, unified workflow. This makes a lot of sense on a road map to further AI deployment, as well as for anyone attempting to manage and deploy large Apple fleets. I imagine admins preparing for mammoth college- or school-wide deployments will have some optimism that Blueprints could help save time. Don’t neglect that education tech is expected to deploy thousands of devices in a few weeks, so these tools should be significant to them. Jamf continues working on Blueprints, and has introduced a beta release of Configuration Profiles within Blueprints. This tech consists of a new dynamic framework designed to help teams manage devices at scale, thanks to the new dynamic framework for MDM key delivery. Ticket to ride Jamf has offered a Self Service+ portal since earlier this year. Aimed at end-users, the system lets users request, download and update apps, as well as monitor their device security. Those features have been expanded with identity management tools, so users can view their accounts change passwords, and request things like temporary admin access. The beauty of Self Service+ is that it enables users to do these things autonomously while keeping their devices fully auditable and compliant. The idea is that it’s a lot better to focus the expensive tech support teams on the big problems, rather than seeing them bogged down in small, transient (albeit important), challenges.  The company also introduced Compliance Benchmarks. Based on Apple’s macOS Security Compliance Project (mSCP), this system helps IT automate the process of securing their Apple devices. Jamf has also added malware detection to its App Installers module, which means every application made available through that system is scanned to maintain security confidence. That’s really important to companies attempting to provision apps to employees, particularly if they want to avoid accidental installs of hacked malware posing as the original app. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.
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  • Its happening: The Switch 2 released in U.S. in midnight launch

    It's finally here.
    Credit: Nintendo

    Best places to buy the Switch 2 online

    Buy the Switch 2 at Walmart

    Switch 2 console

    at Walmart

    Buy the Switch 2 Mario Kart World bundle at Walmart

    Nintendo Switch 2 + Mario Kart World Bundle

    at Nintendo

    Buy the Switch 2 at Best Buy

    Switch 2 console

    at Best Buy

    Buy the Switch 2 Mario Kart bundle at GameStop

    Nintendo Switch 2 + Mario Kart World Bundle

    at GameStop

    Eight years after the launch of the original, the Nintendo Switch 2 is finally being released in midnight launch events around the country. At the same time, gamers around the United States are checking retailers like Walmart, Target, Best Buy, GameStop, and even Costco in search of the next-generation console.On social media platforms like X, Reddit, and YouTube, gamers are sharing photos and videos of long lines and excited crowds outside stores like GameStop and Target. And some lucky gamers are already showing off their successful purchases.

    While there are dozens of Switch 2 games and accessories available for purchase, gamers looking for the console itself have two options: Get the base Switch 2 console for or opt for the Nintendo Switch 2 + Mario Kart World Bundle for Of course, both are in short supply, even as Nintendo forecasts selling 20 million units in the next 12 months.

    You May Also Like

    The first customers to get their hands on Switch 2 consoles were the lucky players who placed a preorder through GameStop or Best Buy. Both retailers hosted midnight ET launch events around the country, which gave people the chance to pick up their preorders in person. In addition, these retailers will be selling limited supplies of consoles on a first-come, first-served basis, according to their websites. Mashable recently received a Switch 2 review unit, and we'll be sharing more first impressions soon.

    Mashable Light Speed

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    However, even though the Switch 2 has been officially released, that doesn't mean online inventory will be available right away. Nintendo is only allowing purchases for customers with active, paid Switch Online memberships. And Target previously announced that it wouldn't start selling the console online until Friday. However, retailers like Best Buy and Walmart promised to start selling the console online promptly at midnight.When preorders officially went live on April 24, gamers promptly crashed retailer websites, and history may repeat itself for launch day. But if you want to try your luck at placing an online order, head to the retailers and start smashing that refresh button like you're playing Super Smash Bros.

    Related Stories

    You can check the latest Switch 2 stock at the following online stores:If those links don't work, you can also look for the Nintendo Switch 2 + Mario Kart World Bundle at Walmart, GameStop, Best Buy, Costco, and Staples.

    Timothy Beck Werth
    Tech Editor

    Timothy Beck Werth is the Tech Editor at Mashable, where he leads coverage and assignments for the Tech and Shopping verticals. Tim has over 15 years of experience as a journalist and editor, and he has particular experience covering and testing consumer technology, smart home gadgets, and men’s grooming and style products. Previously, he was the Managing Editor and then Site Director of SPY.com, a men's product review and lifestyle website. As a writer for GQ, he covered everything from bull-riding competitions to the best Legos for adults, and he’s also contributed to publications such as The Daily Beast, Gear Patrol, and The Awl.Tim studied print journalism at the University of Southern California. He currently splits his time between Brooklyn, NY and Charleston, SC. He's currently working on his second novel, a science-fiction book.
    #its #happening #switch #released #midnight
    Its happening: The Switch 2 released in U.S. in midnight launch
    It's finally here. Credit: Nintendo Best places to buy the Switch 2 online Buy the Switch 2 at Walmart Switch 2 console at Walmart Buy the Switch 2 Mario Kart World bundle at Walmart Nintendo Switch 2 + Mario Kart World Bundle at Nintendo Buy the Switch 2 at Best Buy Switch 2 console at Best Buy Buy the Switch 2 Mario Kart bundle at GameStop Nintendo Switch 2 + Mario Kart World Bundle at GameStop Eight years after the launch of the original, the Nintendo Switch 2 is finally being released in midnight launch events around the country. At the same time, gamers around the United States are checking retailers like Walmart, Target, Best Buy, GameStop, and even Costco in search of the next-generation console.On social media platforms like X, Reddit, and YouTube, gamers are sharing photos and videos of long lines and excited crowds outside stores like GameStop and Target. And some lucky gamers are already showing off their successful purchases. While there are dozens of Switch 2 games and accessories available for purchase, gamers looking for the console itself have two options: Get the base Switch 2 console for or opt for the Nintendo Switch 2 + Mario Kart World Bundle for Of course, both are in short supply, even as Nintendo forecasts selling 20 million units in the next 12 months. You May Also Like The first customers to get their hands on Switch 2 consoles were the lucky players who placed a preorder through GameStop or Best Buy. Both retailers hosted midnight ET launch events around the country, which gave people the chance to pick up their preorders in person. In addition, these retailers will be selling limited supplies of consoles on a first-come, first-served basis, according to their websites. Mashable recently received a Switch 2 review unit, and we'll be sharing more first impressions soon. Mashable Light Speed Want more out-of-this world tech, space and science stories? Sign up for Mashable's weekly Light Speed newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! However, even though the Switch 2 has been officially released, that doesn't mean online inventory will be available right away. Nintendo is only allowing purchases for customers with active, paid Switch Online memberships. And Target previously announced that it wouldn't start selling the console online until Friday. However, retailers like Best Buy and Walmart promised to start selling the console online promptly at midnight.When preorders officially went live on April 24, gamers promptly crashed retailer websites, and history may repeat itself for launch day. But if you want to try your luck at placing an online order, head to the retailers and start smashing that refresh button like you're playing Super Smash Bros. Related Stories You can check the latest Switch 2 stock at the following online stores:If those links don't work, you can also look for the Nintendo Switch 2 + Mario Kart World Bundle at Walmart, GameStop, Best Buy, Costco, and Staples. Timothy Beck Werth Tech Editor Timothy Beck Werth is the Tech Editor at Mashable, where he leads coverage and assignments for the Tech and Shopping verticals. Tim has over 15 years of experience as a journalist and editor, and he has particular experience covering and testing consumer technology, smart home gadgets, and men’s grooming and style products. Previously, he was the Managing Editor and then Site Director of SPY.com, a men's product review and lifestyle website. As a writer for GQ, he covered everything from bull-riding competitions to the best Legos for adults, and he’s also contributed to publications such as The Daily Beast, Gear Patrol, and The Awl.Tim studied print journalism at the University of Southern California. He currently splits his time between Brooklyn, NY and Charleston, SC. He's currently working on his second novel, a science-fiction book. #its #happening #switch #released #midnight
    MASHABLE.COM
    Its happening: The Switch 2 released in U.S. in midnight launch
    It's finally here. Credit: Nintendo Best places to buy the Switch 2 online Buy the Switch 2 at Walmart Switch 2 console $449 at Walmart Buy the Switch 2 Mario Kart World bundle at Walmart Nintendo Switch 2 + Mario Kart World Bundle $499 at Nintendo Buy the Switch 2 at Best Buy Switch 2 console $449.99 at Best Buy Buy the Switch 2 Mario Kart bundle at GameStop Nintendo Switch 2 + Mario Kart World Bundle $499.99 at GameStop Eight years after the launch of the original, the Nintendo Switch 2 is finally being released in midnight launch events around the country. At the same time, gamers around the United States are checking retailers like Walmart, Target, Best Buy, GameStop, and even Costco in search of the next-generation console.On social media platforms like X, Reddit, and YouTube, gamers are sharing photos and videos of long lines and excited crowds outside stores like GameStop and Target. And some lucky gamers are already showing off their successful purchases. While there are dozens of Switch 2 games and accessories available for purchase, gamers looking for the console itself have two options: Get the base Switch 2 console for $449.99 or opt for the Nintendo Switch 2 + Mario Kart World Bundle for $499.99. Of course, both are in short supply, even as Nintendo forecasts selling 20 million units in the next 12 months. You May Also Like The first customers to get their hands on Switch 2 consoles were the lucky players who placed a preorder through GameStop or Best Buy. Both retailers hosted midnight ET launch events around the country, which gave people the chance to pick up their preorders in person. In addition, these retailers will be selling limited supplies of consoles on a first-come, first-served basis, according to their websites. Mashable recently received a Switch 2 review unit, and we'll be sharing more first impressions soon. Mashable Light Speed Want more out-of-this world tech, space and science stories? Sign up for Mashable's weekly Light Speed newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! However, even though the Switch 2 has been officially released, that doesn't mean online inventory will be available right away. Nintendo is only allowing purchases for customers with active, paid Switch Online memberships. And Target previously announced that it wouldn't start selling the console online until Friday (June 6). However, retailers like Best Buy and Walmart promised to start selling the console online promptly at midnight.When preorders officially went live on April 24, gamers promptly crashed retailer websites, and history may repeat itself for launch day. But if you want to try your luck at placing an online order, head to the retailers and start smashing that refresh button like you're playing Super Smash Bros. Related Stories You can check the latest Switch 2 stock at the following online stores:If those links don't work, you can also look for the Nintendo Switch 2 + Mario Kart World Bundle at Walmart, GameStop, Best Buy, Costco, and Staples. Timothy Beck Werth Tech Editor Timothy Beck Werth is the Tech Editor at Mashable, where he leads coverage and assignments for the Tech and Shopping verticals. Tim has over 15 years of experience as a journalist and editor, and he has particular experience covering and testing consumer technology, smart home gadgets, and men’s grooming and style products. Previously, he was the Managing Editor and then Site Director of SPY.com, a men's product review and lifestyle website. As a writer for GQ, he covered everything from bull-riding competitions to the best Legos for adults, and he’s also contributed to publications such as The Daily Beast, Gear Patrol, and The Awl.Tim studied print journalism at the University of Southern California. He currently splits his time between Brooklyn, NY and Charleston, SC. He's currently working on his second novel, a science-fiction book.
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  • Survival Kids proves Nintendo Switch 2 isn’t just about Mario Kart World

