culture

elle-fanning-teams-up-with-a-predator-in-first-predator:-badlands-trailer

Elle Fanning teams up with a predator in first Predator: Badlands trailer

It’s not every day you get a trailer for a new, live-action Predator movie, but today is one of those days. 20th Century Studios just released the first teaser for Predator: Badlands, a feature film that unconventionally makes the classic movie monster a protagonist.

The film follows Dek (Dimitrius Schuster-Koloamatangi), a young member of the predator species and society who has been banished. He’ll work closely with a Weyland-Yutani Android named Thia (Elle Fanning) to take down “the ultimate adversary,” which the trailer dubs a creature that “can’t be killed.” The adversary looks like a very large monster we haven’t seen before, judging from a few shots in the trailer.

Some or all of the film is rumored to take place on the Predator home world, and the movie intends to greatly expand on the mythology around the Predators’ culture, language, and customs. It’s intended as a standalone movie in the Predator/Alien universe.

Predator: Badlands teaser trailer.

The trailer depicts sequences involving multiple predators fighting or threatening one another, Elle Fanning looking very strange and cool as an android, and glimpses of new monsters and the alien world the movie focuses on.

Predator: Badlands‘ director and co-writer is Dan Trachtenberg, who directed another recent, highly acclaimed, standalone Predator movie: Prey. That film put a predator in the usual antagonist role, and had a historical setting, following a young Native American woman who went up against it.

Trachtenberg has also recently been working on an animated anthology series called Predator: Killer of Killers, which is due to premiere on Hulu (which also carried Prey) on June 6.

Predator: Badlands will debut in theaters on November 7. This is just the first teaser trailer, so we’ll learn more in subsequent trailers—though we know quite a bit already, it seems.

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4chan-may-be-dead,-but-its-toxic-legacy-lives-on

4chan may be dead, but its toxic legacy lives on

My earliest memory of 4chan was sitting up late at night, typing its URL into my browser, and scrolling through a thread of LOLcat memes, which were brand-new at the time.

Back then a photoshop of a cat saying “I can has cheezburger” or an image of an owl saying “ORLY?” was, without question, the funniest thing my 14-year-old brain had ever laid eyes on. So much so, I woke my dad up by laughing too hard and had to tell him that I was scrolling through pictures of cats at 2 in the morning. Later, I would become intimately familiar with the site’s much more nefarious tendencies.

It’s strange to look back at 4chan, apparently wiped off the Internet entirely last week by hackers from a rival message board, and think about how many different websites it was over its more than two decades online. What began as a hub for Internet culture and an anonymous way station for the Internet’s anarchic true believers devolved over the years into a fan club for mass shooters, the central node of Gamergate, and the beating heart of far-right fascism around the world—a virus that infected every facet of our lives, from the slang we use to the politicians we vote for. But the site itself had been frozen in amber since the George W. Bush administration.

It is likely that there will never be a site like 4chan again—which is, likely, a very good thing. But it had also essentially already succeeded at its core project: chewing up the world and spitting it back out in its own image. Everything—from X to Facebook to YouTube—now sort of feels like 4chan. Which makes you wonder why it even needed to still exist.

“The novelty of a website devoted to shock and gore, and the rebelliousness inherent in it, dies when your opinions become the official policy of the world’s five or so richest people and the government of the United States,” the Onion CEO and former extremism reporter Ben Collins tells WIRED. “Like any ostensibly nihilist cultural phenomenon, it inherently dies if that phenomenon itself becomes The Man.”

My first experience with the more toxic side of the site came several years after my LOLcat all-nighter, when I was in college. I was a big Tumblr user—all my friends were on there—and for about a year or so, our corner of the platform felt like an extension of the house parties we would throw. That cozy vibe came crashing down for me when I got doxed the summer going into my senior year. Someone made a “hate blog” for me—one of the first times I felt the dark presence of an anonymous stranger’s digital ire, and posted my phone number on 4chan.

They played a prank that was popular on the site at the time, writing in a thread that my phone number was for a GameStop store that had a copy of the ultra-rare video game Battletoads. I received no less than 250 phone calls over the next 48 hours asking if I had a copy of the game.

Many of the 4chan users that called me mid-Battletoad attack left messages. I listened to all of them. A pattern quickly emerged: young men, clearly nervous to even leave a message, trying to harass a stranger for, seemingly, the hell of it. Those voicemails have never left me in the 15 years I’ve spent covering 4chan as a journalist.

I had a front-row seat to the way those timid men morphed into the violent, seething underbelly of the Internet. The throbbing engine of reactionary hatred that resented everything and everyone simply because resentment was the only language its users knew how to speak. I traveled the world in the 2010s, tracing 4chan’s impact on global democracy. I followed it to France, Germany, Japan, and Brazil as 4chan’s users became increasingly convinced that they could take over the planet through racist memes, far-right populism, and cyberbullying. And, in a way, they did. But the ubiquity of 4chan culture ended up being an oddly Pyrrhic victory for the site itself.

Collins, like me, closely followed 4chan’s rise in the 2010s from Internet backwater to unofficial propaganda organ of the Trump administration. As he sees it, once Elon Musk bought Twitter in 2022 there was really no point to 4chan anymore. Why hide behind anonymity if a billionaire lets you post the same kind of extremist content under your real name and even pays you for it?

4chan’s “user base just moved into a bigger ballpark and started immediately impacting American life and policy,” Collins says. “Twitter became 4chan, then the 4chanified Twitter became the United States government. Its usefulness as an ammo dump in the culture war was diminished when they were saying things you would now hear every day on Twitter, then six months later out of the mouths of an administration official.”

But understanding how 4chan went from the home of cat memes to a true Internet bogeyman requires an understanding of how the site actually worked. Its features were often overlooked amid all the conversations about the site’s political influence, but I’d argue they were equally, if not more, important.

4chan was founded by Christopher “Moot” Poole when he was 15. A regular user on slightly less anarchic comedy site Something Awful, Poole created a spinoff site for a message board there called “Anime Death Tentacle Rape Whorehouse.” Poole was a fan of the Japanese message board 2chan, or Futaba Channel, and wanted to give Western anime fans their own version, so he poorly translated the site’s code and promoted his new site, 4chan, to Something Awful’s anime community. Several core features were ported over in the process.

4chan users were anonymous, threads weren’t permanent and would time out or “404” after a period of inactivity, and there were dozens of sub-boards you could post to. That unique combination of ephemerality, anonymity, and organized chaos proved to be a potent mix, immediately creating a race-to-the-bottom gutter culture unlike anything else on the web. The dark end point of the techno-utopianism that built the Internet. On 4chan you were no one, and nothing you did mattered unless it was so shocking, so repulsive, so hateful that someone else noticed and decided to screenshot it before it disappeared into the digital ether.

“The iconic memes that came out of 4chan are because people took the time to save it, you know? And the fact that nobody predicted, nobody could predict or control what was saved or what wasn’t saved, I think, is really, really fascinating,” Cates Holderness, Tumblr’s former head of editorial, tells WIRED.

