The gaming industry is in a disgraceful state, and Sony's Horizon lawsuit is the perfect example of this creative crisis! Seriously, how low can we go? As a lifelong gamer, I’m infuriated to see an industry that once thrived on innovation now shying away from any risk. This lawsuit screams fear and stagnation! Instead of pushing boundaries, we're left with cookie-cutter games and corporate greed dominating the landscape. Where's the creativity? Where's the passion? It's time to wake up and demand more from our beloved gaming industry before it completely collapses under its own weight! #GamingCrisis #SonyLawsuit #HorizonZeroDawn #CreativeStagnation #GameOn

In a world where dreams once thrived, the news hits hard: Intel lays off 24,000 employees. Each number represents a life, a story, a struggle. The silence that follows is deafening, echoing the feelings of abandonment and despair. How do we cope when the foundations of our hopes crumble beneath us? The future feels uncertain, and the loneliness seeps deeper. We are left to grapple with the weight of what once was, longing for a sense of belonging in a time of upheaval. 💔 #Intel #Layoffs #Heartbreak #Loneliness #Hope

In a world where joy once thrived, the echoes of Mario Kart Tour's fading laughter linger like shadows in the night. How can a game that brought us together now feel like a distant memory? Nintendo's decision to abandon mobile gaming left a void that can't be filled. And now, with this sudden update, I can't help but feel the bittersweet sting of hope intertwined with loss. It’s like finding an old photo, reminding me of a time when connection was effortless. But each update feels like a reminder of what we've lost – a celebration wrapped in the melancholy of solitude. #MarioKartTour #Nintendo #GamingMemories #Loneliness #Heartbreak

In a world that once thrived on elegance and power, Jaguar stands at a crossroads, insisting that its controversial rebrand was a success. Yet, deep within, I can't shake off this feeling of betrayal. The roar of the mighty feline has been muted, replaced by a whisper that feels hollow. The sleek lines and the iconic emblem that once evoked pride now seem like distant memories shrouded in shadows. How can one embrace change when it feels like a loss? I look at the new designs, but they fail to stir my heart. Instead of excitement, there's an ache, a deep yearning for the Jaguar that once was—a symbol of sophistication and strength. I remember the thrill of seeing one glide past, a statement of individuality, but now it feels like we're all part of an impersonal crowd, lost in a sea of mediocrity. Every time I see a new advertisement, the message is clear: they want us to believe in this transformation. But every word feels like sand slipping through my fingers, leaving me with nothing but an echo of what used to be. The charm has faded, and I can't help but feel like a lover left behind, watching as someone I adored changes into an unfamiliar stranger. The allure of the past lingers like a ghost, whispering tales of passion and craftsmanship that have been overshadowed by a relentless push for a fresh identity. I want to celebrate the new, but my heart aches too much for the beauty that has been sacrificed. Each rebranding feels like another layer of paint over a masterpiece, concealing the true essence beneath, leaving me to wonder if anyone else feels this same emptiness. Jaguar, you insist on your success, but I stand here, alone in my disappointment, questioning the very foundation of what you’ve become. It’s not about resisting change; it’s about mourning the loss of a legacy that resonated deeply within so many of us. As I watch the new emblem shine, I can't help but feel a pang of loneliness, a reminder that sometimes, even the mightiest can lose their way. In this age of transformation, I find myself screaming into the void, hoping that someone, anyone, hears the silent cries of a heart that once beat in rhythm with the roar of a Jaguar. #Jaguar #Rebrand #Loss #Heartbreak #Legacy

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red housefor her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs. Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday. #new #museum #dedicated #frida #kahlo039s

