2018's online MMO Fallout 76 wasn’t a smash hit right out of the gate. In fact, it was a complete mess. But over the years, after updates added NPCs and new areas to explore, the game turned into something pretty cool. And now, the director behind Fa

Meshtastic just released an eye-watering 9.5 CVSS CVE, warning about public/private keys being re-used among devices. And I’m the one that wrote the code. Not to mention, I triaged and …read more

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent:  […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.  We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

Unlike the other big streamers, Tubi only has a handful of original shows, most of them imports (their original movie selection is much larger). That's not to say it's a wasteland for TV addicts: The streamer might actually have too many shows, a vast and sometimes wild catalog that spans decades. As the likes of Netflix and HBO Max have slimmed down their catalogues, Tubi is growing, offering a mix of established hits, underrated gems, and more obscure offerings. For the sheer breadth of material on offer, it has become the first place I look for anything outside the current zeitgeist—like the following 18 shows, an entirely non-comprehensive sampling of what Tubi has to offer, crossing genres and decades.Gossip Girl (2007 – 2012) Occasionally referred to as the greatest teen drama of all time (certainly this side of 90210), Gossip Girl was a buzzy ratings champ for the CW back in the day, with its juicy, often scandalous storylines that veered so often into intentional satire that it was hard to ever get mad at the ridiculousness of any of it. Set among a group of well-heeled students on Manhattan's Upper East Side, its characters find their private lives being chronicled by the title’s mysterious master of gossip—so think of it as a proto-Bridgerton. You can stream Gossip Girl here.Babylon 5 (1993 – 1998, five seasons) J. Michael Straczynski’s wildly ambitious sci-fi epic was way ahead of its time, with a planned (more or less) five season story arc set on the titular space station. Babylon 5 is a remote outpost that becomes the last best hope for peace in the face of conflicting human and alien agendas—even more so after an ancient threat is awakened. With increasingly complex storylines that expanded over its run, this was a stab at prestige TV before that was a thing, and it still holds up (dated CGI effects notwithstanding. You can stream Babylon 5 here.Empire (2015 – 2020) Hip hop mogul and Empire Entertainment CEO Lucious Lyon (Terrence Howard) is dying, having been diagnosed with ALS at a young age. He wasn't planning to have to hand off his company so early, but nevertheless finds himself preparing his three very different sons (Trai Byers, Jussie Smollett, and Bryshere Y. Gray) to take the keys to the kingdom—by pitting them against one other. Into this already Shakespearean setup steps Lucious' ex-wife Cookie (Taraji P. Henson), just released from prison and harboring her own plans for Lucious's empire. You can stream Empire here. Mr. Robot (2015 – 2019) Social anxiety disorder, clinical depression, and dissociative identity disorder make up the potent blend of neurodivergences challenging Elliot Alderson (Rami Malek), a genius senior cybersecurity engineer at Allsafe Cybersecurity. In season one, he's recruited by an anarchist who goes by the moniker Mr. Robot (Christian Slater) to encrypt all the financial data of a global mega-conglomerate, thereby erasing massive amounts of debt (hey, real-life hackers, maybe take some notes?). The show starts strong and gets better across its increasingly labyrinthian four seasons—utterly preposterous while also feeling realistic in its technical detail. You can stream Mr. Robot here. Boarders (2024 - , two seasons) This British import feels a bit like a latter-day Skins, with a talented cast of young stars-in-waiting (including leads Josh Tedeku and Jodie Campbell) and a scholastic setting. At the (fictional) prestigious boarding school St. Gilbert’s, five Black teens are newly attending, having earned scholarships, but their integration into the existing cliques is less than smooth. The blend of coming-of-age drama with a willingness to take the piss when it comes to the whole rich private school thing makes this Tubi original a good time. You can stream Boarders here.Big Mood (2024 – , renewed for a second season) Another UK import and Tubi original (at least stateside), Big Mood stars Nicola Coughlan (Bridgerton) and Lydia West (It's a Sin) as a couple of besties in East London, living their best millennial thirtysomething lives. Well, kind of: Maggie's dealing with bipolar disorder, and unclear on whether she wants to continue with her medication as she sets out to write a play, while Lydia is doing her very best running a tanking dive bar inherited from her father. It's both a cute dramedy and an impressively frank exploration of the challenges of living with mental illness. You can stream Big Mood here. Vicious (2013 – 2016, two seasons) The old-school sitcom formula has never been executed quite this bitchily, with the inspired pairing of Ian McKellen and Derek Jacobi as Freddie Thornhill and Stuart Bixby, a couple of nearly 50 years who’ve developed a love-hate relationship. This cast, which includes Frances de la Tour and Game of Thrones’ Ian Rheon, is unbeatable, and the one-liners are hilariously nasty. You can stream Vicious here.The Haves and the Have Nots (2013 – 2021, eight seasons) Tyler Perry's old-school primetime soap was the show that practically built OWN; it was the then-new network's first scripted show, and an immediate breakout. It follows three families: The wealthy Harringtons and the Cryers are wealthy movers in Atlanta, Georgia, while the Young family is overseen by single mom Hanna, who's both a maid for the Cryers and confidante to the family matriarch. There's juicy tension galore between the three families, in no small part because of