This audio is auto-generated. Please let us know if you have feedback. President Donald Trump signed an executive orderFriday that scratched or revised several of his Democratic predecessors’ major cybersecurity initiatives. “Just days before President Trump took office, the Biden Administration attempted to sneak problematic and distracting issues into cybersecurity policy,” the White House said in a fact sheet about Trump’s new directive, referring to projects that Biden launched with his Jan. 15 executive order. Trump’s new EO eliminates those projects, which would have required software vendors to prove their compliance with new federal security standards, prioritized research and testing of artificial intelligence for cyber defense and accelerated the rollout of encryption that withstands the future code-cracking powers of quantum computers. “President Trump has made it clear that this Administration will do what it takes to make America cyber secure,” the White House said in its fact sheet, “including focusing relentlessly on technical and organizational professionalism to improve the security and resilience of the nation’s information systems and networks.” Major cyber regulation shift Trump’s elimination of Biden’s software security requirements for federal contractors represents a significant government reversal on cyber regulation. Following years of major cyberattacks linked to insecure software, the Biden administration sought to use federal procurement power to improve the software industry’s practices. That effort began with Biden’s 2021 cyber order and gained strength in 2024, and then Biden officials tried to add teeth to the initiative before leaving office in January. But as it eliminated that project on Friday, the Trump administration castigated Biden’s efforts as “imposing unproven and burdensome software accounting processes that prioritized compliance checklists over genuine security investments.” Trump’s order eliminates provisions from Biden’s directive that would have required federal contractors to submit “secure software development attestations,” along with technical data to back up those attestations. Also now eradicated are provisions that would have required the Cybersecurity and Infrastructure Security Agency to verify vendors’ attestations, required the Office of the National Cyber Director to publish the results of those reviews and encouraged ONCD to refer companies whose attestations fail a review to the Justice Department “for action as appropriate.” Trump’s order leaves in place a National Institute of Standards and Technology collaboration with industry to update NIST’s Software Software Development Framework, but it eliminates parts of Biden’s order that would have incorporated those SSDF updates into security requirements for federal vendors. In a related move, Trump eliminated provisions of his predecessor’s order that would have required NIST to “issue guidance identifying minimum cybersecurity practices”and required federal contractors to follow those practices. AI security cut Trump also took an axe to Biden requirements related to AI and its ability to help repel cyberattacks. He scrapped a Biden initiative to test AI’s power to “enhance cyber defense of critical infrastructure in the energy sector,” as well as one that would have directed federal research programs to prioritize topics like the security of AI-powered coding and “methods for designing secure AI systems.” The EO also killed a provision would have required the Pentagon to “use advanced AI models for cyber defense.” On quantum computing, Trump’s directive significantly pares back Biden’s attempts to accelerate the government’s adoption of post-quantum cryptography. Biden told agencies to start using quantum-resistant encryption “as soon as practicable” and to start requiring vendors to use it when technologically possible. Trump eliminated those requirements, leaving only a Biden requirement that CISA maintain “a list of product categories in which products that support post-quantum cryptography … are widely available.” Trump also eliminated instructions for the departments of State and Commerce to encourage key foreign allies and overseas industries to adopt NIST’s PQC algorithms. The EO dropped many other provisions of Biden’s January directive, including one requiring agencies to start testing phishing-resistant authentication technologies, one requiring NIST to advise other agencies on internet routing security and one requiring agencies to use strong email encryption. Trump also cut language directing the Office of Management and Budget to advise agencies on addressing risks related to IT vendor concentration. In his January order, Biden ordered agencies to explore and encourage the use of digital identity documents to prevent fraud, including in public benefits programs. Trump eliminated those initiatives, calling them “inappropriate.”  Trump also tweaked the language of Obama-era sanctions authorities targeting people involved in cyberattacks on the U.S., specifying that the Treasury Department can only sanction foreigners for these activities. The White House said Trump’s change would prevent the power’s “misuse against domestic political opponents.” Amid the whirlwind of changes, Trump left one major Biden-era cyber program intact: a Federal Communications Commission project, modeled on the Energy Star program, that will apply government seals of approval to technology products that undergo security testing by federally accredited labs. Trump preserved the language in Biden’s order that requires companies selling internet-of-things devices to the federal government to go through the FCC program by January 2027. #trump #scraps #biden #software #security