    The interesting thing about console launches is that you never know what unexpected treasures will emerge from the first batch of games. Who could have foretold that the hero of the PlayStation launch would be a fireworks simulation, or that the most joyous title in the initial GameCube lineup would involve simians racing each other in giant transparent globes?The latest example could well be Konami’s Survival Kids, the only new third-party game in the Switch 2 opening wave. It’s the latest in the publisher’s cult series of tropical island survival sims, which began on the Game Boy Color and, despite never really attracting vast global success, continued on to the Nintendo DS under a new name, Lost in Blue. Now it’s back as a familyfriendly co-op survival adventure, in which groups of up to four players are shipwrecked on a mysterious archipelago, and must survive by gathering resources, crafting tools, finding food and exploring a series of lush, cartoonish environments. Four people can play online, but the game also supports Switch 2’s game sharing, which lets one person who owns the game connect wirelessly with other consoles to play together.Lush, cartoonish environments … a still from Survival Kids. Photograph: Konami Digital EntertainmentAndrew Dennison, who heads the game’s developer Unity, sees this as one of the Switch 2’s key features. “With splitscreen you have one machine rendering two different versions of the game,” he says. “With GameShare, we can compress one of those views and stream it … we render everything three times and push that out to two other consoles. As much as you can deep dive into tech specs, the benefits of GameShare are delightful. Other players in the same room as you don’t have to own the game, they don’t have to download anything … they can just turn on their Switch or Switch 2, push a button and they’re playing a game.”Unlike survival titles such as Don’t Starve or Project Zomboid, there’s no mortal peril in Survival Kids. Running out of food hampers your progress, but you can’t actually starve; if you die, you just – respawn nearby. “We wanted to make sure the game was enjoyable for people at every skill level,” says Dennison. “It’s a balancing act – we don’t want to bore experienced gamers – but you can streamline gameplay challenge without simplifying to the point of making it irrelevant.” Due to the strict NDAs around the Switch 2 hardware, the developer couldn’t bring in many external testers to fine-tune the difficulty – so Dennison ended up testing the game on his nieces, and on the finance department.All about co-operation … Survival Kids Photograph: Konami Digital EntertainmentBuilding tools is key – combine a vine and a stick and you get a fishing rod with which to lasso useful objects. Construct an umbrella and you can glide across wide canyons. There are no cumbersome item-inventory screens: when you need to build a tool or contraption, you can take what you need and drop it all into a bucket that magically spits it out. Tools are all stored at base camp, not in a menu, so that you can easily take a path home to pick up what you need.As with Overcooked, Survival Kids is all about streamlined cooperation and carefully divvied-out tasks. Chopping wood and breaking rocks is faster with two people, so you need a physical labour team; meanwhile food provides the energy needed to climb cliff faces and carry heavy relics, so you’ll need a chef to gather plants and make dinner. “We really wanted people to go back and eat at the base camp together,” says Richard Jones, creative director for Konami Digital Entertainment. “This way, the base camp becomes a place to return to – a sort of communal kitchen.”skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionUnlike most modern survival sims, it’s not totally open-ended: your aim is to discover more and more of the islands, which brings a sort of escape room feel to things. It’s also possible to go back and re-try levels to get a quicker time. Despite the family look and feel, there are some interesting and quite demanding physics-based challenges with multiple solutions. There’s a nice humour and lightness to the game as well, perhaps an inevitability considering that Dennison and many of the development team at Unity’s Stratford-upon-Avon office came from Codemasters and Rare.Will Konami bring more of its classic titles to Switch 2? “We know there are other Konami teams who are interested in this platform – we’ll be able to help them,” says Jones. “So yeah, fingers-crossed we’ll see some more Switch 2 projects from Konami.” For now Survival kids feels like a great test case for the new console’s family oriented game sharing.
    #survival #kids #proves #nintendo #switch
    Survival Kids proves Nintendo Switch 2 isn’t just about Mario Kart World
    The interesting thing about console launches is that you never know what unexpected treasures will emerge from the first batch of games. Who could have foretold that the hero of the PlayStation launch would be a fireworks simulation, or that the most joyous title in the initial GameCube lineup would involve simians racing each other in giant transparent globes?The latest example could well be Konami’s Survival Kids, the only new third-party game in the Switch 2 opening wave. It’s the latest in the publisher’s cult series of tropical island survival sims, which began on the Game Boy Color and, despite never really attracting vast global success, continued on to the Nintendo DS under a new name, Lost in Blue. Now it’s back as a familyfriendly co-op survival adventure, in which groups of up to four players are shipwrecked on a mysterious archipelago, and must survive by gathering resources, crafting tools, finding food and exploring a series of lush, cartoonish environments. Four people can play online, but the game also supports Switch 2’s game sharing, which lets one person who owns the game connect wirelessly with other consoles to play together.Lush, cartoonish environments … a still from Survival Kids. Photograph: Konami Digital EntertainmentAndrew Dennison, who heads the game’s developer Unity, sees this as one of the Switch 2’s key features. “With splitscreen you have one machine rendering two different versions of the game,” he says. “With GameShare, we can compress one of those views and stream it … we render everything three times and push that out to two other consoles. As much as you can deep dive into tech specs, the benefits of GameShare are delightful. Other players in the same room as you don’t have to own the game, they don’t have to download anything … they can just turn on their Switch or Switch 2, push a button and they’re playing a game.”Unlike survival titles such as Don’t Starve or Project Zomboid, there’s no mortal peril in Survival Kids. Running out of food hampers your progress, but you can’t actually starve; if you die, you just – respawn nearby. “We wanted to make sure the game was enjoyable for people at every skill level,” says Dennison. “It’s a balancing act – we don’t want to bore experienced gamers – but you can streamline gameplay challenge without simplifying to the point of making it irrelevant.” Due to the strict NDAs around the Switch 2 hardware, the developer couldn’t bring in many external testers to fine-tune the difficulty – so Dennison ended up testing the game on his nieces, and on the finance department.All about co-operation … Survival Kids Photograph: Konami Digital EntertainmentBuilding tools is key – combine a vine and a stick and you get a fishing rod with which to lasso useful objects. Construct an umbrella and you can glide across wide canyons. There are no cumbersome item-inventory screens: when you need to build a tool or contraption, you can take what you need and drop it all into a bucket that magically spits it out. Tools are all stored at base camp, not in a menu, so that you can easily take a path home to pick up what you need.As with Overcooked, Survival Kids is all about streamlined cooperation and carefully divvied-out tasks. Chopping wood and breaking rocks is faster with two people, so you need a physical labour team; meanwhile food provides the energy needed to climb cliff faces and carry heavy relics, so you’ll need a chef to gather plants and make dinner. “We really wanted people to go back and eat at the base camp together,” says Richard Jones, creative director for Konami Digital Entertainment. “This way, the base camp becomes a place to return to – a sort of communal kitchen.”skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionUnlike most modern survival sims, it’s not totally open-ended: your aim is to discover more and more of the islands, which brings a sort of escape room feel to things. It’s also possible to go back and re-try levels to get a quicker time. Despite the family look and feel, there are some interesting and quite demanding physics-based challenges with multiple solutions. There’s a nice humour and lightness to the game as well, perhaps an inevitability considering that Dennison and many of the development team at Unity’s Stratford-upon-Avon office came from Codemasters and Rare.Will Konami bring more of its classic titles to Switch 2? “We know there are other Konami teams who are interested in this platform – we’ll be able to help them,” says Jones. “So yeah, fingers-crossed we’ll see some more Switch 2 projects from Konami.” For now Survival kids feels like a great test case for the new console’s family oriented game sharing. #survival #kids #proves #nintendo #switch
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    Survival Kids proves Nintendo Switch 2 isn’t just about Mario Kart World
    The interesting thing about console launches is that you never know what unexpected treasures will emerge from the first batch of games. Who could have foretold that the hero of the PlayStation launch would be a fireworks simulation (Fantavision), or that the most joyous title in the initial GameCube lineup would involve simians racing each other in giant transparent globes (Super Monkey Ball)?The latest example could well be Konami’s Survival Kids, the only new third-party game in the Switch 2 opening wave. It’s the latest in the publisher’s cult series of tropical island survival sims, which began on the Game Boy Color and, despite never really attracting vast global success, continued on to the Nintendo DS under a new name, Lost in Blue. Now it’s back as a familyfriendly co-op survival adventure, in which groups of up to four players are shipwrecked on a mysterious archipelago, and must survive by gathering resources, crafting tools, finding food and exploring a series of lush, cartoonish environments. Four people can play online, but the game also supports Switch 2’s game sharing, which lets one person who owns the game connect wirelessly with other consoles to play together.Lush, cartoonish environments … a still from Survival Kids. Photograph: Konami Digital EntertainmentAndrew Dennison, who heads the game’s developer Unity, sees this as one of the Switch 2’s key features. “With splitscreen you have one machine rendering two different versions of the game,” he says. “With GameShare, we can compress one of those views and stream it … we render everything three times and push that out to two other consoles. As much as you can deep dive into tech specs, the benefits of GameShare are delightful. Other players in the same room as you don’t have to own the game, they don’t have to download anything … they can just turn on their Switch or Switch 2, push a button and they’re playing a game.”Unlike survival titles such as Don’t Starve or Project Zomboid (or indeed Lost in Blue), there’s no mortal peril in Survival Kids. Running out of food hampers your progress, but you can’t actually starve; if you die, you just – respawn nearby. “We wanted to make sure the game was enjoyable for people at every skill level,” says Dennison. “It’s a balancing act – we don’t want to bore experienced gamers – but you can streamline gameplay challenge without simplifying to the point of making it irrelevant.” Due to the strict NDAs around the Switch 2 hardware, the developer couldn’t bring in many external testers to fine-tune the difficulty – so Dennison ended up testing the game on his nieces, and on the finance department.All about co-operation … Survival Kids Photograph: Konami Digital EntertainmentBuilding tools is key – combine a vine and a stick and you get a fishing rod with which to lasso useful objects. Construct an umbrella and you can glide across wide canyons. There are no cumbersome item-inventory screens: when you need to build a tool or contraption, you can take what you need and drop it all into a bucket that magically spits it out. Tools are all stored at base camp, not in a menu, so that you can easily take a path home to pick up what you need.As with Overcooked, Survival Kids is all about streamlined cooperation and carefully divvied-out tasks. Chopping wood and breaking rocks is faster with two people, so you need a physical labour team; meanwhile food provides the energy needed to climb cliff faces and carry heavy relics, so you’ll need a chef to gather plants and make dinner. “We really wanted people to go back and eat at the base camp together,” says Richard Jones, creative director for Konami Digital Entertainment. “This way, the base camp becomes a place to return to – a sort of communal kitchen.”skip past newsletter promotionSign up to Pushing ButtonsFree weekly newsletterKeza MacDonald's weekly look at the world of gamingPrivacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.after newsletter promotionUnlike most modern survival sims, it’s not totally open-ended: your aim is to discover more and more of the islands, which brings a sort of escape room feel to things. It’s also possible to go back and re-try levels to get a quicker time. Despite the family look and feel, there are some interesting and quite demanding physics-based challenges with multiple solutions. There’s a nice humour and lightness to the game as well, perhaps an inevitability considering that Dennison and many of the development team at Unity’s Stratford-upon-Avon office came from Codemasters and Rare.Will Konami bring more of its classic titles to Switch 2? “We know there are other Konami teams who are interested in this platform – we’ll be able to help them,” says Jones. “So yeah, fingers-crossed we’ll see some more Switch 2 projects from Konami.” For now Survival kids feels like a great test case for the new console’s family oriented game sharing.
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  • Meta splits its AI division into two