class differences, but also because they're all equally screwed. You can stream The Haves and the Have Nots here. Spartacus (2010 – 2013) Doing Ridley Scott’s Gladiator one better in terms of both narrative complexity and in hot shirtless gay arena action, Spartacus starts off as pure spectacle and grows into a juicy, high-gloss soap opera by series' end. Buoyed by performances from leads Andy Whitfield (who tragically passed away during the series' original run), Manu Bennett, John Hannah, and Lucy Lawless, it’s sword-and-sandals done right. A follow-up series is in development over at Starz, so it's a good time to catch up. You can stream Spartacus here. Broadchurch (2013 – 2017) Creator Chris Chibnall's dark crime drama didn't invent its particular sub-genre (whatever you call the one where two troubled homicide detectives butt heads in a gloomy town), but it did popularize it to the point that we've been inundated with countless imitators of wide-ranging quality. With the great pairing of Olivia Colman and David Tennant (joined by yet another Doctor Who Doctor, Jodie Whittaker), Broadchurch still stands alongside the best of its kind. You can stream Broadchurch here.Doctor Who (1963 – 1989, 26 seasons) Speaking of Doctor Who, even if you're current with the modern incarnation (if I can use "modern" for a show that started airing in 2005), you've got a lot of timey-wimey adventures to enjoy. Tubi has the entirity of the surviving 26-season original run, going all the way back to 1963 and the story of a mysterious old man living in a junkyard with his granddaughter. Seven doctors is enough to keep anyone busy for a while. Tubi has the show broken out by Doctor, but, if you want to start from the beginning you can stream The First Doctor here. Haven (2010 – 2015) Tubi is a haven for small gems like this, a five-season Stephen King adaptation originally produced by SyFy. Emily Rose stars as Audrey Parker, and FBI Special Agent sent to the small town of Haven, Maine on a routine case who gets drawn into “The Troubles," a series of harmful supernatural events that have recurred throughout the town’s history. A supernatural-case-of-the-week format gives way to a bigger mystery when Audrey comes to learn that this isn’t her first time in Haven, nor the first time she’s encountered the Troubles. You can stream Haven here.Scandal (2012 – 2018, seven seasons) Shonda Rhimes was already a powerhouse producer and screenwriter with several successful seasons of Grey's Anatomy under her belt when Scandal debuted, but its blend of political thrills and sexy, soapy drama is what solidified her brand, and her spot atop of the modern TV landscape. Kerry Washington stars as Olivia Pope, head of the DC-based crisis management firm Olivia Pope & Associates (OPA), who is the person to call when you've got a PR disaster to fix. If you want to get a sense of the stakes involved, consider that Tony Goldwyn costars as Fitzgerald Grant III, president of the United States, and also Olivia's lover. You can stream Scandal here. Buffy the Vampire Slayer (1997 – 2003) With word that Sarah Michelle Gellar (and company?) are returning to the wreckage of Sunnydale for a Hulu reboot, it’s probably not a bad time to visit (or revisit, or re-revisit) this seven-season teen vampire hunter saga. While the pacing might feel a little slow, and the effects a little janky, its blend of high school (and then college) angst, kick-ass monster fights, and genuinely laugh-out-loud comedy holds up. You can stream Buffy here.Heartland (2007 – , 18 seasons) If there’s a stereotype that middle-American viewers won’t watch foreign fare, this show puts the lie to it—at least when it comes to imports from Alberta (tariff-free!). Based on a popular book series from Linda Chapman and Beth Chambers (writing under the name Lauren Brooke), the show follows the lives of a family of horse ranchers in western Canada, led by sisters Amy and Lou (Amber Marshall and Michelle Morgan). Tubi currently has only the first 15 seasons of the drama, which has recently been renewed for a 19th. That’s Law & Order-level longevity, people. You can stream Heartland here.Highlander (1992 – 1998, six seasons) An classic of '90s-era syndicated action/adventure, Highlander stars Adrian Paul as the title hero, taking over from Christopher Lambert in the film series. Duncan MacLeod is an immortal warrior living in the modern(-ish) day, hunted by others of his own kind, whose goal is singular: to chop off Duncan's head in order to steal his power. Episodes typically involve some sort of flashback to an earlier era in Duncan's life where we first encounter the threat he'll face in the modern day. There's at least one good sword fight in every episode, and I can't imagine what more you'd want out of a series. Bonus: It carries over the films' kick-ass Queen theme song. You can stream Highlander here. Z Nation (2014 - 2019) The Walking Dead made prestige television out of the zombie apocalypse, but this SyFy channel original is all about zombies as a campy, gory good time.  Things kick off with a soldier who’s been tasked with transporting a package across country. The package in question is actually a human being, the survivor of a zombie bite who might be able to help create a vaccine (take note, The Last of Us fans). This one comes from the schlock-masters at The Asylum, purveyors of infamous B-movies like Sharknado, which should tell you all you need to know about the tone. You can stream Z Nation here.Columbo (1968 – 2003, 16 seasons) Peter Falk's sublimely rumpled detective practically invented the style that Peacock's Poker Face has recently revived: a crime (usually a murder) is committed, the viewers know whodunnit, and Columbo has to solve it. Early on in any given episode, we get to watch the crime being committed, though we don't always know the motive. The challenge isn't to figure out the culprit, but to discover exactly how TV's greatest detective is going to solve the case. You can stream Columbo here.

