Movie & Games Trailers Wicked: For Good By Vincent Frei - 05/06/2025 She’s not done fighting. In exile and branded a villain, the Wicked Witch of the West rises again to reveal the truth and free those who’ve been silenced. Watch the Wicked: For Good trailer now! The VFX are made by:ILMFramestoreOutpost VFX The Production VFX Supervisors are Pablo Helman and Jonathan Fawkner. Director: Jon M. Chu Release Date: November 21, 2025 (USA) © Vincent Frei – The Art of VFX – 2025

Some designers are lucky to find projects with excellent beginnings. That was Jessica Helgerson's experience when the Oregon and Paris-based designer, who launched a line of flatweave rugs this month, began a recent gut renovation for a family of five in Portland.With views of the Willamette River and the peak of Mount Hood, the early 1900s home was designed by famed Northwest architect Wade Pipes, who spread a style of architecture across the area that emphasized natural materials, known as Arts and Crafts residential architecture.Aaron LeitzHelgerson added the breakfast nook to the original footprint of the house. The artwork (left) by Miró served as the reference for the colors of the ceiling and banquette. Helgerson, who describes her design approach as “responsive,” expanded Pipes’ original design by building a new three-car garage and converting the existing one into a mudroom and laundry room. She also added a breakfast nook to the kitchen. The clients brought their museum-worthy collection of art into the home, including an extensive collection of over 30 pieces by Alexander Calder, Joan Miró, and Pablo Picasso. Those works were the inspiration for the design that followed.“I wanted the art to settle in and not fight with the space, but feel held by it," Helgerson said, describing the project as an opportunity to discover how to include the art in a manner that felt intentional but "didn’t dominate the whole thing."Aaron LeitzIn the attic bedroom, Helgerson opened up the ceiling, taking it to its peak, and designed the metal beams for structural support. The beds are antique. To accomplish that goal, Helgerson pulled the primary colors from the bold artworks and carried that scheme throughout the house. Walking through the front door, you're greeted by Benjamin Moore’s Evening Dove, a gray-blue shade that makes a welcoming statement. The blue theme continues into the dining room and bar area with Farrow & Ball’s Stiffkey Blue, a more muted blue, accented by Calder’s Windmill and 2 Suns artworks. In the living room, she planned the room renovation around the placement of Miró's Sur Quatre Murs, a focal point above the fireplace mantle. Soft blue sisal by Holland & Sherry covers the walls and acts as a backdrop to the Calders dotted around the room. The dark stained fir walls in the family room are livened up with a colorful Miró. And, a bifold panel above the mantel strategically hides the television so that the room can function as both a place to unwind and to entertain guests.The kitchen breakfast nook and cabinets mirror the blue and muted red in Miro’s Constellations Pochoir, which hangs "I love the design puzzle and how to solve it in a way that feels nice and authentic," Helgerson said. Take A Look Inside This Portland, Oregon House

Architect: PPAALocation: Santiago de Querétaro, MexicoCompletion Date:2024Sometimes all it takes to deliver a successful project is a client who is willing to take a chance. When a past residential customer approached Pablo Pérez Palacios, principal of his eponymous firm, Pérez Palacios Arquitectos Asociados (PPAA), about an expansion of an office for the premium dairy company Lyncott in Santiago de Querétaro, Mexico, the architect suggested something unusual: a modular structure made entirely of cross-laminated timber (CLT). In Mexico, as Pérez Palacios explained to AN, concrete is considered the de facto building material. In fact, when the client asked for examples of similar wood construction in Mexico, there simply weren’t any. Adding to the complexity, the architect advocated to use a polycarbonate system by the manufacturer Danpal as the facade. Essentially, Pérez Palacios was proposing a never-used (in Mexico) structure clad in a translucent envelope that would obscure most views from the interior offices. In theory, it sounded crazy. The building’s exterior is clad entirely in Danpal, a polycarbonate system, and connected to a cross-laminated timber frame. (Fabian Martínez) Fortunately, the client, who had recently risen to the top spot in the family-owned company, engaged with Pérez Palacios. At first, the executive told him, “I’m sure you won’t take this project, because it’s in an industrial park with zero budget,” recalled the architect, a past AN Interior Top 50 honoree. “I told him I’d take the project, without telling him that in the back of my mind, I knew I was going to do