    Metais restructuring its AI division into two distinct units, AI Products and AGI Foundations, marking its most significant internal overhaul as it races to compete with OpenAI and Google.

    The move, detailed in an internal memo from Chief Product Officer Chris Cox and reported by Axios, appoints Connor Hayes to lead AI product integration while Ahmad Al-Dahle and Amir Frenkel will co-direct long-term AGI research.

    The restructuring comes amid mounting crises, including the delayed Llama 4 Behemoth model and the departure of key Llama architects to competitors like Mistral AI. This marks Meta’s second major AI reorganization since CEO Mark Zuckerberg’s 2023 attempt to “turbocharge” generative AI efforts, which saw the company fall further behind rivals despite early promise.

    “Structural changes alone won’t solve Meta’s AI challenges,” said Amandeep Singh, practice director at QKS Group. “While the new AGI Foundations unit creates clarity, retaining elite talent requires a seamless pipeline from research to real-world deployment. Meta has struggled with fragmented pipelines and unclear priorities,” added Singh.

    Talent exodus and technical setbacks

    The restructuring follows talent losses that have exposed fundamental weaknesses in Meta’s AI strategy. Only three authors remain from the original 14-person Llama research team, according to Business Insider. Internal surveys cited by The Information reveal plummeting morale in Meta’s AI division, where employees cite resource constraints and sluggish progress.

    “Talent follows momentum, and right now, momentum lives where research decisions directly shape deployed capabilities,” noted Singh.

    This talent drain coincides with technical setbacks, most notably the underperforming Llama 4 model, which has struggled with reasoning and mathematical tasks. These combined challenges have left Meta playing catch-up in the race toward artificial general intelligence, despite its early open-source advantages.

    The company’s strategy, bolstered by initiatives such as Llama for Startups and the recent Llama API launch, aims to attract developers and differentiate it from competitors’ proprietary models. But analysts caution these initiatives alone may not be enough to win enterprise trust.

    The enterprise adoption dilemma

    While Llama’s cost advantages remain attractive to businesses, growing concerns about its governance controls and the looming copyright lawsuit over training data are giving enterprises pause.

    “Companies love Llama’s affordability but expanding safety gaps and legal risks are becoming hard to ignore,” Singh said. “For mission-critical applications, many will ultimately choose more reliable, if more expensive, options like GPT or Gemini.”

    These cost benefits can lose their appeal when weighed against operational risks. Meta’s reorganization attempts to mitigate these concerns through specialized teams, one deploying generative AI across products, another advancing AGI research, but analysts remain skeptical about whether structural changes alone can solve deeper issues.

    Unlike Microsoft’s turnkey OpenAI integration or Google’s enterprise-ready Vertex AI platform, Meta lacks both the sales infrastructure and compliance pedigree for regulated industries. As Singh argued, “Enterprise AI adoption hinges on proven compliance frameworks, operational reliability, and mature support systems. Meta still needs to build that trust at Fortune 500 scale.”

    Meta’s race to close the AGI gap

    “Meta’s AGI push focused on models with reasoning, multimedia, and voice capabilities aligns with the broader industry trend toward multimodal AI as a catalyst for enterprise transformation,” said Surjyadeb Goswami, research director for AI and Automation at IDC Asia Pacific. He noted that open-source models are critical to enabling cost-effective, transparent, and customizable deployments, especially as organizations deepen their GenAI investments.

