By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”

SSRN The Latest Research on Climate Finance This list includes a selection of the latest research on climate finance posted to SSRN in 2025. Climate Risk and Collateral Misreporting by Dongxiao Niu (Massachusetts Institute of Technology), Nils Kok (Maastricht University), Juan Palacios (Maastricht University), & Siqi Zheng (Massachusetts Institute of Technology) Nature and Climate Risk in Asset Prices by Chiara Colesanti Senni (University of Zurich), Skand Goel, & Markus Leippold (University of Zurich) An Empirical Examination of Business Climate Alliances: Effective and/or Harmful? by Matteo Gasparini (Harvard Business School) & Peter Tufano (Harvard Business School) Real-Time Climate Controversy Detection by David Jaggi (Zurich University of Applied Sciences), Nicolas Jamet (RAM Active Investment), Markus Leippold (University of Zurich), & Tingyu Yu (University of Zurich) Firm-Level Nature Dependence by Alexandre Garel (Audencia Business School), Arthur Romec (Toulouse Business School), Zacharias Sautner (European Corporate Governance Institute), & Alexander F. Wagner (University of Zurich) Creditworthy: Do Climate Change Risks Matter for Sovereign Credit Ratings? by Lorenzo Cappiello (European Central Bank), Gianluigi Ferrucci (European Central Bank), Angela Maddaloni (European Central Bank), & Veronica Veggente (Imperial College Business School) Corporate Nature Risk Perceptions by Snorre Gjerde (Norges Bank Investment Management), Zacharias Sautner (European Corporate Governance Institute), Alexander F. Wagner (European Corporate Governance Institute), & Alexis Wegerich (Norges Bank Investment Management) How to Deliver Mega-Scale Investment in Climate Infrastructure by Carter Casady (Stanford University) & Ashby Monk (Stanford University) Climate Boards: Do Natural Disaster Experiences Make Directors More Prosocial? by Sehoon Kim (University of Florida), Bernadette A. Minton (Ohio State University), & Rohan Williamson (Georgetown University) A Critique of the Apocalyptic Climate Narrative by Harry DeAngelo (University of Southern California) & Judith Curry (Georgia Institute of Technology) Intermediaries and Emissions Disclosures by Rongchen Li (Columbia Business School) The Natural Language of Finance by Gerard Hoberg (University of Southern California) & Asaf Manela (Washington University in St. Louis) The Influence of the “Environmentally-friendly” Character Through Asymmetries on Market Crash Price of Risk in Major Stock Sectors by Konstantinos A. Dimitriadis (Mesoyios College), Demetris Koursaros (Cyprus University of Technology), & Christos S. Savva (Cyprus University of Technology) Dirty Business: Transition Risk of Factor Portfolios by Ravi Jagannathan (Northwestern University), Iwan Meier (HEC Montreal), & Valeri Sokolovski (University of Alberta) Out of the Light, Into the Dark: How ‘Shadow Carbon Financing’ Hampers the Green Transition and Increases Climate-related Systemic Risk by Simon Schairer (University of Witten/Herdecke), Jan Fichtner (University of Witten/Herdecke), Riccardo Baioni (University of Witten/Herdecke), David Pereira de Castro (Copenhagen Business School), Nicolás Aguila (University of Witten/Herdecke), Janina Urban (University of Witten/Herdecke), Paula Haufe (University of Witten/Herdecke), & Joscha Wullweber (University of Witten/Herdecke) To read more research on Climate Finance, subscribe to SSRN’s Climate Finance eJournal or view other papers here.