Exciting news in the tech world! The vivo X Fold 5 is set to revolutionize the foldable smartphone market by introducing dust and water resistance, a game-changer that could elevate user experience to new heights. Imagine a foldable device that not only flexes to fit your lifestyle but also withstands the elements—perfect for the adventurous soul! This innovation could redefine how we think about durability in smartphones, pushing other brands to step up their game. Can't wait to see how this impacts the industry and what features will follow! 🌊📱✨ #FoldablePhones #TechInnovation #VivoXFold5 #SmartphoneTrends #AndroidDevelopment

It’s easy to look at President Donald Trump’s second term and conclude that the less power and reach the federal government has, the better. After all, a smaller government might provide Trump or someone like him with fewer opportunities to disrupt people’s lives, leaving America less vulnerable to the whims of an aspiring autocrat. Weaker law-enforcement agencies could lack the capacity to enforce draconian policies. The president would have less say in how universities like Columbia conduct their business if they weren’t so dependent on federal funding. And he would have fewer resources to fundamentally change the American way of life.Trump’s presidency has the potential to reshape an age-old debate between the left and the right: Is it better to have a big government or a small one? The left, which has long advocated for bigger government as a solution to society’s problems, might be inclined to think that in the age of Trump, a strong government may be too risky. Say the United States had a single-payer universal health care system, for example. As my colleague Kelsey Piper pointed out, the government would have a lot of power to decide what sorts of medical treatments should and shouldn’t be covered, and certain forms of care that the right doesn’t support — like abortion or transgender health — would likely get cut when they’re in power. That’s certainly a valid concern. But the dangers Trump poses do not ultimately make the case for a small or weak government because the principal problem with the Trump presidency is not that he or the federal government has too much power. It’s that there’s not enough oversight.Reducing the power of the government wouldn’t necessarily protect us. In fact, “making government smaller” is one of the ways that Trump might be consolidating power.First things first: What is “big government”?When Americans are polled about how they feel about “big government” programs — policies like universal health care, Social Security, welfare for the poor — the majority of people tend to support them. Nearly two-thirds of Americans believe the government should be responsible for ensuring everyone has health coverage. But when you ask Americans whether they support “big government” in the abstract, a solid majority say they view it as a threat.That might sound like a story of contradictions. But it also makes sense because “big government” can have many different meanings. It can be a police state that surveils its citizens, an expansive regulatory state that establishes and enforces rules for the private sector, a social welfare state that directly provides a decent standard of living for everyone, or some combination of the three. In the United States, the debate over “big government” can also include arguments about federalism, or how much power the federal government should have over states. All these distinctions complicate the debate over the size of government: Because while someone might support a robust welfare system, they might simultaneously be opposed to being governed by a surveillance state or having the federal government involved in state and local affairs.As much as Americans like to fantasize about small government, the reality is that the wealthiest economies in the world have all been a product of big government, and the United States is no exception. That form of government includes providing a baseline social safety net, funding basic services, and regulating commerce. It also includes a government that has the capacity to enforce its rules and regulations.A robust state that caters to the needs of its people, that is able to respond quickly in times of crisis, is essential. Take the Covid-19 pandemic. The US government, under both the Trump and Biden administrations, was able to inject trillions of dollars into the economy to avert a sustained economic downturn. As a result, people were able to withstand the economic shocks, and poverty actually declined. Stripping the state of the basic powers it needs to improve the lives of its citizens will only make it less effective and erode people’s faith in it as a central institution, making people less likely to participate in the democratic process, comply with government policies, or even accept election outcomes.A constrained government does not mean a small governmentBut what happens when the people in power have no respect for democracy? The argument for a weaker and smaller government often suggests that a smaller government would be more constrained in the