Still, 4chan was more complicated than it looked from the outside. The site was organized into dozens of smaller sections, everything from comics to cooking to video games to, of course, pornography. Holderness says she learned to make bread during the pandemic thanks to 4chan’s cooking board. (Full disclosure: I introduced Holderness to 4chan way back in 2012.)

“When I switched to sourdough, I got really good pointers,” she says.

Holderness calls 4chan the Internet’s “Wild West” and says its demise this month felt appropriate in a way. The chaos that defined 4chan, both the good and the very, very bad, has largely been paved over by corporate platforms and their algorithms now.

Our feeds deliver us content; we don’t have to hunt for it. We don’t have to sit in front of a computer refreshing a page to find out whether we’re getting a new cat meme or a new manifesto. The humanness of that era of the web, now that 4chan is gone, is likely never coming back. And we’ll eventually find out if that’s a good thing or a bad thing.

“The snippets that we have of what 4chan was—it’s all skewed,” Holderness says. “There is no record. There’s no record that can ever encapsulate what 4chan was.”

This story originally appeared on wired.com.

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universities-(finally)-band-together,-fight-“unprecedented-government-overreach”

Universities (finally) band together, fight “unprecedented government overreach”

We speak with one voice against the unprecedented government overreach and political interference now endangering American higher education… We must reject the coercive use of public research funding…

American institutions of higher learning have in common the essential freedom to determine, on academic grounds, whom to admit and what is taught, how, and by whom… In their pursuit of truth, faculty, students, and staff are free to exchange ideas and opinions across a full range of viewpoints without fear of retribution, censorship, or deportation.

This is fine, as far as it goes. But what are all these institutions going to do about the funding cuts, attempts to revoke their nonprofit status, threats not to hire their graduates, and student speech-based deportations? They are going to ask the Trump administration for “constructive engagement that improves our institutions and serves our republic.”

This sounds lovely, if naive, and I hope it works out well for every one of them as they seek good-faith dialogue with a vice president who has called universities the “enemy” and an administration that demanded Harvard submit to the vetting of every department for unspecified “viewpoint diversity.”

As a first step to finding common ground and speaking with a common voice, the statement is a start. But statements, like all words, can be cheap. We’ll see what steps schools actually take—and how much they can speak and act in concert—as Trump’s pressure campaign continues to ratchet.

Universities (finally) band together, fight “unprecedented government overreach” Read More »

recap:-wheel-of-time’s-third-season-balefires-its-way-to-a-hell-of-a-finish

Recap: Wheel of Time’s third season balefires its way to a hell of a finish

Andrew Cunningham and Lee Hutchinson have spent decades of their lives with Robert Jordan and Brandon Sanderson’s Wheel of Time books, and they previously brought that knowledge to bear as they recapped each first season episode and second season episode of Amazon’s WoT TV series. Now we’re back in the saddle for season 3—along with insights, jokes, and the occasional wild theory.

These recaps won’t cover every element of every episode, but they will contain major spoilers for the show and the book series. We’ll do our best to not spoil major future events from the books, but there’s always the danger that something might slip out. If you want to stay completely unspoiled and haven’t read the books, these recaps aren’t for you.

New episodes of The Wheel of Time season three will be posted for Amazon Prime subscribers every Thursday. This write-up covers the season three finale, “He Who Comes With the Dawn,” which was released on April 17.

Lee: Wow. That was… a lot.

One of the recurring themes of our recaps across seasons has been, “Well, I guess we’re going to have to give up on seeing $SEMI_MAJOR_BOOK_SETTING_OR_EVENT on screen because of budget or time or narrative reasons,” and we’ve had to let go of a lot of stuff. But this episode kicks off with a flashback showing Elaida walking out of a certain twisted redstone doorframe, looking smug and fingering a bracelet. Sharp-eyed viewers might have spotted this doorway in the background of the season premiere, when the Black Ajah loots the Tower’s ter’angreal storeroom, and now in true Chekov’s Gun fashion, the doorway comes ’round again—and not just this one, because like many things in the Wheel of Time, the doorways come in a binary set.

We surely owe show-watchers a very quick recap of the Finn—and I believe we glossed over a scene in an earlier episode where the boys are actually playing the snakes-and-foxes game that these horrifying fae-folk are based on—but before we do that, let’s take a breath and look at what else we’ve got in the episode. Closure! (Well, some.) Balefire! Blocks breaking! Rand pulling a Paul Atreides and making it rain on Dune! I mean, uh, in the Three-Fold Land! And many other things!

Image of an Eelfin

According to the book, this Cat-in-the-Hat-looking mfer’s clothes are made of human flesh. Creepy.

Credit: Prime/Amazon MGM Studios

According to the book, this Cat-in-the-Hat-looking mfer’s clothes are made of human flesh. Creepy. Credit: Prime/Amazon MGM Studios

Andrew: I found this episode less than satisfying after last week’s specifically because of that grab-bag approach. There is some exciting, significant, season finale-style stuff happening here, but it’s also one of those piece-moving episodes with scene after scene of setup, setup, setup without a ton of room for payoff. Setup for a fourth season that, as of this writing, we still don’t know whether we’re getting!

So a number of things just feel rushed, most significantly Rand’s hard turn on Lanfear after a cursory attempt to coax her back to the side of the Light, and the existence of balefire as a concept. I actually love how the show visualizes it—it’s essentially a giant death laser that melts you out of the Pattern so thoroughly that it doesn’t just kill you, it also erases the last few seconds of your existence, represented here as a little shadow of a person that rewinds a bit before dissipating. The books use balefire extensively as a get-out-of-jail-free card for certain major character deaths, so it really feels like something that needs a little more preamble than it gets here.

Lee: Definitely hear you on the Rand and Lanfear stuff—though I think I was so excited by the things I cared about that I wasn’t really paying a lot of attention to the things I didn’t. And Rand & Moiraine & Lanfear are kind of at the bottom of my list of things I’m paying attention to as we slide into the finish—yeah, the Car’a’carn is Car’a’carning and Lanfear is Lanfear’ing.

Image of balefire balefiring someone.

Balefire looks a little Ghostbusters-y, but I definitely wouldn’t want to get hit with any.

Credit: Prime/Amazon MGM Studios

Balefire looks a little Ghostbusters-y, but I definitely wouldn’t want to get hit with any. Credit: Prime/Amazon MGM Studios

Andrew: It’s hard to know where to start with the rest of it! There are some recreations of book events that happen roughly where they’re “supposed” to in the story. There are recreations of book events that have been pulled way forward to save some time. There are things that emphatically don’t happen in the books, also done at least partly in the interests of time. And there’s at least one thing that felt designed specifically to fake out book-readers.

What to dig into first?

Lee: The fake-out! Let’s jump in there. The books make a big deal about Rand needing a teacher for him to get good at channeling, and it can’t be a female Aes Sedai (as the oft-repeated bit about “a bird cannot teach a fish to swim” makes clear). It seemed like it might be poor neglected Logain (remember him?), but now the show makes it clear that the man on the spot is instead going to be Sammael—and then Moghedien comes along and puts all of Sammael’s insides on the outside. Soooooo… I guess Sammael is off the board.