Before smartphones and the often-problematic push for viral moments, there was the refreshingly simple world of the 1990s celebrity red carpet.A little grittier, more analog, sometimes blurrier, and often completely unfiltered. Less like a polished PR moment and more like snapshots from your cousin's wedding where they served pizza (unironically).The ’90s Red Carpet Was More Grit Than GlitzEdward Furlong, Natasha Lyonne, Demi Moore, and Bruce Willis on the red carpet.Getty Imagesloading...READ MORE | The New Classic Rock? 50 Songs From the ’90s That Don't SuckThe fashion? Grunge with a hint of free-spirited glam. Sometimes sexy and a little slinky, and often confusing to us now. And yet, nobody was angling for that perfect selfie with a fan, because selfies weren't a thing yet. No ring lights, no Instagram Reels, and zero influencers. Just real flashbulbs and plenty of cigarettes.The ’90s Red Carpet Was Full of Familiar Faces, Some Now GoneGetty ImagesGetty Imagesloading...SEE MORE | From Grungy to Groundbreaking: Reliving the ’90s in Iconic PhotosOf course, this look back is filled with familiar faces, many of them stirring a sense of bittersweet nostalgia. One especially moving moment shows Robin Williams proudly standing with wife Marsha and son Zach at the premiere of Father’s Day. Other glimpses of Aaron Carter, Chris Farley, Gene Hackman with his wife Betsy, Val Kilmer, and Anne Heche, Matthew Perry and others serve as subtle reminders of how much has changed since then.LOOK: These '90s Red Carpet Photos Are the Ultimate ThrowbackCheck out 70 photos from '90s red carpets, where stars like Stallone, Robin Williams, and the 'Friends' cast looked way more gritty than glitzy.Gallery Credit: Stephen LenzGet our free mobile appREAD MORE: Beloved ’90s Foods That No Longer ExistLOOK: Relive the ’90s in These Iconic PhotosThese photos capture the good, the grungy, and the groundbreaking moments that defined the ’90s and left their mark on history and pop culture.Gallery Credit: Stephen LenzFiled Under: NostalgiaCategories: Galleries, Movie News, Original Features

Zach Reinhard shared shares 5 fun tips to work faster in Blender. Download our Blender Shortcut PDF. cgboost.com/resources #b3d #blender3d #3d #3dart #3dtips

Hi, friends! Welcome to Installer No. 85, your guide to the best and Verge-iest stuff in the world. (If you’re new here, welcome, sorry in advance that this week is a tiny bit politics-y, and also you can read all the old editions at the Installer homepage.) This week, I’ve been reading about Sean Evans and music fraud and ayahuasca, playing with the new Obsidian Bases feature, obsessing over every Cliche” more times than I’m proud of, installing some Elgato Key Lights to improve my WFH camera look, digging the latest beta of Artifacts, and downloading every podcast I can find because I have 20 hours of driving to do this weekend.I also have for you a very funny new movie about tech CEOs, a new place to WhatsApp, a great new accessory for your phone, a helpful crypto politics explainer, and much more. Short week this week, but still lots going on. Let’s do it.(As always, the best part of Installer is your ideas and tips. What are you reading / playing / watching / listening to / shopping for / doing with a Raspberry Pi this week? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, tell them to subscribe here. And if you haven’t subscribed, you should! You’ll get every issue for free, a day early, in your inbox.)The DropMountainhead. I mean, is there a more me-coded pitch than “Succession vibes, but about tech bros?” It’s about a bunch of (pretty recognizable) billionaires who more or less run the world and are also more or less ruining it. You’ll either find this hilarious, way too close to home, or both. WhatsApp for iPad. I will never, ever understand why Meta hates building iPad apps. But it finally launched the most important one! The app itself is extremely fine and exactly what you’d think it would be, but whatever. It exists! DO INSTAGRAM NEXT.Post Games.Polygon, all about video games. It’s only a couple episodes deep, but so far I love the format: it’s really smart and extremely thoughtful, but it’s also very silly in spots. Big fan.The Popsockets Kick-Out Grip. I am a longtime, die-hard Popsockets user and evangelist, and the new model fixes my one gripe with the thing by working as both a landscape and portrait kickstand. $40 is highway robbery for a phone holder, but this is exactly the thing I wanted.“Dance with Sabrina.” A new, real-time competitive rhythm game inside of Fortnite, in which you try to do well enough to earn the right to actually help create the show itself. Super fun concept, though all these games are better with pads, guitars, or really anything but a normal controller.Lazy 2.0. Lazy is a stealthy but fascinating note-taking tool, and it does an unusually good job of integrating with files and apps. The new version is very AI-forward, basically bringing a personalized chatbot and all your notes to your whole computer. Neat!Elden Ring Nightreign. A multiplayer-heavy spinoff of the game that I cannot get my gamer friends to shut up about, even years after it came out. I’ve seen a few people call the game a bit small and repetitive, but next to Elden Ring I suppose most things are.The Tapo DL100 Smart Deadbolt Door Lock. A $70 door lock with, as far as I can tell, every feature I want in a smart lock: a keypad, physical keys, super long battery life, and lots of assistant integrations. It does look… huge? But it’s pretty bland-looking, which is a good thing.Implosion: The Titanic Sub Disaster. One of a few Titan-related documentaries coming this summer, meant to try and explain what led to the awful events of a couple years ago. I haven’t seen this one yet, but the reviews are solid — and the story seems even sadder and more infuriating than we thought.