harm it can cause, while big government is more unrestrained. In this case, the argument is that if the US had a smaller government, then Trump could not effectively use the power of the state — by, say, deploying federal law enforcement agencies or withholding federal funds — to deport thousands of immigrants, bully universities, and assault fundamental rights like the freedom of speech. But advocating for bigger government does not mean you believe in handing the state unlimited power to do as it pleases. Ultimately, the most important way to constrain government has less to do with its size and scope and more to do with its checks and balances. In fact, one of the biggest checks on Trump’s power so far has been the structure of the US government, not its size. Trump’s most dangerous examples of overreach — his attempts to conduct mass deportations, eliminate birthright citizenship, and revoke student visas and green cards based on political views — have been an example of how proper oversight has the potential to limit government overreach. To be sure, Trump’s policies have already upended people’s lives, chilled speech, and undermined the principle of due process. But while Trump has pushed through some of his agenda, he hasn’t been able to deliver at the scale he promised. But that’s not because the federal government lacks the capacity to do those things. It’s because we have three equal branches of government, and the judicial branch, for all of its shortcomings in the Trump era, is still doing its most basic job to keep the executive branch in check. Reforms should include more oversight, not shrinking governmentThe biggest lesson from Trump’s first term was that America’s system of checks and balances — rules and regulations, norms, and the separate branches of government — wasn’t strong enough. As it turned out, a lot of potential oversight mechanisms did not have enough teeth to meaningfully restrain the president from abusing his power. Trump incited an assault on the US Capitol in an effort to overturn the 2020 election, and Congress ultimately failed in its duty to convict him for his actions. Twice, impeachment was shown to be a useless tool to keep a president in check.But again that’s a problem of oversight, not of the size and power of government. Still, oversight mechanisms need to be baked into big government programs to insulate them from petty politics or volatile changes from one administration to the next. Take the example of the hypothetical single-payer universal health care system. Laws dictating which treatments should be covered should be designed to ensure that changes to them aren’t dictated by the president alone, but through some degree of consensus that involves regulatory boards, Congress, and the courts. Ultimately, social programs should have mechanisms that allow for change so that laws don’t become outdated, as they do now. And while it’s impossible to guarantee that those changes will always be good, the current system of employer-sponsored health insurance is hardly a stable alternative.By contrast, shrinking government in the way that Republicans often talk about only makes people more vulnerable. Bigger governments — and more bureaucracy — can also insulate public institutions from the whims of an erratic president. For instance, Trump has tried to shutter the Consumer Financial Protection Bureau, a regulatory agency that gets in the way of his and his allies’ business. This assault allows Trump to serve his own interests by pleasing his donors.In other words, Trump is currently trying to make government smaller — by shrinking or eliminating agencies that get in his way — to consolidate power. “Despite Donald Trump’s rhetoric about the size or inefficiency of government, what he has done is eradicate agencies that directly served people,” said Julie Margetta Morgan, president of the Century Foundation who served as an associate director at the CFPB. “He may use the language of ‘government inefficiency’ to accomplish his goals, but I think what we’re seeing is that the goals are in fact to open up more lanes for big businesses to run roughshod over the American people.” The problem for small-government advocates is that the alternative to big government is not just small government. It’s also big business because fewer services, rules, and regulations open up the door to privatization and monopolization. And while the government, however big, has to answer to the public, businesses are far less accountable. One example of how business can replace government programs is the Republicans’ effort to overhaul student loan programs in the latest reconciliation bill the House passed, which includes eliminating subsidized loans and limiting the amount of aid students receive. The idea is that if students can’t get enough federal loans to cover the cost of school, they’ll turn to private lenders instead. “It’s not only cutting Pell Grants and the affordability of student loan programs in order to fund tax cuts to the wealthy, but it’s also creating a gap whereare all too happy to come in,” Margetta Morgan said. “This is the small government alternative: It’s cutting back on programs that provided direct services for people — that made their lives better and more affordable — and replacing it with companies that will use that gap as an opportunity for extraction and, in some cases, for predatory services.”Even with flawed oversight, a bigger and more powerful government is still preferable because it can address people’s most basic needs, whereas small government and the privatization of public services often lead to worse outcomes.So while small government might sound like a nice alternative when would-be tyrants rise to power, the alternative to big government would only be more corrosive to democracy, consolidating power in the hands of even fewer people. And ultimately, there’s one big way for Trump to succeed at destroying democracy, and that’s not by expanding government but by eliminating the parts of government that get in his way.See More: #big #government #still #good #even