The HD-2D remakes of Dragon Quest I & II will be coming to PlayStation 5 on October 30, 2025. Experience the conclusion of the Erdrick trilogy in breathtaking HD-2D which seamlessly blends 3D graphics and pixel art. Dragon Quest I & II Dragon Quest I & II, which take place after Dragon Quest III, will be released in one package, allowing players to fully experience the adventures of the scions of Erdrick. Dragon Quest I Thanks to the heroic efforts of the legendary Erdrick, the Lord of the Underworld was defeated and peace returned to the land of Alefgard. Yet this peace was not to last, as the diabolical Dragonlord rose up and unleashed horde upon horde of monsters on the realm once more. Now it falls to you, Erdrick’s descendant, to lay the fiend low and rescue the world from its plight! The original game exclusively pitted the player against singular foes, however, the remake features battles against multiple enemies. Dragon Quest II Many years have passed since Alefgard was saved at the hero’s hand, earning him the same title as his storied forebear. The descendants of this Erdrick and his scions founded three kingdoms that thrived in peacetime. Yet, darkness stirs once more and a sudden invasion of malicious monsters plunges the world into shadow again. All that stands between the forces of evil and their wicked ambitions is a band of young princes and princesses of Erdrick’s lineage. The time has come for them to venture forth and honor their ancestor’s legacy. In addition to updated HD-2D graphics, both games feature new stories, new areas, and numerous other improvements and updates. What is the Erdrick trilogy? Dragon Quest, Dragon Quest II: Luminaries of the Legendary Line and Dragon Quest III: The Seeds of Salvation—the first three games in this long-running series—are connected both in their stories and the worlds in which they take place. They have come to be known collectively as “The Erdrick Trilogy”— Erdrick being the name passed down to each new incarnation of the legendary hero. Playing the HD-2D versions of Dragon Quest I & II after Dragon Quest III HD-2D Remake will allow players to enjoy the connections between these three titles. A world remade in HD-2D HD-2D is a graphical style developed by Square Enix Co., LTD.’s Team Asano that combines pixel art and 3D graphics. The advanced visual effects used alongside this combination of two-dimensional and three-dimensional styles creates a blend that is both new and nostalgic. Pre-orders are open for Dragon Quest I & II HD-2D Remake, which goes on sale October 30, 2025. #dragon #quest #ampamp #hd2d #remake

You Can Now Visit the Small House Where Charlotte, Emily and Anne Brontë Were Born The newly renovated Brontë Birthplace in Bradford, England, was the three sisters’ home until 1820, when the family moved to a nearby parsonage The Brontë children were born near this fireplace, pictured mid-renovation. Matt Gibbons / Brontë Birthplace In the early 19th century, three sisters were born in a small house in northern England: Charlotte, Emily and Anne Brontë. Each one would grow up to become a pivotal figure in English literature, with Charlotte writing Jane Eyre, Emily writing Wuthering Heightsand Anne writing The Tenant of Wildfell Hall. Now, that house in Bradford, England, where they were born has been restored and reopened to the public as a museum—and soon-to-be hotel. On May 15, Queen Camilla visited the village of Thornton to open the Brontë Birthplace in an official ceremony. After a year and a half of fundraising and renovations, the house is now a functioning educational center. Come July, its bedrooms will also be open to overnight guests, according to the Guardian’s David Barnett. The Brontë Birthplace pictured in 2008 Tim Green via Wikimedia Commons under CC BY 2.0 “This house is no longer just a place of literary history,” says Katharine Barnett, chair of the Brontë Birthplace, in a statement from the museum. “It is a living, breathing space filled with creativity, education and community pride.” The novelists’ parents were Patrick and Maria Brontë, an Irish clergyman and a Cornish gentlewoman who married in 1812. They had two daughters, Maria and Elizabeth, before moving to the Thornton house in 1815. Charlotte was born in 1816, Emily in 1818 and Anne in 1820. A brother, Branwell, was also born in 1817. When Anne was just three months old, Patrick was appointed the reverend of a nearby church, and the family moved to the Haworth parsonage. The two eldest children died soon after, but the younger four children survived. As they grew older, they also thrived as playmates, inventing “invented imaginary worlds together andabout them in tiny books,” per the Brontë Parsonage Museum. Queen Camilla and Christa Ackroyd touring the Brontë Birthplace on May 15, 2025 Matt Gibbons / Brontë Birthplace By the mid-19th century, the three sisters were publishing novels under the pseudonyms Currer, Ellis and Acton Bell. Jane Eyre and Wuthering Heights would become two of the most renowned books ever written in English. After the family left the sisters’ birthplace, the building was repurposed several times. It has served as a butcher’s shop and a cafe, which shuttered during the pandemic, according to the Guardian. With the building up for grabs, a group of advocates—including journalist Christa Ackroyd and Brontë relative Nigel West—raised the £650,000needed to purchase and renovate it. Every four years, the United Kingdom chooses a “City of Culture,” and this year’s selection is Bradford. Camilla opened the Brontë Birthplace as part of her honorary visit to the chosen city. A crowd gathered to welcome her. As Tom Golesworthy, a resident of Leeds who attended the opening ceremony, tells the Telegraph & Argus’ Brad Deas, “It makes you proud to be British.”The Haworth parsonage already attracts nearly one million visitors each year, per the Guardian. The Brontë Birthplace team hopes that those visitors will now add the Thornton house, which is only six miles away, to their itineraries. When the Brontës lived in the home, all six children likely slept in the house’s largest upstairs bedroom, while their parents slept next door, reports the Guardian. Both rooms, as well as a third that was added to the house later, will be available for overnight stays. “This will be the only place in the world where you can sleep in the same room that the Brontës slept in,” West tells the Guardian. Get the latest stories in your inbox every weekday. #you #can #now #visit #small

