By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”

I freakin’ love bone conduction headphones, which keep my ears open so I stay alert to traffic while I’m walking, or bears while I’m kayaking, or far more frequently, fellow shoppers when I’m stomping around the grocery store. Today Shokz’ newest, most advanced design, the OpenRun Pro 2, is $60 off at Best Buy. That brings the final price down to $119.99. This blue-and-gray colorway is actually a Best Buy exclusive, but lacks any kind of branding (aside from, well, Shokz), so I don’t feel weird wearing it. I’ve been using the OpenRun Pro 2 for the better part of a year. I love the clearer mids and deeper bass than my previous, cheaper pair, and unlike some other bone conduction headphones, these recharge via USB-C so you don’t need to pack a separate cable. They’ll pair with multiple Bluetooth devices at once, just like all modern headphones. They also last a lot longer than some previous designs at 12 hours, and combined with a sleek, lightweight body and some water resistance, they’re great for workouts. I’ve dunked mine in Lake Wallenpaupack and the Delaware River (not exactly intentionally, ahem), and they’ve survived to tell me more audiobook tales. Best Buy is selling this exclusive color both on its own site and via its eBay account. I’d hop on it quickly, these headphones are popular, and this discounted blue-and-gray set might not last long. View Deal

Shutterstock 2025-05-24T10:44:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? This post originally appeared in the BI Today newsletter. You can sign up for Business Insider's daily newsletter here. Welcome back to our Saturday edition! Are you headed to the movie theater this weekend to see Tom Cruise's next big flick, "Mission: Impossible — The Final Reckoning"? Find out why he's had such staying power. Hint: It rhymes with punts.On the agenda:Living in the forest for four years shaved a decade off a researcher's biological age.Rich Americans are booking fancy vacations. Everyone else is cutting back.Morgan Wallen is the man of the moment because of his controversies, not in spite of them.A week on Mexico's "Happy Coast," the hidden getaway of the wealthy.But first: It's cookout time.If this was forwarded to you, sign up here. Download Business Insider's app here.This week's dispatchIt's time to sizzle and serve gorodenkoff/Getty Images Summer, is that you? :squints:With Memorial Day on Monday serving as the unofficial kick-off for summer, it's my favorite time of the year — grilling season. Get out the burgers. Get out the hot dogs. And if you'd rather not eat meat, get out the vegetables.Luckily for you, BI's Lifestyle team has been speaking with various chefs for tips on how to ensure people will be coming back to your grill asking for more.Chef Alissa Fitzgerald tells BI that a good burger starts with the kind of beef you buy. Try to aim for beef with "80% meat and 20% fat," allow them to thaw completely, and don't season them too early."Right before placing it on the grill, take a large pinch of kosher salt and gently cover the outside of the patty with a thin layer," she suggests. "Add the burger salt-side down on the grill and sprinkle some on the other side."If you're putting other types of meat on the grill, however, like steaks, you'll want to season them "a few hours before you plan on cooking it and let it sit in the fridge," Chef Marcus Jacobs tells BI.Meanwhile, when grilling chicken, Jacobs suggests creating a "blend of salt, white and black pepper, paprika, coriander, and several different types of chilies."No matter how you season or what you're throwing on the grill, check out the chefs' other tips to make sure you're not the talk of the neighborhood for the wrong reason.Touching grass David Furman When David Furman discovered his body was prematurely aging because of stress, he and his family moved to a one-room cabin in the woods to reset. Furman