“The growing scandal of $TRUMP.” I love a good Zeke Faux take on crypto, whether it’s a book or a Search Engine episode. This interview with Ezra Klein is a great explainer of how the Trump family got so into crypto and how it’s being used to move money in deeply confusing and clearly corrupt ways. Cameron Faulkner isn’t technically new to The Verge, he’s just newly back at The Verge. In addition to being a commerce editor on our team, he also wrote one of the deepest dives into webcams you’ll ever find, plays a lot of games, has more thoughts about monitors than any reasonable person should, and is extremely my kind of person. Since he’s now so very back, I asked Cam to share his homescreen with us, as I always try to do with new people here. Here it is, plus some info on the apps he uses and why:The phone: Pixel 9 Pro.The wallpaper: It’s an “Emoji Workshop” creation, which is a feature that’s built into Android 14 and more recent updates. It mashes together emoji into the patterns and colors of your choosing. I picked this one because I like sushi, and I love melon / coral color tones.The apps: Google Keep, Settings, Clock, Phone, Chrome, Pocket Casts, Messages, Spotify.I haven’t downloaded a new app in ages. What’s shown on my homescreen has been there, unmoved, for longer than I can remember. I have digital light switches, a to-do list with the great (but paid) Stuff widget, a simple Google Fit widget to show me how much I moved today, and a couple Google Photos widgets of my lovely wife and son. I could probably function just fine if every app shuffled its location on my homescreen, except for the bottom row. That’s set in stone, never to be fiddled with.I also asked Cameron to share a few things he’s into right now. Here’s what he sent back:Righteous Gemstones on HBO Max. It’s a much smarter comedy than I had assumed (but it’s still dumb in the best ways), and I’m delighted to have four seasons to catch up on. I’m really digging Clair Obscur: Expedition 33, which achieves the feat of breakneck pacing (the game equivalent of a page-turner) and a style that rivals Persona 5, which is high praise. I have accrued well over a dozen Switch 2 accessories, and I’m excited to put them to the test once I get a console on launch day.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now, as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“The Devil’s Plan. This Netflix original South Korean reality show locks 14 contestants in a windowless living space that’s part mansion, part prison, part room escape, and challenges them to eliminate each other in a series of complicated tabletop games. (If this sounds familiar, it’s a spiritual successor to the beloved series The Genius from the mid-2010s.)” — Travis“If you’re a fan of Drive to Survive, I’m happy to report that the latest season of Netflix’s series on NASCAR is finally good, and a reasonable substitute for that show once you’ve finished it.” — Christopher“I switched to a Pixel 9 Pro XL and Pixel Watch 3 from an iPhone and Apple Watch about 6 months ago and found Open Bubbles, an open source alternative to BlueBubbles that does need a Mac but doesn’t need that Mac to remain on, You just need a one-time hardware identifier from it, then it gives you full iMessage, Find My, FaceTime, and iCloud shared albums on Android and Windows using an email address. So long as you can get your contacts to iMessage your email instead of your number, it works great.” — Tim“Playing Mario Kart 8 Deluxe for the last time before Mario Kart World arrives next week and takes over my life!” — Ravi“With Pocket being killed off I’ve started using my RSS reader — which is Inoreader — instead as a suitable replacement. I only switched over to Pocket after Omnivore shut down.” — James“I just got a Boox Go 10.3 for my birthday and love it. The lack of front lighting is the biggest downfall. It is also only on Android 12 so I cannot load a corporate profile. It feels good to write on just, almost as good as my cheaper fountain pen and paper. It is helping me organize multiple notebooks and scraps of paper.” — Sean“Giving Tweek a bit of a go, and for a lightweight weekly planner it’s beautiful. I also currently use Motion for project management of personal tasks and when I was doing my Master’s. I really like the Gantt view to map out long term personal and study projects. (I also got a student discount for Motion, but it’s still expensive.)” — Astrid“Might I suggest Elle Griffin’s work at The Elysian? How she’s thinking through speculative futures and a cooperative media system is fascinating.” — Zach“GeForce Now on Steam Deck!” — SteveSigning offOne of the reasons I like making this newsletter with all of you is that it’s a weekly reminder that, hey, actually, there’s a lot of awesome people doing awesome stuff out there on the internet. I spend a lot of my time talking to people who say AI is going to change everything, and we’re all going to just AI ourselves into oblivion and be thrilled about it — a theory I increasingly think is both wrong and horrifying.And then this week I read a blog post from the great Dan Sinker, who called this moment “the Who Cares Era, where completely disposable things are shoddily produced for people to mostly ignore.” You should read the whole thing, but here’s a bit I really loved:“Using extraordinary amounts of resources, it has the ability to create something good enough, a squint-and-it-looks-right simulacrum of normality. If you don’t care, it’s miraculous. If you