Image of Sammael being extraordinarily dead

Sammael (center) appears to be about as dead as Siuan. So much for that plotline.

Credit: Prime/Amazon MGM Studios

Sammael (center) appears to be about as dead as Siuan. So much for that plotline. Credit: Prime/Amazon MGM Studios

Andrew: Yup! We still have one Forsaken missing, by my count—there are eight in total in the show’s world, and we’ve seen five and had two more referenced by name. So the big open question is whether the eighth is the Forsaken who does end up in the Rand-teacher role in the books. I feel like the show wouldn’t have spent so much time setting up “Rand needs a teacher” without then bothering to follow up on it in some way, but this episode wants to tease people who are asking that question rather than answering it. Fair enough!

Sammael’s early death (pulled forward from book seven) has its own story reverberations. In the books he’s one of a few Forsaken who set themselves up as heads of state, and Rand has to run around individually defeating them and bringing all of these separate kingdoms together in time for the Last Battle (this is less exciting than it sounds, because it takes forever and requires endless patience for navigating the politics of each region).

It seems, increasingly, that we may just be skipping over a bunch of that stuff. That was already implied by the downplaying of Cairhienin politicking that we got on screen in season two, and I tend to see “putting all of Sammael’s blood on the outside” as another possible nod in that direction. As ever with this show, “knowing how it goes in the books” only gives us a limited amount of insight into what the show is going to do.

Lee: I’m liking it. I consider Rand’s world-unifying to be one of the core components of The Slog that we discussed last week, and I think anything that greases the skids on that entire plotline is unequivocally a good thing—that’s also about where I start skipping entire chapters if the word “Elayne” appears in them (trust me on this, show-watchers who might become book-readers: Elayne spends thousands of pages playing the most boring version of the Game of Thrones imaginable, and we suffer through every single interminable import/export discussion with her).

Speaking of Game of Thrones—at least in the sense of killing off characters and potentially shortening The Slog—Siuan’s dead! And probably not in a “can be fixed” kind of way, since we very clearly see her head separated from her body, and Moiraine gasps out confirmation. This one kind of shook me, since Siuan has a big major role to play in a certain big major thing that happens several books hence—but the more I think about it, the more this feels like the same kind of narrative belt-tightening that brought us Loial’s death last episode. Because up until that certain big major thing happens, Siuan spends a lot of her post-Amyrlin time as a scullery maid and underpants-washer. I think we can transplant that certain big major thing onto one of a half-dozen other characters and lose nothing. At least…I think. What about you?

Image of a dead Siuan Sanche

Siuan (center) has passed on. She is no more. She has ceased to be.

Credit: Prime/Amazon MGM Studios

Siuan (center) has passed on. She is no more. She has ceased to be. Credit: Prime/Amazon MGM Studios

Andrew: Yeah, I mean, not nothing, exactly. Every book character we have lost on the show has done stuff that I liked in the books that is now probably not going to happen. Complaining about The Slog aside, people like these books in part because they successfully build a super-dense world inhabited by a million named characters who all have Moments. Post-Amyrlin Siuan’s journey is about humility, finding happiness, and showing that the literal One Power is not the only kind of power there is to wield; it’s not always thrilling, but I won’t say it’s of zero narrative value.

And even when discussing The Slog, part of the reason it was so infuriating is because you and I were reading these as they were coming out. If you wait three years for a book, and then it comes out and nothing happens: that’s maddening! It is also not a problem that exists for modern readers or re-readers, now that the books have been done and dusted for over a decade. My assessment of Knife of Dreams, the series’ 11th book and the last one written entirely by Jordan, went way up on my last re-read because I was able to experience it without also having to experience the bookless years before and after. (It also made me newly sad that Jordan wasn’t able to conclude the story himself, as someone who finds the Sanderson-assisted books a bit clunky and utilitarian.)

All of that being said! I agree that from this point forward in the story, Siuan is not a load-bearing character in the way that Rand or Egwene or the others are. You do also get the sense that the show wants to surprise book-readers with something big every now and again. This particular death achieves that and also cuts down on what the show has left to adapt. I get why they did it! But I also sympathize with people who will miss her.

Image of Elaida as Amyrlin

Now that she’s Amyrlin, Elaida (center) gets to wear the biggest hat of all.

Credit: Prime/Amazon MGM Studios

Now that she’s Amyrlin, Elaida (center) gets to wear the biggest hat of all. Credit: Prime/Amazon MGM Studios

Lee: Let’s pivot, because I can’t wait to discuss Mat’s journey into Finn-land—one of the most important things that happens to his character in the books. I was pretty convinced that we simply weren’t going to get any of this in the show—that the Aelfinn and Eelfinn would be too outside what Amazon is willing to pay for. And yet, there are our two twisted redstone doorways. They’re repositioned somewhat from their book locations, but in a believable fashion. We have no idea what Elaida might have been doing in the doorway in the bowels of the White Tower—presumably she visited the snake-like Aelfinn (and the subtitles confirm this), which leaves Mat visiting the fox-like Eelfin.

The show has been dropping hints about this all season, from flashing us a shot of the first doorway in episode one, to actually showing the “snakes and foxes” tabletop game being played, and finally, here we are—while hunting for the control necklace in the Panarch’s palace in Tanchico, Mat steps through the doorway and… gets three wishes from a horrifying BDSM furry?

Break it down for us, Andrew. What the hell are we looking at?

Andrew: When you enter through these doors, the Finn give you stuff! The Aelfinn give you knowledge, by answering three questions. And the Eelfinn give you Things, both tangible and intangible, by granting three wishes. Exactly what these people are, where they live, why they have this arrangement with anyone who enters through the doorways: even in a series obsessed with overexplaining things, these are “don’t worry about it, that’s just how it is” questions. What you need to know is that the Aelfinns’ answers are often cryptic and open to interpretation, and the Eelfinns’ wish-granting is hyper-literal and comes with, uh, strings attached, as Mat quickly discovers.

Mat getting his things from the Eelfinn is essentially the moment he becomes the Mat he is for the rest of the story, like Perrin’s wolf powers or Egwene’s dream-walking or Rand’s channeling. So it’s pivotal! What did you think of how the show handled it?

Image of Set Sjöstrand as Couladin

Set Sjöstrand as Rand’s Shaido rival Couladin (center), giving off real Great Value Brand Khal Drogo energy here.

Credit: Prime/Amazon MGM Studios

Set Sjöstrand as Rand’s Shaido rival Couladin (center), giving off real Great Value Brand Khal Drogo energy here. Credit: Prime/Amazon MGM Studios

Lee: I thought it was pretty fantastic! We get to see Mat’s foxhead medallion—granted in response to his screaming about how sick he is of being “bollocked about by every bloody magic force on this bloody planet.” But more importantly—possibly the most important thing of all to a certain class of book reader!—is that we also finally get to see the weapon that will define Mat both in combat and out for the entire rest of the series. That’s right, kids, it’s an actual-for-real Ashandarei—and Mat’s hanging from it, just like in the books! Well, sort of. Sort of somewhat similarly to the books!