it out of wood.” Pérez Palacios had to overcome two hurdles from the outset: how to keep costs down despite CLT being a more expensive material than concrete and finding workers who could deliver on the construction. Fortunately, Vigalam, a company that manufactures prefabricated wood structures was located in the same office park as Lyncott, virtually eliminating shipping costs and simplifying the contracting. The team enlisted representatives from Danpal to install the facade system. The company sent a team to place and attach the panels, an exacting process that involves a clip to which a frame is attached and which then receives the polycarbonate pieces. Inside, the framing systems of the CLT and Danpal meet. (Fabian Martínez) Pérez Palacios is either a sly salesman or an eccentric designer—or both—but he managed to pull off one of Mexico’s first all-CLT projects and one of the most striking industrial buildings in recent memory. PPAA connected the thin 10,900-square-foot office expansion to an existing structure. Here the light, efficient addition contrasts the heavy, inefficient existing conditions; Pérez Palacios explained that the original steel and concrete building operates 24 hours a day to support the dairy plant and relies on artificial light. As PPAA captioned an Instagram post about the project, “This new intervention addresses the challenge of balancing the industrial character of the context with a serene and conscious environment focused on connecting with nature.” The translucent facade allows light into the offices and exposes the wood frame from the exterior. (Fabian Martínez) One of the most intriguing aspects of the facade is its lack of transparent glass, though Pérez Palacios noted that there are windows along the side of the building facing the dairy plant. “When you’re in an office, you’re not looking at the view. You are looking at a screen,” he said. “To create an atmosphere with natural light, it’s super nice if you’re going to be sitting at a computer for eight hours a day.” Besides, he added: “There’s nothing to see outside. It’s an industrial park.” The offices are bathed in light via the translucent facade. (Fabian Martínez) PPAA has completed two translucent projects previously: a now-finished office building in China that employed fabric and a housing prototype for a 2022 exhibition at Crystal Bridges Museum in Arkansas. “It was our interpretation of an affordable housing project—and we used Danpal!” Pérez Palacios exclaimed. Still, the dairy building project is the first time he put his theories about Danpal into practice. “We created this translucent envelope that allows people to work in natural light all day long,” Pérez Palacios explained. “It has solar capacities; it blocks the sun rays. It requires zero maintenance and protects the interior structure.” PPAA used wood for the entire structure, including beams, columns, and ceilings. (Fabian Martínez) Efficiency was part of the selling point to Lyncott, whose leader worried about the building’s lightness. “I had to tell him, ‘Don’t worry, it won’t blow away,’” Pérez Palacios recalled with a laugh. He went on to connect the agricultural aspects of the client’s business to the sustainability of building with these methods. The wood reduces the structure’s carbon footprint, and an all-glass facade would have run up the air-conditioning bills. Instead, Lyncott’s new building redirects the sun, part of the reason it has become something of an attraction in Mexico. Pérez Palacios foresees bringing students for site visits, and Danpal has shown the site to potential clients. PPAA has even sold the idea of mass timber construction to a skeptical audience: Now the firm has two more wood projects in the pipeline. Project Specifications Architect: PPAA Structural engineering: Vigalam Electrical engineering: ROA Civil engineering: Consulta Urbana Lighting design: PPAA Facade system: Danpal Glass: Consulta Urbana Roofing: Aircrete Interior finishes: Alfombras de Mexico Fixtures: Biticino Lighting: Magg Furniture: PM Steele, Vipp

Because the Verganis love color, Menino used a lot of it, carefully, so as never to overwhelm the Harlem-meets-Milan aesthetic. A deep orange paints an accent wall in the primary bedroom, color-matched by a painterly wallcovering opposite it. The sleek muted green-and-blue kitchen is Menino’s homage to Carlo Scarpa, while the jewel box guest bedroom-cum-library sports a more verdant forest hue on its bespoke Murphy bed with a desk and built-in bookcases. An ombré teal powder room with a sculptural sink is another moment of joyful experiment but the living room—decorated with a custom sectional and vintage seating around a tiered marble cocktail table by Menino—is largely neutral.A vintage kilim rug is underfoot in the serene living room where the custom Italian-made sofa gathers with a custom marble