do, the illusion falls apart pretty quickly. The fact that the userbase for AI chatbots has exploded exponentially demonstrates that good enough is, in fact, good enough for most people. Because most people don’t care.”I don’t think this describes everything and everyone, and neither does Sinker, but I do think it’s more true than it should be. And I increasingly think our job, maybe our method of rebellion, is to be people who care, who have taste, who like and share and look for good things, who read and watch and look at those things on purpose instead of just staring slackjawed at whatever slop is placed between the ads they hope we won’t really notice. I think there are a lot of fascinating ways that AI can be useful, but we can’t let it train us to accept slop just because it’s there. Sorry, this got more existential than I anticipated. But I’ve been thinking about it a lot, and I’m going to try and point Installer even more at the stuff that matters, made by people who care. I hope you’ll hold me to that.See you next week!See More:

Remember the banana peels, apple cores, and leftover pizza you recently threw in the garbage? Today, your food waste—and your neighbors’—is emitting climate-warming greenhouse gases as it decomposes in a nearby municipal landfill. Buried food scraps and yard waste at 51 dumps across Colorado generate an amount of methane equivalent to driving 1 million gasoline-powered cars for a year. About 80 times as potent as carbon dioxide as a greenhouse gas over a period of 20 years, methane accounts for 11% of global emissions that scientists say are warming the atmosphere and contributing to more intense and severe weather, wildfires, and drought. Landfills are the third-largest source of methane pollution in Colorado, after agriculture and fossil fuel extraction. Draft methane rules released last month by the state’s Department of Public Health and Environment would, for the first time, require some dump operators to measure and quantify methane releases and to fix leaks. The proposal mandates that waste managers install a gas collection system if their dump generates a certain amount of the climate-warming gas.  It also addresses loopholes in federal law that allow waste to sit for five years before such systems are required—even though science has shown that half of all food waste decays within about three and a half years. The draft rule surpasses U.S. Environmental Protection Agency standards in the amount of landfill area operators must monitor for emissions. It’s set to be heard by the state’s Air Quality Control Commission in August. Proposed regulations require the elimination of open gas flares—burning emissions directly into the atmosphere—and urge the use of biocovers and biofilters, which rely on bacteria to break down gases. The 70-page draft also calls for more routine and thorough monitoring of a dump surface with advanced technologies like satellites, which recently recorded large plumes of methane escaping from a Denver-area landfill. “We’ve had our eyes opened thanks to technology that has made the invisible, visible—now we know the extent of the problem, which is much greater than what estimates have portrayed,” said Katherine Blauvelt, circular economy director at Industrious Labs, a nonprofit working to decarbonize industry.  “When landfill operators fail to control leaks, we know harmful pollutants are coming along for the ride.” Cancer-causing volatile organic compounds, such as benzene and toluene, escape with methane leaching from landfills. These chemicals also contribute to the formation of lung-damaging ozone pollution, an increasing problem for the 3.6 million people who live in the greater Denver metropolitan area. Indeed, the region along the eastern slope of the Rocky Mountains ranked sixth in the nation for the most polluted air—with unhealthy ozone levels reported on one out of every 10 days, on average, according to the American Lung Association’s 2025 “State of the Air” report. The state is also woefully behind in its compliance with federal air quality standards. State officials and environmental advocates agree that reducing methane emissions from landfills, which are easier to mitigate than cow burps, for example, is one of the quickest and most efficient ways to slow warming in the short term. “Waste deposited in landfills continues producing methane for decades as it breaks down—and it’s one sector where Colorado has yet to directly take action to reduce these greenhouse gases,” said Tim Taylor, a supervisor in the state’s air pollution control division, in an online hearing last February on the proposed landfill methane rules. Colorado’s draft regulations are similar to those in California, Oregon, Maryland, and Washington, he added. More than 10 landfills in the state are already required under federal rules to have gas collection and control systems. Yet even with such technology in place, disposal facilities routinely exceed federal methane emissions caps. The state’s health department has also identified a dozen municipal solid waste landfills, based on a preliminary analysis, that would be required to put such systems in place under the proposed rules, Zachary Aedo, an agency spokesman, said in an email to Capital & Main. Many of these facilities are operated by counties, some of which expressed concerns about their ability to pay for such systems. “We are a small rural county, and a multimillion-dollar containment system is going to be more than we can build,” testified Delta County Commissioner Craig Fuller at the February hearing. “The financial equation of this whole thing is absolutely mind-boggling—we are struggling as it is to