Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

A bubble ring created by a humpback whale named Thorn. Image © Dan Knaub, The Video Company Humpback Whales Are Approaching People to Blow Rings. What Are They Trying to Say? June 13, 2025 NatureSocial Issues Grace Ebert After the “orca uprising” captivated anti-capitalists around the world in 2023, scientists are intrigued by another form of marine mammal communication. A study released this month by the SETI Institute and the University of California at Davis dives into a newly documented phenomenon of humpback whales blowing bubble rings while interacting with humans. In contrast to the orcas’ aggressive behavior, researchers say the humpbacks appear to be friendly, relaxed, and even curious. Bubbles aren’t new to these aquatic giants, which typically release various shapes when corraling prey and courting mates. This study follows 12 distinct incidents involving 11 whales producing 39 rings, most of which have approached boats near Hawaii, the Dominican Republic, Mo’orea, and the U.S. Atlantic coast on their own. The impact of this research reaches far beyond the oceans, though. Deciphering these non-verbal messages could aid in potential extraterrestrial communication, as they can help to “develop filters that aid in parsing cosmic signals for signs of extraterrestrial life,” a statement says. “Because of current limitations on technology, an important assumption of the search for extraterrestrial intelligence is that extraterrestrial intelligence and life will be interested in making contact and so target human receivers,” said Dr. Laurance Doyle, a SETI Institute scientist who co-wrote the paper. “This important assumption is certainly supported by the independent evolution of curious behavior in humpback whales.” (via PetaPixel) A composite image of at least one bubble ring from each interaction Previous articleNext article

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5 June, 2025 In this series, Clare Dowdy speaks with design studios that are 30+ years old, to find out some of the secrets behind their longevity. Michael Johnson set up his London-based brand consultancy Johnson Banks in 1992. From Duolingo to Pink Floyd, Cancer Research UK to the Royal Astronomical Society, the studio works with “people who want to do big things.” He sat down with Clare Dowdy to discuss what he’s learned over the past 33 years. Michael Johnson How did Johnson Banks come about? My 20s were very turbulent: eight jobs in eight years, a lot of different countries, different cities, learning on the job. My last job – at Smith & Milton – was relatively settled, I was kind of running a corporate design department. I had a client there, Tom Banks. After I left, he also left his role at Legal & General with the projects I had been working on, and we used that as a basis for the company. That was 1992, the back end of a recession. For a couple of years, everything was fine. Then we started having “creative differences.” And the pressures of running a tiny design company are substantial. So we parted ways in 1995, but I kept the name. Johnson Banks’ symbol for the V&A’s William Morris show At that time, we weren’t really in the branding world. For a decade, we were very distracted by getting on the graphic design map, trying to win D&AD awards, doing lovely stamp projects. And then we started to get some cultural projects: the V&A and the British Council. I started to think, OK, now we’re beginning to show what we can do. When and why did you start thinking seriously about your strategy offering? When we started to get into the branding arena, I knew we were underpowered in terms of the strategic thinking. I may have thought that I could do it, but it takes a bit to persuade clients when you’re 35, with hair almost down to your knees. If you’re up against important-looking people who can field a few grey hairs, you’re going to lose that pitch. So we partnered with strategic companies like management consultancy Circus, and followed that model for much of the 2000s. That led to the Shelter rebrand, and a few other quite big branding projects followed. Johnson Banks’ visual identity for Shelter Eventually we realised that we could do the strategy ourselves. I had sometimes been a little frustrated by the work that my strategic partners – naming no names – were doing. It sounds a bit mean, but sometimes I would get this 90-page PowerPoint document from them, and I’d put it on my designers’ desks, and their faces would go blank. I think that 20 years ago, there was still a bit of the idea that you’ve paid £100,000, so here’s your huge document. We slowly realised that if we were in control of the process, and were involved all the way through, then that jump out of the verbal brand to the visual brand could be much better managed. How did you rethink your strategy offer? The penny dropped in the mid-2000s when we worked with Save The Children. At the time, and I don’t think they’d mind me saying this, Save The Children were a bit of a basket case. They were associated with WI fairs and cake baking, and they had a royal as their patron – they were nothing like what they are now. I realised we needed to work out what they stood for before we did any design. I did this huge chart, and stuck it on a wall at the client’s office. And I said, it strikes me that there are strategic choices that you have got to make as a comms team about where you want to take the Save the Children brand. Johnson Banks’ poster for Save the Children That was an incredibly productive meeting, and also it helped us realise that before we got anywhere near the design, we needed to sort this out. I know that sounds like really basic stuff now. I didn’t trust my instinct for a decade or so, but in that Save the Children meeting, a light bulb went on for me. Once you’d worked out how to do strategy in-house why didn’t you scale up? A lot of companies would have done that. That’s how companies grow, and can end up quite quickly at 60 people. We have nearly always been around six to eight people. Because I could bridge that gap between the verbal and the visual, it meant we didn’t need to add people. And I’ve discovered over the last 25 years, that with a really good account director, Katherine Heaton, and me, and a design team, there is a heck of a lot that we can do. So we stayed small and partnered with filmmakers, animators, cultural specialists. Post-pandemic, a lot of people have adopted that hub and spoke model – we did it 20 years ago. Probably twice a year we’ll lose a pitch because of our scale. But conversely, with some clients you can sell in the fact that they’ll always deal with Michael Johnson. They’re not going to be handed down the chain, because there is no chain. Johnson Banks’ logos for Jodrell Bank Alongside this direct contact with you, what’s your main selling point? It seems to be that we think pretty hard about stuff. We almost never jump into design. A lot of thought goes into what we do, sometimes way too much. Sometimes our projects are incredibly difficult, gargantuan, intertwined and really hard to unpick. That’s a slightly poisoned chalice, because then people go, gosh, well, if they could unpick that, then they could unpick our Gordian knot. For example, we’re working on a major London university brand at the moment that has over 60,000 staff and students, 11 faculties, and hundreds of centres and institutes and departments, and we’re trying to navigate a way through. How did you work out what you wanted to specialise in? Sometimes you can get sucked into something that you just don’t want to be doing. By the end of the 1990s, Johnson Banks had got a reputation for doing annual reports. Part of me quite liked doing them because there was an interplay between words and pictures. And we were getting senior level access to clients, which makes you feel a bit better, because you’re having an interface with chief executives. But then I was thinking, hang on, we’re in danger of getting stuck here, because of course, they’re cyclical. And the death of the annual report – and the death of print – was coming over the horizon, with the internet. Johnson Banks’ Annual Report for Polygram (1995) Since then, my interests have changed. I do not have any interest any more in doing awful blue chips or terrible fintechs. I want to apply all the comms and the branding that I’ve learned to people who could really use it – not-for-profit, culture, education, philanthropy. You know, doing good. How did you build up this