Sometimes you want to play alone, whether your game of choice is a relaxing solitaire session or an engrossing, cinematic campaign. We get that. Still, some of the best gaming-related experiences come from moments shared with other people. After all, an excellent multiplayer mode makes a video game endlessly replayable and enables good times with local friends or strangers across the country—as long as the servers stay up. Our list of the best multiplayer games casts a wide net that includes console and PC games, competitive and cooperative titles, casual board games and serious esports fare, and, of course, battle royales, shooters, and fighters. If you're interested in playing a game with at least one other person, you'll find something that catches your eye here. These are the best multiplayer video games that you and your friends should play right now. Apex Legends From the ashes of Titanfall rose the best battle royale game. Respawn’s Apex Legends combines unbelievably fluid movement with impeccable gunplay and innovative team communication features. Each character’s unique abilities open strategic options on the expansive battlefield. Among Us Among Us (for iOS) 4.0 Excellent Among Us is more of a social experiment than a game. You and your friends play as crewmates attempting to repair a spaceship, but some players are deadly impostors who are picking off others. Constant lying and manipulation turn even the friendliest relationships into pure paranoia.  Clubhouse Games Clubhouse Games: 51 Worldwide Classics (for Nintendo Switch) 4.0 Excellent This compilation contains more than 50 classic games that have stood the test of time, including bowling, backgammon, and billiards. You can have fun with friends or family, but beware getting so heated that you'll never want to speak with them again. Online play ensures the good (and frustrating) times aren't limited to your immediate vicinity. Counter-Strike 2 Counter-Strike: Global Offensive 4.0 Excellent Counter-Strike is a founding father of multiplayer online shooters, and Counter-Strike 2 continues the legacy. In this long-awaited update to Counter-Strike: Global Offensive, you’ll find a massive community always ready to hop into Terrorist versus Counter-Terrorist tactical team action. Plus, it’s free! Death Stranding Death Stranding: Director's Cut (for PlayStation 5) 4.0 Excellent Hideo Kojima’s freaky odyssey about time rain and babies in jars is also one of the most fascinating and unconventional multiplayer games in recent memory. As you traverse the harsh wasteland, you can leave behind useful items, such as ladders and reports, that other players can use in their sessions. Destiny 2 Destiny 2 (for PlayStation 4) Destiny 2 is the looter-shooter that gives other looter-shooters envy. You gather the shiniest guns, the sickest armor, and show off your gear in front of fellow Guardians. Party-up and shoot your way through alien enemies and strongholds with Bungie’s perfect first-person shooter controls. The first taste is free, and regular, new content releases give you many reasons to keep gunning. Destiny 2 (for PlayStation 4) review Diablo IV 4.0 Excellent No action-RPG out-Diablos Diablo IV, a title that expands the familiar loot-grinding mechanics with massive, demon-filled zones. In terms of character builds, Diablo IV review Dota 2 Dota 2 (for PC) 4.5 Excellent What began as a mere mod has since become one of the most popular esports in the world. Dota 2 sets the standard for the MOBA genre, that strange hybrid between real-time strategy and team sports. New heroes give players constantly changing choices to consider. If you put in the effort to get really good at this game, the sky's the limit.  Fatal Fury: City of the Wolves Fatal Fury: City of the Wolves (for PC) 4.0 Excellent The King of Fighters series is great, but Fatal Fury: City of the Wolves resurrects the SNK fighter that started it all. Familiar faces like Terry Bogard and Mai Shiranui battle real-life guest characters like DJ Salavatore Gannaci and soccer star Cristiano Ronaldo in this excellent take on fundamental, 2D fisticuffs. Rich mechanics add depth to both offensive and defensive play, while comic book-inspired graphics give brawls a distinct visual identity. Crossplay multiplayer shines with rollback netcode. Fatal Fury: City of the Wolves (for PC) review Fortnite Fortnite (for PC) 3.5 Good Do you really need someone else to tell you about Fortnite? Originally a free battle royale mode for a failed multiplayer game, Fortnite became an absolute phenomenon. Every day, millions of children leap from the in-game battle bus to shoot each other and build elaborate structures, while dressed as their favorite brands. You can also hang out and watch concerts or (for some reason) documentaries on social issues.   Forza Horizon 5 Forza Horizon 5 (for PC) 4.5 Excellent Forza Horizon 5 appeals equally to serious automobile racing enthusiasts and anyone who just wants to drive aimlessly through beautifully rendered Mexican landscapes. Although largely similar to past entries, the new EventLab lets you create clever, custom courses to enjoy with friends. Halo Infinite Halo Infinite (for PC) 4.5 Excellent Halo single-handedly saved the Xbox, and proved that multiplayer shooters could thrive on home consoles. Halo Infinite doesn’t just reinvent the single-player campaign, it continues Halo’s history of excellent multiplayer modes, from capture the flag to random weapon fiestas. Plus, you can play for free, so finish the fight. Halo Infinite (for PC) review Jackbox Party Pack The Jackbox Party Pack 8 (for PC) The annual Jackbox Party Pack games consistently deliver the most hilarious social multiplayer experiences you’ll ever play. Design wacky t-shirts, come up with witty quips, and try to figure out which friend is faking it. Anyone can play, as long as they have a phone. With unique streaming features, even your audience can join the party. League of Legends League of Legends (for PC) 4.5 Excellent Free from any previous mod baggage, League of Legends is arguably the more accessible game when it comes to the MOBA heavy hitters. Still, it takes skill to master every champion and lead your team to victory. The League of Legends universe is expanding into other game genres and Netflix shows, so now’s the time to get caught up.  League of Legends (for PC) review It Takes Two In many ways, marriage is the ultimate multiplayer game. It Takes Two is a cooperative adventure that tasks two people with controlling a couple as they complete wacky challenges to repair their strained relationship. You’ll never know true love until you and your partner escape a giant cuckoo clock together. The King of Fighters XV The King of Fighters XV (for PC) 4.0 Excellent For finely tuned 2D fighting, look no further than The King of Fighters XV. Building off intriguing ideas introduced in previous entries, KOF XV gives you a massive character roster and an expressive, creative fighting system. Tournament features, multiplayer party modes, and rollback netcode make this one of the series' best entries. Mario Kart 8 Deluxe Mario Kart 8 Deluxe (for Nintendo Switch) 4.5 Excellent Mario Kart 8 Deluxe is absolutely everything you could want from Nintendo’s hugely popular kart racing series. It features gorgeous visuals, inventive tracks, and a revamped battle mode. In fact, Nintendo is still selling new courses, years after the game's 2017 debut. Mario Kart 8 Deluxe is so spectacular not even the blue shell can stop it.  