Key Takeaways New EU rules take effect June 20, 2025, requiring mobile phones and tablets to be easier and cheaper to repair, including mandatory access to spare parts for up to seven years. Devices must meet durability standards, such as resistance to drops, water, and dust, and batteries must retain 80% capacity after 800 cycles. Manufacturers must offer 5 years of software updates and grant repair professionals access to firmware and repair tools to ensure long-term device usability. Energy consumption is expected to drop, with households projected to save €98 over five years due to longer-lasting, more repairable devices. In a win for the right to repair, the European Unionhas released its new energy labeling and ecodesign requirements for mobile phones, tablets, and even cordless phones.  Once implemented, this would help extend the product lifetime of these devices by making them cheaper and easier to repair. Up Ahead: Long-Lasting and Easy-to-Repair Devices The new ecodesign and energy labeling regulations will apply to devices sold in the EU effective June 20, 2025. One key area is the availability of spare parts. Once the regulations take effect, critical spare parts for a device must remain available for seven years from the last day the producer stops selling it. These parts must also be available to repairers within 5–10 working days. Mobile phones, cordless phones, and tablets under the ecodesign regulations must also be resistant to scratches and accidental drops, and be protected from dust and water.  The EU also specified that batteries must withstand at least 800 charge and discharge cycles while holding 80% of their initial capacity. These measures could help ensure devices last longer, thus reducing the need to replace them and lowering their cost of ownership. The requirements go beyond just the hardware. On the software side, manufacturers must also provide at least 5 years of operating system upgrades and give professional repairers access to software or firmware.  These would allow devices to continue to run smoothly and protect them from security vulnerabilities. On top of the ecodesign requirements, the EU also specified energy labeling requirements on the applicable devices. The labels would provide information about the device’s repairability score, energy efficiency, battery longevity, dust and water protection, and resistance to accidental drops. Having clear and easy-to-understand labels can help consumers in the EU make better choices when buying phones and tablets. They’ll know at a glance whether a device can withstand drops or if the batteries will remain reliable for as long as possible. The Projected Impact of the Ecodesign and Energy Labeling Requirements With the new requirements, the EU expects a significant reduction in the energy consumption of the applicable devices. Regarding charging time, this should go down from 2.5 to 1.75 hours per day.  Also, the annual electrical consumption of high-end smartphones is projected to decrease by 25%, while it’s 23% for tablets by 2030. Making devices easier to repair is also seen to reduce the acquisition costs of devices by € 98 per household in five years. A Win for the Right to Repair, But Obstacles Lie Ahead While the EU has already made significant progress in the area of the right to repair, many countries remain well behind. In the US, for instance, only a handful of states like California and Colorado have already enacted right-to-repair laws, while most of the country has yet to catch up. Without laws like these, most manufacturers won’t have the incentive to make their devices easier to repair.  A quick look at iFixit’s smartphone repairability scores shows that only Fairphone, which scored a perfect 10, HMD, and Nokiahad high scores among current phones. At the same time, Apple’s iPhone 16 line received a respectable 7. The Fairphone 5, launched in 2023, is especially notable for its repairability. According to iFixit, it’s easy to disassemble with common tools, the battery can be replaced quickly, and manuals and replacement parts are available to DIYers. As for the others, Ifixit gave Google’s Pixel 9 series a 5 for making it difficult to remove the battery and the USB-C port and requiring a replacement adhesive to secure the screen or back glass instead of using clips or fasteners. Meanwhile, the Samsung Galaxy S23 Ultra received a 4 because the battery is attached with a strong adhesive, and repairing the screen needs a lot of disassembly. All in all, we remain hopeful that with the EU’s lead, manufacturers can finally be encouraged to make repairing their devices easier than ever before. As technology continues to evolve—from the return of 'dumbphones' to faster and sleeker computers—seasoned tech journalist, Cedric Solidon, continues