not-for-profit work? You lean into the referrals you’ll inevitably get within silos where you want to be referred. I learned this from Mary Lewis of Lewis Moberly. We were pretty close in the 1990s and she always said that referral business is the best business. Over 85% of our clients are not-for-profit – most design companies have a 20-80 split between non-profits and commercial clients. I never liked that ratio, what you might cruelly call ‘the Robin Hood principle’ – we are going to steal from our luxury car account and give to the charity. We did do a bit of that for a while. We did an airline in 2009/10 at the same time we were doing charities. I would justify that with the Robin Hood principle, but I just felt more and more uncomfortable with that. Johnson Banks’ campaign visuals for Cancer Research UK As our percentages went up and up in not-for-profit, eventually I said, look, we should just tell people this is who we are, and this is what we do. It was obvious anyway, so let’s be explicit about it. A few people said we were crazy, that we’d never get any work. But the reverse has been the case. We’re on our sixth environmental project. If you say this is what we want to do, and this is what we will do for you, then I think, funnily enough, clients find that very helpful. How did you build up to bigger projects? Let’s take education. We’ve done three or four really interesting campaigns for universities and now we’re in the position where we can do university rebrands, and have won a top 10 global university. But it has taken 15 years of education work to get to that point. I may not have thought that it would take quite so long to persuade people that we could do their identity. But education is a very conservative sector, and moves slowly, like museums and galleries. If you’re small, you can afford for a sector to move slowly, whereas bigger agencies need a pipeline. I’ve watched dozens of companies get to this critical point where they’ve grown and grown and then they’ve just fallen off the cliff because they’ve been feeding the monster. To help with that, agencies often add a new business person. No-one ever talks about this, but a new business person costs around £50,000. The rule of thumb, in my world at least, is that you have to take that salary and triple it with turnover to pay that salary. So you need £150,000 worth of projects to pay for the new business person before you’ve made a penny. So to make a profit, the new business person has to bring in over £200,000 of work. And if this person can do it, which is not guaranteed, then the company has to scale. It’s so easy to get caught on a treadmill. What else has helped you stay in business so long? We’ve always led with the thought behind the idea, not the way it looked. Because I was always much more interested in the idea behind something, I think that has helped us not get sucked into the visual, to use the type face du jour, the colour that everyone else is using. And it’s understandable, because graphic designers want to do stuff that their peers really like. But paradoxically the trick, in my opinion, is to try and zag away from the trends. Create a new trend yourself. Johnson Banks’ globe symbol for the COP 26 climate conference Design disciplines in this article Industries in this article Brands in this article What to read next Neville Brody on clients, education, and his unexpected OBE Graphic Design 30 Jan, 2025

Ballerina is what happens when a studio wants to extend a franchise but really has no reason to do so except a financial one. Subtitled From The World of John Wick, this action thriller contains too much action and precious little thrills. Directed (maybe) by Len Wiseman of Underworld fame, Ballerina is set in the same universe as the four majestic adrenaline epics starring Keanu Reeves, and incorporates as many elements from those films as possible, including the Continental Hotel and the Ruska Roma, not to mention appearances from Ian McShane, Anjelica Huston, the late, great Lance Reddick, and Mr. Reeves himself. But what is also found in ample supply in the John Wick movies and sadly missing in Ballerina is heart, character, and a sense of conviction. At the center of the movie is a miscast, utterly bland Ana de Armas as Eve Macarro, whose father’s death sent her as a little girl into the custody of McShane’s Winston Scott and, eventually, the tutelage of the Director (Huston) of the Ruska Roma ballet/assassin school. It’s there that Eve goes through the usual training montage, with her inability to dance only matched by her evident aptitude at killing and fighting. Once her training is complete, Eve is sent out into the world on Ruska Roma business, but of course her main goal is avenging her dad, who was killed by members of a mysterious cult led by the enigmatic Chancellor (Gabriel Byrne). No sooner can you say “she’s gone rogue” than she does just that, jetting off to Prague in pursuit of a cult member (Norman Reedus) who’s trying to get himself and his own little daughter out from under the Chancellor’s thumb, while finding herself at odds with the Director and pursued by the Chancellor’s minions at every turn. The movie’s thin “lady vengeance” premise, which we’ve seen countless times before, is reheated once again by screenwriter Shay Hatten, who has co-written the last two John Wick entries but seems lost here. Unlike John Wick himself, whose single-minded quest for revenge over the death of his dog took on mythic overtones as more layers to both John and the surreal world of elegant criminality in which he moved were revealed, Eve has nothing to define her that hasn’t been done or said before. It doesn’t help that Armas, while up to the role’s physicality, offers nothing in terms of personality—she’s an empty vessel. Which is a shame, since she’s displayed earthiness (Knives Out), complexity (Blonde), and a sexy playfulness (No Time to Die) in previous work. The rest of the non-Wick cast is forgettable as well, with Byrne’s Chancellor and his entire regime badly underdeveloped, and Reedus completely wasted in what amounts to maybe two scenes. McShane, Reddick, and Huston just go through their paces, spouting lots of portentous lines about “choice” and “fate” that ring mostly hollow, as does a late-stage twist that carries no weight because one of the characters involved barely registers. As for the Baba Yaga himself, the largely non-verbal Reeves is the “Chekhov’s gun” of the film: introduced briefly in the first act, he inevitably turns up again in the third act, parachuted in by the magic of rumored reshoots even though his contribution to the narrative amounts to absolutely nothing. It’s always nice to see him, but if you took him out, it wouldn’t drastically change the picture. Speaking of reshoots, there’s a Frankenstein nature to the proceedings that provides evidence for the reports that Wick director (and franchise torch-bearer) Chad Stahelski refilmed much of the movie after Wiseman’s first draft came up short. While the first act is a murky, enervated slog, things seem to pick up in the middle, with a more eye-catching color scheme (such as a sequence in a neon-lit club reminiscent of a similar scene in the magnificent John Wick: Chapter 4), a creative, free-flowing use of the camera, and some of the more inventive, oddball action that has become part and parcel of the franchise—most notably in a scene where de Armas and an enemy smash a pile of dinner plates over each other’s heads with manic Three Stooges-like energy. Unfortunately, there’s also a sadistic edge to a lot of the action this time as well, particularly in a climactic fight involving flamethrowers that badly wants to emulate the famous overhead apartment shot from John Wick: Chapter 4 but goes on for far too long and ultimately becomes actively unpleasant. That’s a problem with even the better action on hand in Ballerina, as if the filmmakers want to make up for the film’s deficiencies by overdoing what the series is best known for. Hatten’s script was an original piece that was rewritten to fit into the John Wick universe, with elements introduced in John Wick: Chapter 3 – Parabellum to pave the way for the arrival of Eve and Ballerina. But this reverse engineering highlights the pitfalls of trying to create a cinematic universe without stopping to wonder whether it’s a good idea. Watching John Wick stonily fight and slaughter his way through his off-center world and its population of funky, eccentric weirdos has been fantastic fun (the threat of an arc-undermining John Wick 5 notwithstanding) because of the unique nature of the character and that world. But dropping the more conventional, cliched tropes of Ballerina into the mix, along with a protagonist (and actor) not nearly as compelling, only exemplifies that the John Wick movies are character-driven first and foremost. All the brutal action, heavy-handed callbacks, and predictable cameos in the world can’t make this Ballerina into a better dancer. Ballerina opens in theaters in the U.S. on Friday, June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