Minecraft Minecraft (for PC) 4.5 Excellent Minecraft gives young people an unparalleled sense of freedom as they explore and build worlds, brick by brick. In fact, multiple builders can join the same game world for cooperative mining and crafting. Take it a step further by setting up your own Minecraft server, so you and friends can construct a private paradise.  Monster Hunter Rise Monster Hunter Rise (for Nintendo Switch) 4.5 Excellent Monster Hunter Rise finally makes hardened haters see the glory of Capcom’s monster-slaying series. You can craft new weapons and armors by defeating a monster menagerie inspired by Japanese mythology or swing through the air with new wirebug techniques. No beasts will stand in your way as you go beast hunting with friends. Mortal Kombat 1 Mortal Kombat 1 (For PC) 4.5 Excellent With Mortal Kombat 1, the famously bloody fighting game finally breaks free of its infamously stiff gameplay mechanics. Finishing foes has never been more fun thanks to high-flying air combos and custom tag-team Kameo fighter attacks. This reboot is as entertaining to play with friends as it is to watch with horrified onlookers. Mortal Kombat 1 (For PC) review Rocket League Rocket League (for PC) 4.5 Excellent “Cars playing soccer” is such a beautiful premise for an arcade sports game, and Rocket League perfectly pulls it off. Sure, you can just put the pedal to the metal and bash into the ball, hoping it goes into the goal. But the high-flying physics system creates enough depth for sensational tests of skill. The free-to-play season structure means you’ll always have a reason to return.  Rocket League (for PC) review Splatoon 3 Splatoon 3 (for Nintendo Switch) 4.0 Excellent Only Nintendo could take the well-worn shooter genre and turn it into a game about punky squid kids squirting ink at each other. By making battles more about covering turf than blasting opponents, Splatoon 3 is a friendlier and more accessible shooter. However, you’ll need to stay on your toes with so many unique weapons and traversal options. Splatoon 3 (for Nintendo Switch) review StarCraft II StarCraft II: Legacy of the Void (for PC) 5.0 Outstanding StarCraft II is the best strategy game since chess. Whether you play as Terran, Zerg, or Protoss armies, you have access to perfectly balanced units for overcoming any opponent during real-time clashes. The StarCraft II trilogy even introduces free, cooperate multiplayer modes, so veterans can introduce newcomers to the fight. Street Fighter 6 Street Fighter 6 (for PC) 5.0 Outstanding Street Fighter 6 is worthy of its iconic name. With its bold new style (graffiti in motion!), expansive new modes (worldwide online Battle Hub!), exciting new roster (Kimberly!), and competitive new gameplay systems (Drive Gauge!), Street Fighter battles are more hype than ever. It's a multiplayer gaming masterpiece. Street Fighter 6 (for PC) review Streets of Rage 4 Streets of Rage 4 (for PC) 4.0 Excellent Streets of Rage 4 breathes new life into the aging beat ‘em up genre thanks to complex combat and stunning illustrated graphics. If smacking goons in solo fashion gets boring, team up with a friend for chaotic co-op action. You can even unlock retro versions of classic characters. Super Smash Bros. Ultimate Super Smash Bros. Ultimate (for Nintendo Switch) 4.5 Excellent Super Smash Bros. Ultimate combines countless characters, stages, modes, and music tracks to create the most incredible video game crossover of all time. It’s also a phenomenal platform-fighting game, speeding up the addictive combat and rebalancing advanced techniques. No matter how seriously you take it, no video game can scratch that satisfying multiplayer itch like Super Smash Bros.  Tekken 8 Tekken 8 (for PC) Tekken 8 is the latest and greatest entry in the venerable 3D fighting game franchise. Prove your worth at the King of Iron Fist Tournament by nimbly sidestepping, laying down painful combos, and activating new Heat Smash attacks. For the true Tekken multiplayer experience, fight your dad and throw him down a volcano. Tetris Effect: Connected Tetris Effect: Connected (for Xbox Series S) 4.5 Excellent Tetris Effect: Connected makes the perfect puzzle game even better. Alongside traditional competitive Tetris multiplayer modes, Effect lets you team up for cooperative “Connected” journeys where you and your partners clear lines on the same massive board. Combine that with trance-inducing audiovisual stimuli, and you’ll never look at blocks the same way again. 

In the past decade, survival games have really developed, moving from basic indie games to impressive, realistic-looking products. Today, the genre boasts titles that not only challenge players' endurance, but also captivate them with breathtaking visuals. No matter the setting — destroyed wasteland or foreign underwater planet — the game environments are so detailed and convincing that it’s hard to tell if they were designed based on actual place, or just an imaginative creation. Survival games are getting better with each new release, and many of them impress with their graphics. As technology improves and more attention is given to the atmosphere, the future of survival games looks promising.

In The Electric State, based on a graphic novel by Swedish artist Simon Stålenhag, after a robot uprising in an alternative version of the 1990s, an orphaned teenager goes on a quest across the American West, with a cartoon-inspired robot, a smuggler, and his sidekick, to find her long-lost brother. Adapting this sci-fi adventure for Netflix were Joe and Anthony Russo; their film stars Millie Bobbie Brown, Chris Pratt, Stanley Tucci, Giancarlo Esposito and a cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria, and Anthony Mackie.  Overseeing the visual effects, which surpassed what the Russos had to deal with during their halcyon MCU days, was Matthew Buttler, who turned to the venerable Digital Domain. As the main vendor, the studio was responsible for producing 61 character builds, 480 assets, and over 850 shots. “It was one of the biggest projects that I’ve done in terms of sheer volumes of assets, shots and characters,” states Joel Behrens, VFX Supervisor, Digital Domain.  “Our wonderful asset team did the 61 characters we were responsible for and had to ingest another 46 characters from other facilities.  We didn’t do any major changes. It was pushing our pipeline to the limits it could handle, especially with other shows going on. We took up a lot of disk space and had the ability to expand and contract the Renderfarm with cloud machines as well.” In researching for the show, Digital Domain visited Boston Dynamics to better understand the technological advancements in robotics, and what structures, motions, and interactions were logical and physically plausible.  “There is a certain amount of fake engineering that goes into some of these things,” notes Behrens.  “We’re not actually building these robots to legitimately function in the real world but have to be visibly believable that they can actually pull some of this stuff off.”  The starting point is always the reference material provided by the client.  “Is there a voice that I need to match to?” notes Liz Bernard, Animation Supervisor, Digital Domain.  “Is there any physical body reference either from motion reference actors in the plate or motion capture? We had a big mix of that on the show.  Some of our characters couldn’t be mocapped at all while others could but we had to modify the performance considerably.  We were also looking at the anatomy of each one of these robots to see what their physical capabilities are.  Can they run or jump?  Because that’s always going to tie tightly with the personality.  Your body in some ways is your personality.  We’re trying to figure out how do we put the actor’s voice on top of all these physical limitations in a way that feels cohesive.  It doesn’t happen overnight.”  The character design of Cosmo was retained from the graphic novel despite not being feasible to engineer in reality.  “His feet are huge,” laughs Bernard.  “We had to figure out how to get him to walk in a way that felt normal and put the joints in the right spots.” Emoting was mainly achieved through physicality.  “He does have these audio clips from the Kid Cosmo cartoon that he can use to help express himself verbally, but most of it is pantomime,” observes Bernard.  “There is this great scene between Cosmo and Michelle that occurs right after she crashes the car, and Cosmo is still trying to convince her who he is and why she should go off on this great search for her brother across the country.   We were trying to get some tough nuanced acting into these shots with a subtle head tilt or a little bit of a slump in the shoulders.”  A green light was inserted into the eyes.  “Matthew Butler likes robotic stuff and anything that we could do to make Cosmo feel more grounded in reality was helpful,” observes Behrens.  “We also wanted to prevent anyone from panicking and giving Cosmo a more animated face or allowing him to speak dialogue. We started off with a constant light at the beginning and then added this twinkle and glimmer in his eye during certain moments. We liked that and ended up putting it in more places throughout the film. Everybody says that the eyes are the windows to the soul so giving Cosmo something rather than a dark black painted spot on his face assisted in connecting with that character.”  Coming in four different sizes that fit inside one another - like a Russian doll - is Herman. Digital Domain looked after the eight-inch, four-foot and 20-foot versions while ILM was responsible for the 60-foot Herman that appears in the final battle.   “They were scaled up to a certain extent but consider that the joints on the 20-foot version of Herman versus the four-foot version need to be more robust and beefier because they’re carrying so much more weight,” remarks Bernard.  “We were focusing on making sure that the impact of each step rippled through the body in a way that made it clear how heavy a 20-foot robot carrying a van across a desert would be.  The smaller one can be nimbler and lighter on its feet.  There were similar physical limitations, but that weight was the big deal.”  Incorporated into the face of Herman is a retro-futuristic screen in the style of the 1980s and early 1990s CRT panels. “It has these RGB pixels that live under a thick plate of glass like your old television set,” explains Behrens.  “You have this beautiful reflective dome that goes over top of these cathode-ray-looking pixels that allowed us to treat it as a modern-day LED with the ability to animate his expressions, or if we wanted to, put symbols up. You could pixelized any graphical element and put it on Herman’s face.  We wanted to add a nonlinear decay into the pixels so when he changed expressions or a shape altered drastically you would have a slow quadratic decay of the pixels fading off as he switched expressions. That contributed a nice touch.” One member of the robot cast is an iconic Planters mascot.  “Everybody knows who Mr. Peanut is and what he looks like, at least in North America,” observes Behrens.  “We had to go through a lot of design iterations of how his face should animate. It was determined that as a slightly older model of robot he didn’t have a lot of dexterity in his face. We were modelling him after Chuck E. Cheese and ShowBiz Pizza animatronics, so it was like a latex shell over the top of a mechanical under structure that drove his limited expressions. It allowed him to open and close his mouth and do some slight contractions at the corners, leaving most of the acting to his eyes, which did not have as many restrictions. The eyes had the ability to move quickly, and dart and blink like a human.”  The eyebrows were mounted tracks that ran up and down a vertical slot on the front of the face.  “We could move the eyebrows up and down, and tilt them, but couldn’t do anything else,” states Bernard.  “It was trying to find a visual language that would get the acting across with Woody Harrelson’s amazing performance backing it up.  Then a lot of pantomime to go with that.”  Mr. Peanut moves in a jerky rather than smooth manner.  “Here is a funny little detail,” reveals Bernard.  “If you think about a peanut shell, he doesn’t have a chest or hips that can move independently.  We realized early on that in order to get him to walk without teeter-tottering everywhere, we were going to have to cut his butt off, reattach it and add a swivel control on the bottom.  We always kept that peanut silhouette intact; however, he could swivel his hips enough to walk forward without looking silly!”  Other notable robots are Pop Fly and Perplexo; the former is modelled on baseball player, the latter on a magician.  “We decided that Pop Fly would be the clunkiest of all robots because he was meant to be the elder statesman,” states Behrens.  “Pop Fly was partially falling apart, like his eye would drift, the mouth would hang open and sometimes he’d pass out for a second and wake back up.  Pop Fly was the scavenger hunter of the group who has seen stuff in the battles of the wasteland. We came up with a fun pitching mechanism so he could actually shoot the balls out of his mouth and of course, there was his trusty baseball bat that he could bat things with.” An interesting task was figuring out how to rig his model.  “We realized that there needed to be a lot of restrictions in his joints to make him look realistic based on how he was modelled in the first place,” notes Bernard.  “Pop Fly couldn’t rotate his head in every direction; he could turn it from side to side for the most part.  Pop Fly was on this weird structure with the four wheels on a scissor lift situation which meant that he always had to lean forward to get going and when stopping, would rock backwards.  It was fun to add all that detail in for him.”  Serving as Perplexo’s upper body is a theatrical box that he pops in and out of.  “Perplexo did not have a whole lot going on with his face,” remarks Bernard.  “It was a simple mechanical structure to his jaw, eyes, and eyelids; that meant we could push the performance with pantomime and crazy big gestures with the arms.”               