Mat is being aligned and equipped very well now to head toward his destiny. In fact, after this much of a build-up, the most Wheel of Time-esque thing to happen now would be for him to be completely absent from season four. Ell-oh-ell.

Image of Mat hanging from his knife-wrench-thing.

A bargain made, a price is paid. It’s a little hard to make out, but you can clearly see Mat’s (center) Ashandarei stabbed into the top of the doorframe—just follow the rope.

Credit: Prime/Amazon MGM Studios

A bargain made, a price is paid. It’s a little hard to make out, but you can clearly see Mat’s (center) Ashandarei stabbed into the top of the doorframe—just follow the rope. Credit: Prime/Amazon MGM Studios

Andrew: The Tanchico plotline is also kind of wrapped up here in abrupt fashion. In essence, our heroes fail. Not only do Moghedien and Liandrin manage to escape with all the parts of the collar they need to corral and control the Dragon Reborn, but they also agree to team up so they can beat the other Big Bads and become the biggest bads of all. I cannot see this ending well for either of them, but Kate Fleetwood’s Liandrin is such an unhinged presence on this show that I’m glad she’s sticking around.

Our heroes don’t walk away entirely empty-handed, I suppose. Thom tells Elayne that they actually know each other and tells her that “Lord Gaebril” is actually a Forsaken and a usurper whom she hasn’t actually known her whole life. And Nynaeve gets pitched into the sea, where a near-death experience dissolves the block that is keeping her from channeling freely (the show doesn’t say this overtly, but this is only lightly altered from a similar sequence that happens in book seven or eight, I think).

Image of Nynaeve saving herself from drowning

Nynaeve (center) doing her best Charlton Heston impression.

Credit: Prime/Amazon MGM Studios

Nynaeve (center) doing her best Charlton Heston impression. Credit: Prime/Amazon MGM Studios

Lee: Right, I believe Nynaeve’s block gets busted in book seven—I remember because when I started reading the series, that was the latest available book and the event stuck out. I very much like bringing it forward, too. In the books, keeping the block around makes sense narratively and serves a solid set of purposes; in the show, it was starting to feel less like a legitimate plot device and more like a bad storytelling crutch. It has served its purpose, and it’s time to get rid of it and get on with things.

(Though it is kind of funny to note that Liandrin was the one trying to help Nynaeve break the block in the show a couple of seasons ago. Looks like Liandrin finally found a method that works! The results, though, will not be what she expects.)

Image of Mat's foxhead medallion.

The foxhead medallion—one of the three items that come to define Matrim Cauthon (center).

Credit: Prime/Amazon MGM Studios

The foxhead medallion—one of the three items that come to define Matrim Cauthon (center). Credit: Prime/Amazon MGM Studios

Andrew: The show has set us all up to converge in Tear in season four, essentially going backwards in the story and doing parts of book three; my guess would be that, if it’s still identifiable as an adaptation of any particular Wheel of Time book, we see parts of books five and maybe six mixed in there, too. But all of that is contingent on the show getting another season, and for the first time going into a WoT finale, we aren’t actually sure if that’s happening, right?

Lee: Ugh, yeah, still no word on the next season, which sucks, because this one was so damn good. We wrap in the desert, where Rand has darkened the skies (enough to be seen all over the world!) and brought rain. Everyone looks on portentously. The Stone of Tear and the sword within it (Callandor! It’s the sword in the stone!) beckon. We just need the all-swallowing monster that is Amazon to spare some pocket change to make it happen.

Image of Rand summoning the storm

Rand (center-right) summons the rains.

Credit: Prime/Amazon MGM Studios

Rand (center-right) summons the rains. Credit: Prime/Amazon MGM Studios

Andrew: I’ve been worried about this renewal. Dramas like this just don’t get as many seasons as they would have in eras of TV gone by, and we’re several years past the end of streaming TV’s blank check era (unless you’re Apple TV+, I guess). This season has earned a lot of praise from more people than us—it’s got a higher Rotten Tomatoes score than either of the previous seasons, and higher than the second season of Rings of Power.

But it also doesn’t seem like Wheel of Time has become the breakout crossover smash-hit success that Jeff Bezos had in mind when he demanded his own Game of Thrones all those years ago. It’s expensive, and shows get more expensive the longer they run, as the people in front of and behind the camera negotiate raises and contract renewals.

I would love to see this get a fourth season. The third season had enough great stuff in it that I would be legitimately sad to see it canceled now, which is more attached than I was to the show at the end of its first or second seasons. How ’bout you?

Image of Rhuarc pledging fealty to the Car'a'carn

“And how can this be? For he is the Kwisatz Haderach!” I’m sorry, I’m sorry, no more Dune jokes.

Credit: Prime/Amazon MGM Studios

“And how can this be? For he is the Kwisatz Haderach!” I’m sorry, I’m sorry, no more Dune jokes. Credit: Prime/Amazon MGM Studios

Lee: I’ve said it a bunch, and I’ll say it again: This has been the season where the show found itself. I have every confidence that the next few seasons—if they’re allowed to exist—are going to kick ass.

But this is 2025, the year all dreams die. Perhaps this show, too, is a dream—one from which we are fated to wake sooner, rather than later.

I suppose we’ll know shortly. Until then, dear readers, may you always find water and shade, and may the hand of the Creator shelter you all. And also perhaps knock some sense into Bezos.

Credit: WoT Wiki

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resist,-eggheads!-universities-are-not-as-weak-as-they-have-chosen-to-be.

Resist, eggheads! Universities are not as weak as they have chosen to be.

The wholesale American cannibalism of one of its own crucial appendages—the world-famous university system—has begun in earnest. The campaign is predictably Trumpian, built on a flagrantly pretextual basis and executed with the sort of vicious but chaotic idiocy that has always been a hallmark of the authoritarian mind.

At a moment when the administration is systematically waging war on diversity initiatives of every kind, it has simultaneously discovered that it is really concerned about both “viewpoint diversity” and “antisemitism” on college campuses—and it is using the two issues as a club to beat on the US university system until it either dies or conforms to MAGA ideology.

Reaching this conclusion does not require reading any tea leaves or consulting any oracles; one need only listen to people like Vice President JD Vance, who in 2021 gave a speech called “The Universities are the Enemy” to signal that, like every authoritarian revolutionary, he intended to go after the educated.

“If any of us want to do the things that we want to do for our country,” Vance said, “and for the people who live in it, we have to honestly and aggressively attack the universities in this country.” Or, as conservative activist Christopher Rufo put it in a New York Times piece exploring the attack campaign, “We want to set them back a generation or two.”

The goal is capitulation or destruction. And “destruction” is not a hyperbolic term; some Trump aides have, according to the same piece, “spoken privately of toppling a high-profile university to signal their seriousness.”