/May 30, 2025/4:28 p.m. ETTrump Attacks Harvard With Social Media Screening for All VisasThis pilot program will soon be expanded across the country.Spencer Platt/Getty ImagesThe Trump administration has begun carrying out its expanded vetting for student visa applicants, surveilling their social media accounts to make sure they aren’t posting anything in support of Palestine, which the administration considers antisemitic. This vetting will start with Harvard visa applicants but is expected to be adopted nationwide.Secretary of Stato Marco Rubio sent a cable to all U.S. embassies and consulates on Thursday ordering them to “conduct a complete screening of the online presence of any nonimmigrant visa applicant seeking to travel to Harvard University for any purpose.” That would apply not just to students but also to faculty, staff, and researchers visiting the university.The Trump administration is taking particular interest in people who have their social media accounts on “private,” an obvious, ominous crossing of boundaries.The State Department has ordered officers to examine “whether the lack of any online presence, or having social media accounts restricted to ‘private’ or with limited visibility, may be reflective of evasiveness and call into question the applicant’s credibility.”This is yet another instance of Harvard serving as a test subject for the administration’s larger crackdown on free speech and international students at American universities. Trump has already revoked billions of dollars in research funding from the Massachusetts school, and even banned it from admitting any international students at all, although the latter policy was temporarily revoked by a judge. Most Recent Post/May 30, 2025/3:53 p.m. ETStephen Miller Grilled on Musk’s Drug Use as Wife Lands New GigTrump’s chief adviser seems desperate to avoid questions on Elon Musk. Does that have anything to do with his wife’s new job? Francis Chung/Politico/Bloomberg/Getty ImagesStephen Miller had a dismissive response Friday to new reports of Elon Musk’s drug use during Trump’s campaign last year. CNN’s Pamela Brown asked the far-right Trump adviser if there was “any drug testing or requests for him to drug test when he was in the White House given the fact that he was also a contractor with the government.”  A chuckling Miller ignored the question and said, “Fortunately for you and all of the friends at CNN, you’ll have the opportunity to ask Elon all the questions you want today yourself,” before he then segued into the Trump administration’s anti-immigrant agenda. “The drugs I’m concerned about are the drugs that are coming across the border from the criminal cartels that are killing hundreds of thousands of Americans,” Miller said. Perhaps Miller laughed instead of answering because his wife, Katie Miller, has left her job as adviser and spokesperson for the Department of Government Efficiency to work full-time for Musk and his companies. Miller has probably had enough of Musk, as he has also been subtweeting the tech oligarch, trying to refute Musk’s criticisms that the Republican budget bill would raise the deficit. “The Big Beautiful Bill is NOT an annual budget bill and does not fund the departments of government. It does not finance our agencies or federal programs,” Miller said, in a long X post earlier this week. Is there bad blood between Miller and Musk that has now spiraled because Miller’s wife is working for the tech oligarch and fellow fascism enthusiast? Most Recent Post/May 30, 2025/3:19 p.m. ETOld Man Trump Repeatedly Fumbles in Weird Speech Praising Elon MuskDonald Trump couldn’t keep some of his words straight as he marked the supposed end of Elon Musk’s tenure at the White House.Kevin Dietsch/Getty ImagesHours after reports emerged Friday that Elon Musk had been under the influence of heavy drugs during his time advising the president, Musk and Donald Trump stumbled and fumbled their way through a White House press conference recognizing the end of the tech billionaire’s special government employee status.The wildly unusual joint conference featured Musk’s black eye, a giant gold key that Trump said he only gives to “very special people,” cringe-worthy regurgitations by Musk of Trump’s take on his Pulitzer Board defamation suit, and claims that Musk’s unpopular and controversial time in the White House was not quite over.But as Trump continued to praise Musk and his time atop the Department of Government Efficiency, the president’s verbal gaffes became more apparent. He claimed that DOGE had uncovered $42 million in wasteful spending, referring to expenditures related to Uganda, which Trump pronounced as “oo-ganda.” The 78-year-old also mentioned he would have Musk’s DOGE cuts “cauterized by Congress,” though he quickly corrected himself by saying they would be “affirmed by Congress,” instead. Trump’s on-camera slippage has gotten worse in recent weeks: Earlier this month, Trump dozed off while in a meeting with Crown Prince Mohammed bin Salman in Riyadh, Saudi Arabia. That is despite the fact that the president received a clean bill of health in a medical report released in April that described Trump as being in “excellent health,” including neurological functioning.Musk, meanwhile, refused to acknowledge emerging reports of his alleged drug use. But the news of White House drug use under Trump’s helm is nothing new: In fact, if the reports prove true, it would be little more than a return to form. Last year, a report by the Department of Defense inspector general indicated that the West Wing operated more like a pill mill than the nation’s highest office. Common pills included modafinil, Adderall, fentanyl, morphine, and ketamine, according to the Pentagon report. But other, unlisted drugs—like Xanax—were equally easy to come by from the White House Medical Unit, according to anonymous sources that spoke to Rolling Stone.While other presidents were known to take a mix of drug cocktails to fight off back pain (like JFK) or bad moods (like Nixon), no previous administrations matched the level of debauchery of Trump’s, whose in-office pharmacists unquestioningly handed out highly addictive substances to staffers who needed pick-me-ups or energy boosts—no doctor’s exam, referral, or prescription required.“It was kind of like the Wild West. Things were pretty loose. Whatever someone needs, we were going to fill this,” another source told Rolling Stone in March 2024.Meanwhile, pharmacists described an atmosphere of fear within the West Wing, claiming they would be “fired” if they spoke out or would receive negative work assignments if they didn’t hand pills over to staffers.Read more about the press conference:Trump and Elon Musk Have Ominous Warning About Future of DOGEMost Recent Post/May 30, 2025/3:00 p.m. ETElon Musk Gives Strange Excuse for Massive Black EyeMusk showed up a press conference with Donald Trump sporting a noticeable shiner.Kevin Dietsch/Getty ImagesElon Musk sported what looked like a black eye during his DOGE goodbye press conference with President Trump on Friday. When asked about it, he blamed the bruise on his 5-year-old son punching him in the face. “Mr. Musk … is your eye OK? What happened to your eye; I noticed there’s a bruise there?” one reporter finally asked near the end of the press conference.“Well, I wasn’t anywhere near France,” Musk said, in a weak attempt at a joke regarding footage of French President Emmanuel Macron’s wife slapping him in the face.