provide health and human services.” Other county officials embraced the proposed tightening of rules. “Landfills across Colorado, including in Eagle County, are leading sources of methane pollution,” said Eagle County Commissioner Matt Scherr in a March 6 statement. “As a local elected official I support a robust rule that embraces advanced technologies to cut pollution, protect public health and help the methane mitigation industry thrive.” For larger landfill companies, like Waste Management, which operates 283 active disposal sites nationwide, figuring out which technology works to best monitor emissions from a dump’s surface is proving a complex challenge. The company is testing technologies at facilities with different topographies and climate fluctuations to understand what causes emissions releases, said Amy Banister, Waste Management senior director of air programs. “Landfills are complicated, emissions vary over time, and we have emissions 24/7,” said Banister at an online meeting last September of a technical group created by Colorado health department officials. “Drones produced a lot of false positives—and we need more work understanding how fixed sensors can be applied in a landfill environment.” State health officials suggested municipalities could offset the costs of installing gas collection systems at disposal sites by converting methane into energy. Several landfill operations in Colorado currently have such waste-to-energy systems—which send power they generate to the state’s power grid. “We are mindful of the costs of complying with this rule and how tipping fees may be impacted,” said Taylor, an air quality supervisor, at the February hearing. “Analyses conducted in other states of their landfill methane rules found there wasn’t an increase in tipping fees as a result of regulations over time.” Tipping fees are paid by those who dispose of waste in a landfill. If operators passed on compliance costs to households, a state analysis found, the yearly average annual fee would increase $22.90 per household. Colorado’s push comes as the EPA issued an enforcement alert in September that found “recurring Clean Air Act compliance issues” at municipal solid waste landfills that led to the “significant release of methane,” based on 100 inspections conducted over three years.  Such violations included improper design and installation of gas collection and control systems, failure to maintain adequate “cover integrity,” and improper monitoring of facilities for emissions. To address gaps in federal regulations, which require operators to measure emissions four times a year by walking in a grid pattern across the face of the landfill with a handheld sensor, Colorado’s draft rules require third-party monitoring. Such measurements must be conducted offsite by an entity approved by the state’s air pollution control division that uses a satellite, aircraft or mobile monitoring platform. The infrequency of such grid walks—which skip spots that operators deem dangerous—contributes to the undercounting of methane emissions from landfills, according to a satellite-based analysis. An international team of scientists estimated potent greenhouse gas emissions from landfills are 50% higher than EPA estimates. Satellites like one operated by nonprofit Carbon Mapper found large methane plumes outside the quarterly monitoring periods over the Tower Landfill in Commerce City, northeast of Denver. The satellite allowed scientists to see parts of the landfill not accessible with traditional monitoring—measurements that found that such landfills are underreporting their methane emissions to state regulators, said Tia Scarpelli, a research scientist and waste sector lead at Carbon Mapper. “Landfill emissions tend to be quite persistent—if a landfill is emitting when it’s first observed, it’s likely to be emitting later on,” she added. Scarpelli cautioned that it’s important for regulators to investigate with operators what was happening on the landfill surface at the time the leak was measured. Tower Landfill’s operator, Allied Waste Systems of Colorado, provided reasons for such large methane releases in a January 2024 report to the state’s health department, including equipment malfunctions. The fix for about 22 emissions events over the federal methane limits detected in August 2023 by surface monitoring: “Soil added as cover maintenance.” Like many dumps across Colorado and the nation, the Tower Landfill is located near a community that’s already disproportionately impacted by emissions from industrial activities. “These landfills are not only driving climate change, they are also driving a public health crisis in our community,” said Guadalupe Solis, director of environmental justice programs at Cultivando, a nonprofit led by Latina and Indigenous women in northern Denver. “The Tower Landfill is near nursing homes, clinics, near schools with majority Hispanic students.” Physicians in the state warned that those who live the closest to dumps suffer the worst health effects from pollutants like benzene and hydrogen sulfide, which are linked to cancer, heart, and other health conditions. “People living near landfills, like myself, my family and my patients, experience higher exposure to air pollution,” testified Dr. Nikita Habermehl, a specialist in pediatric emergency medicine who lives near a landfill in Larimer County, at the February 26 public hearing, “leading to increased rates of respiratory issues and headaches and asthma worsened by poor air quality.” —By Jennifer Oldham, Capital & Main This piece was originally published by Capital & Main, which reports from California on economic, political, and social issues.