cocktail table and vintage chairs by Jorge Zalszupin and Carlos Motta in front of new bespoke steel-framed doors to the terraced garden. The living room’s relaxed and sun-filled vibe makes it one of the most-used rooms in the house as well as the perfect space for a striking tree branch sculpture by local artist Jannette Jwahir Hawkins, says Miriam, who worked with art advisor Aurore Vullierme to source such contemporary pieces. With Miriam’s plans to grow the family’s collection over time, Menino left a few walls blank here and chose their subtle gray hue specifically to be an optimal background to future artwork.Though the brownstone is certainly a family abode, it is also a natural venue for the Verganis’ love of entertaining, whether a soiree that extends indoors and out across the garden level or an intimate gathering at the dining table with Miriam’s “unbelievable tiramisu,” as Menino describes it. Flowing, relaxing, and luxurious rooms facilitate daily life and such occasions with equal ease. “We were excited to work with someone who would understand our design vision and had a deep knowledge of our culture,” says Miriam of Menino. “But we also wanted this house to reflect our story: how we moved here at a young age and made our life in New York.”A sculpture by Jannette Jwahir Hawkins stands adjacent the existing fireplace mantel, decorated with an artwork by Faustine Badrichani and a ceramic vase by Marion Naufal. Menino Design Studio specified Tiger Onyx for the home’s statement-making custom bar and matching wall cladding behind it. A custom Affreschi & Affreschi wallcovering adds color and texture to the primary bedroom, where the bespoke bed wears Parachute linens. Vintage Giuseppe Scapinelli armchair. A painting by Ernest Crichlow hangs on a Benjamin Moore orange–painted brick wall in the primary bedroom, which features an existing fireplace mantel with vases by Marion Naufal. Sculpture (on side table) by Victoire d’Harcourt. Vintage Giuseppe Scapinelli armchair. Menino Design Studio created a floating Azul Cielo marble sink for the Roman clay–clad primary bath, where the tub is by Produits Neptune with Hotbath fixtures. The office is decorated with a desk by Hugo Besnier, chair by Cultivation Objects, pendant by Pablo Designs, and a vintage Gregori Warchavchik magazine rack. The mural-like wallpaper is by Affreschi & Affreschi, made with a custom blue. Photograph by Coreen Simpson.

Masterplan & Sports Complex La Paz | © Jaime Navarro In La Paz, Baja California Sur, the transformation of El Cajoncito, a neglected dry riverbed central to the city’s stormwater system, marks a strategic urban intervention led by CCA | Bernardo Quinzaños. The Masterplan La Paz addresses the fragmented nature of the city’s spatial fabric by reconceiving this infrastructural void as a connective civic spine. The project is not merely about landscape or recreation; it functions as an integrated ecological, hydrological, and social framework. Masterplan & Sports Complex La Paz Technical Information Architects1-6: CCA | Bernardo Quinzaños Location: La Paz, Baja California Sur, México Gross Area: 22,727 m2 | 245,000 Sq. Ft. Completion Year: 2025 Photographs: © Jaime Navarro We envisioned the Masterplan La Paz not just as infrastructure, but as a catalyst for social integration, where public space becomes a bridge between ecological resilience and community well-being. – Bernardo Quinzaños Masterplan & Sports Complex La Paz Photographs © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro Reframing the Urban Void: Context and Design Intent The master plan is rooted in a clear intention: to bridge socio-spatial divides and enhance resilience in a region highly susceptible to seasonal flooding. El Cajoncito, which becomes impassable during the rainy season, historically reinforced urban disconnection. Residents of adjacent neighborhoods were required to circumvent it by traveling between four and eight kilometers despite the separation being no more than 200 meters. The master plan reconceives this gap not as a barrier but as an opportunity to integrate infrastructure and urban life. Informed by a collaborative process involving technical consultants, municipal authorities, and the local community, the project articulates infrastructure as a tool for civic repair. Public space, mobility, and water management are synthesized into a singular spatial proposal, creating a precedent for interventions in Latin American secondary cities facing similar socio-environmental challenges. Masterplan & Sports Complex La Paz Spatial Strategy At the heart of the project is a linear spatial strategy that reorients movement and redefines thresholds within the city. The Paseo Lineal, a continuous pedestrian and cycling path, forms the connective tissue of the master plan. Stretching from the city’s marina to the new sports complex, this