Rumors about a remake of Assassin's Creed 4: Black Flag have been circulating since 2023, but they're picking up momentum in 2025. Ubisoft has yet to officially announce Black Flag's return to modern consoles and PC, but voice actor Matt Ryan recently hinted that a remake is on the way.On social media, an X user going by @TheRealZephryss shared a video from @SuperDropKick17 that features Ryan signing autographs at a convention. Ryan--who voiced Black Flag's leading character, Edward Kenway--was asked if he had beaten the game and he affirmed that he had. Ryan then noted that he may need to beat the game again. "There's a reason I say that, but I can't say anything," added Ryan.Edward Kenway's voice actor, Matt Ryan, said this during a fan interaction. It looks like he hinted at the Assassin's Creed Black Flag Remake. 🔥🟢 Quote:“Have you beat the game?… well you may have to beat it again”And “There’s a reason I say that but I can’t say… pic.twitter.com/n3PwF8Q7Ri — Zephryss⛩️ (@TheRealZephryss) June 29, 2025 Earlier this month, a report put the spotlight on a live-stream from Pure Arts--the company behind PVC statues of Assassin's Creed characters--that addressed Edward's absence from the statue line. The hosts appeared to be confused about whether a Black Flag remake was announced, but went on to say that "there’s going to be something going on with Edward, and our PVC ⅛ scale statue will reflect that accordingly."Continue Reading at GameSpot

Mario Kart World has been review bombed by many frustrated gamers following the release of the version 1.1.2 update. The Mario Kart World update made some controversial changes to online racing, and players have voiced their concerns and frustrations through user reviews.

By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

It’s sometimes useful for a system to not just have a flat 2D camera view of things, but to have an understanding of the depth of a scene. Dual RGB …read more