Consider, in just a few months, how many battles have been launched:

  • The Trump administration is now snatching non-citizen university students, even those in the country legally, off the streets using plainclothes units and attempting to deport them based on their speech or beliefs.
  • It has opened investigations of more than 50 universities.
  • It has threatened grants and contracts at, among others, Brown ($510 million), Columbia ($400 million), Cornell ($1 billion), Harvard ($9 billion), Penn ($175 million), and Princeton ($210 million).
  • It has reached a widely criticized deal with Columbia that would force Columbia to change protest and security policies but would also single out one academic department (Middle Eastern, South Asian, and African Studies) for enhanced scrutiny. This deal didn’t even get Columbia its $400 million back; it only paved the way for future “negotiations” about the money. And the Trump administration is potentially considering a consent decree with Columbia, giving it leverage over the school for years to come.
  • It has demanded that Harvard audit every department for “viewpoint diversity,” hiring faculty who meet the administration’s undefined standards.
  • Trump himself has explicitly threatened to revoke Harvard’s tax-exempt nonprofit status after it refused to bow to his demands. And the IRS looks ready to do it.
  • The government has warned that it could choke off all international students—an important diplomatic asset but also a key source of revenue—at any school it likes.
  • Ed Martin—the extremely Trumpy interim US Attorney for Washington, DC—has already notified Georgetown that his office will not hire any of that school’s graduates if the school “continues to teach and utilize DEI.”

What’s next? Project 2025 lays it out for us, envisioning the federal government getting heavily involved in accreditation—thus giving the government another way to bully schools—and privatizing many student loans. Right-wing wonks have already begun to push for “a never-ending compliance review” of elite schools’ admissions practices, one that would see the Harvard admissions office filled with federal monitors scrutinizing every single admissions decision. Trump has also called for “patriotic education” in K–12 schools; expect similar demands of universities, though probably under the rubrics of “viewpoint discrimination” and “diversity.”

Universities may tell themselves that they would never comply with such demands, but a school without accreditation and without access to federal funds, international students, and student loan dollars could have trouble surviving for long.

Some of the top leaders in academia are ringing the alarm bells. Princeton’s president, Christopher Eisgruber, wrote a piece in The Atlantic warning that the Trump administration has already become “the greatest threat to American universities since the Red Scare of the 1950s. Every American should be concerned.”

Lee Bollinger, who served as president of both the University of Michigan and Columbia University, gave a fiery interview to the Chronicle of Higher Education in which he said, “We’re in the midst of an authoritarian takeover of the US government… We cannot get ourselves to see how this is going to unfold in its most frightening versions. You neutralize the branches of government; you neutralize the media; you neutralize universities, and you’re on your way. We’re beginning to see the effects on universities. It’s very, very frightening.”

But for the most part, even though faculty members have complained and even sued, administrators have stayed quiet. They are generally willing to fight for their cash in court—but not so much in the court of public opinion. The thinking is apparently that there is little to be gained by antagonizing a ruthless but also chaotic administration that just might flip the money spigot back on as quickly as it was shut off. (See also: tariff policy.)

This academic silence also comes after many universities course-corrected following years of administrators weighing in on global and political events outside a school’s basic mission. When that practice finally caused problems for institutions, as it did following the Gaza/Israel fighting, numerous schools adopted a posture of “institutional neutrality” and stopped offering statements except on core university concerns. This may be wise policy, but unfortunately, schools are clinging to it even though the current moment could not be more central to their mission.

To critics, the public silence looks a lot like “appeasement”—a word used by our sister publication The New Yorker to describe how “universities have cut previously unthinkable ‘deals’ with the Administration which threaten academic freedom.” As one critic put it recently, “still there is no sign of organized resistance on the part of universities. There is not even a joint statement in defense of academic freedom or an assertion of universities’ value to society.”

Even Michael Roth, the president of Wesleyan University, has said that universities’ current “infatuation with institutional neutrality is just making cowardice into a policy.”

Appeasing narcissistic strongmen bent on “dominance” is a fool’s errand, as is entering a purely defensive crouch. Weakness in such moments is only an invitation to the strongman to dominate you further. You aren’t going to outlast your opponent when the intended goal appears to be not momentary “wins” but the weakening of all cultural forces that might resist the strongman. (See also: Trump’s brazen attacks on major law firms and the courts.)

As an Atlantic article put it recently, “Since taking office, the Trump administration has been working to dismantle the global order and the nation’s core institutions, including its cultural ones, to strip them of their power. The future of the nation’s universities is very much at stake. This is not a challenge that can be met with purely defensive tactics.”

The temperamental caution of university administrators means that some can be poor public advocates for their universities in an age of anger and distrust, and they may have trouble finding a clear voice to speak with when they come under thundering public attacks from a government they are more used to thinking of as a funding source.

But the moment demands nothing less. This is not a breeze; this is the whirlwind. And it will leave a state-dependent, nationalist university system in its wake unless academia arises, feels its own power, and non-violently resists.

Fighting back

Finally, on April 14, something happened: Harvard decided to resist in far more public fashion. The Trump administration had demanded, as a condition of receiving $9 billion in grants over multiple years, that Harvard reduce the power of student and faculty leaders, vet every academic department for undefined “viewpoint diversity,” run plagiarism checks on all faculty, share hiring information with the administration, shut down any program related to diversity or inclusion, and audit particular departments for antisemitism, including the Divinity School. (Numerous Jewish groups want nothing to do with the campaign, writing in an open letter that “our safety as Jews has always been tied to the rule of law, to the safety of others, to the strength of civil society, and to the protection of rights and liberties for all.”)

If you think this sounds a lot like government control, giving the Trump administration the power to dictate hiring and teaching practices, you’re not alone; Harvard president Alan Garber rejected the demands in a letter, saying, “The university will not surrender its independence or relinquish its constitutional rights. Neither Harvard nor any other private university can allow itself to be taken over by the federal government.”

The Trump administration immediately responded by cutting billions in Harvard funding, threatening the university’s tax-exempt status, and claiming it might block international students from attending Harvard.

Perhaps Harvard’s example will provide cover for other universities to make hard choices. And these are hard choices. But Columbia and Harvard have already shown that the only way you have a chance at getting the money back is to sell whatever soul your institution has left.

Given that, why not fight? If you have to suffer, suffer for your deepest values.

Fare forward

“Resistance” does not mean a refusal to change, a digging in, a doubling down. No matter what part of the political spectrum you inhabit, universities—like most human institutions—are “target-rich environments” for complaints. To see this, one has only to read about recent battles over affirmative action, the Western canon, “legacy” admissions, the rise and fall of “theory” in the humanities, Gaza/Palestine protests, the “Varsity Blues” scandal, critiques of “meritocracy,” mandatory faculty “diversity statements,” the staggering rise in tuition costs over the last few decades, student deplatforming of invited speakers, or the fact that so many students from elite institutions cannot imagine a higher calling than management consulting. Even top university officials acknowledge there are problems.