    For Meta to truly capitalize on this opportunity and succeed in its AGI bid, it must rebuild trust especially for enterprise adoption. Singh highlighted the need for Linux-like community stewardship, OpenAI-level safety protocols, and robust enterprise tooling. “Balancing openness with responsibility is Meta’s real challenge, especially as models approach general-purpose cognitive capability.”

    Meta now needs to show this reorganization yields meaningful improvements in model performance, talent retention, and enterprise adoption to validate its new approach. “Meta’s open-source vision is bold, but execution is everything,” Singh concluded.
    #meta #splits #its #division #into
    Meta splits its AI division into two
    Metais restructuring its AI division into two distinct units, AI Products and AGI Foundations, marking its most significant internal overhaul as it races to compete with OpenAI and Google. The move, detailed in an internal memo from Chief Product Officer Chris Cox and reported by Axios, appoints Connor Hayes to lead AI product integration while Ahmad Al-Dahle and Amir Frenkel will co-direct long-term AGI research. The restructuring comes amid mounting crises, including the delayed Llama 4 Behemoth model and the departure of key Llama architects to competitors like Mistral AI. This marks Meta’s second major AI reorganization since CEO Mark Zuckerberg’s 2023 attempt to “turbocharge” generative AI efforts, which saw the company fall further behind rivals despite early promise. “Structural changes alone won’t solve Meta’s AI challenges,” said Amandeep Singh, practice director at QKS Group. “While the new AGI Foundations unit creates clarity, retaining elite talent requires a seamless pipeline from research to real-world deployment. Meta has struggled with fragmented pipelines and unclear priorities,” added Singh. Talent exodus and technical setbacks The restructuring follows talent losses that have exposed fundamental weaknesses in Meta’s AI strategy. Only three authors remain from the original 14-person Llama research team, according to Business Insider. Internal surveys cited by The Information reveal plummeting morale in Meta’s AI division, where employees cite resource constraints and sluggish progress. “Talent follows momentum, and right now, momentum lives where research decisions directly shape deployed capabilities,” noted Singh. This talent drain coincides with technical setbacks, most notably the underperforming Llama 4 model, which has struggled with reasoning and mathematical tasks. These combined challenges have left Meta playing catch-up in the race toward artificial general intelligence, despite its early open-source advantages. The company’s strategy, bolstered by initiatives such as Llama for Startups and the recent Llama API launch, aims to attract developers and differentiate it from competitors’ proprietary models. But analysts caution these initiatives alone may not be enough to win enterprise trust. The enterprise adoption dilemma While Llama’s cost advantages remain attractive to businesses, growing concerns about its governance controls and the looming copyright lawsuit over training data are giving enterprises pause. “Companies love Llama’s affordability but expanding safety gaps and legal risks are becoming hard to ignore,” Singh said. “For mission-critical applications, many will ultimately choose more reliable, if more expensive, options like GPT or Gemini.” These cost benefits can lose their appeal when weighed against operational risks. Meta’s reorganization attempts to mitigate these concerns through specialized teams, one deploying generative AI across products, another advancing AGI research, but analysts remain skeptical about whether structural changes alone can solve deeper issues. Unlike Microsoft’s turnkey OpenAI integration or Google’s enterprise-ready Vertex AI platform, Meta lacks both the sales infrastructure and compliance pedigree for regulated industries. As Singh argued, “Enterprise AI adoption hinges on proven compliance frameworks, operational reliability, and mature support systems. Meta still needs to build that trust at Fortune 500 scale.” Meta’s race to close the AGI gap “Meta’s AGI push focused on models with reasoning, multimedia, and voice capabilities aligns with the broader industry trend toward multimodal AI as a catalyst for enterprise transformation,” said Surjyadeb Goswami, research director for AI and Automation at IDC Asia Pacific. He noted that open-source models are critical to enabling cost-effective, transparent, and customizable deployments, especially as organizations deepen their GenAI investments. For Meta to truly capitalize on this opportunity and succeed in its AGI bid, it must rebuild trust especially for enterprise adoption. Singh highlighted the need for Linux-like community stewardship, OpenAI-level safety protocols, and robust enterprise tooling. “Balancing openness with responsibility is Meta’s real challenge, especially as models approach general-purpose cognitive capability.” Meta now needs to show this reorganization yields meaningful improvements in model performance, talent retention, and enterprise adoption to validate its new approach. “Meta’s open-source vision is bold, but execution is everything,” Singh concluded. #meta #splits #its #division #into
    WWW.COMPUTERWORLD.COM
    Meta splits its AI division into two
    Meta (Nasdaq:META) is restructuring its AI division into two distinct units, AI Products and AGI Foundations, marking its most significant internal overhaul as it races to compete with OpenAI and Google. The move, detailed in an internal memo from Chief Product Officer Chris Cox and reported by Axios, appoints Connor Hayes to lead AI product integration while Ahmad Al-Dahle and Amir Frenkel will co-direct long-term AGI research. The restructuring comes amid mounting crises, including the delayed Llama 4 Behemoth model and the departure of key Llama architects to competitors like Mistral AI. This marks Meta’s second major AI reorganization since CEO Mark Zuckerberg’s 2023 attempt to “turbocharge” generative AI efforts, which saw the company fall further behind rivals despite early promise. “Structural changes alone won’t solve Meta’s AI challenges,” said Amandeep Singh, practice director at QKS Group. “While the new AGI Foundations unit creates clarity, retaining elite talent requires a seamless pipeline from research to real-world deployment. Meta has struggled with fragmented pipelines and unclear priorities,” added Singh. Talent exodus and technical setbacks The restructuring follows talent losses that have exposed fundamental weaknesses in Meta’s AI strategy. Only three authors remain from the original 14-person Llama research team, according to Business Insider. Internal surveys cited by The Information reveal plummeting morale in Meta’s AI division, where employees cite resource constraints and sluggish progress. “Talent follows momentum, and right now, momentum lives where research decisions directly shape deployed capabilities,” noted Singh. This talent drain coincides with technical setbacks, most notably the underperforming Llama 4 model, which has struggled with reasoning and mathematical tasks. These combined challenges have left Meta playing catch-up in the race toward artificial general intelligence, despite its early open-source advantages. The company’s strategy, bolstered by initiatives such as Llama for Startups and the recent Llama API launch, aims to attract developers and differentiate it from competitors’ proprietary models. But analysts caution these initiatives alone may not be enough to win enterprise trust. The enterprise adoption dilemma While Llama’s cost advantages remain attractive to businesses, growing concerns about its governance controls and the looming copyright lawsuit over training data are giving enterprises pause. “Companies love Llama’s affordability but expanding safety gaps and legal risks are becoming hard to ignore,” Singh said. “For mission-critical applications, many will ultimately choose more reliable, if more expensive, options like GPT or Gemini.” These cost benefits can lose their appeal when weighed against operational risks. Meta’s reorganization attempts to mitigate these concerns through specialized teams, one deploying generative AI across products, another advancing AGI research, but analysts remain skeptical about whether structural changes alone can solve deeper issues. Unlike Microsoft’s turnkey OpenAI integration or Google’s enterprise-ready Vertex AI platform, Meta lacks both the sales infrastructure and compliance pedigree for regulated industries. As Singh argued, “Enterprise AI adoption hinges on proven compliance frameworks, operational reliability, and mature support systems. Meta still needs to build that trust at Fortune 500 scale.” Meta’s race to close the AGI gap “Meta’s AGI push focused on models with reasoning, multimedia, and voice capabilities aligns with the broader industry trend toward multimodal AI as a catalyst for enterprise transformation,” said Surjyadeb Goswami, research director for AI and Automation at IDC Asia Pacific. He noted that open-source models are critical to enabling cost-effective, transparent, and customizable deployments, especially as organizations deepen their GenAI investments. For Meta to truly capitalize on this opportunity and succeed in its AGI bid, it must rebuild trust especially for enterprise adoption. Singh highlighted the need for Linux-like community stewardship, OpenAI-level safety protocols, and robust enterprise tooling. “Balancing openness with responsibility is Meta’s real challenge, especially as models approach general-purpose cognitive capability.” Meta now needs to show this reorganization yields meaningful improvements in model performance, talent retention, and enterprise adoption to validate its new approach. “Meta’s open-source vision is bold, but execution is everything,” Singh concluded.
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  • HBO and Max New Releases: June 2025

    HBO original The Gilded Age returns for a third season on June 22. This series tells a fictionalized story set during America’s Gilded Age. A time of rapidly increasing prosperity and industry, for those lucky enough to capitalize on it. New York City’s social scene is forced to adapt as people with old moneyand those with new moneyclash. Carrie Coon, Morgan Spector, Taissa Farmiga, Cynthia Nixon, and more star in this compelling drama.

    Fans of The Hunger Games series will be happy to find all four movies in the series on Max from the first of the month. If you need a break from Sunrise on the Reaping theories or simply want to revisit the story that started it all, Max is the place to be.
    A Minecraft Movie will also be available to stream on Max this month, though the date has yet to be revealed by Warner Bros. Discovery.
    Here’s everything coming to HBO and Max in June.