to dedicate himself to writing stories that inform, empower, and connect with readers across all levels of digital literacy. With 20 years of professional writing experience, this University of the Philippines Journalism graduate has carved out a niche as a trusted voice in tech media. Whether he's breaking down the latest advancements in cybersecurity or explaining how silicon-carbon batteries can extend your phone’s battery life, his writing remains rooted in clarity, curiosity, and utility. Long before he was writing for Techreport, HP, Citrix, SAP, Globe Telecom, CyberGhost VPN, and ExpressVPN, Cedric's love for technology began at home courtesy of a Nintendo Family Computer and a stack of tech magazines. Growing up, his days were often filled with sessions of Contra, Bomberman, Red Alert 2, and the criminally underrated Crusader: No Regret. But gaming wasn't his only gateway to tech.  He devoured every T3, PCMag, and PC Gamer issue he could get his hands on, often reading them cover to cover. It wasn’t long before he explored the early web in IRC chatrooms, online forums, and fledgling tech blogs, soaking in every byte of knowledge from the late '90s and early 2000s internet boom. That fascination with tech didn’t just stick. It evolved into a full-blown calling. After graduating with a degree in Journalism, he began his writing career at the dawn of Web 2.0. What started with small editorial roles and freelance gigs soon grew into a full-fledged career. He has since collaborated with global tech leaders, lending his voice to content that bridges technical expertise with everyday usability. He’s also written annual reports for Globe Telecom and consumer-friendly guides for VPN companies like CyberGhost and ExpressVPN, empowering readers to understand the importance of digital privacy. His versatility spans not just tech journalism but also technical writing. He once worked with a local tech company developing web and mobile apps for logistics firms, crafting documentation and communication materials that brought together user-friendliness with deep technical understanding. That experience sharpened his ability to break down dense, often jargon-heavy material into content that speaks clearly to both developers and decision-makers. At the heart of his work lies a simple belief: technology should feel empowering, not intimidating. Even if the likes of smartphones and AI are now commonplace, he understands that there's still a knowledge gap, especially when it comes to hardware or the real-world benefits of new tools. His writing hopes to help close that gap. Cedric’s writing style reflects that mission. It’s friendly without being fluffy and informative without being overwhelming. Whether writing for seasoned IT professionals or casual readers curious about the latest gadgets, he focuses on how a piece of technology can improve our lives, boost our productivity, or make our work more efficient. That human-first approach makes his content feel more like a conversation than a technical manual. As his writing career progresses, his passion for tech journalism remains as strong as ever. With the growing need for accessible, responsible tech communication, he sees his role not just as a journalist but as a guide who helps readers navigate a digital world that’s often as confusing as it is exciting. From reviewing the latest devices to unpacking global tech trends, Cedric isn’t just reporting on the future; he’s helping to write it. View all articles by Cedric Solidon Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors. #releases #new #right #repair #requirements

Few companies in the history of capitalism have amassed as much wealth and influence as Meta.A global superpower in the information space, Meta — the parent company of Facebook, Instagram, WhatsApp, and Threads — has a market cap of trillion at the time of writing, which for a rough sense of scale is more than the gross domestic product of Spain.In spite of its immense influence, none of its internal algorithms can be scrutinized by public watchdogs. Its host country, the United States, has largely turned a blind eye to its dealings in exchange for free use of Meta's vast surveillance capabilities.That lack of oversight coupled with Meta's near-omnipresence as a social utility has had devastating consequences throughout the world, manifesting in crises like the genocide of Muslims in Myanmar, or the systemic suppression of Palestinian rights organizations.How do you uncover the harms caused by one of the most powerful companies on earth? In the case of public violence, the evidence isn't hard to trace. However, Meta's unprecedented corporate dynasty also creates less obvious harms, which scores of scholars, researchers, and journalists are devoting entire careers to uncovering.One prominent group of said investigators is GLAAD, the Gay & Lesbian Alliance Against Defamation, which recently released its annual report on social media safety, privacy, and expression for LGBTQ people.The report notes that Meta has undergone a "particularly extreme" ideological shift over the past year, adding harmful exceptions to its content moderation policies while disproportionately suppressing LGBTQ users and their content. The tech giant has also failed to give LGBTQ users sovereignty over their own personal data, which it collects, analyzes, and wields to generate huge profits.While Meta collects all of our data — from which it