“I was just horsing around with [my son] little X and said, ‘Go ’head and punch me in the face,’ and he did. Turns out even a 5-year-old punching you in the face actually does—”“That was X that did it? X could do it!” Trump chimed in. “If you knew X …”“I didn’t really feel much at the time; I guess it bruises up. But I was just messing around with the kids.”Musk chose an impeccable time to show up to a press conference with a black eye. Earlier in the day, The New York Times reported on Musk’s rampant drug use on and off the campaign trail, as the world’s richest man frequently mixed ketamine and psychedelics and kept a small box of pills, mostly containing Adderall. The shiner only adds to speculation around his personal habits.More on that Times report:Elon Musk Was on Crazy Combo of Drugs During Trump CampaignMost Recent Post/May 30, 2025/2:51 p.m. ETTrump and Elon Musk Have Ominous Warning About Future of DOGEElon Musk’s time as a government employee has come to an end, but his time with Donald Trump has not.Kevin Dietsch/Getty ImagesDespite the fanfare over Elon Musk’s supposed departure from the Department of Government Efficiency, Donald Trump says that the billionaire bureaucrat isn’t really going anywhere.“Many of the DOGE people are staying behind, so they’re not leaving. And Elon’s not really leaving. He’s gonna be back and forth, I think. I have a feeling. It’s his baby, and he’s gonna be doing a lot of things,” Trump said during a press conference in the Oval Office Friday.The press conference was held to mark the end of Musk’s time as a so-called “special government employee,” a title that allowed him to bypass certain ethics requirements during his 134-day stint in Trump’s administration. The president made sure to give Musk a gaudy golden key—what it actually unlocks went totally unaddressed—to make sure he could get back into the White House. “This is not the end of DOGE, but really the beginning,” Musk said, promising that DOGE’s “influence” would “only grow stronger” over time.Earlier Friday, the billionaire bureaucrat shared a post on X asserting that the legacy of DOGE was more psychological than anything else. Surely, it will take longer than four months to forget the image of Musk running around with a chainsaw. Read more about Musk:Elon Musk Was on Crazy Combo of Drugs During Trump CampaignMost Recent Post/May 30, 2025/1:21 p.m. ETDem Governor Vetoes Ban on Surprise Ambulance Bills in Shocking MoveThe bill had unanimous support in both chambers of the state legislature.Michael Ciaglo/Getty ImagesColorado’s Democratic Governor Jared Polis has vetoed a bill that would ban surprise billing by ambulance companies, over the unanimous objections of both chambers of the state legislature. Why would Polis veto a bill that’s popular with everyone, even Colorado Republicans? The governor wrote in his veto statement that drafting errors in the bill made it “unimplementable” and estimated that it would make insurance premiums go up by as much as $0.73 to $2.15 per person. “I am committed to working with proponents and sponsors to protect Coloradans from surprise bills, but I encourage all parties to work towards a more reasonable reimbursement rate that mitigates premium impacts and nets a better deal for Colorado families,” Polis wrote. In Colorado, if legislators in both chambers repass the bill with a two-thirds majority, they can override the governor’s veto, especially considering that the bill passed with the support of every single legislator. But the legislature adjourned on May 7, meaning that the bill has to be passed again when the legislature reconvenes in January.  For some reason, ending surprise ambulance billing nationally is not the slam-dunk issue it should be. Congress ended most surprise medical bills in 2020 but exempted ground ambulances from the bill. Was Polis’s veto due to badly drafted language and a (seemingly modest) price hike in insurance premiums, as he said, or was it for a different, more nefarious reason? We might not know unless and until the bill is reintroduced next year. More on surprise ambulance bills:Congress Doesn’t Care About Your Surprise Ambulance Bill Most Recent Post/May 30, 2025/12:21 p.m. ETTrump’s Pardons Since Jan 6 Spree Show an Infuriatingly Corrupt TrendSince his January 6 pardon spree, Donald Trump has tended to grant clemency a little closer to home.Saul Loeb/AFP/Getty ImagesA good chunk of the white-collar criminals pardoned by Donald Trump after his massive “Day One” pardoning spree either have a political or financial tie to him.The president has issued 60 pardons since he offered political forgiveness to some 1,600 individuals charged in the January 6, 2021, attack on the U.S. Capitol. But out of those subsequent 60 unrelated to the attack, 12 people—or roughly one in five—were already in Trump’s orbit, according to ABC News.They included several politicos, including former Illinois Governor Rod Blagojevich, who was convicted on several counts of corruption, including for an attempt to sell Barack Obama’s Senate seat after he left the position for the White House; former Republican Representative Michael Grimm, who pleaded guilty to tax fraud; former Nevada gubernatorial candidate Michele Fiore, who allegedly stole public funds intended to commemorate a slain police officer; and former Tennessee state Senator Brian Kelsey, who pleaded guilty to campaign finance fraud in 2022.Trump also pardoned major financiers of his presidential campaigns. Trevor Milton, the founder of the Nikola electric vehicle company, donated nearly $2 million toward Trump’s 2024 campaign. Imaad Zuberi, who has donated to both parties, issued “at least $800,000 to committees associated with Trump and the Republican Party,” ABC reported.Others helped Trump advance his retribution campaign against his political enemies, or helped advance his own image in the broader Republican Party. Devon Archer and Jason Galanis, both former business partners of Hunter Biden, accused the younger Biden of leveraging his father’s name and influence in order to conduct business overseas. Archer had defrauded a Native American tribal entity, while Galanis was serving time for multiple offenses. Trump also forgave Todd and Julie Chrisley—reality TV stars known for their show Chrisley Knows Best who were sentenced to a combined 19 years on fraud and tax evasion charges—after their daughter Savannah Chrisley spoke at the 2024 Republican National Convention.Speaking to press Friday after her parents’ release, Savannah Chrisley said that the “biggest misconception right now is I either paid for a pardon or slept for a pardon—,” but she couldn’t finish her sentence before Todd interjected: “That’s something I would have done,” he said.Read who else Trump is thinking of pardoning:Trump Considering Pardons for Men Who Tried to Kill Gretchen WhitmerMost Recent Post/May 30, 2025/12:04 p.m. ETTrump Knew He Was Deporting Innocent People to El Salvador All AlongMany of the people deported to El Salvador have no criminal record, and Donald Trump knew it.Michael M. Santiago/Getty ImagesDonald Trump’s administration was well aware that many of the 238 Venezuelan immigrants it shipped off to a notorious megaprison in El Salvador had no criminal records at all, according to a Friday report from ProPublica.  While Trump officials claimed that the deportees were brutal gang members and “the worst of the worst,” only 32 of the deportees had actually been convicted of crimes, and most of them were minor offenses such as traffic violations, according to data from the Department of Homeland Security reviewed by ProPublica, The Texas Tribune, and a team of journalists from Venezuelan media outlets. One of the men, 23-year-old Maikol Gabriel López Lizano, faced a misdemeanor charge after he was arrested in 2023 for riding his bike and drinking a can of beer.Little more than half of the deportees, 130 of the 238, were charged only with violating U.S. immigration laws. Twenty of them had criminal records from other countries. The U.S. government data showed that 67 individuals had pending charges, with only six being for violent crimes. In several cases, the government data about the pending charges differed from what ProPublica was able to find. In some cases, the men had actually been convicted, and in one, the charges had been dropped. But in many cases, these individuals were remanded to a foreign prison before their criminal cases were ever resolved. The Trump administration has touted allegations of gang affiliation as a justification for denying the deportees their due process rights. But none of the men’s names appeared on a list of roughly 1,400 alleged Tren de Aragua members kept by the Venezuelan government, ProPublica reported. Trump’s border czar Tom Homan tried desperately in March to downplay reporting that many of these individuals did not have criminal records. “A lot of gang members don’t have criminal histories, just like a lot of terrorists in this world, they’re not in any terrorist databases, right?” Homan said on ABC News. But