changed what they ate and how he exercised, and scaled back use of electronics.To his delight, the experiment worked: It dramatically improved his longevity and energy. He continues to reap the benefits now, even after leaving the forest.Travel is for the rich now Slim Aarons/Getty Images Almost half of summer travelers this year make over $100,000, according to a Deloitte survey. The wealth gap is growing, and middle-income vacationers are either staying home or opting for more budget-friendly trips.Even as demand wavers, luxury travel is booming. New accommodations are under construction, and "luxury" short-term rentals are increasing in price faster than other listings.Morgan Wallen's country John Shearer/Getty Images There's nothing sonically special about Morgan Wallen's music, and he has a habit of attracting controversy. Still, in the wake of scandals involving slurs and disorderly conduct, Wallen is more popular than ever.That's because Wallen's messiness is a key part of his brand, writes BI's Callie Ahlgrim. Fans see his scandals as proof of his authenticity, and he embodies an idea of freedom.A Happy Coast hideaway Monica Humphries/Business Insider A 155-mile stretch of Mexico's Pacific coast is a quiet vacation hot spot for the ultrawealthy. Costalegre, Spanish for "Happy Coast," is practically impossible to reach — for those without a private jet, at least.BI's Monica Humphries spent a week resort-hopping in Costalegre. Each had a different appeal, from the neighborhood feel and star-studded history at Careyes to the ATVs and private beaches at Las Alamandas.What we're watching this weekend Netflix; Chelsea Jia Feng/BI "Sirens": Julianne Moore, "The White Lotus" actor Meghann Fahy, and "House of the Dragon" standout Milly Alcock all star in Netflix's new dark comedy set in a beachside town."The Last of Us": Season two of HBO's TV show adaptation of the popular video game series ends this weekend."Nine Perfect Strangers": Nicole Kidman returns as a wellness guru in season two of the Hulu series, this time set in the Austrian Alps.See the full list iStock; Rebecca Zisser/BI Deals we loveMemorial Day savings: Mattresses are almost always on sale, but our deal experts know that Memorial Day is when we see the steepest discounts. Here are the best mattress deals for the holiday weekend.Business (Insider) casual: Our men's style editors are here to help you look sharp at the office without feeling stiff. Check out our brand-new guide to the best men's business casual clothes for work.Le Creuset vs. Staub: Our kitchen experts hate to break it to you, but there's a reason the more expensive option is better. Here's why we recommend Le Creuset.More of this week's top reads:I stayed at a luxurious resort in Barbados with my young daughter. From the private pool to the stunning beach, our stay was nearly perfect.Keke Palmer said she didn't feel adequately paid in Hollywood until Jordan Peele's 'Nope' — two decades into her career.Four sandal trends that are in this summer and four that are out, according to stylists and designers.The patent behind a $182 cult-favorite skincare product recently expired. So where are all the dupes?I visited the most expensive city in Utah and spotted five signs of over-the-top wealth and luxury.Beyoncé and Sabrina Carpenter's choreographer shares how she gets her clients so fit they can sing and dance — in just 12 weeks.Five style mistakes a menswear designer wishes you would stop making.A 56-year-old personal trainer on how to build muscle after 40 — with rucking, body weight exercises, and short workouts.I visited Universal's new theme park, Epic Universe. I see why some people wouldn't like it, but I'd happily go back.The BI Today team: Dan DeFrancesco, deputy editor and anchor, in New York City. Grace Lett, editor, in New York. Lisa Ryan, executive editor, in New York. Amanda Yen, associate editor, in New York. Elizabeth Casolo, fellow, in Chicago.