draws over 95 percent of its revenue — the practice is particularly harmful to LGBTQ users, who then have to contend with algorithmic biases, non-consensual outing, harassment, and in some countries state oppression."It's a dangerous time, certainly for trans people, who as a minority have been so ridiculously maligned, but also a dangerous time for gay people, openly bipeople, people who are different in any way," says Sarah Roberts, a UCLA professor and Director of the Center for Critical Internet Inquiry.To address these shortcomings and the dangers they introduce, GLAAD made a number of recommendations. One key suggestion was to improve moderation "by providing training for all content moderators focused on LGBTQ safety, privacy and expression." The media advocacy group doesn't mince words, adding that "AI systems should be used to flag for human review, not for automated removals."However, it doesn't look like Meta got the message.Weeks after GLAAD issued its findings, internal Meta documents leaked to NPR revealed the company's plan to hand 90 percent of its privacy and integrity reviews over to "artificial intelligence."This will impact nearly every new feature introduced to its platforms, where human moderators would typically evaluate new features for risks to privacy and safety, and the wellbeing of user groups like minors, immigrants, and LGBTQ people.Meta's internal risk assessment is an already opaque process, and Roberts notes that government attempts at risk oversight, like the EU's Digital Services Act, are likewise a labyrinth of filings which are largely dictated by the social media companies themselves. AI, chock full of biases and prone to errors — as admitted by Meta's own AI chief — is certain to make the situation even worse.Earlier this week, meanwhile, the Wall Street Journal revealed Meta's plans to fully automate advertising via the company's generative AI software, which will allow advertisers to "fully create and target ads" directly, with no human in the loop.This includes hyper-personalized ads, writes the WSJ, "so that users see different versions of the same ad in real time, based on factors such as geolocation."Data hoarders like Meta — which track you even when you're not using its platforms — have long been able to profile LGBTQ users based on gender identify and sexual orientation, including those who aren't publicly out.Removing any human from these already sinister practices serves to streamline operations and distance Meta from its own actions — "we didn't out gay users living under an oppressive government," the company can say, "even if our AI did." It's no coincidence that Meta had already disbanded its "Responsible AI" team as early as 2023.At the root of these decisions — Meta CEO Mark Zuckerberg's right wing turn notwithstanding — is the calculated drive to maximize revenue."If there's no reason to rigorously moderate harmful content, then why pay so many content moderators? Why engage researchers to look into the circulation of this kind of content?" observes Roberts. "There ends up being a real cost savings there.""One of the things I've always said is that content moderation of social media is not primarily about protecting people, it's about brand management," she told Futurism. "It's about the platform managing its brand in order to make the most hospitable environment for advertisers."Sometimes these corporate priorities line up with progressive causes, like LGBTQ user safety or voter registration. But when they don't, Roberts notes, "dollars are dollars.""We are looking at multibillion-dollar companies, the most capitalized companies in the world, who have operated with impunity for many, many years," she said. "How do you convince them that they should care, when other powerful sectors are telling them the opposite?"Share This Article #you #thought #facebook #was #toxic

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

Gigantamax Cinderace is making its Gigantamax debut in Pokémon Go, and as usual with these types of Pokémon, it’ll be tough to take down. Cinderace will specifically be around during the weekend portion of the “Instrumental Wonders” event, from June 7 at 6 a.m. until June 8 at 9 p.m. in your local time. Below we list Gigantamax Cinderace’s best counters and weaknesses in Pokémon Go, as well as general battle tips for the big bunny. Gigantamax Cinderace weaknesses Cinderace is a pure fire-type, so you can use ground-, rock-, or water-type moves to take it down effectively. That said, it’ll be resistant against bug-, steel-, fire-, grass-, ice-, and fairy-type moves, so don’t use those unless they’re just fast moves to help charge the max meter. Gigantamax Cinderace best counters Try to bring at least one of these attackers: Gigantamax Kingler with Metal ClawDynamax Inteleon with Water GunDynamax Excadrill with Mud ShotGigantamax/Dynamax Blastoise with Water GunThe only thing really iffy about the above is Inteleon. If you don’t already have a Dynamax Inteleon, do not bother building one now, as Gigantamax Inteleon will be showing up literally next. For defenders/tanks, bring one or two of the following: Dynamax Blissey with Pound Dynamax Zapdos with Thunder Shock Dynamax/Gigantamax Blastoise with Water Gun Dynamax/Gigantamax Charizard with Dragon Breath These guys’ job is just to soak up the damage from Cinderace while generating as much energy as possible with their fast attacks. These counters are