the methods the government relies on to classify individuals as gang members—such as identification of gang-affiliated tattoos—have been disproven by experts. Not only were many of the men who were deported not proven gang members, they weren’t even criminals, and by denying them the right to due process, they were remanded to a foreign prison notorious for human rights abuses without ever getting to prove it. Trump has continued to pressure the Supreme Court to allow him to sidestep due process as part of his massive deportation campaign, claiming that the judiciary has no right to intrude on matters of “foreign policy.” But immigrants residing on U.S. soil—who are clearly not the bloodthirsty criminals the administration insists they are—are still subject to protections under U.S. law. Read more about the deportations:Trump Asks Supreme Court to Help Him Deport People Wherever He WantsMost Recent Post/May 30, 2025/11:41 a.m. ETJoni Ernst Stoops to Shocking Low When Told Medicaid Cuts Will KillSenator Joni Ernst had a disgusting answer when confronted by a constituent at her town hall about Trump’s budget bill.Drew Angerer/Getty ImagesRepublican Senator Joni Ernst had a particularly unhinged response to questions from her constituents at a town hall in Parkersburg, Iowa, on Friday.Ernst was asked about the GOP’s budget bill kicking people off of Medicaid, and her condescending answer quickly became callous and flippant as the Iowa politician smirked at the audience.“When you are arguing about illegals that are receiving Medicaid, 1.4 million, they’re not eligible, so they will be coming off, so—” Ernst began, before an audience member shouted, “People are going to die!”“People are not—well, we all are going to die,” Ernst responded, as the audience drowned her in loud protests.What was Ernst thinking with that answer? Almost every Republican town hall this year has gone badly for the politician holding it, thanks to President Trump upending the federal government, and Ernst surely knew that choosing death over Medicaid wouldn’t go over well with the crowd. Earlier this week in Nebraska, Representative Mike Flood was heckled after he admitted that he didn’t read the budget bill.Ersnt’s town hall wasn’t even the first one in Iowa to go badly for a Republican. On Wednesday, Representative Ashley Hinson was met with jeers and boos, with audience members in Decorah, Iowa calling her a fraud and a liar. But at least Hinson had the good sense not to seemingly embrace death over a vital, lifesaving government program. More on Trump’s bill:Here Are the Worst Things in Trump’s Big, Beautiful Bill Most Recent Post/May 30, 2025/11:35 a.m. ETKetanji Brown Jackson Blasts “Botched” Supreme Court Ruling on TPSSupreme Court Justice Ketanji Brown Jackson, in a scathing disssent, called out the rest of the court for allowing Trump’s harmful executive order to stand.Anna Moneymaker/Getty ImagesSupreme Court Justice Ketanji Brown Jackson thinks the Supreme Court “botched” a decision to allow the Trump administration to revoke the Temporary Protected Status protections of about 500,000 Haitian, Cuban, Nicaraguan, and Venezuelan immigrants.Jackson and fellow liberal Justice Sonia Sotomayor were the only two dissenters.“The Court has plainly botched this assessment today. It requires next to nothing from the Government with respect to irreparable harm,” Jackson wrote in the dissent. “And it undervalues the devastating consequences of allowing the Government to precipitously upend the lives of and livelihoods of nearly half a million noncitizens while their legal claims are pending.”TPS is a long-standing program that allowed those 500,000 immigrants to stay in the U.S. after they fled violence and risk in their home countries. After the Supreme Court’s ruling, all of them are at high risk of sudden deportation. “It is apparent that the government seeks a stay to enable it to inflict maximum predecision damage,” Jackson wrote.Read the full dissent here.View More Posts

Senior Legal CounselTripledot StudiosWarsaw PL3 minutes agoApplySenior Legal CounselDepartment: Finance & LegalEmployment Type: Permanent - Full TimeLocation: Warsaw, PLDescriptionTripledot Studios is on track to become one of the largest independent mobile games companies in the world.We are a multi-award-winning organisation, and following our recent acquisition announcement, we’re preparing to grow into a global 2,500+ strong team across 12 studios.Our expanded portfolio is set to include some of the biggest titles in mobile gaming, collectively reaching top chart positions around the world and engaging over 25 million daily active users.Tripledot’s guiding principle remains the same: when people love what they do, what they do will be loved by others.We’re building a company we’re proud of – one filled with driven, incredibly smart & detail orientated people, who LOVE making games.Our ambition is to become the most successful games company in the world, and we’re just getting started.Take a look at our games: iOS Store + Google PlayRole OverviewWe are seeking an ambitious Senior Legal Counsel to guide Tripledot Studios through a remarkable period of growth. This is a unique opportunity to engage in meaningful work that will shape the future of our business, while also offering a platform for personal and professional growth.This role is suited for a strong, versatile legal generalist with intellectual property and technology focus, displaying a mindset defined by:Proactiveness, drive and accountabilityBusiness acumen, pragmatism and resourcefulnessCuriosity, excellence and positivityGreat work ethics and professionalismRequired Skills, Knowledge and ExpertiseKey Responsibilities:Provide accurate, sound and commercial legal advice on wide range of legal issues impacting Tripledot Studios’ products and businessDraft, review, and negotiate a broad range of commercial contracts, with a focus on IP and technologyDraft and maintain clear, user-friendly terms of service, policies, and internal product guidelines to support TDS product development and complianceAssist in the management and protection of the company’s intellectual property portfolio, including trademarks and copyrightsMaintain a strong knowledge of the mobile game industry, Tripledot Studios’ products and servicesStay ahead of relevant legal developments and translate them into practical guidanceRequired Skills, Knowledge and ExpertiseEU/UK/US qualified lawyer with minimum of 7+ years of experience, in-house role exposure viewed favourablyOutstanding written and verbal communication skills in English, coupled with strong interpersonal abilitiesDemonstrable experience working in or with technology companies - video game industry experience is a plusStrong expertise in commercial contracts and intellectual property. Expertise in privacy, compliance or consumer protection idealProven ability to lead complicated projects and advise across multiple jurisdictionsWorking at Tripledot26 days holiday: Enjoy 26 days of paid holiday in addition to national/bank holidays to relax and refresh throughout the year.20 days fully remote working: Work from anywhere in the world, 20 days of the year.Regular company events and rewards: Join in regular events and rewards that celebrate cultural events, our achievements and our team spirit.Private Medical Cover: Have peace of mind with private medical cover, ensuring your and your family's health is in good hands.Daily Free Lunch: Order free food from Pyszne.plMultisport Plus Card: Enjoy access to various sports facilities across Warsaw with the Multisport Plus Card.Employee Assistance Program: Anytime you need it, tap into confidential, caring support with our Employee Assistance Program, always here to lend an ear and a helping hand.Family Forming Support: Receive vital support on your family forming/ fertility journey with our support program [subject to policy]Continuous Professional Development: Propel your career with continuous opportunities for professional development.Office Playroom: Unwind and recharge in our fun and relaxing office playroom. Create Your Profile — Game companies can contact you with their relevant job openings. Apply