spine is both infrastructural and ecological. It incorporates rainwater mitigation systems, shaded rest areas, and integrated bus shelters, creating a multimodal corridor that prioritizes non-motorized transport and public transit. A critical architectural gesture within this system is the bridge that spans El Cajoncito. It addresses the acute lack of connectivity by enabling direct, safe passage between neighborhoods, fundamentally altering local movement patterns. Rather than serving as an isolated object, the bridge is embedded in a network of social and ecological flows. The project avoids monofunctional zoning and instead embraces layered programming that intersperses recreational, cultural, and environmental uses. This pluralism is essential to its success as a public space. The spatial organization acknowledges the diversity of its users, from athletes and children to commuters and spectators, ensuring the infrastructure supports everyday and exceptional activities. Architectural Language and Material Intelligence The Conjunto Deportivo La Paz forms a key anchor of the master plan. Its architecture is defined by modularity, climatic responsiveness, and material economy. The baseball pavilions, arranged as four repeated units, are designed with variations in field size and complexity to accommodate a wide range of users, from young children to professional-level athletes. The modular approach streamlines construction while allowing for phased expansion. Material decisions respond directly to the site’s climatic conditions. Steel frames provide structural clarity and durability, while open facades and ridge vents enable passive cross-ventilation. Shaded seating areas and integrated benches serve spectators and athletes, offering thermal comfort in the region’s high temperatures. These elements are not ornamental but spatial devices rooted in environmental performance and user comfort. The multipurpose building further expands the programmatic scope. Two offset gabled volumes house classrooms, offices, a library, and spaces for cultural activities such as dance and music. The flexible structure supports simultaneous functions without formal separation and encourages informal overlaps and civic interaction. Its open-air double-height space is a community forum that blurs the boundary between the building and the plaza. The architectural language is intentionally restrained. The use of organic forms in certain shaded structures softens the sports complex’s visual rigidity and fosters a more approachable atmosphere without compromising programmatic clarity. Infrastructure as a Social Catalyst The project’s impact extends beyond physical infrastructure. By decentralizing public amenities, the masterplan challenges the historic concentration of civic life along La Paz’s malecón. The project redistributes access to recreation, culture, and mobility by repositioning investment in underrepresented neighborhoods. Since its opening, the sports complex has functioned as a venue and a civic platform. It accommodates various events, including tournaments and cultural festivals, activating the site throughout the day and seasons. Providing official-quality baseball fields is particularly significant in a city with a strong sporting culture but limited infrastructure. The center fosters intergenerational engagement and strengthens communal ties. The Masterplan La Paz exemplifies how architecture, when embedded in broader territorial and social strategies, can exceed form-making limits. It demonstrates that infrastructural projects, often perceived as technical or neutral, can instead serve as active instruments for equity, resilience, and civic expression. The work of CCA | Bernardo Quinzaños offers a thoughtful model for integrating architecture and landscape into the city’s life, not through spectacle but through the careful choreography of space, structure, and use. Masterplan & Sports Complex La Paz Plans Master Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Bridge Floor Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Floor Plan | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Elevation | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Masterplan & Sports Complex La Paz Image Gallery About CCA | Bernardo Quinzaños CCA | Bernardo Quinzaños is a Mexico City-based architecture studio led by architect Bernardo Quinzaños. The firm focuses on socially driven and contextually responsive design, strongly emphasizing public infrastructure, urban regeneration, and environmental resilience. Through multidisciplinary collaborations and community engagement, CCA develops projects that integrate architecture with broader cultural and ecological systems. Credits and Additional Notes Lead Architect: Bernardo Quinzaños Design Team: Santiago Vélez, Begoña Manzano, Andrés Suárez, Carlos Molina, Cristian Nieves, Miguel Izaguirre, Sara de la Cabada, André Torres, Abigaíl Zavaleta, Víctor Zúñiga, Pablo Ruiz, Scarlett Díaz Client: SEDATU (Secretaría de Desarrollo Agrario, Territorial y Urbano), Municipality of La Paz Builder: HABA, Alan Haro Photographer: Jaime Navarro Video Production: Jaime Navarro Estudio, Ricardo Esquivel, Fernanda Ventura

Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Earth and space mingle in stunning ways for the 2025 Milky Way Photographer of the Year contest. From the “geological masterpiece” of Coyote Buttes, Utah to the sandstone terrain of desolate Ennedi, Chad to a lava-spewing volcano in Guatemala, this year’s entries dazzle from all corners of the globe. We even get a view of the Milky Way from off-planet with a photograph from NASA astronaut Don Pettit taken aboard the International Space Station. “The Wave”Coyote Buttes, UT, USAOne of my greatest passions is visiting stunning natural wonders and paying my personal tribute to them through night photography. This image was taken at Coyote Buttes, a geological masterpiece located in Arizona, where special access permits are required to protect it for future generations.Despite the intense cold during those days, it was incredibly exciting to visit the great sandstone wave for the first time and enjoy its spectacular shapes and colors.To capture this 360° panorama, I planned for the Milky Way and focused on creating a balanced photographic composition. It’s hard to put into words the beauty of this place, but I hope my photograph manages to convey it.Credit: Luis Cajete / 2025 Milky Way Photographer of the Year Daniel Zafra Portill The Milky Way contains an estimated 200-400 billion stars, but we can only see a fraction of the celestial bodies with our naked eyes. Photography opens up the skies to the staggering light show floating around us. (Click to enlarge images.) “Echiwile Arch” Ennedi, ChadWhen one first Googles information about visiting Chad, the results aren’t very encouraging from a safety perspective. Nevertheless, the intrepid astrophotographer in me decided to take the chance and visit this landlocked country, specifically the Ennedi Massif in the north.Sparsely populated and completely devoid of light pollution, the three-day drive from the capital, N’Djamena, was well worth the troubles and risks involved. The region is filled with numerous rock formations, shapes, and arches, offering an abundance of options for foreground elements to frame the dramatic night skies. Seen here is a small arch in the shape of a hoof in the Ennedi region.Credit: Vikas Chander / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Fortress of Light”Jujuy, ArgentinaSince I started shooting the night sky, I’ve always sought out landscapes that feel like they belong to another planet — remote, untouched, and far from light pollution. That’s exactly what I found in “The Cathedral,” a surreal rock formation in Jujuy, Argentina.Photographing at over 4,000 meters (13,000 feet) presented its challenges, but when I arrived and saw the rock formations, I was completely blown away. The landscape felt like something from a fantasy world, and the towering cliffs instantly reminded me of a giant stone fortress sculpted by nature.As twilight gave way to full darkness, the core of the Milky Way appeared high overhead, shining with incredible clarity. I patiently waited as the galactic center slowly descended toward the horizon, perfectly aligning above the cliffs.While capturing the panorama, the camera picked up bands of orange and green airglow, adding a unique glow to the horizon.This image captures everything I love about photographing the Milky Way — the silence of remote places, the peace of standing under a pristine sky, and the deep connection I feel to the moment, fully present and grateful to witness it.Credit: Mauricio Salazar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “The Night Guardians” Easter Island, ChileEaster Island had been on my bucket list for a long time, and it once seemed almost impossible to reach. On our first night there, the weather forecast looked promising, so we decided to go ahead with the tour our group had booked 4–5 months earlier. However, Rapa Nui sits in the middle of the Pacific Ocean, where the weather is notoriously unpredictable. When we woke up at 3 a.m. in our hotel, the sky was completely covered in clouds. Still, we decided to take the risk, knowing the forecast for the next few nights was even worse.An hour later, we were frantically photographing the statues at Rano Raraku—the quarry where nearly all of the island’s 900 statues were carved—when the sky suddenly began to clear. By 5 a.m., it was completely clear, and we had less than two hours to capture all the shots we wanted. We felt incredibly lucky to be in the right place at the right time.Credit: Rositsa Dimitrova / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Blossom”Hehuan Mountain Dark Sky Park, TaiwanAfter three years of waiting, the Yushan alpine rhododendrons are finally in bloom once again on Taiwan’s 3,000-meter-high Hehuan Mountain. On this special night, distant clouds helped block city light pollution, revealing an exceptionally clear view of the Milky Way. A solar flare from active region AR3664 reached Earth that evening, intensifying the airglow and adding an otherworldly touch to the sky.Together, these rare natural events created a breathtaking scene—vivid blooms glowing softly beneath a star-filled sky.Credit: Ethan Su / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Spines and Starlight”Kanaan, NamibiaOn our second Namibia Photography Tour, we began our journey once again at one of our favorite spots in Kanaan. Last year was an incredible experience, but this time, we decided to explore more of this vast land.During a scouting trip, I stumbled upon the perfect composition—two quiver trees standing tall with a large cactus in the foreground, all beautifully aligned with the Milky Way. I had always wanted to capture the Milky Way alongside a big cactus, so in that moment, it felt like a special gift.Getting everything in focus was a bit challenging, as I had to get extremely close to the cactus without getting poked. To achieve perfect sharpness, I used focus stacking. Additionally, I shot with an astro-modified camera and a GNB Nebula filter to enhance the details of the night sky.Credit: Burak Esenbey / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Galaxy of the Stone Array” Moeraki Boulders, New ZealandThe Milky Way hangs over the sea. The night sky of the Southern Hemisphere condenses the poetry of Li Bai, a poet from China’s Tang Dynasty, into eternity. On a clear night, the Milky Way pours down over the sea like a waterfall from the sky, intertwining with the atmospheric glow on the water’s surface.Credit: Alvin Wu / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “One in a Billion ”ISS (International Space Station)I float in the Cupola, looking out the seven windows composing this faceted transparent jewel. While my mind is submerged in contemplation, my eyes gorge on the dim reflections from a nighttime Earth. There are over eight billion people that call this planet home. There are seven of us that can say the same for Space Station. What a privilege it is to be here. I used an orbital star tracker to take out the star streak motion from orbit.Credit: Don Pettit / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Winter Fairy Tale”Dobratsch Nature Park, AustriaUndoubtedly my wildest location this winter: Austria’s Dobratsch mountain! If I had to describe it in two words, it would be a “Winter Fairytale”!Despite a 5 a.m. work shift, I drove to Austria by 1 p.m., worried about my fitness and lack of sleep. After a 2-hour hike through the snow with a 22kg backpack and sled, the stunning views kept me energized.Arriving at the cabin (where I had planned my winter panorama two years ago), I was greeted by untouched snow, completely free of footprints. I spent the evening exploring compositions, and this is my favorite: a panorama of the winter Milky Way with reddish nebulae, stretching above Dobratsch Mountain.I captured the Zodiacal light and even the Gegenschein glow! The sky was magnificent, with Jupiter and Mars shining brightly. In the foreground is the cabin, where I spent 3 freezing hours (-12°C), waiting for the perfect shot of the Milky Way’s core. It turned out exactly as I envisioned—a true winter fairytale.Credit: Uroš Fink / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Valle de los Cactus” San Pedro de Atacama, ChileA panoramic shot of the Milky Way in a remote area of the Atacama Cactus Valley, known for its large concentration of cactus plants. I love this place with its countless possibilities. The panorama was taken just as the galactic center began to rise, with the spectacular Gum Nebula visible on the right.It was an especially bright night with a breathtaking sky. The valley isn’t easy to navigate, but it’s always worth trying to find new compositions in such stunning locations beneath the night sky.Credit: Pablo Ruiz / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Cosmic Fire”Volcán Acatenango, GuatemalaOn the early morning of June 2, 2024, I summited Acatenango Volcano for the first time, hoping to witness the fiery beauty of the neighboring Volcan de Fuego against the Milky Way’s backdrop. That night, the volcano was incredibly active—each thunderous explosion reverberated in my chest, while glowing lava illuminated the dark slopes. Above, the Milky Way stretched diagonally across the sky, a mesmerizing band of stars contrasting with the chaos below. As the volcano erupted, the ash plume rose vertically, forming an acute angle of about 45 degrees with the