    HBO and Max New Releases – June 2025
    June 1
    A Hologram for the KingA Nightmare on Elm StreetA Perfect GetawayBacktrackBatman and Superman: Battle of the Super SonsBlack PatchBlues in the NightCasinoFight ClubGentleman JimHellboyI Am Not Your NegroIgorIllegalIn the Good Old SummertimeInvasion of the Body SnatchersKid Glove KillerMeet Me in St. LouisMy Scientology MovieNumbered MenOne Foot in HeavenParasitePresenting Lily MarsPride & PrejudicePublic EnemiesReign of the SupermenSerenadeSilver RiverSpaceballsSplitStrike Up the BandSummer StockSuperman: Man of TomorrowSuperman: Red SonSuperman: UnboundSuperman/Batman: Public EnemiesThank Your Lucky StarsThe Death of SupermanThe Fighting 69thThe Harvey GirlsThe Hunger GamesThe Hunger Games: Catching FireThe Hunger Games: Mockingjay Part 1The Hunger Games: Mockingjay Part 2The Man Who Invented ChristmasThe Match KingThe Mayor of HellThe MorticianThe NitwitsThe Prince and the PauperThe Sea ChaseThe Sea HawkThe Sunlit NightThe VerdictThey Made Me a CriminalThis Side of the LawThree Faces EastThree StrangersTotal Drama Island, Season 2Wagons WestWords and MusicYou’ll Find OutZiegfeld FolliesJune 2
    BBQ Brawl, Season 6June 3
    Bullet TrainUgliest House in America, Season 6June 4
    1000-lb Roomies, Season 1Fatal Destination, Season 1June 5
    Bea’s Block, Season 1CChespirito: Not Really on Purpose, Season 1June 6
    House Hunters International: Volume 9, Season 201ParthenopeJune 10
    Virgins, Season 1Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!

    June 11
    Guy’s Grocery Games, Season 38June 12
    Bitchin’ Rides, Season 11Mini Beat Power Rockers: A Superheroic NightJune 13
    CleanerHouse Hunters: Volume 10, Season 240Maine Cabin Masters, Season 10Super SaraToad & Friends, Season 1BJune 16
    Hero Ball, Season 3BJune 17
    Dr. Sanjay Gupta Reports: Animal PharmSuper Mega Cakes, Season 1June 19
    Expedition Unknown, Season 15Mystery At Blind Frog Ranch, Season 5June 20
    House Hunters: Volume 10, Season 241Lu & The Bally Bunch, Season 1CNow or Never: FC MontfermeilTeen Titans Go!, Season 9BJune 21
    The Kitchen, Season 38The Never Ever Mets, Season 2June 22The Gilded Age, Season 3June 23
    Match Me Abroad, Season 2June 24
    EnigmaMean Girl Murders, Season 3The InvitationJune 25
    Rehab Addict, Season 10June 27
    House Hunters: Volume 10, Season 242My Mom JaynePati, Seasons 1&2The Day the Earth Blew Up: A Looney Tunes MovieJune 29
    #Somebody’s Son, Season 1Family or Fiancé, Season 4June 30
    90 Day Fiancé: Pillow Talk, Season 11Truck U, Season 21
    #hbo #max #new #releases #june
    HBO and Max New Releases: June 2025
    HBO original The Gilded Age returns for a third season on June 22. This series tells a fictionalized story set during America’s Gilded Age. A time of rapidly increasing prosperity and industry, for those lucky enough to capitalize on it. New York City’s social scene is forced to adapt as people with old moneyand those with new moneyclash. Carrie Coon, Morgan Spector, Taissa Farmiga, Cynthia Nixon, and more star in this compelling drama. Fans of The Hunger Games series will be happy to find all four movies in the series on Max from the first of the month. If you need a break from Sunrise on the Reaping theories or simply want to revisit the story that started it all, Max is the place to be. A Minecraft Movie will also be available to stream on Max this month, though the date has yet to be revealed by Warner Bros. Discovery. Here’s everything coming to HBO and Max in June. HBO and Max New Releases – June 2025 June 1 A Hologram for the KingA Nightmare on Elm StreetA Perfect GetawayBacktrackBatman and Superman: Battle of the Super SonsBlack PatchBlues in the NightCasinoFight ClubGentleman JimHellboyI Am Not Your NegroIgorIllegalIn the Good Old SummertimeInvasion of the Body SnatchersKid Glove KillerMeet Me in St. LouisMy Scientology MovieNumbered MenOne Foot in HeavenParasitePresenting Lily MarsPride & PrejudicePublic EnemiesReign of the SupermenSerenadeSilver RiverSpaceballsSplitStrike Up the BandSummer StockSuperman: Man of TomorrowSuperman: Red SonSuperman: UnboundSuperman/Batman: Public EnemiesThank Your Lucky StarsThe Death of SupermanThe Fighting 69thThe Harvey GirlsThe Hunger GamesThe Hunger Games: Catching FireThe Hunger Games: Mockingjay Part 1The Hunger Games: Mockingjay Part 2The Man Who Invented ChristmasThe Match KingThe Mayor of HellThe MorticianThe NitwitsThe Prince and the PauperThe Sea ChaseThe Sea HawkThe Sunlit NightThe VerdictThey Made Me a CriminalThis Side of the LawThree Faces EastThree StrangersTotal Drama Island, Season 2Wagons WestWords and MusicYou’ll Find OutZiegfeld FolliesJune 2 BBQ Brawl, Season 6June 3 Bullet TrainUgliest House in America, Season 6June 4 1000-lb Roomies, Season 1Fatal Destination, Season 1June 5 Bea’s Block, Season 1CChespirito: Not Really on Purpose, Season 1June 6 House Hunters International: Volume 9, Season 201ParthenopeJune 10 Virgins, Season 1Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 11 Guy’s Grocery Games, Season 38June 12 Bitchin’ Rides, Season 11Mini Beat Power Rockers: A Superheroic NightJune 13 CleanerHouse Hunters: Volume 10, Season 240Maine Cabin Masters, Season 10Super SaraToad & Friends, Season 1BJune 16 Hero Ball, Season 3BJune 17 Dr. Sanjay Gupta Reports: Animal PharmSuper Mega Cakes, Season 1June 19 Expedition Unknown, Season 15Mystery At Blind Frog Ranch, Season 5June 20 House Hunters: Volume 10, Season 241Lu & The Bally Bunch, Season 1CNow or Never: FC MontfermeilTeen Titans Go!, Season 9BJune 21 The Kitchen, Season 38The Never Ever Mets, Season 2June 22The Gilded Age, Season 3June 23 Match Me Abroad, Season 2June 24 EnigmaMean Girl Murders, Season 3The InvitationJune 25 Rehab Addict, Season 10June 27 House Hunters: Volume 10, Season 242My Mom JaynePati, Seasons 1&2The Day the Earth Blew Up: A Looney Tunes MovieJune 29 #Somebody’s Son, Season 1Family or Fiancé, Season 4June 30 90 Day Fiancé: Pillow Talk, Season 11Truck U, Season 21 #hbo #max #new #releases #june
    WWW.DENOFGEEK.COM
    HBO and Max New Releases: June 2025
    HBO original The Gilded Age returns for a third season on June 22. This series tells a fictionalized story set during America’s Gilded Age. A time of rapidly increasing prosperity and industry, for those lucky enough to capitalize on it. New York City’s social scene is forced to adapt as people with old money (inherited wealth) and those with new money (wealth from rising industries) clash. Carrie Coon, Morgan Spector, Taissa Farmiga, Cynthia Nixon, and more star in this compelling drama. Fans of The Hunger Games series will be happy to find all four movies in the series on Max from the first of the month. If you need a break from Sunrise on the Reaping theories or simply want to revisit the story that started it all, Max is the place to be. A Minecraft Movie will also be available to stream on Max this month, though the date has yet to be revealed by Warner Bros. Discovery. Here’s everything coming to HBO and Max in June. HBO and Max New Releases – June 2025 June 1 A Hologram for the King (2016)A Nightmare on Elm Street (2010)A Perfect Getaway (2009)Backtrack (2016)Batman and Superman: Battle of the Super Sons (2022)Black Patch (1957)Blues in the Night (1941)Casino (1995)Fight Club (1999)Gentleman Jim (1942)Hellboy (2004)I Am Not Your Negro (2017)Igor (2008)Illegal (1955)In the Good Old Summertime (1949)Invasion of the Body Snatchers (1978)Kid Glove Killer (1942)Meet Me in St. Louis (1944)My Scientology Movie (2017)Numbered Men (1930)One Foot in Heaven (1941)Parasite (2019)Presenting Lily Mars (1943)Pride & Prejudice (2005)Public Enemies (2009)Reign of the Supermen (2019)Serenade (1956)Silver River (1948)Spaceballs (1987)Split (2017)Strike Up the Band (1940)Summer Stock (1950)Superman: Man of Tomorrow (2020)Superman: Red Son (2020)Superman: Unbound (2013)Superman/Batman: Public Enemies (2009)Thank Your Lucky Stars (1943)The Death of Superman (2018)The Fighting 69th (1940)The Harvey Girls (1946)The Hunger Games (2012)The Hunger Games: Catching Fire (2013)The Hunger Games: Mockingjay Part 1 (2014)The Hunger Games: Mockingjay Part 2 (2015)The Man Who Invented Christmas (2017)The Match King (1932)The Mayor of Hell (1933)The Mortician (HBO Original)The Nitwits (1935)The Prince and the Pauper (1937)The Sea Chase (1955)The Sea Hawk (1940)The Sunlit Night (2019)The Verdict (1946)They Made Me a Criminal (1939)This Side of the Law (1950)Three Faces East (1930)Three Strangers (1946)Total Drama Island, Season 2 (Cartoon Network)Wagons West (1952)Words and Music (1948)You’ll Find Out (1940)Ziegfeld Follies (1946)June 2 BBQ Brawl, Season 6 (Food Network)June 3 Bullet Train (2022)Ugliest House in America, Season 6 (HGTV)June 4 1000-lb Roomies, Season 1 (TLC)Fatal Destination, Season 1 (ID)June 5 Bea’s Block, Season 1C (Max Original)Chespirito: Not Really on Purpose, Season 1 (Max Original)June 6 House Hunters International: Volume 9, Season 201 (HGTV)Parthenope (A24) June 10 Virgins, Season 1 (TLC) Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 11 Guy’s Grocery Games, Season 38 (Food Network)June 12 Bitchin’ Rides, Season 11Mini Beat Power Rockers: A Superheroic Night (Discovery International)June 13 Cleaner (2025)House Hunters: Volume 10, Season 240 (HGTV)Maine Cabin Masters, Season 10 (Magnolia Network)Super Sara (Max Original)Toad & Friends, Season 1BJune 16 Hero Ball, Season 3BJune 17 Dr. Sanjay Gupta Reports: Animal Pharm (CNN Originals, 2025)Super Mega Cakes, Season 1 (Food Network) June 19 Expedition Unknown, Season 15 (Discovery)Mystery At Blind Frog Ranch, Season 5 (Discovery)June 20 House Hunters: Volume 10, Season 241 (HGTV)Lu & The Bally Bunch, Season 1C (Cartoon Network)Now or Never: FC Montfermeil (Max Original)Teen Titans Go!, Season 9B (Cartoon Network)June 21 The Kitchen, Season 38 (Food Network)The Never Ever Mets, Season 2 (OWN)June 22The Gilded Age, Season 3 (HBO Original) June 23 Match Me Abroad, Season 2 (TLC)June 24 Enigma (HBO Original)Mean Girl Murders, Season 3 (ID)The Invitation (2022) June 25 Rehab Addict, Season 10 (HGTV)June 27 House Hunters: Volume 10, Season 242 (HGTV)My Mom Jayne (HBO Original)Pati, Seasons 1&2 (Max Original)The Day the Earth Blew Up: A Looney Tunes Movie (2025)June 29 #Somebody’s Son, Season 1 (OWN)Family or Fiancé, Season 4 (OWN)June 30 90 Day Fiancé: Pillow Talk, Season 11 (TLC)Truck U, Season 21
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist

    Features Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist
    A new fan theory about the ending of Mission: Impossible - The Final Reckoning is gaining steam online. And it would fix what some consider to be the series' biggest mistake.

    By Tom Chapman | May 30, 2025 | |

    Photo: Paramount Pictures

    This article contains Mission: Impossible – The Final Reckoning spoilers.
    For now it looks like Christopher McQuarrie’s Mission: Impossible – The Final Reckoning really could be the end of the long-running spy series. While there’s plenty of talk about Tom Cruise hanging up his badge as the Impossible Missions Force’s Ethan Hunt or possibly handing over the baton to one of the many other unwilling recruits, there’s plenty of evidence that we’re not done yet. The critic scores and box office point to an appetite for Mission: Impossible 9, and now a popular online theory is taking off that a fan-favorite could soon be back in action.
    After Brian De Palma’s original Mission: ImpossibleRebecca Ferguson’s Isla Faust in 2023’s Mission: Impossible – Dead Reckoning that sticks out more than most. Although Ilsa was seemingly killed by Esai Morales’ villainous Gabriel during a tense Venice action scene, the fact that her death seemed so sudden and was glossed over so quickly led many to believe she’d be back for The Final Reckoning. That’s sadly not the case, but what about in the franchise’s future?

    Previous outings have shown that Ethan’s dangerous career path affects his ability to hold down a relationship. Additionally, the franchise is no stranger to bringing characters back from the dead. When both features are coupled with Ilsa’s somewhat underwhelming death, it’s no surprise that fans are clinging onto the idea she’ll return in the inevitable next movie. And during The Final Reckoning’s final scene, where Ethan splits from his team in London, eagle-eyed fans spotted him veering close to an unnamed woman who looks a lot like Ferguson’s dearly departed assassin. Some suggested it was Hayley Atwell’s Grace, but with her having already said her goodbyes and gone in a different direction, it clearly can’t be her.

    Supporters of the theory have latched onto footage of Ilsa from Fallout and compared it to the mysterious Final Reckoning woman. The stranger has a similar wavy hairstyle to Ilsa, and a choice in baggy clothes. It would also be a neat parallel of the pair parting ways and going in different directionsduring Rogue Nation.
    Others have likened this theory to Christian Bale’s Bruce Wayne meeting with Anne Hathaway’s Selina Kyle after he faked his death in The Dark Knight Rises. Given Ferguson’s raised profile in Silo and the Dune movies, landing her again would be a major coup, but what has the star herself said?
    Ferguson has previously explained why she felt the need to step away from Mission: Impossible, telling the Unwrapped podcast how it was more than just her three-movie deal being done: “Ilsa was becoming a team player. And we all can want different things, but for me, Ilsa was rogue. Ilsa was naughty. Ilsa was unpredictable. There was a lot of characters coming in, not leaving enough space for what she had been.”
    We previously said how Ilsa’s Dead Reckoning death effectively ‘fridged’ her character to catapult Ethan’s arc forward and leave more room for Grace to step up as a franchise lead. Most frustratingly, after becoming a mainstay of the previous two movies, she was forced to take a backseat in the first half of Dead Reckoning and given a quick demise that was barely referenced afterward. Going against the idea that we’ll see Ilsa again, Dead Reckoning’s Arabian-set opening already had Ethan help her fake her death. It’s true that we don’t see what happens to her body, but a double fake out might be even too much for a franchise that’s taught us to never trust what we see thanks to its mask technology and old-fashioned sleight of hand. 
    Another reason you shouldn’t start cheering Ilsa’s welcome return to Mission: Impossible is that McQuarrie might have shut down the theory before it even got to do the rounds. The issue of Ilsa’s absence has been a hotly contested one, especially considering Ferguson only appeared via archive footage without filming anything new. Despite the controversy, McQuarrie told theHappy Sad Confused podcast that “it’s the cost versus benefit. The death of essential characters has followed Ethanthroughout every one of these movies. I don’t think up until that point a character that resonated so deeply with the audience had died.” While the director says he understands why some were dissatisfied with how it happened, he concluded, “Which is where I thought that wouldn’t motivate me to undo the one thing that gives Mission: Impossible teeth, which is ‘death is permanent’.”
    It’s no secret that the Mission: Impossible movies have tried their best to tie up loose ends. Thandiwe Newton denied rumors she was asked to reprise her role as Nyah Nordoff-Hall in Mission: Impossible III, Jeremy Renner recently told the Happy Sad Confused podcast that he turned down another chance to play William Brandt because he wanted to spend more time with his daughter, and Maggie Q told Yahoo in 2020 that she had to turn down two opportunities to reappear as Zhen Li due to filming commitments.

    Unfortunately for Faust fans, it sounds like McQuarrie thinks she got the ending he wanted. It might be hard to keep Ferguson’s return a secret if there’s another Mission: Impossible, and we’re still a long way from potentially seeing Isla Faust again.

    Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!
    #mission #impossible #final #reckoning #fan
    Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist
    Features Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist A new fan theory about the ending of Mission: Impossible - The Final Reckoning is gaining steam online. And it would fix what some consider to be the series' biggest mistake. By Tom Chapman | May 30, 2025 | | Photo: Paramount Pictures This article contains Mission: Impossible – The Final Reckoning spoilers. For now it looks like Christopher McQuarrie’s Mission: Impossible – The Final Reckoning really could be the end of the long-running spy series. While there’s plenty of talk about Tom Cruise hanging up his badge as the Impossible Missions Force’s Ethan Hunt or possibly handing over the baton to one of the many other unwilling recruits, there’s plenty of evidence that we’re not done yet. The critic scores and box office point to an appetite for Mission: Impossible 9, and now a popular online theory is taking off that a fan-favorite could soon be back in action. After Brian De Palma’s original Mission: ImpossibleRebecca Ferguson’s Isla Faust in 2023’s Mission: Impossible – Dead Reckoning that sticks out more than most. Although Ilsa was seemingly killed by Esai Morales’ villainous Gabriel during a tense Venice action scene, the fact that her death seemed so sudden and was glossed over so quickly led many to believe she’d be back for The Final Reckoning. That’s sadly not the case, but what about in the franchise’s future? Previous outings have shown that Ethan’s dangerous career path affects his ability to hold down a relationship. Additionally, the franchise is no stranger to bringing characters back from the dead. When both features are coupled with Ilsa’s somewhat underwhelming death, it’s no surprise that fans are clinging onto the idea she’ll return in the inevitable next movie. And during The Final Reckoning’s final scene, where Ethan splits from his team in London, eagle-eyed fans spotted him veering close to an unnamed woman who looks a lot like Ferguson’s dearly departed assassin. Some suggested it was Hayley Atwell’s Grace, but with her having already said her goodbyes and gone in a different direction, it clearly can’t be her. Supporters of the theory have latched onto footage of Ilsa from Fallout and compared it to the mysterious Final Reckoning woman. The stranger has a similar wavy hairstyle to Ilsa, and a choice in baggy clothes. It would also be a neat parallel of the pair parting ways and going in different directionsduring Rogue Nation. Others have likened this theory to Christian Bale’s Bruce Wayne meeting with Anne Hathaway’s Selina Kyle after he faked his death in The Dark Knight Rises. Given Ferguson’s raised profile in Silo and the Dune movies, landing her again would be a major coup, but what has the star herself said? Ferguson has previously explained why she felt the need to step away from Mission: Impossible, telling the Unwrapped podcast how it was more than just her three-movie deal being done: “Ilsa was becoming a team player. And we all can want different things, but for me, Ilsa was rogue. Ilsa was naughty. Ilsa was unpredictable. There was a lot of characters coming in, not leaving enough space for what she had been.” We previously said how Ilsa’s Dead Reckoning death effectively ‘fridged’ her character to catapult Ethan’s arc forward and leave more room for Grace to step up as a franchise lead. Most frustratingly, after becoming a mainstay of the previous two movies, she was forced to take a backseat in the first half of Dead Reckoning and given a quick demise that was barely referenced afterward. Going against the idea that we’ll see Ilsa again, Dead Reckoning’s Arabian-set opening already had Ethan help her fake her death. It’s true that we don’t see what happens to her body, but a double fake out might be even too much for a franchise that’s taught us to never trust what we see thanks to its mask technology and old-fashioned sleight of hand.  Another reason you shouldn’t start cheering Ilsa’s welcome return to Mission: Impossible is that McQuarrie might have shut down the theory before it even got to do the rounds. The issue of Ilsa’s absence has been a hotly contested one, especially considering Ferguson only appeared via archive footage without filming anything new. Despite the controversy, McQuarrie told theHappy Sad Confused podcast that “it’s the cost versus benefit. The death of essential characters has followed Ethanthroughout every one of these movies. I don’t think up until that point a character that resonated so deeply with the audience had died.” While the director says he understands why some were dissatisfied with how it happened, he concluded, “Which is where I thought that wouldn’t motivate me to undo the one thing that gives Mission: Impossible teeth, which is ‘death is permanent’.” It’s no secret that the Mission: Impossible movies have tried their best to tie up loose ends. Thandiwe Newton denied rumors she was asked to reprise her role as Nyah Nordoff-Hall in Mission: Impossible III, Jeremy Renner recently told the Happy Sad Confused podcast that he turned down another chance to play William Brandt because he wanted to spend more time with his daughter, and Maggie Q told Yahoo in 2020 that she had to turn down two opportunities to reappear as Zhen Li due to filming commitments. Unfortunately for Faust fans, it sounds like McQuarrie thinks she got the ending he wanted. It might be hard to keep Ferguson’s return a secret if there’s another Mission: Impossible, and we’re still a long way from potentially seeing Isla Faust again. Join our mailing list Get the best of Den of Geek delivered right to your inbox! #mission #impossible #final #reckoning #fan
    WWW.DENOFGEEK.COM
    Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist
    Features Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist A new fan theory about the ending of Mission: Impossible - The Final Reckoning is gaining steam online. And it would fix what some consider to be the series' biggest mistake. By Tom Chapman | May 30, 2025 | | Photo: Paramount Pictures This article contains Mission: Impossible – The Final Reckoning spoilers. For now it looks like Christopher McQuarrie’s Mission: Impossible – The Final Reckoning really could be the end of the long-running spy series. While there’s plenty of talk about Tom Cruise hanging up his badge as the Impossible Missions Force’s Ethan Hunt or possibly handing over the baton to one of the many other unwilling recruits, there’s plenty of evidence that we’re not done yet. The critic scores and box office point to an appetite for Mission: Impossible 9, and now a popular online theory is taking off that a fan-favorite could soon be back in action. After Brian De Palma’s original Mission: ImpossibleRebecca Ferguson’s Isla Faust in 2023’s Mission: Impossible – Dead Reckoning that sticks out more than most. Although Ilsa was seemingly killed by Esai Morales’ villainous Gabriel during a tense Venice action scene, the fact that her death seemed so sudden and was glossed over so quickly led many to believe she’d be back for The Final Reckoning. That’s sadly not the case, but what about in the franchise’s future? Previous outings have shown that Ethan’s dangerous career path affects his ability to hold down a relationship (Michelle Monaghan’s Julia in Mission: Impossible III). Additionally, the franchise is no stranger to bringing characters back from the dead (Jon Voight’s Jim Phelps in Mission: Impossible springs to mind). When both features are coupled with Ilsa’s somewhat underwhelming death, it’s no surprise that fans are clinging onto the idea she’ll return in the inevitable next movie. And during The Final Reckoning’s final scene, where Ethan splits from his team in London, eagle-eyed fans spotted him veering close to an unnamed woman who looks a lot like Ferguson’s dearly departed assassin. Some suggested it was Hayley Atwell’s Grace, but with her having already said her goodbyes and gone in a different direction, it clearly can’t be her. Supporters of the theory have latched onto footage of Ilsa from Fallout and compared it to the mysterious Final Reckoning woman. The stranger has a similar wavy hairstyle to Ilsa, and a choice in baggy clothes. It would also be a neat parallel of the pair parting ways and going in different directions (in London, no less) during Rogue Nation. Others have likened this theory to Christian Bale’s Bruce Wayne meeting with Anne Hathaway’s Selina Kyle after he faked his death in The Dark Knight Rises. Given Ferguson’s raised profile in Silo and the Dune movies, landing her again would be a major coup, but what has the star herself said? Ferguson has previously explained why she felt the need to step away from Mission: Impossible, telling the Unwrapped podcast how it was more than just her three-movie deal being done: “Ilsa was becoming a team player. And we all can want different things, but for me, Ilsa was rogue. Ilsa was naughty. Ilsa was unpredictable. There was a lot of characters coming in, not leaving enough space for what she had been.” We previously said how Ilsa’s Dead Reckoning death effectively ‘fridged’ her character to catapult Ethan’s arc forward and leave more room for Grace to step up as a franchise lead. Most frustratingly, after becoming a mainstay of the previous two movies, she was forced to take a backseat in the first half of Dead Reckoning and given a quick demise that was barely referenced afterward. Going against the idea that we’ll see Ilsa again, Dead Reckoning’s Arabian-set opening already had Ethan help her fake her death. It’s true that we don’t see what happens to her body, but a double fake out might be even too much for a franchise that’s taught us to never trust what we see thanks to its mask technology and old-fashioned sleight of hand.  Another reason you shouldn’t start cheering Ilsa’s welcome return to Mission: Impossible is that McQuarrie might have shut down the theory before it even got to do the rounds. The issue of Ilsa’s absence has been a hotly contested one, especially considering Ferguson only appeared via archive footage without filming anything new. Despite the controversy, McQuarrie told theHappy Sad Confused podcast that “it’s the cost versus benefit. The death of essential characters has followed Ethan [Hunt] throughout every one of these movies. I don’t think up until that point a character that resonated so deeply with the audience had died.” While the director says he understands why some were dissatisfied with how it happened, he concluded, “Which is where I thought that wouldn’t motivate me to undo the one thing that gives Mission: Impossible teeth, which is ‘death is permanent’.” It’s no secret that the Mission: Impossible movies have tried their best to tie up loose ends. Thandiwe Newton denied rumors she was asked to reprise her role as Nyah Nordoff-Hall in Mission: Impossible III, Jeremy Renner recently told the Happy Sad Confused podcast that he turned down another chance to play William Brandt because he wanted to spend more time with his daughter, and Maggie Q told Yahoo in 2020 that she had to turn down two opportunities to reappear as Zhen Li due to filming commitments. Unfortunately for Faust fans, it sounds like McQuarrie thinks she got the ending he wanted. It might be hard to keep Ferguson’s return a secret if there’s another Mission: Impossible, and we’re still a long way from potentially seeing Isla Faust again. Join our mailing list Get the best of Den of Geek delivered right to your inbox!
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • Waste streams across Lagos

    The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work.
    Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter. 
    Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity. 
    Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night.
    Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence. 
    ‘Informality as a way of life is inherently circular in its use of space and materials’
    In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than USa day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning. 
    Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipmentis sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China. 
    Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled. 
    Today, Computer Village generates an estimated USbillion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation. 
    Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics. 
    More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’.
    Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem.