Meg Cherry Member Oct 25, 2017 7,847 Seattle, WA So, Panic - a studio out of Portland that mostly does Mac software - is going to release a custom handheld with a 'premium' black-and-white screen - with 12 games that will be kept a secret until they unlock after release (one a week). Also, one of the inputs is a hand crank. One of those games is the game you saw above: Crankin's Time Travel Adventure from Katamari Damacy designer Keita Takahashi. The crank is used to manipulate time forwards and backwards. Despite the presence of buttons, the only way to interact with Crankin' is with said crank. Not all games will work that way, obviously, but it's reasonable to expect many will make use of it. There are other games coming from Bennett Foddy (Getting Over It), Zach Gage (SpellTower), and Shaun Inman (The Last Rocket), among others. What exactly they're making for Playdate, however, remains unannounced, with more details later this year. Click to expand... Click to shrink... $150, pre-orders out this year. This thing looks absurd, but maybe in a way worth supporting.  Last edited: May 22, 2019 KoolAid Member Oct 25, 2017 7,055 Keita Takahashi? Bennett Foddy? I'm interested.   atomsk Member Oct 28, 2017 1,762 Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already.  BocoDragon Banned Oct 26, 2017 5,207 I love the hardware design.   Deleted member 42 user requested account closure Banned Oct 24, 2017 16,939 CRANKIN' IT   marrec Banned Oct 26, 2017 6,775 I'm sooo in for wild shit like this with limited but specific use cases.   kikuchiyo Member Nov 9, 2017 1,103 atomsk said: Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already. Click to expand... Click to shrink... Didn't get those shirts when they came out and I've been kicking myself for it ever since :(  JamboGT Vehicle Handling Designer Verified Oct 25, 2017 1,537 The most hipster of hipster gaming stuff I have ever seen.   Tiktaalik Member Oct 25, 2017 3,749 Looks like a lot of fun. There's an opportunity for these small little devices now that 3DS is going away. Come on Nintendo, make Game Boy Classic happen.  Deleted member 54469 User requested account closure Member Mar 4, 2019 320 design is cool but what exactly is the point? for it's niche community i'm not going to ask. forever everyone else kinda feel like this is one of those things (like everything else now) cashing in on nostalgia and basically gentrifying by giving it a new instagram worthy paint coat and new name. $150 for a black and white game boy with some weird gimmick? i'm cool lol. that's nice they found some great (also niche) developers to make great (also niche) games for it. just not sure why this exists though? especially for that absurd price? i mean you can get a 2ds bundle with a game and another free nintendo select for like $80 now.  eyeball_kid Member Oct 25, 2017 12,138 Panic, Takahashi (please why are you distracting him from finishing Wattam!), and Teenage Engineering (makers of the awesome OP-1 synth). This is like a videogame hipster dream come true. Not sure how well that crank is going to feel for left-handed users though.  Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida 150 kind of hurts for a black and white screen device in 2019, but DAT CRANK THO   Ghos Member Oct 25, 2017 3,986 cute design Keita tho? 👀  Weltall Zero Game Developer Banned Oct 26, 2017 19,343 Madrid Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out.   Lego Killer Moth Avenger Oct 25, 2017 1,292 This is the coolest thing I've ever seen   Toumari Member Oct 27, 2017 8,811 England Cute and bizarre. Never expected Panic to ever dabble in hardware like this.   Deleted member 41931 User requested account closure Member Apr 10, 2018 3,744 I'm in for Keita Takahashi. No idea if this is going to be good, but it'll certainly be different.   marrec Banned Oct 26, 2017 6,775 JamboGT said: The most hipster of hipster gaming stuff I have ever seen. Click to expand... Click to shrink... It's like they made it specifically for me  CloseTalker Sister in the Craft Member Oct 25, 2017 38,131 Yeah, I'll buy one of those   Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida Is this secretly Soulja Bois new console?   corn_fest Member Oct 27, 2017 323 I can't help but compare this with the 32blit which recently sprung up on Kickstarter. Spec-wise, the console seems a little disappointing in comparison, but Panic, Teenage Engineering, and the developers they've partnered with all create great stuff so I feel like this will be cool regardless. Ugh I'm gonna end up getting both aren't I.  