Famed Swiss theologian Karl Barth lost his professorship and was forced to leave Germany in 1935 because he would not bend the knee to Adolf Hitler. He knew something about standing up for one’s academic and spiritual values—and about the importance of not letting any approach to the world ossify into a reactionary, bureaucratic conservatism that punishes all attempts at change or dissent. The struggle for knowledge, truth, and justice requires forward movement even as the world changes, as ideas and policies are tested, and as cultures develop. Barth’s phrase for this was “Ecclesia semper reformanda est“—the church must always be reformed—and it applies just as well to the universities where he spent much of his career.

As universities today face their own watershed moment of resistance, they must still find ways to remain intellectually curious and open to the world. They must continue to change, always imperfectly but without fear. It is important that their resistance not be partisan. Universities can only benefit from broad-based social support, and the idea that they are fighting “against conservatives” or “for Democrats” will be deeply unhelpful. (Just as it would be if universities capitulated to government oversight of their faculty hires or gave in to “patriotic education.”)

This is difficult when one is under attack, as the natural reaction is to defend what currently exists. But the assault on the universities is about deeper issues than admissions policies or the role of elite institutions in American life. It is about the rule of law, freedom of speech, scientific research, and the very independence of the university—things that should be able to attract broad social and judicial support if schools do not retreat into ideology.

Why it matters

Ars Technica was founded by grad students and began with a “faculty model” drawn from universities: find subject matter experts and turn them loose to find interesting stories in their domains of expertise, with minimal oversight and no constant meetings.

From Minnesota Bible colleges to the halls of Harvard, from philosophy majors to chemistry PhDs, from undergrads to post-docs, Ars has employed people from a wide range of schools and disciplines. We’ve been shaped by the university system, and we cover it regularly as a source of scientific research and computer science breakthroughs. While we differ in many ways, we recognize the value of a strong, independent, mission-focused university system that, despite current flaws, remains one of America’s storied achievements. And we hope that universities can collectively find the strength to defend themselves, just as we in the media must learn to do.

The assault on universities and on the knowledge they produce has been disorienting in its swiftness, animus, and savagery. But universities are not starfish, flopping about helplessly on a beach while a cruel child slices off their arms one by one. They can do far more than hope to survive another day, regrowing missing limbs in some remote future. They have real power, here and now. But they need to move quickly, they need to move in solidarity, and they need to use the resources that they have, collectively, assembled.

Because, if they aren’t going to use those resources when their very mission comes under assault, what was the point of gathering them in the first place?

Here are a few of those resources.

Money

Cash is not always the most important force in human affairs, but it doesn’t hurt to have a pile of it when facing off against a feral US government. When the government threatened Harvard with multiyear cuts of $9 billion, for instance, it was certainly easier for the university to resist while sitting on a staggering $53 billion endowment. In 2024, the National Association of College and University Business Officers reported that higher ed institutions in the US collectively have over $800 billion in endowment money.

It’s true that many endowment funds are donor-restricted and often invested in non-liquid assets, making them unavailable for immediate use or to bail out university programs whose funding has been cut. But it’s also true that $800 billion is a lot of money—it’s more than the individual GDP of all but two dozen countries.

No trustee of this sort of legacy wants to squander an institution’s future by spending money recklessly, but what point is there in having a massive endowment if it requires your school to become some sort of state-approved adjunct?

Besides, one might choose not to spend that money now only to find that it is soon requisitioned regardless. People in Trump’s orbit have talked for years about placing big new taxes on endowment revenue as a way of bringing universities to heel. Trump himself recently wrote on social media that Harvard “perhaps” should “lose its Tax Exempt Status and be Taxed as a Political Entity if it keeps pushing political, ideological, and terrorist inspired/supporting “Sickness?” Remember, Tax Exempt Status is totally contingent on acting in the PUBLIC INTEREST!”

So spend wisely, but do spend. This is the kind of moment such resources were accumulated to weather.

Students

Fifteen million students are currently enrolled in higher education across the country. The total US population is 341 million people. That means students comprise over 4 percent of the total population; when you add in faculty and staff, higher education’s total share of the population is even greater.

So what? Political science research over the last three decades looked at nonviolent protest movements and found that they need only 3.5 percent of the population to actively participate. Most movements that hit that threshold succeed, even in authoritarian states. Higher ed alone has those kinds of numbers.

Students are not a monolith, of course, and many would not participate—nor should universities look at their students merely as potential protesters who might serve university interests. But students have been well-known for a willingness to protest, and one of the odd features of the current moment has been that so many students protested the Gaza/Israel conflict even though so few have protested the current government assault on the very schools where they have chosen to spend their time and money. It is hard to say whether both schools and their students are burned out from recent, bruising protests, or whether the will to resist remains.

But if it does, the government assault on higher education could provoke an interesting realignment of forces: students, faculty, and administrators working together for once in resistance and protest, upending the normal dynamics of campus movements. And the numbers exist to make a real national difference if higher ed can rally its own full range of resources.

Institutions

Depending on how you count, the US has around 4,000 colleges and universities. The sheer number and diversity of these institutions is a strength—but only if they can do a better job working together on communications, lobbying, and legal defenses.

Schools are being attacked individually, through targeted threats rather than broad laws targeting all higher education. And because schools are in many ways competitors rather than collaborators, it can be difficult to think in terms of sharing resources or speaking with one voice. But joint action will be essential, given that many smaller schools are already under economic pressure and will have a hard time resisting government demands, losing their nonprofit status, or finding their students blocked from the country or cut off from loan money.

Plenty of trade associations and professional societies exist within the world of higher education, of course, but they are often dedicated to specific tasks and lack the public standing and authority to make powerful public statements.

Faculty/alumni

The old stereotype of the out-of-touch, tweed-wearing egghead, spending their life lecturing on the lesser plays of Ben Jonson, is itself out of touch. The modern university is stuffed with lawyers, data scientists, computer scientists, cryptographers, marketing researchers, writers, media professionals, and tech policy mavens. They are a serious asset, though universities sometimes leave faculty members to operate so autonomously that group action is difficult or, at least, institutionally unusual. At a time of crisis, that may need to change.

Faculty are an incredible resource because of what they know, of course. Historians and political scientists can offer context and theory for understanding populist movements and authoritarian regimes. Those specializing in dialogue across difference, or in truth and reconciliation movements, or in peace and conflict studies, can offer larger visions for how even deep social conflicts might be transcended. Communications professors can help universities think more carefully about articulating what they do in the public marketplace of ideas. And when you are on the receiving end of vindictive and pretextual legal activity, it doesn’t hurt to have a law school stuffed with top legal minds.

But faculty power extends beyond facts. Relationships with students, across many years, are a hallmark of the best faculty members. When generations of those students have spread out into government, law, and business, they make a formidable network.

Universities that realize the need to fight back already know this. Ed Martin, the interim US Attorney for the District of Columbia, attacked Georgetown in February and asked if it had “eliminated all DEI from your school and its curriculum?” He ended his “clarification” letter by claiming that “no applicant for our fellows program, our summer internship, or employment in our office who is a student or affiliated with a law school or university that continues to teach and utilize DEI will be considered.”