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ALBUMBad Bunny DeBÍ TiRAR MáS FOToSFuerza Regida Dolido Pero No ArrepentidoPeso Pluma ÉXODORauw Alejandro Cosa NuestraTito Double P INCÓMODOFAVORITE LATIN SONGBad Bunny “DtMF”FloyyMenor X Cris Mj “Gata Only”KAROL G “Si Antes Te Hubiera Conocido”Oscar Maydon & Fuerza Regida “Tu Boda”Shakira “Soltera”FAVORITE ROCK ARTISTHozierLinkin ParkPearl JamTwenty One PilotsZach BryanFAVORITE ROCK ALBUMHozier Unreal Unearth: UnendingKoe Wetzel 9 livesThe Marías SubmarineTwenty One Pilots ClancyZach Bryan The Great American Bar SceneFAVORITE ROCK SONGGreen Day “Dilemma”Hozier “Too Sweet”Linkin Park “The Emptiness Machine”Myles Smith “Stargazing”Zach Bryan “Pink Skies”FAVORITE DANCE/ELECTRONIC ARTISTCharli xcxDavid GuettaJohn SummitLady GagaMarshmelloFAVORITE SOUNDTRACKArcane League of Legends: Season 2Hazbin Hotel (Original Soundtrack)Moana 2 (Original Motion Picture Soundtrack) • Auliʻi Cravalho, Dwayne Johnson and CastTwisters: The AlbumWicked: The Soundtrack • Cynthia Erivo, Ariana Grande and CastFAVORITE AFROBEATS ARTISTAsakeRemaTemsTylaWizkidFAVORITE K-POP ARTISTATEEZJiminRMROSÉStray Kids

I freakin’ love bone conduction headphones, which keep my ears open so I stay alert to traffic while I’m walking, or bears while I’m kayaking, or far more frequently, fellow shoppers when I’m stomping around the grocery store. Today Shokz’ newest, most advanced design, the OpenRun Pro 2, is $60 off at Best Buy. That brings the final price down to $119.99. This blue-and-gray colorway is actually a Best Buy exclusive, but lacks any kind of branding (aside from, well, Shokz), so I don’t feel weird wearing it. I’ve been using the OpenRun Pro 2 for the better part of a year. I love the clearer mids and deeper bass than my previous, cheaper pair, and unlike some other bone conduction headphones, these recharge via USB-C so you don’t need to pack a separate cable. They’ll pair with multiple Bluetooth devices at once, just like all modern headphones. They also last a lot longer than some previous designs at 12 hours, and combined with a sleek, lightweight body and some water resistance, they’re great for workouts. I’ve dunked mine in Lake Wallenpaupack and the Delaware River (not exactly intentionally, ahem), and they’ve survived to tell me more audiobook tales. Best Buy is selling this exclusive color both on its own site and via its eBay account. I’d hop on it quickly, these headphones are popular, and this discounted blue-and-gray set might not last long. View Deal

In February 2021, Morgan Wallen's future as country music's golden goose was hanging in the balance.First, there were the reports of drunken disorderly conduct during a night out in Nashville. Then, a video of Wallen flouting COVID protocols at a party in 2020 resulted in the postponement of his "Saturday Night Live" debut. But his then-latest incident, in which he was caught using a racial slur on camera, threatened to torpedo his career.As quickly as the industry had lifted him up as the genre's next global star, Wallen was disinvited from awards shows, criticized by peers, blocked from radio play, and suspended by his record label. Country music cable network CMT announced it would scrub his appearances from its platforms, saying Wallen's words and actions were "in direct opposition to our core values that celebrate diversity, equity, and inclusion."Then, something happened: People kept listening anyway.Four years later, Wallen, now 32, is bigger than ever. His 2023 album "One Thing at a Time" spent 19 weeks at No. 1 on the Billboard 200, the longest reign ever for a country album. He went back on "Saturday Night Live," where his latest viral controversy, in which he walked offstage while the cameras were still rolling, garnered him enough defenders to launch a cheeky merch line. (It's now sold out.) His new album, "I'm the Problem," only needed one day to become Spotify's most-streamed country album of 2025.These days, it pays to be the problem.The making and marketing of a modern antihero Morgan Wallen released his fourth album, "I'm the Problem," on May 16, 2025. Spidey Smith Sonically, there's nothing particularly special about Wallen's brand of stadium country music. His signature Tennessee twang is pleasant enough, but it pales in comparison to the richness of Shaboozey's, for example, or the expressive texture of Chris Stapleton's. The melodies