Lego Killer Moth Avenger Oct 25, 2017 1,292 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... There's gonna be more if it's a success. It's 12 so far. One a month for the first year.   KoolAid Member Oct 25, 2017 7,055 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... ...i see what you did there also they say there's potential for more games, unsure if they'll charge for them though  Deleted member 33571 User requested account closure Banned Nov 17, 2017 907 very very cool, the lil bit of the Keita Takahashi game they showed looked really neat I immediately got teenage engineering vibes between the price (eek) and the concept so it makes sense they worked on some of the hardware  Kirksplosion Member Aug 21, 2018 2,682 Eh, can't say I'm interested at all-- Keita Takahashi Click to expand... Click to shrink... So I make this check out to Panic in Portland, OR?  Ginger Hail One Winged Slayer Avenger Oct 25, 2017 3,358 It's a cute little thing. Definitely gonna keep my eye on it.   jml Member Mar 9, 2018 4,849 Seems ridiculous and I do not understand the appeal at that price at all   Conan Member Oct 25, 2017 707 It's like having a bad analog stick. Cool?   Jonnykong Member Oct 27, 2017 8,992 It looks pretty nifty when you see the game in action by spinning that delightful crank.   marrec Banned Oct 26, 2017 6,775 jml said: Seems ridiculous and I do not understand the appeal at that price at all Click to expand... Click to shrink... The appeal is in the design and the games.  makonero Member Oct 27, 2017 11,177 If it was $50 I could see myself grabbing it for novelty purposes But I can't justify $150 for a black and white handheld with no backlight. I had an original GBA for five years, not going back now  Vivian-Pogo Member Jan 9, 2018 2,142 It's neat but about 3x the price of what I would want to pay for it.   wideface ▲ Legend ▲ Avenger Oct 25, 2017 7,184 Hidamari Apartments Keita Takahashi? Okay, I'll buy it.   NickatNite Member Oct 27, 2017 6,217 California An interesting concept, but may or may not be worth the price point. I definitely will keep my eye on it.   Deleted member 23046 Account closed at user request Banned Oct 28, 2017 6,876 Panic is also the first publisher of Campo Santo's Firewatch.   Dancrane212 Member Oct 25, 2017 14,110 Edge cover gets it a good amount of cred with me. Consider me curious.  JamesQuall Member Oct 27, 2017 752 I'm in. I already love Panic for publishing Firewatch and the Goose Game, and for putting a cool sign on their building that I can change the colors on during my lunch break!   RyougaSaotome Member Oct 25, 2017 5,365 It seems absurd so I'm in.   eyeball_kid Member Oct 25, 2017 12,138 Here's a peek at Keita Takahashi's game:   ryushe Member Oct 27, 2017 5,063 If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try.   Anno Member Oct 25, 2017 7,889 Columbus, Ohio That's weird enough that I'm at least interested.   the_wart Member Oct 25, 2017 2,346 That's so dumb. ...I want it.  KilgoreTrout696 Member Oct 25, 2017 667 ryushe said: If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try. Click to expand... Click to shrink... 100% with you on the backlight. I'm looking into getting older gameboys modded with backlights not getting something new without them. Just flashing back to trying to play pokemon at night while in the car driving home, would have to wait to pass a streetlight in order to see the screen for a second.   boontobias Avenger Apr 14, 2018 10,144 Dancrane212 said: Edge cover gets it a good amount of cred with me. Consider me curious. Click to expand... Click to shrink... Rebels huh? There goes my interest  8bit Member Oct 27, 2017 5,390 Oh fuck yes, I want one.   pronk Member Oct 26, 2017 2,034 Swery retweeted this, then retweeted a tweet about the Ouya store closing lol Also pretty sure EDGE had an Ouya cover.  Deleted member 2791 User requested account closure Banned Oct 25, 2017 19,054 I like the idea and the hardware execution, but 150 bucks for twelve short games just doesn't cut it.   Brian_FETO The Million Post Man Member Oct 25, 2017 19,825 I think I love this? idk $150 is an investment but like......it's also not that bad? hmm The curious thing is whether future seasons would be downloadable (it does have wifi) or if the intent is to have limited run systems with preset seasons  RoboitoAM Member Oct 25, 2017 3,271 This thing looks stupid.   El Pescado Member Oct 26, 2017 2,042 That thing looks right up my alley. I'm 100% in.  