A major adversary in the film is The Marshall, portrayed by Giancarlo Esposito, who remotely controls a drone that projects the face of operator onto a video screen.  “We started with a much smaller screen and had a cowboy motif for awhile, but then they decided to have a unifying design for the drones that are operated by humans versus the robots,” remarks Behrens.  “Since the artist Simon Stålenhag had done an interesting, cool design with the virtual reality helmets with that long duckbill that the humans wear in the real world, the decision was made to mimic that head style of the drones to match the drone operators. Then you could put a screen on the front; that’s how you see Ted [Jason Alexander] or The Marshall or the commando operators. It worked out quite nicely.”   There was not much differentiation in the movement of the drones.  “The drones were meant to be in the vein of Stormtroopers, a horde of them being operated by people sitting in a comfortable room in Seattle,” observes Bernard. “So, they didn’t get as much effort and love as we put into the rest of the robots which had their own personalities. But for The Marshall, we have great mocap to start from Adam Croasdell. He played it a little bit cowboy, which was how Giancarlo Esposito was portraying the character as well, like a Western sheriff style vibe. You could hear that in the voice.  Listening to Giancarlo’s vocal performance gives you a lot of clues of what you should do when you’re moving that character around.  We put all of that together in the performance of The Marshall.”   Many environments had to either be created or augmented, such as the haunted amusement park known as Happyland. “The majority of the exterior of Happyland was a beautiful set that Dennis Gassner and his crew built in a parking lot of a waterslide park in Atlanta,” states Behrens.  “We would go there at night and freeze our butts off shooting for a good two and a half weeks in the cold Atlanta winter.  Most of our environmental work was doing distance extensions for that and adding atmospherics and fog.  We made all the scavenger robots that inhabit Happyland, which are cannibalistic robotics that upgrade and hot rod themselves from random parts taken from the robots that they kill.  Once we get into the haunted house and fall into the basement, that’s where Dr. Amherst has his lab, which was modelled off a 1930s Frankenstein set, with Tesla coils, beakers, and lab equipment.  That was initially a set build we did onstage in Atlanta. But when we got into additional photography, they wanted to do this whole choreographed fight with The Marshall and Mr. Peanut. Because they didn’t know what actions we would need, we ended up building that entire lower level in CG.”   At one point, all the exiled robots gather at the Mall within the Exclusion Zone.  “We were responsible for building a number of the background characters along with Storm Studios and ILM,” remarks Behrens.  “As for the mall, we didn’t have to do much to the environment.  There were some small things here and there that had to be modified.  We took over an abandoned mall in Atlanta and the art department dressed over half of it.” The background characters were not treated haphazardly. “We assigned two or three characters to each animator,” explains Bernard.  “I asked them to make a backstory and figure out who this guy is, what does he care about, and who is his mama?!  Put that into the performance so that each one feels unique and different because they have their own personalities.  There is a big central theme in the movie where the robots are almost more human than most of the humans you meet.  It was important to us that we put that humanity into their performances. As far as the Mall and choreography, Matthew, Joel and I knew that was going to be a huge challenge because this is not traditional crowd work where you can animate cycles and give it to a crowds department and say, ‘Have a bunch of people walking around.’  All these characters are different; they have to move differently and do their own thing.  We did a first pass on the big reveal in the Mall where you swing around and see the atrium where everybody is doing their thing.  We essentially took each character and moved them around like a chess piece to figure out if we had enough characters, if the color balanced nicely across all of them, and if it was okay for us to duplicate a couple of them.  We started to show that early to Matthew and Jeffrey Ford [Editor, Executive Producer], and the directors to get buyoff on the density of the crowd.”    Considered one of the film’s signature sequences is the walk across the Exclusion Zone, where 20-foot Herman is carrying a Volkswagen van containing Michelle, Cosmo and Keats on his shoulder.  “We did a little bit of everything,” notes Behrens.  “We had plate-based shots because a splinter unit went out to Moab, Utah and shot a bunch of beautiful vistas for us.  For environments, there were shots where we had to do projections of plate material onto 3D geometry that we built. We had some DMPs that went into deep background. We also had to build out some actual legitimate 3D terrain for foreground and midground because a lot of the shots that had interaction with our hero characters rocking and back forth were shot on a bluescreen stage with a VW van on a large gimbal rig.  Then Liz had the fun job of trying to tie that into a giant robot walking with them.  We had to do some obvious tweaking to some of those motions. The establishing shots, where they are walking through this giant dead robot skeleton from who knows where, several of those were 100 percent CG. Once they get to the Mall, we had a big digital mall and a canyon area that had to look like they were once populated.”  Modifications were kept subtle.  “There were a couple of shots where we needed to move the plate VW van around a little bit,” states Bernard.  “You can’t do a lot without it starting to fall apart and lose perspective.”  “The biggest challenge was the scale and sheer number of characters needed that played a large role interacting with our human actors and creating a believable world for them to live in,” reflects Behrens.  “The sequence that I had the most fun with was the mine sequence with Herman and Keats, as far as their banter back and forth. Some of our most expansive work was the Mall and the walk across the Exclusion Zone.  Those had the most stunning visuals.”  Bernard agrees with her colleague.  “I’m going to sound like a broken record.  For me, it was the scale and the sheer number of characters that we had to deal with and keeping them feeling that they were all different, but from the same universe.  Having the animators working towards that same goal was a big challenge.  We had quite a large team on this one.  And I do love that mine sequence.  There is such good banter between Keats and Herman, especially early on in that sequence.  It has so much great action to it.  We got to drop a giant claw on top of The Marshall that he had to fight his way out of.  That was a hard shot.  And of course, the Mall is stunning.  You can see all the care that went into creating that environment and all those characters.  It’s beautiful.”      Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