aren't any catchier than the average single by Luke Combs or Florida Georgia Line, and his lyrics are teeming with tropes: the word "whiskey" is sung no fewer than 18 times on "I'm the Problem." In a genre historically obsessed with first-person storytelling and narrative cohesion, Wallen also isn't distinguished by his songwriting: he's not listed as the sole songwriter on any "I'm the Problem" tracks, and on 15 out of 37, he's not credited at all. (Forty-nine other songwriters are credited throughout.)However, a closer look at the album's title track and opener offers insight into a core element of Wallen's appeal. On the taunting kiss-off, addressed to an ex who's equally flawed but can't bear to share the blame, Wallen is equal parts self-loathing and vindictive: "You hate that when you look at me, you halfway see yourself / And it got me thinkin' / If I'm the problem / You might be the reason." These themes are woven into the fabric of Wallen's songs, many of which double as sly implications. He often sings about drunken screw-ups and toxic relationships that paint his friends, lovers, and listeners as co-conspirators, or even instigators. "Don't Think Jesus," his first solo release after returning to the spotlight in 2022, makes this theme explicit: "World likes to rear back and throw a few stones / So boy wants to throw a few stones of his own." In his big hit from last year, the Post Malone duet "I Had Some Help," Wallen reasons, "It ain't like I can make this kinda mess all by myself."John Malanga, a 21-year-old rising senior at James Madison University, said he likes Wallen more than other country stars because he sees him as authentic: the themes of his music align with his unpolished, unapologetic public persona."He recognizes his flaws and yeah, he's kind of like this young guy who's a little bit of a douchebag sometimes, but that's his character," Malanga said. "It seems like he's really not afraid of that."Devin Selvala, a Boston-based 27-year-old who said she's been in Wallen's top 1% of Spotify listeners for at least three years, agreed."Nowadays in the music industry, it's easy to be consumed by the machine," Selvala said. "He isn't one that's willing to be shape-shifted and evolved based on how the industry or how 'big music' wants him to be. I think he's very, 'Take me as I am or leave me.'"Still, not everybody has accepted Wallen's career rebound. When Tate McRae was announced as a feature on "I'm the Problem," some of her fans objected based on Wallen's reputation and presumed political views, describing their team-up online as tone-deaf and meme-ing McRae as a MAGA Republican.The Wallen fans I spoke to were well aware of the singer's slur scandal and didn't let it slide, either, calling his language "repulsive" and inexcusable. (Wallen, for his part, said much of the same at the time, instructing his supporters to stop defending him in a video shared online.) But none said the incident ultimately deterred them from enjoying and supporting Wallen's music, especially following his public apology."I know I've never called anybody the N-word, but I've called people other things and done really crappy things. I think everybody has," Laragh Thooft, a 32-year-old from Iowa, told me. "I would never stop listening to music that I like, or stop watching a movie that I like, because it's somebody doing really dumb and potentially hateful things if they're not seeming to me to be a dumb and hateful person.""If we start doing that," she added, "then we're just gonna have to listen to only AI music."Wallen doesn't innovate — he resonates Morgan Wallen performs during the "Dangerous" tour in Los Angeles. Getty/John Shearer Wallen's relatability is also bolstered by streaming-optimized savvy.His music is extremely popular on TikTok, a platform that rewards broad appeal and repetition to serve users content that echoes what they already know and love. To this end, Wallen and his collaborators are masters at integrating other sounds and genres into his well-worn country formula. His songs bear tones of '70s rock, radio-friendly pop, electronic, and hip-hop, and his duet partners are carefully selected to help legitimize those unions: Hardy ("Come Back as a Redneck"), Tate McRae ("What I Want"), Diplo ("Heartless"), Lil Durk ("Broadway Girls"). Wallen's most high-profile collaborator in recent years, Post Malone, has achieved