Researchers at the University of Texas at Austin have developed a novel resin system for multicolor digital light processing (DLP) 3D printing that enables rapid fabrication of freestanding and non-assembly structures using dissolvable supports. The work, led by Zachariah A. Page and published in ACS Central Science, combines UV- and visible-light-responsive chemistries to produce materials with distinct solubility profiles, significantly streamlining post-processing. Current DLP workflows are often limited by the need for manually removed support structures, especially when fabricating components with overhangs or internal joints. These limitations constrain automation and increase production time and cost. To overcome this, the team designed wavelength-selective photopolymer resins that form either an insoluble thermoset or a readily dissolvable thermoplastic, depending on the light color used during printing. In practical terms, this allows supports to be printed in one material and rapidly dissolved using ethyl acetate, an environmentally friendly solvent, without affecting the primary structure. The supports dissolve in under 10 minutes at room temperature, eliminating the need for time-consuming sanding or cutting. Illustration comparing traditional DLP 3D printing with manual support removal (A) and the new multicolor DLP process with dissolvable supports (B). Image via University of Texas at Austin. The research was supported by the U.S. Army Research Office, the National Science Foundation, and the Robert A. Welch Foundation. The authors also acknowledge collaboration with MonoPrinter and Lawrence Livermore National Laboratory. High-resolution multimaterial printing The research showcases how multicolor DLP can serve as a precise multimaterial platform, achieving sub-100 μm feature resolution with layer heights as low as 50 μm. By tuning the photoinitiator and photoacid systems to respond selectively to ultraviolet (365 nm), violet (405 nm), or blue (460 nm) light, the team spatially controlled polymer network formation in a single vat. This enabled the production of complex, freestanding structures such as chainmail, hooks with unsupported overhangs, and fully enclosed joints, which traditionally require extensive post-processing or multi-step assembly. The supports, printed in a visible-light-cured thermoplastic, demonstrated sufficient mechanical integrity during the build, with tensile moduli around 160–200 MPa. Yet, upon immersion in ethyl acetate, they dissolved within 10 minutes, leaving the UV-cured thermoset structure intact. Surface profilometry confirmed that including a single interface layer of the dissolvable material between the support and the final object significantly improved surface finish, lowering roughness to under 5 μm without polishing. Computed tomography scans validated geometric fidelity, with dimensional deviations from CAD files as low as 126 μm, reinforcing the method’s capability for high-precision, solvent-cleared multimaterial printing. Comparison of dissolvable and traditional supports in DLP 3D printing. (A) Disk printed with soluble supports using violet light, with rapid dissolution in ethyl acetate. (B) Gravimetric analysis showing selective mass loss. (C) Mechanical properties of support and structural materials. (D) Manual support removal steps. (E) Surface roughness comparison across methods. (F) High-resolution test print demonstrating feature fidelity. Image via University of Texas at Austin. Towards scalable automation This work marks a significant step toward automated vat photopolymerization workflows. By removing manual support removal and achieving clean surface finishes with minimal roughness, the method could benefit applications in medical devices, robotics, and consumer products. The authors suggest that future work may involve refining resin formulations to enhance performance and print speed, possibly incorporating new reactive diluents and opaquing agents for improved resolution. Examples of printed freestanding and non-assembly structures, including a retainer, hook with overhangs, interlocked chains, and revolute joints, before and after dissolvable support removal. Image via University of Texas at Austin. Dissolvable materials as post-processing solutions Dissolvable supports have been a focal point in additive manufacturing, particularly for enhancing the efficiency of post-processing. In Fused Deposition Modeling (FDM), materials like Stratasys’ SR-30 have been effectively removed using specialized cleaning agents such as Oryx Additive‘s SRC1, which dissolves supports at twice the speed of traditional solutions. For resin-based printing, systems like Xioneer‘s Vortex EZ employ heat and fluid agitation to streamline the removal of soluble supports . In metal additive manufacturing, innovations have led to the development of chemical processes that selectively dissolve support structures without compromising the integrity of the main part . These advancements underscore the industry’s commitment to reducing manual intervention and improving the overall efficiency of 3D printing workflows. Read the full article in ACS Publications. Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Featured image shows: Hook geometry printed using multicolor DLP with dissolvable supports. Image via University of Texas at Austin.