Pixar has been delighting audiences with its house animation style and world-building for three decades, and the Disney-owned animation studio is showing no signs of slowing down. And unlike Andy, they haven’t aged out of playing with their toys.  At the Annecy’s International Animation Film Festival, Pixar dropped a series of announcements, teasers, and special previews of their upcoming slate, including the much-anticipated first-look at Toy Story 5.  Den of Geek attended a private screening, with remarks from Pixar’s Chief Creative Officer, Pete Docter, in early June ahead of the festival. During the presentation to the press, Docter hinted at the company putting its focus and energy to its theatrical slate, a notable change after recent releases like Dream Productions, set in the Inside Out universe, and the original Win or Lose debuted in early 2025. It’s a telling sign for Disney’s shifting approach to Disney+. The studio’s latest film, Elio, hit theaters on June 20th. “Our hope is that we can somehow tap into the things that people remember about the communal experience of seeing things together,” Docter said. “It’s different than sitting at home on your computer watching something [compared to] when you sit with other human beings in the dark and watch the flickering light on the screen. There’s something kind of magic about that.”  Pixar is aiming to be back on a timeline of three films every two years, with Toy Story 5 and an original story titled Hoppers releasing in 2026, and another original, Gatto, hitting theaters in 2027.  Docter boldly stated that Pixar is “standing on one of the strongest slates we’ve ever had.” While bullish for a studio that has had an unprecedented run of success in the world of animated features, the early footage we saw leaves plenty of room for optimism. Is Pixar so back? Here’s what we learned from the presentation and footage…  Toy Story 5 – June 19, 2026  Woody, Buzz, Jesse and the gang will all be returning for the fifth feature film in one of Pixar’s most beloved franchises. Docter confirmed Tom Hanks, Tim Allen and Joan Cusack will reprise their respective roles. Written and directed by Andrew Stanton, who has worked on all of the films, and co-directed by McKenna Harris, Toy Story 5 catches up to our modern, tech-oriented world, and how that affects children’s interests. Bonnie, now eight, is given a brand new, shiny tablet, called a Lily Pad. The new tech allows Bonnie to stay connected and chat with all of her friends, slowly detaching her from her old toys. But just like all the other toys, Lily can talk, and she’s quite sneaky. Lily believes Bonnie needs to get rid of her old, childish toys completely. Feeling Bonnie slipping away, the toys call Woody for back up, but after not seeing Buzz for some time, the two go back to their old ways of constantly butting heads.  “With some films, you’ll struggle to find new things to talk about. And you know, this is [Toy Story 5]. We still are finding new aspects of what it is to be a toy… There’s more of a spotlight on Jesse, so there’s that’s a whole nother facet to it as well. And she’s just such a rich, wonderful character to see on screen,” Docter says. Pixar screened the opening scene for press, which saw a fresh pallet of new Buzz Lightyear figures washed up in a shipping container on a remote island. Think Toy Story meets Cast Away as the Lightyears band together to concoct a way to get home, wherever that might be, in an unexpectedly gripping start to the fifth installment. Join our mailing list Get the best of Den of Geek delivered right to your inbox! HOPPERS – © 2025 Disney/Pixar. All Rights Reserved. Hoppers – March 6, 2026  Preceding Toy Story 5 and kicking off 2026 for Pixar will be an all-new story, Hoppers.  The film follows Mabel (Piper Curda), a college student and nature enthusiast as she fights to save a beloved glade near her childhood home from a highway project that will bulldoze through it– brought forth by the greedy mayor voiced by Jon Hamm. With little support from those around her, Mabel enlists the help of “hoppers,” a clever group of scientists who’ve found a way to “hop” their minds into robots. When Mabel hops into the body of a beaver, she sets off to get other animals to return to the glade, hopefully halting construction. The animals take her to meet their rather conflict-avoidant leader, King George (Bobby Moynihan), and she soon learns that the animal world is a lot more complex than she had thought.  The footage screened saw Jon Hamm’s mayor abducted by beavers in a slapstick scene that corroborated Docter’s excitement for the project. Like Pixar’s highest highs, Hoppers appears to be charming and big-hearted, and it certainly won’t hurt merchandise sales at the Disney parks with the adorably designed animals in this film. Docter compared Hoppers to Mission Impossible meets Planet Earth. We’re locked in.  GATTO – © 2025 Disney/Pixar. All Rights Reserved. Gatto – Summer 2027  In maybe the most creatively intriguing announcement, a new film titled Gatto is in production from the team behind Luca. Gatto will employ the same classic Pixar animation-style, but with a painterly twist to match the artistic vibe of Venice. The art direction shown in short clips was stunning and unique spin on Pixar’s house style. The film is set in Venice, Italy, a destination popular for its stunning architecture and romantic ambience, that some only dream of visiting one day. It’s not so ideal, however, for Nero, the protagonist of the upcoming Pixar-original film, Gato. Nero is a black cat, who people turn the other way from because they fear he’s bad luck. With no other options, Nero turns to the seedier side of the stray cat scene in Venice, where he soon finds himself in hot water with Rocco, a cat mob boss. The heart of the film is Nero’s love for music, and his budding friendship with a street musician named Maya, who is also an outsider.

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.SAG-AFTRA proposed AI protections will let performers send their digital replicas on strikeSAG-AFTRA proposed AI protections will let performers send their digital replicas on strikeA tentative agreement proposed by the union will also require game studios to secure informed consent from performers when using AI.Chris Kerr, Senior Editor, NewsJune 13, 20251 Min ReadImage via SAG-AFTRAPerformer union SAG-AFTRA has outlined what sort of AI protections have been secured through its new-look Interactive Media Agreement (IMA).The union, which this week suspended a year-long strike after finally agreeing terms with game studios signed to the IMA, said the new contract includes "important guardrails and gains around AI" such as the need for informed consent when deploying AI tech and the ability for performers to suspend consent for Digital Replicas during a strike—effectively sending their digital counterparts to the picket line.Compensation gains include the need for collectively-bargained minimums covering the use of Digital Replicas created with IMA-covered performances and higher minimums (7.5x scale) for what SAG-AFTRA calls "Real Time Generation," which is when a Digital Replica-voiced chatbot might be embedded in a video game.Secondary Performance Payments will also require studios to compensate performers when visual performances are reused in additional projects. The tentative agreement has already been approved by the SAG-AFTRA National Board and has now been submitted to union members for ratification.If ratified, it will also provide compounded compensation increases at a rate of 15.17 percent plus additional 3 percent increases in November 2025, November 2026, and November 2027. In addition, the overtime rate maximum for overscale performers will be based on double scale.Related:The full terms off the three-year deal will be released on June 18 alongside other ratification materials. Eligible SAG-AFTRA members will have until 5pm PDT on Wednesday, July 9, to vote on the agreement. Read more about:Labor & UnionizationAbout the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