similar success hopping between rap, pop, and country trends.Wallen also releases a lot of music. Like, a lot. "One Thing at a Time" had 36 songs on its tracklist, just one fewer than "I'm the Problem." Its predecessor, 2021's "Dangerous," was a double album with 32 songs total, including bonus tracks.Wallen is the ideal avatar for an attractive idea — a feeling of freedom, of open roads and judgment-free zones.Much has been written about the "more is more" strategy that excels in the streaming era, and Wallen is far from the only artist to take advantage of it. But he arguably does it better than anyone else. The proof is in the pudding, which is to say, his chart performances. As of Wednesday, tracks from "I'm the Problem" dominated nearly half of Spotify's Top 50 in the US, with four of the top five slots. "We see that the demand is there and we are happy to meet that demand," Wallen said in a press release for the album.In the process, Wallen avoids disappointing any fans who prefer specific flavors in his sound. It's a familiar failsafe — something for everyone — and it suits Wallen's creative process, which he has characterized as relatively directionless. "We just went with our gut. That's what we do a lot of times, we don't necessarily have a plan," he told Rolling Stone of his debut album, "If I Know Me," in 2018. "Hopefully it sounds good." Wallen may not be leading the writing or production of his songs, but there is something to be said for his sonic pliability. Paired with his everyman ease and nonconformist attitude, Wallen is the ideal avatar for an attractive idea — a feeling of freedom, of open roads and judgment-free zones.After all, Wallen was right: He had some help. His record label resumed promoting his music a few months after he apologized for the slur incident in 2021. Last year, he was nominated for male video of the year at the CMT Music Awards and won entertainer of the year at the CMAs. He's hitched a ride on a powerful pendulum, one that's swinging away from DEI initiatives and toward self-styled free thinkers and rebels against social etiquette.Consider "Working Man's Song," a track from Wallen's new album, which echoes recent anti-establishment, anti-elite hits like Oliver Anthony's "Rich Men North of Richmond" and Jason Aldean's "Try That In a Small Town": "I punch the clock, wanna punch a ticket to New York and punch the boss," Wallen sings. Never mind that Wallen's 2023 tour grossed over $300 million, making it the highest-grossing country tour of all time. When he moans about the indignity of 9-to-5 jobs and "underpaid checks," it strikes a nerve.For a lot of Wallen's fans, Selvala theorized, "It's not just the music. It's the embodiment, the aesthetic of everything.""When I think of country music, I think of long drives, being with my friends, feet in the grass, sunny and 75, beers in the cooler," she said. "A lot of amazing memories I have over the years, just like being with people I love, have Morgan playing in the background.""I'm the Problem" concludes as it begins, with a double-edged confession. In the chorus of "I'm A Little Crazy," Wallen casts himself as a "coyote in a field of wolves" — scrappy, perhaps, and proud to stand out, yet no more wild than anyone else."Yeah, the only thing keeping these tracks on the train," Wallen sings, "Knowing I'm a little crazy, but the world's insane."

What will be the song of the summer for 2025? Who else got 'em obsessed "like JENNIE?" Spotify has some ideas.The audio streamer has made some big calls annually about which songs will rule the hot season, and on Tuesday, Spotify announced its predictions for the 30 songs of the summer. SEE ALSO: Spotify’s AI DJ now takes requests Listed not by ranking but alphabetically by artist first name, the 2025 "global songs of summer predictions" include WizTheMc, bees & honey, and Tyla's summery smash "Show Me Love," Charli xcx's TikTok favourite "party 4 u," Bad Bunny's superb "NUEVAYoL," Lady Gaga's Swift-like "How Bad Do U Want Me," and Ravyn Lenae's situationship ode “Love Me Not," among many more. Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! You May Also Like Here's the list:Spotify's 2025 songs of the summer predictions“Ordinary” – Alex Warren“NUEVAYoL” – Bad Bunny“Super” by Bb trickz “Mystical Magical” – Benson Boone“All The Way” – BigXthaPlug and Bailey Zimmerman“party 4 u” – Charli xcx “My Darling” – Chella“With You” – Davido and Omah Lay“NOKIA” – Drake“YA BABA” – DYSTINCT and French Montana“Running Around” – Ely Oaks“Summer Sweat” – Hannah Cohen“like JENNIE” – JENNIE“Blue Strips” – Jessie Murph“Gnarly” – KATSEYE“How Bad Do U Want Me” – Lady Gaga“MUTT” – Leon Thomas“Dark Thoughts” – Lil Tecca“What Was That” – Lorde“Shake It To The Max (FLY) – Remix” – MOLIY, Silent Addy, Skillibeng, and Shenseea “Say My Name – Remix” – Morgan Seatree and Florence + The Machine“What I Want” – Morgan Wallen and Tate McRae “You’ll Be in My Heart – Spotify Singles” – NIKI “Love Me Not” – Ravyn Lenae“Sally, When The Wine Runs Out” – ROLE MODEL“back to friends” – sombr“No One Noticed” – The Marías“Brunette” – Tucker Wetmore“La Plena – W Sound 05” – W Sound, Beéle, and Ovy On The Drums“Show Me Love (with Tyla)” – WizTheMc, bees & honey and Tyla Of course, Spotify has a playlist of all 30 summer predictions ready to go: Related Stories What do you think? Is your own personal song of the summer on Spotify's predictions list? FWIW, my personal songs of the summer to be are Obongjayar's "Not in Surrender" and TOKiMONSTA, Anderson .Paak, Rae Khali's "On Sum," but it's not my list is it? Topics Music

Enshrouded and Split Fiction top German Computer Game Awards 2025 "Germany produces exciting games with world-market potential" Image credit: Keen Studios News by Vikki Blake Contributor Published on May 15, 2025 Split Fiction has secured the top prize for International Game of the Year at the German Computer Game Awards 2025, with Keen Studios' Enshrouded taking home the award for Best German Game, as well as Best Innovation and Technology. Megagon Industries was voted Studio of the Year, and Steinwallen Player of the Year. Prize money totalling €800,000 was shared between the winners, with Enshrouded securing the highest prize - €100,000 - for winning best German game. Here's the full list of all the winners of the German Computer Game Awards 2025: Best International Game Split Fiction (Hazelight Studios / Electronic Arts) Best German Game Winner: Enshrouded (Keen Games) Lonely Mountains: Snow Riders (Megagon Industries) Thronefall (Grizzly Games) Best Family Game PRIM (Common Colors / Application Systems Heidelberg) Newcomer Award – Best Debut Winner: Nordhold (Stunforge / Stunforge & HypeTrain Digital) Footgun: Underground (Turtle Knight Games / CobraTekku Games) Mindlock – The Apartment (Roof Cut Media / United Soft Media) Newcomer Award – Best Prototype Winner: Blob the Klex (Melena Dressel, Alejandro Rebolledo, Laura Octavianus / Hochschule Darmstadt) MapMap – A game about Maps (HAW Hamburg / Pipapo Games) Stuntboost (Julian Höltge, Tobias Kozel) Echoes of Mora (HTW Berlin / Meike Strippel, Namin Hansen, Daria Pankau, Anita-Emmely Franz, Alina Alonzova) Exhibit A (MDH München / Olivia Falke, Gabrielle Sibucao, Flynn Schrammek, Valentin Kraffert, Martina Miskic, Leonhard Thiel, Fabiola Wörter, Arezou Rezaei, Seraphina Lange) Best Innovation and Technology Enshrouded (Keen Games) Best Audio Design ODDADA (Sven Ahlgrimm, Mathilde Hoffmann, Bastian Clausdorff / Sven Ahlgrimm) Best Game Design Thronefall (Grizzly Games) Best Graphic Design Harold Halibut (Slow Bros.) Best Mobile Game Duck Detective: The Secret Salami (Happy Broccoli Games) Best Story Vampire Therapist (Little Bat Games) Best Serious Game Deine Stimme (Sebastian Grünwald & Reality Twist / Bavarian State Centre for Political Education) Studio of the Year Megagon Industries (Berlin) Player of the Year Steinwallen Special Jury Award Winner: Flipper und Arcade Museum Seeligenstadt GAME:IN "We congratulate all the award winners," said Felix Falk, Managing Director of game – The German Games Industry Association. "Impressive variety, captivating stories and first-rate technologies: once again, on the grand stage of the German Computer Game Awards 2025, the enormous strength of German games studios was clear to see. "Germany produces exciting games with world-market potential. These successes send a strong signal and show what Germany has to offer as a game production location. Together with the new Federal Government, we want to enable this creative and technological excellence to shine even more brightly on the international stage in the future." Earlier this week, we reported new research that showed over 37.5 million people play video games in Germany, the highest number ever recorded for the country.