pretty straightforward, though note that the Zapdos is kind of just there to withstand the damage if the Cinderace you’re going against knows Focus Blast, as that could possibly give your Blissey a tough time. Consider just bringing the strongest Dynamax or Gigantamax Pokémon you have. If you have a maxed out Gigantamax Gengar and your Dynamax Excadrill isn’t leveled, just bring your Gengar. General Gigantamax Cinderace tips If you’ve been struggling in Max Battles, here’s some general tips to survive — and make sure you’re an asset to your team. Gigantamax battles involve way more strategy than the usual rampant tapping that you do in raids, so make sure to know what you’re doing before jumping in. Make sure you have enough players. High-efficiency groups with maxed out investments can take down the Cinderace with fewer people, but practically, if you don’t have hundreds of spare candy and even more Stardust laying around, this isn’t going to be an option for you. Make sure you have as many people as possible to ensure that you get your soccer bunny. Don’t sleep on Max Spirit and Max Guard. Teams work best when there’s a variety of moves, not just maxed-out attacks. Each player should bring Pokémon with the defensive and healing moves unlocked as well. Max Guard will focus single-target damage towards you and reduce the damage taken; Max Spirit will heal the whole party. These moves are really important to make sure your damage-dealers can keep dishing. Remember to swap to super effective moves when it’s time to Dynamax. For Dynamax Pokémon, their max moves are determined by whatever type their fast move is. This means if you have a Darmanitan with Fire Fang, it will know Max Flare. A Gengar with Lick will know Max Phantasm. Take advantage of this and make sure to swap to a Pokémon that will deal super effective damage to your target before Dynamaxing, if you can. Focus on your fast moves. You want to spam your fast moves to build up that Dynamax meter and often times, using your charge move is actually a DPS loss when compared to the damage you could be doing with your max move will be. Spam those attacks! Level up a few ‘mons, but you don’t have to go too hard. Depending on your group size, you absolutely do not need to max out all your Dynamax Pokémon to level 40-50. While this will make it easier on the rest of your group, if this isn’t an investment you can make, you don’t have to stress about it. Power things up as high as you can afford to, but don’t fret if you don’t have a maxed out Pokémon. All of that said, make sure to come as prepared as you can be. This is a team effort and there’s a chance that a full group of four can still fail. Do not just bring your unleveled Dynamax Wooloo expecting a free ride to a powerful Pokémon.Again, you don’t have to completely max out your Pokémon, but it will be better for everyone involved if you bring something helpful to the table. There’s no shiny Cinderace this time around! Scorbunny’s shiny has not been added to the game yet, so if you’re looking to shiny hunt Gigantamax Cinderace… you’ll have to wait until next time. #gigantamax #cinderace #counters #weakness #battle

Just when you thought speakers couldn't get any more durable, Anker has raised the bar with their latest Bluetooth marvel designed to withstand extreme conditions—even a biblical flood! This isn’t your average rugged device; it’s built to brave the elements in ways we didn't think possible. As a Kotlin Android Developer, I appreciate innovation that pushes boundaries, and this speaker exemplifies that spirit. Imagine taking your outdoor adventures to the next level, jamming out by the beach or during a hike, without the fear of water damage. It’s not just about sound; it’s about freedom! Let’s also consider how tech like this could integrate with our smart home systems for seamless outdoor entertainment. What would you play on a speaker that can survive anything? 🌊🔊 #TechInnovation #OutdoorLife

Looking to elevate your listening experience on the go? The latest roundup of the 14 best Bluetooth speakers of 2025 has something for everyone, whether you're a fan of compact clip-ons or prefer the booming sound of a hefty portable boom box. As a PHP developer, I appreciate the tech behind these speakers as much as the music they deliver. It’s fascinating to see how design and functionality evolve, making it easier to enjoy high-quality sound anywhere. If you’re planning a summer picnic or a beach day, consider investing in a speaker that not only sounds great but can withstand the elements. Happy listening! 🎶 #BluetoothSpeakers #MusicOnTheGo #TechTrends #PortableAudio #SoundQuality

Just when you think smartphones can’t get any tougher, the Galaxy S25 Edge proves us all wrong! In a recent durability test by JerryRigEverything, this sleek device stood strong against intense bending pressure, surprisingly not snapping in half. It’s impressive to see how far technology has come in crafting devices that can withstand everyday wear and tear while still looking stunning. As a Voice AI Developer, I admire the innovative engineering that allows us to enjoy cutting-edge features without compromising durability. It’s a reminder that as we push the boundaries of design, functionality, and resilience go hand in hand! What do you think—are we finally at a point where smartphones are built to last? #GalaxyS25Edge #JerryRigEverything #SmartphoneDurability #TechInnovation #VoiceAI