From Tokyo to Taipei, Ho Chi Minh to Seoul, Asia Pacific has long been a powerhouse in global esports. However, until now, the region's role in the League of Legends ecosystem lacked a central stage. That's all about to change with the inception of League of Legends Championship Pacific (LCP), Riot Games' ambitious new league for APAC. This is the game developer's most significant step yet in unifying its fragmented competitive landscape. To bring that vision to life, Riot partnered with brand and digital studio Koto to craft an identity that would speak to fans across cultures, languages, and gaming styles. The result is a full-spectrum design system shaped by the region, for the region, and built to evolve alongside the fast-moving world of esports. "At its heart, this project was about building pride and momentum," says Koto creative director Melissa Baillache. "Riot made it clear from the beginning: they wanted to give fans a brand that belongs to them." The LCP brand makes that intent clear from the get-go. Under the platform What We're Made Of, Koto constructed an identity rooted in regional passion, from Japan's Oshi-style fandoms to Southeast Asia's hyper-social esports culture. The line isn't just a slogan; it's a rallying cry, making it clear that APAC isn't just participating in global esports – it's here to lead. Designing for competition and community Visually, the brand needed to deliver across an incredible range of touchpoints, from social teasers and broadcast graphics to merch, memes, and fan-created content. The design system is centred on The Pinnacle: a five-player emblem representing unity and competitive intensity. Rendered in molten, 3D finishes, it's a symbol of regional ambition and the raw energy of top-tier play. That energy carries through a modular graphic system inspired by League's own gameplay, specifically the three in-game lanes that structure how matches unfold. This system offers a flexible yet distinctive frame for everything from stat-heavy broadcast overlays to highlight reels and in-arena hype moments. The motion language is just as purposeful. It's fast, focused, and reactive, designed to mirror the breakneck pace of in-game action and the way fans consume esports content in real-time. Whether counting down to kick-off or amplifying a clutch play, the system pulses with immediacy. Voice with impact Koto also worked to develop a voice that cuts through the noise of a crowded digital space. LCP's tone is raw, energised, and emotionally charged, with tight headlines and punchy copy that speaks directly to fans. It's not just branding; it's storytelling engineered for social moments, match trailers, post-game celebrations, and everything in between. The studio's verbal system extends to campaign slogans, hashtags, and commentary-style callouts, all of which work together to build momentum, fuel rivalries, and stoke regional pride. A custom typeface that sets the tempo At the core of the visual identity is LCP Ignite, a custom variable typeface designed to capture the rhythm and sharpness of League gameplay. Inspired by the 'fired up' ethos of competitive play, it flexes across every format, from match stats and player quotes to dynamic on-screen graphics. Given the region's linguistic diversity, the system also includes a suite of secondary typefaces (including Archivo, Kinkakuji and Thonglor Soi 4 Nr) to ensure legibility and consistency in languages across APAC. The goal here was to create a type system that speaks to everyone, from die-hard fans to casual mobile viewers wherever they are. Fuel for fandom Koto's system goes beyond expectations by creating tools that grow with the community. A suite of icons and illustrations—all drawn from the strokes and geometry of LCP Ignite—provides creative fuel for Riot and fans. These assets flex across platforms, helping commentators, players, and creators build content that feels cohesive but never prescriptive. Gerald Torto, senior strategy director at Koto, says: "The goal with LCP was to frame the league not just as a competition, but as a cultural force. The energy and sentiment captured in the idea 'What We're Made Of' is a fitting platform. It gives APAC an unapologetic and proud voice that looks ahead to an exciting future." The scale of the system matches that ambition. Alongside Riot's APAC PubSports team, Koto delivered a complete brand toolkit with hundreds of assets – spanning physical, digital, and broadcast formats – built to scale across seasons, teams, and evolving tournament formats. Setting the stage for APAC's next era What sets this project apart is its commitment to longevity. LCP is a vast infrastructure investment into the future of competitive gaming in APAC, and the brand has already begun rolling out teaser campaigns, test broadcasts, and live events, setting the stage for a new chapter in League of Legends. As Koto continues to expand its presence in the region, the LCP identity is a strong signal of what's possible when global ambition meets regional nuance. It's also a showcase of what the Sydney studio brings to the table: cross-cultural fluency, strategic storytelling, and a flair for building scalable, high-impact identities with soul. With the official launch of LCP now live, Riot and Koto are inviting the world to witness what the region is made of.

Published May 31, 2025 6:00am EDT close Brain implant enables ALS patient to communicate using AI ALS patient communicates with the world using only his thoughts. Imagine losing your ability to speak or move, yet still having so much to say. For Brad G. Smith, this became his reality after being diagnosed with ALS, a rare and progressive disease that attacks the nerves controlling voluntary muscle movement. But thanks to a groundbreaking Neuralink brain implant, Smith is now able to communicate with the world using only his thoughts. ALS patient Brad G. Smith and his family. (Bradford G. Smith/X)Life before NeuralinkBefore receiving the Neuralink implant, Smith relied on eye-tracking technology to communicate. While impressive, it came with major limitations. "It is a miracle of technology, but it is frustrating. It works best in dark rooms, so I was basically Batman. I was stuck in a dark room," Smith shared in a recent post on X. Bright environments would disrupt the system, making communication slow and sometimes impossible. Now, Smith says, "Neuralink lets me go outside and ignore lighting changes."PARALYZED MAN WITH ALS IS THIRD TO RECEIVE NEURALINK IMPLANT, CAN TYPE WITH BRAIN ALS patient Brad G. Smith. (Bradford G. Smith/X)How the Neuralink brain implant worksSmith is the first non-verbal person and only the third individual worldwide to receive the Neuralink Brain-Computer Interface (BCI). The device, about as thick as five stacked coins, sits in his skull and connects to the motor cortex-the part of the brain that controls movement.Tiny wires, thinner than human hair, extend into Smith's brain. These pick up signals from his neurons and transmit them wirelessly to his MacBook Pro. The computer then decodes these signals, allowing Smith to move a cursor on the screen with his thoughts alone.As Smith explains, "The Neuralink implant embedded in my brain contains 1024 electrodes that capture neuron firings every 15 milliseconds generating a vast amount of data. Artificial intelligence processes this data on a connected MacBook Pro to decode my intended movements in real time to move the cursor on my screen. Neuralink does not read my deepest thoughts or words I think about. It just reads how I wanna move and moves the cursor where I want."WHAT IS ARTIFICIAL INTELLIGENCE (AI)? Neuralink brain implant. (Bradford G. Smith/X)Training the brain-computer connectionLearning to use the system took some trial and error. At first, the team tried mapping Smith's hand movements to the cursor, but it didn't work well. After more research, they discovered that signals related to his tongue were the most effective for cursor movement, and clenching his jaw worked best for clicking. "I am not actively thinking about my tongue, just like you don't think about your wrist when you move a mouse. I have done a lot of cursor movements in my life. I think my brain has switched over to subconscious control quickly so I just think about moving the cursor," Smith said. ALS patient Brad G. Smith with his wife and child. (Bradford G. Smith/X)Everyday life: Communication, play, and problem-solvingThe Neuralink implant has given Smith new ways to interact with his family and the world. He can now play games like Mario Kart with his children and communicate more quickly than before. The system includes a virtual keyboard and shortcuts for common actions, making tasks like copying, pasting and navigating web pages much easier.Smith also worked with Neuralink engineers to develop a "parking spot" feature for the cursor. "Sometimes you just wanna park the cursor