Xando Member Oct 28, 2017 37,672 At the 2025 Digital Dragons conference in Poland, Mike Pondsmith – the mastermind behind the Cyberpunk universe – shared some news about the sequel to Cyberpunk 2077. He revealed that players will finally get to leave the iconic Night City and dive into a new urban setting. Digital Dragons is one of Europe's top B2B events for the video game industry, put together by the Krakow Technology Park. This year's edition ran from May 18 to 20, 2025, at the ICE Krakow Congress Center. One of this year's guests was Mike Pondsmith, the creator of the Cyberpunk tabletop game series, which later inspired Cyberpunk 2077 developed by CD Project RED. In a chat with Michal Manka (formerly of TVGRY, now with Find Your Next Game by GameStar), Pondsmith mentioned that we'll be visiting "another city" in the Cyberpunk 2077 sequel – but he quickly added that he couldn't say much more. He didn't drop a name or give any details, so it kind of felt like something that slipped out by accident. The interview begins at 3:06:11 and is available to watch in full on the TVGRY YouTube channel as part of the Digital Dragons stream. Click to expand... Click to shrink... Might be somewhat similar to Chicago? There's already been a rumor floating around for a while that the city in the sequel could be Chicago, mainly because some posters in Cyberpunk 2077 mention it. One even says, "Travel from Chicago to Night City in under three hours, coming in 2080." So, could this be a small hint that the rumor's actually true? Click to expand... Click to shrink... Mike Pondsmith hints Cyberpunk 2077’s sequel will feature a new city to explore Project Orion is still shrouded in mystery, but one thing’s clear: we’ll be leaving Night City. Looks like there’ll be a whole new place to burn. www.gamepressure.com Here is the livestream: View: https://www.youtube.com/live/64XD2DtKU64?si=5yY1u_z9XmuW_QSB&t=11170  RayCharlizard Member Nov 2, 2017 4,467 Who needs scope anyway   Zebesian-X Member Dec 3, 2018 25,344 TFW the dystopian hellscape video game has better high-speed rail infrastructure than the real world   Killyoh Member Oct 28, 2017 1,788 Paris, France Day City   Cor Pulmonale Banned May 14, 2025 54 An earlier rumor I read mentioned Texas, so who knows at this point.   Pancracio17 ▲ Legend ▲ Avenger Oct 29, 2017 21,744 Sunset City   Cor Pulmonale Banned May 14, 2025 54 Dayman vs Nightman: The official videogame of the musical of the movie.  Dest Has seen more 10s than EA ever will Coward Jun 4, 2018 16,034 Work fortnite city.   Dan Thunder Member Nov 2, 2017 17,007 Crazy that the game's 5 years old this year!   Kinthey Avenger Oct 27, 2017 25,481 I guess makes sense since they explored night city pretty thoroughly. Would be cool if we see a little bit of night city again though   kodax_shc Member Oct 27, 2017 7,409 Southern California I'd be bummed if the sequel was just more night city, not that it couldn't work but let's go somewhere new please.   MF DOOMbot Member Jun 5, 2023 4,010 Man can't wait to find out more. I always had to admire CD project from a distance because I wasn't really into medieval fantasy. Always heard how good The Witcher was but was less impressed when I played the games myself. Cyberpunk was amazing , Phantom Liberty was amazing. One can only hope they learned their lesson and can deliver a Phantom Liberty level experience from the start.   PlanetSmasher The Abominable Showman Member Oct 25, 2017 132,897 with its extremely powerful mayor the Cyber Day Man  OP OP Xando Member Oct 28, 2017 37,672 Kinthey said: I guess makes sense since they explored night city pretty thoroughly. Would be cool if we see a little bit of night city again though Click to expand... Click to shrink... He says in the stream that night city is still there so i guess it's more like a 2 maps thing.   Not Spaceghost Member Oct 25, 2017 5,093 Would be really interesting to see Seattle which i think is supposed to be the largest city on the west coast or Chicago which is functionally just dog town extra large edition as far as I'm aware. Or hell it would be awesome to see Tokyo which is supposed to be one of the most economically powerful cities post collapse.  Pancracio17 ▲ Legend ▲ Avenger Oct 29, 2017 21,744 Xando said: He says in the stream that night city is still there so i guess it's more like a 2 maps thing. Click to expand... Click to shrink... Unless they reuse 90% of night city as is, im not sure how theyll manage this.   boris_feinbrand Member Oct 26, 2017 7,213 I might be interpreting too much there, but that sounds like there's going to be a new city in addition to Night City. Which would be insane lol.   Uzzy Gabe’s little helper Member Oct 25, 2017 34,445 Hull, UK That would be rather weird if it was set in a completely different city. A side trip to one, sure, but as the main city? Cyberpunk's world has explored parts of the rest of the world, sure, but it's very highly focused on Night City. This isn't Shadowrun with a bunch of cities explored, mapped out and described around the world. Night City is Cyberpunk to a lesser and greater extent.  Yam's Member Oct 27, 2017 4,576 It won't use the same engine as 2077, so the chances of them redoing all of Night City in Unreal 5 were slim anyway, no?   Stormblessed Member Feb 21, 2019 1,595 Uzzy said: That would be rather weird if it was set in a completely different city. A side trip to one, sure, but as the main city? Cyberpunk's world has explored parts of the rest of the world, sure, but it's very highly focused on Night City. This isn't Shadowrun with a bunch of cities explored, mapped out and described around the world. Night City is Cyberpunk to a lesser and greater extent. Click to expand... Click to shrink... Wouldn't it be interesting to chart that out then? Could give them more leeway to make it their own too.   Uzzy Gabe’s little helper Member Oct 25, 2017 34,445 Hull, UK Stormblessed said: Wouldn't it be interesting to chart that out then? Could give them more leeway to make it their own too. Click to expand... Click to shrink... Not really. I'm sure they could make something of it, but like I said, Cyberpunk is Night City, and vice versa.  Beelzebufo Member Jun 1, 2022 5,867 Canada what's the release schedule for all of this again? I'm assuming The Witcher 4 is first, and then is it Witcher remake or Orion after?   SaberVS7 Member Oct 25, 2017 6,732 Zebesian-X said: TFW the dystopian hellscape video game has better high-speed rail infrastructure than the real world Click to expand... Click to shrink... Y'know, this sorta kills me - Night City has better Public Works Infrastructure than most real American cities today. And, per the lore, it's not even "legacy" infrastructure, the NCART network in 2077 is recent, as a replacement for their previous crumbling subway system. Nevermind that Night City has high-density housing within walking distance of amenities. IDK, are we sure Night City is the dystopia when we talk about Real Life America vs Cyberpunk?  