Disruption has become a popular brand strategy as start-ups, challengers and even established brands seek to stand out in crowded categories. Disruptive brand building subverts a consumer’s perceptions through narrative and tone. But, while disruption is often associated with boldness and audacity, its true power lies in challenging category norms in unexpected ways. This is achieved not only through striking visuals or provocative messaging, but by fundamentally redefining what a category can mean, and the experience a brand can deliver. One newly launched brand that’s aiming to defy its category conventions is mud, an emerging petcare company that is setting itself apart by embracing mess, mud and natural animal instincts. The brand’s Everyday Wash for Dirty Dogs is marketed for “dogs who were meant to get dirty”. The brand’s brown, grey and black colour palette is inspired by different shades of dirt, and its founders describe it as “a small act of rebellion against the sanitised world of modern pet care.” Angelina Pischikova and Karina Zhukovskaya’s identity for their mud pet care brand. While it’s too early to predict mud’s ability to disrupt its category, its mission is certainly thought-provoking. If successful, disruptor brands can not only capture market share from established competitors, they can shift industry dynamics and open up a new market for consumers seeking alternatives. Think Liquid Death, the US brand which made canned water cool with its irreverence and punk/heavy metal aesthetics. Or Oatly, which turned oat milk into a cultural statement with witty long copy and an anti-advertising aesthetic. “Being pioneering isn’t always about ripping it up and starting again.” When a disruptor brand is so successful that it brings about positive change, it’s often because that category is ripe for disruption. Prior to the arrival of disruptor brands like The Ordinary and Glossier, the beauty industry had thrived on creating a feeling of exclusivity, mystery and luxury, with glossy celebrity-fronted advertising and products making vague promises at inflated prices. The sector was entirely upended by the arrival of The Ordinary, which democratised skincare by championing science over celebrity and enabled a much wider group of consumers to access high-quality skincare. Stunts like selling “ordinarily-priced” eggs for at the height of the American inflation crisis, or dumping a stack of dollar bills in a store window, cleverly highlighted its no-frills proposition and flew in the face of typical beauty marketing by taking swipes at influencer endorsement. Glossier was another hugely influential agent of change because it built its brand around user-generated content and real customer feedback, rather than top-down beauty ideals. But with disruption comes risk. A disruptor brand can seem inauthentic if its brash, bold branding doesn’t fully align with its ethos. WeWork’s tactics backfired massively when its “changing the world” narrative collapsed under scrutiny. Its demise also demonstrates that moving fast and breaking things isn’t necessarily the best approach to disruption. The company promised a variety of flexible office spaces catering to different needs, but ultimately failed to deliver because of its focus on global expansion at breakneck speed – a strategy that proved unsustainable. Also, disruption stops being disruptive when everyone’s doing it. When luxury fashion first shifted online and onto social media, many fashion houses pared back their logos, incorporating the clean, minimalist typefaces favoured by tech brands like Google and Microsoft. This minimalist branding style became so popular among brands, from Saint Laurent to Celine, they all started to look the same. Even Liquid Death’s success has had its limitations. Despite becoming a sensation in the US, it didn’t create any significant ripples in the UK water market and exited after less than two years – showing that disruptive brand activity can get lost in translation. What works in some markets and cultures, may fall flat in others. For legacy brands, the stakes are particularly high because a major identity shift can erode established brand equity. Old Spice successfully moved away from its “dad’s aftershave” image through ironic humour. By contrast, Aberdeen Group’s attempt to reach new audiences backfired dramatically after its rebrand to Abrdn in 2021 was met with a torrent of mockery. Earlier this year it announced it was reinstating the missing e’s. Being pioneering isn’t always about ripping it up and starting again. Brands don’t need to reinvent themselves or tear down the competition to make an impact. You can be just as innovative by quietly committing to long-term, incremental change. Sustainable fashion brands are a case in point here. Companies like Finisterre and Reformation are leading a slow fashion movement by committing to eco-friendly and ethical practices, offering consumers a high-quality alternative to fast fashion. To truly disrupt, a brand must have ambitions beyond being brash and attention-seeking. Disruptors need to stay true to their brand essence as well as strategically differentiated from rivals. Before adopting a disruptive stance, consider what consumers really want and analyse whether your rivals are delivering on that need. You must also ensure your branding resonates with your target audience and connects to a broader cultural shift. In this way, you can help ensure your disruption strategy gets people talking for all the right reasons. Polly Hopkins is managing director of FutureBrand London. #what #brands #get #wrong #about