galaxy’s diagonal path, creating a stunning visual contrast between Earth’s fury and the cosmos’ serenity.Capturing this required a fast, wide-angle lens (f/2.8), an ISO of 3200, and a 10-second exposure to balance the volcanic glow with the starlight. The challenge was timing the shot during a new moon and aligning the right moment for the Milky Way to cross the frame next to the volcano. I used Lightroom as the editor. This image is special for its storytelling—the raw power of Volcan de Fuego meeting the tranquil expanse of the galaxy.Credit: Sergio Montúfar / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Lake RT5” Zanskar, HimalayasLake RT5 is a pristine alpine lake nestled at 5,700 meters above sea level. My passion has always been to capture the unseen Himalayas in their rawest form. This journey led us through rugged mountains and glaciers, where we discovered several unknown alpine lakes and named them along the way.We endured multiple nights in extremely cold, unpredictable conditions. Due to the ever-changing weather and limited time, I used a blue hour blend to achieve a cleaner foreground. Since my campsite was right beside the lake, I was able to capture the tracked sky shot from the exact same position later that night.I was in awe of the incredible airglow illuminating the Himalayan skies. The raw image had even more intense colors, but I toned them down to stay true to reality. This was undoubtedly one of the most unforgettable nights I’ve ever spent in the heart of the Himalayas.Credit: Tanay Das / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “A Stellar View From The Cave” Saint Raphael, FranceFramed by the rugged mouth of a coastal cave, this image captures the heart of the Milky Way rising over the Mediterranean Sea. Taken during the peak of the Galactic Core season last May, it blends the natural beauty of the foreground with the awe-inspiring vastness of the cosmos. A winding road, illuminated by passing cars, creates a dynamic trail of light that guides the eye toward the stars above.This photo is a reminder that magic often hides in the most unexpected places. All it takes is a little patience, planning, and passion.Credit: Anthony Lopez / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Boot Arch Perseids” Alabama Hills, CA, USAThe Perseid Meteor Shower occurs every August, raining down hundreds of meteors over a few nights. In 2024, I had planned to photograph it from the Canadian Rockies, but wildfires forced me to change my plans at the last minute. After checking wildfire maps, I found a safe haven in the Eastern Sierra Nevada.After three full nights of capturing meteors, I created this image. Sitting on the rock is my friend Arne, who often joins me on these adventures, gazing up at the magnificent core of our galaxy. Each meteor is painstakingly aligned to its true location in the night sky. The final depiction shows all the meteors I captured, combined into one frame—as if the Earth hadn’t been rotating and all the meteors had fallen at once.Credit: Mike Abramyan / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Starlit Ocean: A Comet, the setting Venus, the Milky Way, and McWay Falls” – California, USACapturing this image was a race against time, light, and distance. With Comet Tsuchinshan–ATLAS (C/2023 A3) making its approach, I knew I had a rare opportunity to see it with the naked eye before it faded into the cosmos. I embarked on a five-hour round trip to McWay Falls in Big Sur, one of the few Bortle 2 locations accessible along California’s coast. My window was narrow—just six precious minutes of true darkness before the Moon rose and washed out the night sky. But those six minutes were unforgettable.In that brief span, the Milky Way arched high above the Pacific, Venus shimmered as it set over the ocean, and the comet streaked quietly across the sky—a celestial visitor gracing this iconic coastal cove. The soft cascade of McWay Falls and the stillness of the starlit ocean created a surreal harmony between Earth and sky. It was one of the most vivid and humbling naked-eye comet sightings I’ve ever experienced—an alignment of cosmic elements that felt both fleeting and eternal.Credit: Xingyang Cai / 2025 Milky Way Photographer of the Year Daniel Zafra Portill “Diamond Beach Emerald Sky”Great Ocean Road, AustraliaWith a clear night forecast and the Milky Way core returning for 2025, I set out to explore the Great Ocean Road. After a few setbacks—such as a failed composition and getting the car stuck on a sandy track—I almost gave up. However, I pushed on and found a great spot above the beach to capture the scene.The night was full of color, with Comet C/2024 G3 Atlas and a pink aurora in the early hours, followed by the Milky Way rising amid intense green airglow near dawn. Despite the challenges, the reward of this stunning image and the memory of the view made it all worthwhile.Credit: Brent Martin / 2025 Milky Way Photographer of the Year Daniel Zafra Portill