Voyevoda Member Nov 1, 2017 2,266 Paris, France Cor Pulmonale said: Dayman vs Nightman: The official videogame of the musical of the movie. Click to expand... Click to shrink... I'm prepared to experience sexual magic.  Vic20 Member Nov 10, 2019 4,430 night city didn't even fulfil its potential. use the same map and build on top of it.  FakePlasticTree Member Jul 24, 2018 14,010 Isn't Night City like litterally the setting? It would be like if a Forgotten Realms game wasn't set on the Sword Coast.   snowblack Member Oct 30, 2024 592 Not Spaceghost said: Would be really interesting to see Seattle which i think is supposed to be the largest city on the west coast or Chicago which is functionally just dog town extra large edition as far as I'm aware. Or hell it would be awesome to see Tokyo which is supposed to be one of the most economically powerful cities post collapse. Click to expand... Click to shrink... Gotta save some for the 3rd game.  Zebesian-X Member Dec 3, 2018 25,344 SaberVS7 said: Y'know, this sorta kills me - Night City has better Public Works Infrastructure than most real American cities today. And, per the lore, it's not even "legacy" infrastructure, the NCART network in 2077 is recent, as a replacement for their previous crumbling subway system. IDK, are we sure Night City is the dystopia when we talk about Real Life America vs Cyberpunk? Click to expand... Click to shrink... lol yeah, the monorail was a fun addition but it was honestly pretty fitting to leave in as an abandoned, half-finished construction project. Sometimes cut content can be worldbuilding!   SaberVS7 Member Oct 25, 2017 6,732 Yam's said: It won't use the same engine as 2077, so the chances of them redoing all of Night City in Unreal 5 were slim anyway, no? Click to expand... Click to shrink... Aside from handling interior loading-zones, they wouldn't really have to "redo" Night City if they leverage existing assets. Static meshes and textures don't care what engine they're in - Aside from the material-shaders. And if they're not reusing all the assets they made, it wouldn't even matter if they'd stuck with REDEngine, that's still a lot of work to redo.  Stormblessed Member Feb 21, 2019 1,595 Uzzy said: Not really. I'm sure they could make something of it, but like I said, Cyberpunk is Night City, and vice versa. Click to expand... Click to shrink... Fair enough. There is a lot of ways they can expand Night City especially if they give it a good time gap.   Spehornoob Member Nov 15, 2017 11,431 Isn't Chicago a toxic wasteland in Cyberpunk lore?   Vertigo1 Member Jun 30, 2023 1,079 I'll be there   SDBurton Community Resettler Member Oct 25, 2017 10,201 Don't really care where we go, just give me third-person cutscenes please.   Not Spaceghost Member Oct 25, 2017 5,093 Spehornoob said: Isn't Chicago a toxic wasteland in Cyberpunk lore? Click to expand... Click to shrink... By 2077 it's supposed to have at least partly been rebuilt, there's a few mentions of people going there in game. I think by rail or something. But I imagine it's very much a Pacifica situation  Yam's Member Oct 27, 2017 4,576 SaberVS7 said: Aside from handling interior loading-zones, they wouldn't really have to "redo" Night City if they leverage existing assets. Static meshes and textures don't care what engine they're in - Aside from the material-shaders. And if they're not reusing all the assets they made, it wouldn't even matter if they'd stuck with REDEngine, that's still a lot of work to redo. Click to expand... Click to shrink... Oh I thought they'd have everything to redo, I didn't know they could reuse everything in another engine. Would this also mean they could keep the same art style? Cause I loved how NC looked in 2077.  Yurei Member Feb 28, 2023 1,305 I dont know shit about the wider world of Cyberpunk, what cities would be exciting to explore?   behOemoth Member Oct 27, 2017 6,687 I hope they will design a proper "architecture" (I mean not the artstyle) next time that is suitable for a game, because the feel of the city is just bad when you walk through it and interact with it.   Mobius and Pet Octopus Member Oct 25, 2017 16,830 I've said in the past I think a whole new city would be totally appropriate for a sequel. I was told night city is basically the entire setting. But I could definitely see them creating their own city from the ground up and it doing really well.   Antony Member Oct 25, 2017 4,046 If it's not something in addition to Night City then it would be a mistake. So much unrealised potential in the existing map, all they need to do is that again but make it interactive (enterable buildings, useable facilities, etc.)  boris_feinbrand Member Oct 26, 2017 7,213 Antony said: If it's not something in addition to Night City then it would be a mistake. So much unrealised potential in the existing map, all they need to do is that again but make it interactive (enterable buildings, useable facilities, etc.) Click to expand... Click to shrink... Hope they look after us habitual building climbers lol. If they build upon the "unintentional" Parkour system, the possibility for urban exploring is going to be even better. Populating rooftops and areas usually not designed to be reached with automated systems would go a long way.  Western Yokai Member Feb 14, 2025 146 I hope it's São Paulo or Rio de Janeiro   TraderPoe Member Oct 31, 2017 5,276 Pacific Northwest I see all the teasers in the map for Tokyo... I have a feeling its gonna be that   Valus Member Nov 21, 2017 1,247 Sequel?? Aren't they working on Witcher 4 now?   SofNascimento cursed Member Oct 28, 2017 24,890 São Paulo - Brazil Rome would be the perfect setting for a Cyberpunk game and I can prove it.   Cheesetriangles Member Dec 5, 2017 2,494 Valus said: Sequel?? Aren't they working on Witcher 4 now? Click to expand... Click to shrink... They are doing both.   Rygar 8Bit Member Oct 25, 2017 17,776 Site-15 Valus said: Sequel?? Aren't they working on Witcher 4 now? Click to expand... Click to shrink... This was announced a while ago as Project Orion Cyberpunk 2.  Horns Member Dec 7, 2018 3,399 Where ever it may be set, I am assuming it is 5-7 years away at this point. I loved cp2077, but it will be many years until we ever get a sequel. Hard to get hyped for it when it is so long away.   Reflecting Sky Member Mar 17, 2024 2,669 Valus said: Sequel?? Aren't they working on Witcher 4 now? Click to expand... Click to shrink... I believe the Polish studio is doing The Witcher 4, while their American branch is working on this Orion project.  Slim Action Member Jul 4, 2018 7,038 FakePlasticTree said: Isn't Night City like litterally the setting? It would be like if a Forgotten Realms game wasn't set on the Sword Coast. Click to expand... Click to shrink... This is actually a great comparison because Faerûn is way bigger than just the Sword Coast   FakePlasticTree Member Jul 24, 2018 14,010 Slim Action said: This is actually a great comparison because Faerûn is way bigger than just the Sword Coast Click to expand... Click to shrink... I think the comparison is apt as the Sword Coast is basically the setting when it comes to the Forgotten Realms same as Night city is for Cyberpunk RED even if there technically is other regions. Even when BG2 left the city of Baldur's Gate it was still the Sword Coast.