and watch a video. When it is in the parking spot, I can watch a show or take a nap without worrying about the cursor," he explained. ALS patient Brad G. Smith and his child. (Bradford G. Smith/X)AI assistance: Keeping up with conversationTo speed up communication even more, Smith uses Grok, Elon Musk's AI chatbot. Grok helps him write responses and even suggests witty replies. "We have created a chat app that uses AI to listen to the conversation and gives me options to say in response. It uses Grok 3 and an AI clone of my old voice to generate options for me to say. It is not perfect, but it keeps me in the conversation and it comes up with some great ideas," Smith shared. One example? When a friend needed a gift idea for his girlfriend who loves horses, the AI suggested a bouquet of carrots. ALS patient Brad G. Smith and his family. (Bradford G. Smith/X)The human side: Family, faith and perspectiveSmith's journey has been shaped by more than just technology. He credits his wife, Tiffany, as his "best caregiver I could ever imagine," and recognizes the support of his kids, friends and family. Despite the challenges of ALS, Smith finds meaning and hope in his faith. "I have not always understood why God afflicted me with ALS but with time I am learning to trust his plan for me. I'm a better man because of ALS. I'm a better disciple of Jesus Christ because of ALS. I'm closer to my amazing wife, literally and figuratively, because of ALS," he said. ALS patient Brad G. Smith and his family. (Bradford G. Smith/X)Looking ahead: What does this mean for others?Neuralink's technology is still in its early stages, but Smith's experience is already making waves. The company recently received a "breakthrough" designation from the Food and Drug Administration for its brain implant device, which hopes to help people with severe speech impairments caused by ALS, stroke, spinal cord injury and other neurological conditions.Neuro-ethicists are watching closely, as the merging of brain implants and AI raises important questions about privacy, autonomy and the future of human communication. ALS patient Brad G. Smith and his family. (Bradford G. Smith/X)Kurt's key takeawaysSmith's story is about resilience, creativity and the power of technology to restore something as fundamental as the ability to communicate. As Smith puts it,CLICK HERE TO GET THE FOX NEWS APPIf you or a family member lost the ability to speak or move, would you consider a brain implant that lets you communicate with your thoughts? Let us know by writing to us atCyberguy.com/ContactFor more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/NewsletterAsk Kurt a question or let us know what stories you'd like us to cover.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved.   Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Last year Hunger Games social media accounts made shocking news when they announced there would be a new book and movie in the series. Shortly afterward, Collins released the novel on March 18, 2025 where it promptly sold 1.2 million copies in its first week in the U.S.—three times more than what Mockingjay, which closed out Collins’ original Hunger Games trilogy, did in the same time frame.  Sunrise on the Reaping follows Peeta and Katniss’ mentor, Haymitch Abernathy, when he is chosen to compete in the 50th Hunger Games, which due to the anniversary means there will be double the amount of tributes. The novel tells the story of Haymitch’s life in District 12 and his rebellion against the Capitol, which led him to become the unfriendly mentor we know from the original series.  This is the second prequel Collins has released after The Ballad of Songbirds and Snakes, which followed a young Coriolanus Snow on his journey to becoming the ruthless president in the original trilogy. The Ballad of Songbirds and Snakes movie grossed $349 million worldwide, and Collins and Lionsgate are likely eager to repeat that success at the box office with a Sunrise on the Reaping film.  The most successful movie in the franchise has been The Hunger Games: Catching Fire with a worldwide box office gross of almost $845 million. Hunger Games hasn’t been able to recreate those numbers since. But the Sunrise on the Reaping movie will follow a character the audience already connects with (as opposed to despite like Coriolanus), which may encourage more casual fans to see it. The announcement of Sunrise on the Reaping release brought new life to the Hunger Games audience, with many fans speculating about casting and production choices for the already confirmed movie adaptation, which is set to release in November 2026.  The Sunrise on the Reaping movie starts production in July and reportedly has a budget of over $150 million, according to a Deadline report, which could make it the largest budget Hunger Games movie to date. Fans of the franchise have been eagerly awaiting information about the highly anticipated movie adaptation, and they won’t have to wait long to get it. Here’s a look at some of the casting choices so far and what the expectations are for the upcoming film.  Amazon Joseph Zada as Haymitch Abernathy There were many fan castings following the release of the book involving popular actors such as Outer Banks’ Rudy Pankow and Harris Dickinson from Babygirl. Instead the lead role went to industry newcomer Joseph Zada, who will bring a fresh perspective. Zada is an Australian actor who began his career in 2019 in a film directed by his father, Jeremy Cumpston. He continued acting and has only been involved in four projects before his casting in Hunger Games, two movies (Bilched and The Speedway Murders), one small role in the Australian TV show Total Control, and a lead role in the currently airing Australian show, Invisible Boys. The Sunrise on the Reaping movie will be Zada’s first Hollywood blockbuster role.    In Sunrise on the Reaping, Haymitch’s character suffers unimaginable loss and faces treacherous conditions in the arena, so it will be interesting to see what Zada brings to the emotional impact of his journey.  Zada will also be starring in another anticipated book-adaptation, We Were Liars, which is set to release in June. Also of note, at age 20, Zada is actually the appropriate age to be playing a 16-year-old, which differs from both fan casting and a franchise that previously has cast actors over 25 as teenagers. Photo by: Nick Morgulis Mckenna Grace as Maysilee Donner Maysilee is a fierce but kindhearted character, which is not uncommon ground for Mckenna Grace. Grace is one of the more well-known additions to the cast, having starred in Gifted alongside Chris Evans, Ghostbusters: Afterlife, and Ghostbusters: Frozen Empire. Many fans were in favor of this choice on social media as well.   Grace will have the task of conveying the multiple layers to Maysilee’s arc. At the start of the novel, the character is viewed as a stuck-up rich girl but as the story progresses, Haymitch realizes there is more to her that meets the eye, and the two characters form a strong bond. Grace’s performance will ride on her ability to capture Maysilee’s development in a way that will have audiences empathizing with her until the very end. Grace already has almost three million followers on Instagram and five million on TikTok because of her popularity with a Gen Z audience, which likely appealed to the Lionsgate marketing department as well. She’s also only 18 years old, making this another case of the filmmakers again avoiding the common Hollywood issue of folks pushing 30 playing teens.  A24 Jesse Plemons as Plutarch Heavensbee Plutarch is a recurring character in the original trilogy, having a pivotal role in Mockingjay where he helps Katniss take down President Snow and the Capitol. In the film version, he was played by Philip Seymour Hoffman in one of the actor’s final roles. In Sunrise on the Reaping, we see Plutarch’s rise to power and how he gained the trust of the president while also helping the rebel cause. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Jesse Plemons was cast to play a younger Plutarch in the upcoming movie. It will be hard to live up to Hoffman’s charisma and talent, but Plemons seems up for the job. In fact, Plemons and Hoffman have actually shared the screen together when Plemons played Hoffman’s son in the 2012 film The Master. Plemons has been in the industry for a while and, most notably, played a role in the popular TV series Breaking Bad. He was also nominated for an Oscar as a supporting actor in The Power of the Dog. Max/WBD Whitney Peak as Lenore Dove Whitney Peak was cast to play Lenore Dove, the musical, free-spirited girlfriend of Haymitch, who is a part of the traveling musical band in District 12, or the “Covey.” Peak is a relatively new actress, best known for her roles in teen dramas like Chilling Adventures of Sabrina on Netflix and the Gossip Girl reboot on Max.  