When Georgetown Dean Bill Treanor replied to Martin, he did not back down, noting Martin’s threat to “deny our students and graduates government employment opportunities until you, as Interim United States Attorney for the District of Columbia, approve of our curriculum.” (Martin himself had managed to omit the “interim” part of his title.) Such a threat would violate “the First Amendment’s protection of a university’s freedom to determine its own curriculum and how to deliver it.”

There was no “negotiating” here, no attempt to placate a bully. Treanor barely addressed Martin’s questions. Instead, he politely but firmly noted that the inquiry itself was illegitimate, even under recent Supreme Court jurisprudent and Trump Department of Education policy. And he tied everything in his response to the university’s mission as a Jesuit school committed to “intellectual, ethical, and spiritual understanding.”

The letter’s final paragraph, in which Treanor told Martin that he expected him to back down from his threats, opened with a discussion of Georgetown’s faculty.

Georgetown Law has one of the preeminent faculties in the country, fostering groundbreaking scholarship, educating students in a wide variety of perspectives, and thriving on the robust exchange of ideas. Georgetown Law faculty have educated world leaders, members of Congress, and Justice Department officials, from diverse backgrounds and perspectives.

Implicit in these remarks are two reminders:

  1. Georgetown is home to many top legal minds who aren’t about to be steamrolled by a January 6 defender whose actions in DC have already been so comically outrageous that Sen. Adam Schiff has placed a hold on his nomination to get the job permanently.
  2. Georgetown faculty have good relationships with many powerful people across the globe who are unlikely to sympathize with some legal hack trying to bully their alma mater.

The letter serves as a good reminder: Resist with firmness and rely on your faculty. Incentivize their work, providing the time and resources to write more popular-level distillations of their research or to educate alumni groups about the threats campuses are facing. Get them into the media and onto lecture hall stages. Tap their expertise for internal working groups. Don’t give in to the caricatures but present a better vision of how faculty contribute to students, to research, and to society.

Real estate

Universities collectively possess a real estate portfolio of land and buildings—including lecture halls, stages, dining facilities, stadiums, and dormitories—that would make even a developer like Donald Trump salivate. It’s an incredible resource that is already well-used but might be put toward purposes that meet the moment even more clearly.

Host more talks, not just on narrow specialty topics, but on the kinds of broad-based political debates that a healthy society needs. Make the universities essential places for debate, discussion, and civic organizing. Encourage more campus conferences in the summer, with vastly reduced rates for groups that effectively aid civic engagement, depolarization, and dialogue across political differences. Provide the physical infrastructure for fruitful cross-party political encounters and anti-authoritarian organizing. Use campuses to house regional and national hubs that develop best practices in messaging, legal tactics, local outreach, and community service from students, faculty, and administrators.

Universities do these things, of course; many are filled with “dialogue centers” and civic engagement offices. But many of these resources exist primarily for students; to survive and thrive, universities will need to rebuild broader social confidence. The other main criticism is that they can be siloed off from the other doings of the university. If “dialogue” is taken care of at the “dialogue center,” then other departments and administrative units may not need to worry about it. But with something as broad and important as “resistance,” the work cannot be confined to particular units.

With so many different resources, from university presses to libraries to lecture halls, academia can do a better job at making its campuses useful both to students and to the surrounding community—so long as the universities know their own missions and make sure their actions align with them.

Athletics

During times of external stress, universities need to operate more than ever out of their core, mission-driven values. While educating the whole person, mentally and physically, is a worthy goal, it is not one that requires universities to submit to a Two Minutes Hate while simultaneously providing mass entertainment and betting material for the gambling-industrial complex.

When up against a state that seeks “leverage” of every kind over the university sector, realize that academia itself controls some of the most popular sports competitions in America. That, too, is leverage, if one knows how to use it.

Such leverage could, of course, be Trumpian in its own bluntness—no March Madness tournament, for instance, so long as thousands of researchers are losing their jobs and health care networks are decimated and the government is insisting on ideological control over hiring and department makeup. (That would certainly be interesting—though quite possibly counterproductive.)

But universities might use their control of NCAA sporting events to better market themselves and their impact—and to highlight what’s really happening to them. Instead, we continue to get the worst kinds of anodyne spots during football and basketball games: frisbee on the quad, inspiring shots of domes and flags, a professor lecturing in front of a chalkboard.

Be creative! But do something. Saying and doing nothing—letting the games go on without comment as the boot heel comes down on the whole sector, is a complete abdication of mission and responsibility.

DOD and cyber research

The Trump administration seems to believe that it has the only thing people want: grant funding. It seems not even to care if broader science funding in the US simply evaporates, if labs close down, or if the US loses its world-beating research edge.

But even if “science” is currently expendable, the US government itself relies heavily on university researchers to produce innovations required by the Department of Defense and the intelligence community. Cryptography, cybersecurity tools, the AI that could power battlefield drone swarms—much of it is produced by universities under contract with the feds. And there’s no simple, short-term way for the government to replace this system.

Even other countries believe that US universities do valuable cyber work for the federal government; China just accused the University of California and Virginia Tech of aiding in an alleged cyberattack by the NSA, for instance.

That gives the larger universities—the ones that often have these contracts—additional leverage. They should find a way to use it.

Medical facilities

Many of the larger universities run sprawling and sophisticated health networks that serve whole communities and regions; indeed, much of the $9 billion in federal money at issue in the Harvard case was going to Harvard’s medical system of labs and hospitals.

If it seems unthinkable to you that the US government would treat the health of its own people as collateral damage in a war to become the Thought Police, remember that this is the same administration that has already tried to stop funds to the state of Maine—funds used to “feed children and disabled adults in schools and care settings across the state”—just because Maine allowed a couple of transgender kids to play on sports teams. What does the one have to do with the other? Nothing—except that the money provides leverage.

But health systems are not simply weapons for the Trump administration to use by refusing or delaying contracts, grants, and reimbursements. Health systems can improve people’s lives in the most tangible of ways. And that means they ought to be shining examples of community support and backing, providing a perfect opportunity to highlight the many good things that universities do for society.

Now, to the extent that these health care systems in the US have suffered from the general flaws of all US health care—lack of universal coverage leading to medical debt and the overuse of emergency rooms by the indigent, huge salaries commanded by doctors, etc.—the Trump war on these systems and on the universities behind them might provide a useful wake-up call from “business as usual.” Universities might use this time to double down on mission-driven values, using these incredible facilities even more to extend care, to lower barriers, and to promote truly public and community health. What better chance to show one’s city, region, and state the value of a university than massively boosting free and easy access to mental and physical health resources? Science research can be esoteric; saving someone’s body or mind is not.

Conclusion

This moment calls out for moral clarity and resolve. It asks universities to take their mission in society seriously and to resist being co-opted by government forces.