Intergalactic Big Rigs Chart Their Course to a New Platform STOCKHOLM – June 4, 2025 – Today, Swedish indie publisher Raw Fury and developer Monster & Monster announced that their interstellar trucking simulator, Star Trucker, is coming to PlayStation 5 on June 10, joining its current availability on PC via Steam and GOG, and Xbox Series X|S.  In addition to the PlayStation 5 launch, a new game update will also deliver several quality of life upgrades and new features to further enhance players’ galaxy-hopping trucking experience. Star Trucker puts an intergalactic twist on the trucking simulation genre by bringing authentic and grounded trucking gameplay to an out-of-this-world setting. Star Trucker invites players to take to the ultimate open road and search for fame and fortune among the stars. Watch the PlayStation announcement trailer here. Press Kit can be found here. In Star Trucker, players tame the most open road of them all – space – in a true Americana-inspired retro sci-fi fashion. Players will be able to explore expansive worlds, overcome the challenges and opportunities with zero-g truck physics, skill up their mastery over hauling different types of goods and upgrade their truck to complete their jobs faster and more efficiently.  Key Features in Star Trucker include: Cruise the hyper highways, taking on a variety of jobs such as fuel-hungry long hauls and hazardous drop-offs to earn cash and unlock new content. Use the galactic map to plan your journey and warp jumps, while keeping an eye on your fuel reserves and power levels. Utilize the fully voiced, interactive CB radio to get the latest gossip from fellow truckers, request docking permissions or send out an SOS, and swing by auto shops to upgrade and improve your truck systems to gain access to new areas. Kick back, crank up the cab hi-fi and cruise to a range of starburst blues, galactic rock and asteroid-influenced Americana, spotlighting unique tracks by acclaimed musicians like Tom Bromley from Los Campesinos!, composer Randall Breneman and more. ABOUT MONSTER & MONSTER Monster and Monster consists of Co-Directors Dan Griffiths and David Fullick. Established in 2011, the studio has developed multiple games, including the star-hopping haulage sim Star Trucker and the award-winning DEEP LOOT, an underwater exploration game that surpassed three million downloads across iOS and Android platforms. Studio: www.monsterandmonster.com  Twitter: @BaronVonMonster ABOUT RAW FURY Raw Fury is an indie (un)publisher dedicated to connecting games with players by creating unforgettable experiences. With over 50 games published, including the Kingdom series, Blue Prince, Cassette Beasts, Norco, and Sable, Raw Fury has been consistently recognised as a top 10 publisher in Metacritic’s annual rankings. With an unwavering commitment to being the best partner for indie developers, Raw Fury continues to champion unique games and bring exceptional experiences to players worldwide. Web: rawfury.com X: x.com/rawfury Discord: discord.gg/rawfury BlueSky: rawfury.bsky.social MEDIA CONTACT fortyseven communications on behalf of Raw Fury rawfury@fortyseven.com The post Star Trucker Coming to PlayStation 5 on June 10 appeared first on Raw Fury.