This weekend is a major one for new movies, with the release of Mission: Impossible – The Final Reckoning and Disney’s live-action Lilo & Stitch remake in theaters. But even if you carved out two days for two major blockbusters, good news: Monday is Memorial Day. So why not spend your three-day weekend sneaking in one more movie? Per usual, a handful of worthwhile titles are leaving Netflix on June 1. Here are five you may want to catch before they’re shipped off to another platform or disappear into the pit of VOD, where you are unlikely to rent them. Cult of Chucky (2017) Is Child’s Play/Chucky the most underestimated horror franchise? Thanks to writer-director Don Mancini’s 37-year commitment to shaking up his slasher formula with each new installment, it’s certainly up there, even in the series’ direct-to-video era. Cult of Chucky picks up shortly after the events of 2013’s Curse of Chucky, which saw the murderous ginger doll stalk Nica Pierce (Fiona Dourif, daughter of Chucky voice actor Brad Dourif!) and slay her whole family. When the police arrive, Nica is ultimately charged with the murders, and hauled away to an institution. In Cult of Chucky, an abusive psychiatrist has convinced her she really was the perpetrator of the crime and Chucky was all in her head — until the doll shows up to kill more people. It’s bloodsplatteringly twisted fun. Mancini finds ways to get multiple Chucky dolls in the mix, and up the gross-out humor a few notches. Enjoy, sickos. Den of Thieves (2018) If you have yet to meet Big Nick (Gerard Butler), king of the scuzzy cops, hurry up: The terrific Den of Thieves 2: Pantera is also on Netflix, but you only have a week to catch the first installment in the series. Writer-director Christian Gudegast gives Heat a dirtbag makeover, as Butler’s bleary, on-the-verge-of-divorce antihero hunts down a team of ex-Marines who are pulling off elaborate bank heists. Pablo Schreiber (Halo) is piercing as Ray, the leader of the criminal operation, while O’Shea Jackson Jr. and 50 Cent give the Ocean’s 11-esque team its needed swagger. But Butler as Nick, bumbling around and failing at life, carries the movie, bringing in an unexpected amount of emotion as the story barrels toward its big Federal Reserve set piece. At 140 grimy, gun-heavy minutes, no one is really making movies like Den of Thieves at the moment. Ma (2019) Maaaaaaaaaaaa. Blumhouse understandably pitched this psychological horror film from [checks notes] The Help director Tate Taylor??? as “from the producer of Get Out and Halloween,” but Ma is much goofier and more meme-friendly than either of those movies — and for the better. It all lands thanks to Oscar-winner Octavia Spencer, whose vindictive, violent Sue Ann is on the wavelength of Kathy Bates’ Annie Wilkes in Misery and Glenn Close’s Alex Forrest in Fatal Attraction. At first, “Ma” is a local legend for buying kids alcohol and giving them a safe haven to party. But Sue Ann has an ulterior motive, and — well, shit goes down. Culture writers have found plenty beneath the surface of Ma over the years, especially in regard to how it grapples with race. But if that sounds heady, good news: the melodramatic horror surface is great, too. Ramayya Vasthavayya (2013) Fans of Indian action should check out this revenge thriller starring N.T. Rama Rao Jr. (RRR), who really seems to exist to walk in slow motion while preparing to beat the crap out of someone, so it’s good that we invented movies in time for his arrival on this planet. Compared to the hyper-stylish RRR or the playful action-comedy Mard Ko Dard Nahi Hota (aka The Man Who Feels No Pain), Ramayya Vasthavayya is pretty basic. Nandu (NTR) is falling hard for Akarsha (played by Indian mega-star Samantha) but he also has some secrets that means he will eventually need to cut people down with a machete. But boy, does director Harish Shankar make NTR look good doing it! Whether he’s getting smacked across the face with a lead pipe or pounding some goons, the actor delivers what the camera needs. Unhinged (2020) Much like Quentin Tarantino, we here at Polygon endorse Russell Crowe’s released-during-pandemic-times-and-therefore-seen-by-too-few-people movie Unhinged. Crowe is actually the villain in this road-rage horror-thriller, which stars Caren Pistorius as an overworked single mother who crosses paths with the wrong brute while rushing to get her son to school one morning. The title is apt: Crowe’s “The Man” is quite unhinged! And instead of brushing off the beeping car behind him, he goes full Duel on the unsuspecting mom. Crowe seems as committed to playing an animalistic terror as he was committed to playing Maximus in Gladiator, and yet he surprisingly did not win another Oscar for his work in Unhinged.