We will see if Peak can capture the same wild, whimsical energy that Rachel Zegler did when she played a very similar role as Lucy Gray Baird in The Ballad of Songbirds and Snakes movie. Zegler captured the hearts of Hunger Games fans, helping her to land roles afterward like Y2K and the latest Broadway production of  Romeo and Juliet. Zegler has already expressed her support for Peak’s casting on social media, writing, “I know she’s gonna do the Baird name proud.” Searchlight Pictures Kelvin Harrison Jr. as Beetee Beetee is a major character in the second Hunger Games novel, Catching Fire, where he uses his intelligence and knowledge of the arena to help stop the Games. In Sunrise on the Reaping, we learn about his family and his previous involvement in the rebellion, making his actions in the original trilogy more impactful. Young Beetee will be played by Kelvin Harrison Jr. who has had roles in other major movies like Elvis, The Trial of Chicago 7, Luce, and Waves and has been acting since 2013.  The character was previously played by Jeffrey Wright in the original trilogy, who unsurprisingly did a good job of coming across as shy and dorky while simultaneously using his intelligence to take down the Capitol. Harrison will act as a mentor to young Haymitch in Sunrise on the Reaping and aid him in his rebellion against the Capitol, showing that just because he’s nerdy doesn’t mean he’s not dangerous.  Netflix Maya Hawke as Wiress  Wiress is one of Haymitch’s mentors in the novel who won the Hunger Games the year before by outsmarting the gamemakers and the other tributes. Wiress will be played by Maya Hawke, who is known for being the daughter of famous actors Ethan Hawke and Uma Thurman as well as her role in the popular TV series Stranger Things. Many fans of her and the franchise were satisfied with the charismatic choice.  Like Beetee, Wiress’s character is introduced in Catching Fire as the smart but mentally disturbed tribute from District 3. In Sunrise on the Reaping, we see that she used to be able to communicate normally before the Capitol tortured her for her involvement in the rebellion. She was played in the original movies by Amanda Plummer, who embodied her eccentric, odd demeanor well, but Hawke will be playing a more sane and coherent version of Wiress. She will have to embody the young, capable victor who encourages the District 12 kids to use their intelligence to succeed in the Hunger Games without having to kill.  Amazon Prime Lili Taylor as Mags The kind and loveable mentor Mags will be played by Lili Taylor. The American actress has had roles in many successful movies, including Mystic Pizza, The Conjuring, I Shot Andy Warhol and Dogfight. Mags was also introduced in Catching Fire as Finnick’s mentor and a sweet, maternal figure. We see more of her in Sunrise on the Reaping as she helps Haymitch and the District 12 tributes prepare and shows us what she was like before the Capitol’s influence on her.  Mags was played in the Catching Fire movie by Lynn Cohen, but she was nonverbal and frail after years of Capitol torment. The Mags in this movie will be different, more energetic and able-bodied while still retaining the same affectionate nature. We will see her taking care of the tributes and making them feel like human beings even though they are headed to almost certain death.  Sony Pictures Ben Wang as Wyatt Callow Wyatt Callow is one of the District 12 tributes and a mathematical genius. Wyatt is known to take bets on the Hunger Games and calculate the odds of each tribute for his father, which Haymitch doesn’t like. The two characters get off to a rocky start, but Haymitch eventually realizes Wyatt is a good person with how loyal he is to their group.  Ben Wang will be playing Wyatt in the upcoming adaptation. Wang is also about to star in Karate Kid: Legend and has also appeared in the Mean Girls remake and the Disney+ series American Born Chinese.  Wyatt is socially awkward, but kind-hearted, and Wang will have to portray the depth of his character beyond just his intelligence.  Focus Features Ralph Fiennes as President Snow The ruthless President Snow will be played by the legendary Ralph Fiennes. The British actor has received multiple Academy Award nominations for his roles in Schindler’s List, Conclave, and The English Patient. His legacy also extends to some of the most popular movies of the last 30 years, running the gamut from Skyfall to The Grand Budapest Hotel. Fiennes is one of the most veteran members of the cast and someone that the younger actors can look up to as a mentor.  Of course Fiennes is no stranger to playing ruthless dictators either since his transformation into the role of Voldemort in the Harry Potter series is etched into the memories of generations. Fiennes will be playing the heartless president of Panem in Sunrise on the Reaping when he confronts Haymitch, the rebellion, and the 50th Hunger Games. There is no doubt that Fiennes will be able to portray Snow in the movie just as intimidating and coldhearted as fans have imagined him to be. Hulu Elle Fanning as Effie Trinket The most recent casting announcement has been Elle Fanning as the Capitol mentor Effie Trinket. Fanning was actually who many fans suggested should play the role, and it seems like the Hunger Games producers that request seriously. Fanning is the sister of the actress Dakota Fanning and has been in a number of popular films including A Complete Unknown, Maleficent, and The Great TV series.  Effie is a constant character throughout the original series (where she is played by Elizabeth Banks onscreen), and in Sunrise on the Reaping, we get to see how she obtained her position in District 12 and her first meeting with her fellow mentor Haymitch. Effie is sympathetic toward the district kids, but the Capitol propaganda prevents her from fully understanding their struggles. She thinks it’s sad they have to go into the Hunger Games but believes it’s necessary to keep the peace. Fanning will have to play the naïve and extravagant character who has a very ignorant outlook toward the real world. HBO Kieran Culkin as Caesar Flickerman  Caesar Flickerman is the charismatic entertainer and showman we see in the original trilogy interviewing the tributes before they enter the arena. In Sunrise on the Reaping, we get to see more of a younger Caesar conducting interviews before the 50th Hunger Games, but we also get some insight into how he can manipulate and sell a certain narrative to the Capitol audience. The character was previously played by Stanley Tucci who completely transformed himself into the role and really brought the preening media personality to life. And now Kieran Culkin has been cast for the upcoming prequel where he will get the chance to commit to the same eccentric hair, makeup, and outfits that Tucci made iconic.  Culkin is a seasoned actor and will almost certainly be up for the challenge. After all, he just won an Oscar for A Real Pain, and before that he won an Emmy (and was nominated for several more) due to his turn as Roman Roy on HBO’s Succession. Of course for a whole generation of movie watchers, he will always be Fuller from Home Alone. Molly McCann as Louella McCoy and Iona Bell as Lou Lou Louella and Lou Lou are two very similar looking characters who will each have to play very different roles. Louella will be played by Molly McCann who will have to play the sweet, innocent girl who Haymitch vows to protect when she is reaped in the Hunger Games at just 13. McCann is a young Irish actress who has already been a part of 19 projects, including movies and TV shows, and nominated for an Irish Film and TV award in 2021.  On the other hand, Iona Bell is cast as Lou Lou, who is an unknown girl from District 11 who was tortured by the Capitol and has been driven to almost insanity as a result. Bell is a British actress who has only been a part of one project before this casting. The teenage actress is currently filming in a few independent films, as well as a movie with Taika Waititi (Fing!) which will come out later this year. Her character in Sunrise on the Reaping is an odd one, but you can’t help but sympathize with her because of what she’s been through.