Business leaders are weighing in on the Elon Musk and Donald Trump breakup. Kevin Dietsch/Getty Images 2025-06-06T05:49:58Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? The friendship between Elon Musk and Donald Trump publicly unravelled on Thursday. It all started when Musk criticized Trump's "Big Beautiful Bill." Here's what business leaders like Mark Cuban and Bill Ackman have to say about the breakup. Amid a dramatic falling out between Donald Trump and his "first buddy," Elon Musk, some of the business world's most influential voices are weighing in.The relationship between the president and his once-close ally imploded on Thursday as they clashed publicly over Trump's "Big Beautiful Bill."Musk, who stepped down from his role at DOGE in May, took to X to criticize the bill, calling it the "Debt Slavery Bill" and the "Big Ugly Spending Bill."In response, Trump fired back at Musk during a White House event. He also defended the bill on Truth Social, while threatening to cancel Musk's government contracts.Musk saw his net worth fall by $34 billion on Thursday, per the Bloomberg Billionaires Index. Tesla shares were also down by more than 14%.Here's what several business leaders have to say about the row.Mark Cuban Mark Cuban appeared to support Elon Musk's suggestion to start a new political party. Richard Rodriguez/Getty Images Amid his feud with Trump, Musk proposed creating a new political party for "the middle" in a poll on X.Mark Cuban appeared to endorse the idea, quoting Musk's post and replying with three check marks. The former "Shark Tank" star previously said he's "not a fan of either party," but would run as a Republican if he wanted to join politics.Bill Ackman Bill Ackman called on Musk and Trump to reconcile. Brian Snyder/Reuters Hedge fund billionaire Bill Ackman voiced his support for both Trump and Musk on X, calling on the two to put aside their differences and "make peace for the benefit of our country."Ackman, who had endorsed Trump for his 2024 presidential bid, wrote: "We are much stronger together than apart." "You're not wrong," Musk responded.Paul Graham Paul Graham also took to X to share his thoughts on the feud. Joe Corrigan/Getty Images for AOL Paul Graham, cofounder of the startup accelerator Y Combinator, also weighed in on the public feud between the president and the Tesla CEO. "A lot of people seem to be treating this as if it were just a beef. But the underlying allegation is a very serious one. If it's true, Trump is surely going to have to resign," he wrote in a post on X.Graham did not specify what allegation he was referring to.Hours before Graham made his post, Musk went on X and accused Trump of withholding information about Jeffrey Epstein."Time to drop the really big bomb: @realDonaldTrump is in the Epstein files. That is the real reason they have not been made public. Have a nice day, DJT!" Musk wrote on X.Graham told Musk in February that he should work with the government "carefully" because it's not "just a company."A representative for Graham did not immediately respond to a request for comment from Business Insider.

The anime summer season is close — and there will be lots of big names for us to look forward to. In such a packed season, Gachiakuta is one of the most anticipated and Crunchyroll just dropped a new trailer for the show which is airing next month July 6, 2025, alongside some details on the voice actors we are going to see giving life to important characters. The show is an adaptation of the manga written by Kei Urana and it has been published by Kodansha in their Weekly Shonen Magazine since 2022. Gachiakuta is Urana’s first series after her two one-shots – Nokase (2018) and Shikido (2019) – and this year the show is receiving the anime treatment by the hands of studio Bones Films, the one responsible for Vigilante: Boku no Hero Academia ILLEGALS. In this new trailer, we learn more about the world of Gachiakuta, which we have only seen some flashes of in the announcement trailer. This second trailer gives us an idea of why Rudo, the show’s protagonist, ends up in the Pit. Other key concepts of the manga are introduced as well, such as Gachiakuta’s power system that works around people called Givers who draw out power from objects they give life. While the trailer brings the energy you expect to see in a show like Gachiakuta – a few intense action scenes with the show’s opening song “HUGs” by Japanese band Paledusk –, it doesn’t fail to make it clear that Gachiakuta has a central social commentary on how society segregates people, throwing them away like garbage. Alongside the trailer, Crunchyroll also shared with us the names of two voice actors that will be in the Gachiakuta. Regot, the man who raises Rudo in the show, is voiced by Toshiyuki Morikawa, present in other important recent shows such as Ranma ½. Morikawa was also the Japanese voice of Sephiroth in Final Fantasy VII Remake and Rebirth. Yuki Shin is the other name and he is coming to Gachiakuta to voice Jabber. The artist has voiced secondary characters in shows like Attack on Titan, Given, and My Hero Academia.