Giant Sloths the Size of Elephants Once Walked Along the Ground. Here’s How the Massive Animals Evolved and Declined Researchers analyzed fossils and DNA to get a big-picture view of sloth evolution and determine what drove their immense size variation Researchers revealed that differences in sloth habitats drove the wide variation in size seen in extinct species. Diego Barletta Today, sloths are slow-moving, tree-dwelling creatures that live in Central and South America and can grow up to 2.5 feet long. Thousands of years ago, however, some sloths walked along the ground, weighed around 8,000 pounds and were as big as Asian elephants. Some of these now-extinct species were “like grizzly bears, but five times larger,” as Rachel Narducci, collection manager of vertebrate paleontology at the Florida Museum of Natural History, says in a statement. In a study published last week in the journal Science, Narducci and her colleagues studied ancient and modern sloth DNA along with more than 400 sloth fossils to shed light on the shocking differences in their ancient sizes—from the elephant-sized Megatherium ground sloth to its 14-pound relatives living in trees. While it’s clear that tree-dwelling lifestyles necessitate small bodies, scientists weren’t sure why ground sloths specifically demonstrated such vast size diversity. To investigate this, the team used their genetic and fossil analyses to reconstruct a sloth tree of life that reaches back to the animals’ emergence more than 35 million years ago. They integrated data on sloths’ habitats, diets and mobility that had been gathered in previous research. With a computer model, they processed this information, which ultimately indicated that sloths’ size diversity was mostly driven by their habitats and climates. “When we look at what comes out in the literature, a lot of it is description of individual finds, or new taxa,” Greg McDonald, a retired regional paleontologist with the U.S. Bureau of Land Management who was not involved with the study, tells Science News’ Carolyn Gramling. The new work is “more holistic in terms of looking at a long-term pattern. Often, we don’t get a chance to step back and get the big picture of what’s going on.” The big picture suggests that since the emergence of the oldest known sloths—ground animals around the size of a Great Dane—the creatures evolved into and out of tree living a number of times. Around 14 million to 16 million years ago, however, a time of global warming called the Mid-Miocene Climatic Optimum pushed sloths to become smaller, which is a known way for animals to respond to heat stress. Warmer temperatures might have also seen more rain, which would have created more forest habitats ideal for tree-dwelling sloths. Around a million years later, however, ground sloths grew bigger as the planet’s temperature cooled. “Gigantism is more closely associated with cold and dry climates,” Daniel Casali, a co-author of the paper and a researcher of mammalian evolution at the University of São Paulo, tells New Scientist’s Jake Buehler. A larger body mass would have helped the animals traverse environments with few resources more efficiently, Narducci says in the statement. In fact, these large ground sloths spread out across diverse habitats and thrived in different regions. The aquatic sloth Thalassocnus even evolved marine adaptations similar to manatees. Ground sloths achieved their greatest size during the last ice age—right before starting to disappear around 15,000 years ago. Given that humans arrived in North America around the same time, some scientists say humans are the obvious cause of the sloths’ demise. While tree-dwelling sloths were out of reach to our ancestors, the large and slow ground animals would have made easy targets. Even still, two species of tree sloths in the Caribbean disappeared around 4,500 years ago—also shortly after humans first arrived in the region, according to the statement. While the study joins a host of research indicating that humans drove various large Ice Age animals to extinction, “in science, we need several lines of evidence to reinforce our hypotheses, especially in unresolved and highly debated issues such as the extinction of megafauna,” says Thaís Rabito Pansani, a paleontologist from the University of New Mexico who did not participate in the study, to New Scientist. The International Union for Conservation of Nature currently recognizes seven—following a recent species discovery—and three are endangered. As such, “one take-home message is that we need to act now to avoid a total extinction of the group,” says lead author Alberto Boscaini, a vertebrate paleontologist from the University of Buenos Aires, to the BBC’s Helen Briggs. Get the latest stories in your inbox every weekday. #giant #sloths #size #elephants #once