    Featured in the May 2025 issue: Circularity
    Lead image: Olympia De Maismont / AFP / Getty

    2025-05-30
    Reuben J Brown

    Share
    #waste #streams #across #lagos
    Waste streams across Lagos
    The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work. Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter.  Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity.  Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night. Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence.  ‘Informality as a way of life is inherently circular in its use of space and materials’ In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than USa day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning.  Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipmentis sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China.  Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled.  Today, Computer Village generates an estimated USbillion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation.  Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics.  More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’. Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem. Featured in the May 2025 issue: Circularity Lead image: Olympia De Maismont / AFP / Getty 2025-05-30 Reuben J Brown Share #waste #streams #across #lagos
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    Waste streams across Lagos
    The Obalende bus terminus is one of Lagos’s most important transport nodes and a ‘graveyard’ for old danfos, which in Yoruba means ‘hurry’. These yellow‑painted minibuses form the backbone of Lagos’s informal transport system and are mostly second‑hand imports from the global north. Located in the heart of Lagos Island, Obalende is one of the first areas to be developed east of the lagoon that splits Lagos into two main halves: the Island and the Mainland. It receives a large portion of urban commuters daily, especially those entering Lagos Island for work. Obalende plays a critical role in the cycle of material reuse across the city. The life of a danfo does not end at retirement; it continues through a vast network of informal markets and recyclers that sustain entire communities. Their metal parts are either repurposed to fix other buses or sold as scrap at markets such as Owode Onirin. Located about 25km away on the Lagos Mainland, Owode Onirin, which means ‘money iron market’ in Yoruba, is a major hub for recycled metals. Waste collectors scour the city’s demolition sites for brass and mild steel; they find copper, bronze and aluminium in discarded vehicles. These materials are then processed and sold to companies such as African Foundries and Nigerian Foundries, as well as to local smiths who transform them into building parts, moulds and decorative objects. Sorters, welders and artisans form the backbone of this circular micro‑economy. Their labour breathes new life into discarded matter.  Lagos has a State Waste Management Authority, but it is fraught with politicking and inefficient in managing the city’s complex waste cycle. In the absence of intelligent state strategies, it falls on people to engineer solutions. They add armatures, build networks and modulate the static thresholds and borders imposed by the state. Today, these techniques and intelligences, born out of scarcity, are collectively labelled ‘informality’, a term that flattens their ingenuity.  Across the streets of Obalende and around its central roundabout, kiosks and pop‑up shops dominate the landscape. Most are constructed from materials such as timber reclaimed from collapsed buildings or fallen fascias, along with salvaged tarpaulins. Stones and concrete blocks found at demolition sites are moulded into anchors using discarded plastic paint buckets, serving as bases for umbrellas offering relief from the scorching Lagos sun. To anticipate flash flooding, many structures are raised slightly above ground on short stilts. Space, which is in short supply, is creatively repurposed to serve different functions at various times of the day; a single location might host breakfast vendors in the morning, fruit sellers in the afternoon and medicine hawkers at night. Due to its proximity to the city centre, Obalende experiences constant population shifts. Most entering the city at this node have no means of livelihood and often become salvagers. Under the curling ends of the Third Mainland Bridge, for example, a community of migrants gathers, surviving by scavenging motor parts, sometimes from old danfos, zinc roofing sheets and other materials of meagre value. Discarded mattresses, bedding and mosquito nets are repurposed as shelter beneath the noisy overpass, which becomes both workplace and home. In the absence of supportive state frameworks, communities like those in Obalende create micro‑responses to urban precarity. Their fluid, multifunctional spaces are adaptive and resilient architectures resulting from necessity, survival and material intelligence.  ‘Informality as a way of life is inherently circular in its use of space and materials’ In Lagos, the most populous city in Nigeria and one of the most populated in Africa, two thirds of the population live on less than US$1 a day, according to Amnesty International. This speaks not only to income levels but to multidimensional poverty. Unlike global cities such as Mumbai, Cape Town and Rio de Janeiro, where poorer demographics are largely confined to specific neighbourhoods at the margins, informality in Lagos is not peripheral but integral to how the city functions, defying the rigid thresholds and boundaries of formal urban planning.  Across Lagos, self‑sustaining circular economies flourish. Orile, a metal market located on the mainland, is one of the sites where discarded metals from sites in Lagos can be sold as part of a recycling system. Further out in the suburbs of Lagos, also on the mainland, is the Katangua Market, which is the biggest second‑hand clothes market in the city. In Nigeria’s largest hardware technology hub, Computer Village, just south of Lagos in Ikeja, used electrical and electronic equipment (UEEE) is sold for parts. A TRT World report notes that about 18,300 tonnes of UEEE arrive in Nigeria annually – although the number varies in other studies to as much as 54,000 tonnes smuggled in – with the majority coming from Europe, closely followed by the US and China.  Computer Village evolved into a dense network of shops, stalls and kiosks between 1998 and 2000, just before Nigeria adopted early digital cellular network technology. The market sits just minutes from the local airport and the Ikeja High Court, but its edges are fluid, spilling out from the Ikeja Underbridge. Over time, formal plots have dissolved into an evolving mesh of trade; the streets are lined with kiosks and carts, built from repurposed plywood, corrugated metal and tarpaulin, that come and go. Space is not owned but claimed, temporarily held, sublet and reshuffled.  Today, Computer Village generates an estimated US$2 billion in annual revenue. Yet most of the shops lack permanence and are constantly at risk of demolition or displacement. In March this year, over 500 shops were demolished overnight at Owode Onirin; in 2023, shopping complexes at Computer Village were torn down in a similar way. The state has continuously announced plans to relocate Computer Village to Katangua Market, with demolition of parts of Katangua Market itself making way for the move in 2020. Urban development patterns in Lagos prioritise formal sectors while ignoring self‑organised makers and traders. This contributes to spatial exclusion, where such communities are often under threat of eviction and relocation.  Discarded devices eventually make their way to landfills. Olusosun, in the very heart of Lagos, is one of Africa’s largest landfills. Over 10,000 tonnes of waste are delivered daily, and more than 5,000 scavengers live and work here, sifting through an artificial mountain of refuse in search of value: aluminium, copper, plastic, cloth. The waste stream, enlarged by the influx of used hardware and fast fashion from the global north, creates both livelihood and hazard. Recent studies have shown that most of the residents in and around the site are exposed to harmful air conditions that affect their lungs. Additionally, the water conditions around the site show infiltration of toxic substances. Scavengers have lost their lives in the process of harvesting metals from discarded electronics.  More than a landfill, Olusosun is a stage for the politics of waste in the global south. Poor regulation enables the flow of unserviceable imports; widespread poverty creates demand for cheap, second‑hand goods. The result is a fragile, and at times dangerous, ecosystem where the absence of the state makes room for informal innovation, such as space reuse and temporary architecture, material upcycling and recycling. In Olusosun, metals are often extracted, crushed and smelted through dangerous processes like open burning. Copper and gold harvested from the ashes then make their way back into products and institutions, such as the insets of bronze or aluminium in a piece of furniture that might eventually travel back to the global north. In its usual fashion, the government has promised to decommission the Olusosun site, but little has been seen in terms of an effective plan to repurpose the site under the state’s so‑called ‘advanced waste treatment initiative’. Informality as a way of life is inherently circular in its use of space and materials. It embodies adaptability, resilience and an intuitive response to economic and environmental conditions. The self‑built infrastructures in Lagos reveal the creativity and resilience of communities navigating the challenges of urban life. Now is the time for designers, policymakers and community leaders to work together and rethink urban development in a way that is more sustainable and responsive to the needs of the people who make cities thrive. The question is not whether informal economies will continue to exist, but how they can be designed into wider city planning – making them part of the solution, not the problem. Featured in the May 2025 issue: Circularity Lead image: Olympia De Maismont / AFP / Getty 2025-05-30 Reuben J Brown Share
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