But it asks something of all of us, too. University leaders will make their choices, but to stand strong, they need the assistance of students, faculty, and alumni. In an age of polarization, parts of society have grown skeptical about the value of higher education. Some of these people are your friends, family, and neighbors. Universities must continue to make changes as they seek to build knowledge and justice and community, but those of us no longer within their halls and quads also have a part to play in sharing a more nuanced story about the value of the university system, both to our own lives and to the country.

If we don’t, our own degrees may be from institutions that have become almost unrecognizable.

Resist, eggheads! Universities are not as weak as they have chosen to be. Read More »

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Sony releases new trailer for 28 Years Later

Danny Boyle directs the third film in the post-apocalyptic franchise, 28 Years Later.

The critically acclaimed 2002 film 28 Days Later is often credited with sparking the 21st-century revival of the zombie genre. Director Danny Boyle is back with more zombie-virus dystopian horror in his new film set in the same fictional world, 28 Years Later—not so much a direct sequel but the start of a new planned trilogy.

(Some spoilers for 28 Days Later and 28 Weeks Later below.)

In 28 Days Later, a highly contagious “Rage Virus” is accidentally released from a lab in Cambridge, England. Those infected turn into violent, mindless monsters who brutally attack the uninfected—so-called “fast zombies.” Transmitted by bites, scratches, or even just by getting a drop of infected blood in one’s mouth, the virus spreads rapidly, effectively collapsing society. A bicycle courier named Jim (Cillian Murphy) awakens from a coma 28 days later to find London mostly deserted, apart from a handful of survivors fleeing the infected hordes, and joins them in the pursuit of safety. Jim (barely) survives, and we see zombies dying of starvation in the streets during the denouement.

The sequel, 28 Weeks Later, featured a new cast of characters living on the outskirts of London. With the help of NATO soldiers, Britain has begun rebuilding, taking in refugees and moving them to safe-zone districts. But all it takes is one careless person getting infected and raging out for the virus to spread uncontrollably yet again. So naturally, that’s what happens. The survivors eventually flee to France, only for the rage virus to spread there, too.

As early as 2007, Boyle had plans for a third film, set 28 months after the original outbreak, but it ended up in development hell. When the film finally got the green light in January 2024, the title had changed to 28 Years Later, given how much time had passed. Alex Garland returns as screenwriter and also wrote the two sequels for this new trilogy.

How much time do we have left?

Per the official synopsis:

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

Jodie Comer plays Isla, who lives with her husband, Jamie, (Aaron Taylor-Johnson) and 12-year-old son, Spike (Alfie Williams), on the aforementioned island. Isla is pregnant, and Jamie scrounges out a living as a scavenger. The cast also includes Ralph Fiennes as Dr. Kelson, one of the survivors of the original outbreak; Jack O’Connell as cult leader Sir Jimmy Crystal; Edvin Ryding as Swedish NATO soldier Erik Sundqvist; Erin Kellyman as Jimmy Ink; and Emma Laird in an as-yet-undisclosed role.

Sony releases new trailer for 28 Years Later Read More »

hbo’s-the-last-of-us-is-back-for-season-2,-and-so-are-we

HBO’s The Last of Us is back for season 2, and so are we

New episodes of season 2 of The Last of Us are premiering on HBO every Sunday night, and Ars’ Kyle Orland (who’s played the games) and Andrew Cunningham (who hasn’t) will be talking about them here every Monday morning. While these recaps don’t delve into every single plot point of the episode, there are obviously heavy spoilers contained within, so go watch the episode first if you want to go in fresh.

Kyle: To start us off as we return to the world of The Last of Us, as a non-game player, maybe recap what you remember from the first season and what you’ve heard about the second.

Andrew: Going into the first season, I’d been aware of The Last of Us, the video game, as a story about an older guy and a kid trying to navigate a post-apocalyptic world. And the show was also mostly that: It’s Joel and Ellie against the world, and who knows, maybe this spunky young girl with an apparent immunity to the society-ravaging fungal infection could hold the key to a cure!

Things fell apart at the end of last season when the Fireflies (a group of survivalists/doctors/scientists/etc.) may or may not have been threatening to kill Ellie in order to research their cure, which made Joel go on a murder rampage, which he then lied to Ellie about. We fade to black as they make their way back toward the one semi-functioning human settlement they’d visited on their travels, where Joel’s brother and his family also happen to live.

Going into this season: I know nothing. I don’t really engage in TV show fandoms or keep up with casting announcements or plot speculation. And the only thing I know about the second game going into this is a vague sense that it wasn’t as well-received as the first. In short, I am as a newborn baby, ready to take in the second season of a show I kind of like with the freshest possible eyes.

Kyle: I may be to blame for that vague sense you have. I fell in love with the first game, especially the relationship between Joel and Ellie, and I thought the first season of the show captured that quite well. I thought the endings to both the game and season 1 of the show were just about perfect and that any continuation after that was gonna struggle to justify itself.

Without giving too much away, I think the second game misses a lot of what made the narrative of the first one special and gets sidetracked in a lot of frankly gratuitous directions. That said, this premiere episode of the second season drew me in more than I expected.

One jarring thing (in a good way) about both the second game and the second season is suddenly seeing Joel and Ellie just existing in a thriving community with electric lights, music, alcohol, decent food, laughter, etc., etc. After the near-constant precarity and danger they’ve faced in the recent past, it really throws you for a loop.

Andrew: Unfortunately but predictably, you see both of them struggling to adapt in different ways; these are two extremely individualistic, out-for-number-one people. Ellie (now a 19-year-old, after a five-year time jump) never met a rule she couldn’t break, even when it endangers her friends and other community members.

And while Joel will happily fix your circuit breaker or re-string your guitar, he emphatically rejected a needs-of-the-many-outweigh-the-needs-of-the-few approach at the end of last season. When stuff breaks bad (and I feel confident that it will, that’s the show that it is) these may not be the best people to have in your corner.

My only real Game Question for you at the outset is the big one: Is season 2 adapting The Last of Us Part II or is it doing its own thing or are we somewhere in between or is it too early to say?

“Oh, dang, is that Catherine O’Hara?”

“Oh, dang, is that Catherine O’Hara?”

Kyle: From what I have heard it will be adapting the first section of the second game (it’s a long game) and making some changes and digressions that expand on the game’s story (like the well-received Nick Offerman episode last season). Already, I can tell you that Joel’s therapy scene was created for the TV show, and I think it improves on a somewhat similar “Joel pours his heart out” scene from early in the game.

The debut episode is also already showing a willingness to move around scenes from the game to make them fit better in chronological order, which I’m already appreciating.

One thing I think the show is already doing well, too, is showing 19-year-old Ellie “acting like every 19-year-old ever” (as one character puts it) to father figure Joel. Even in a zombie apocalypse, it’s a relatable bit of character-building for anyone who’s been a teenager or raised a teenager.

Andrew: Joel’s therapist, played by the wonderful Catherine O’Hara. (See, that’s why you don’t follow casting announcements, so you can watch a show and be like, “Oh, dang, is that Catherine O’Hara?”)

I didn’t know if it was a direct adaptation, but I did notice that the show’s video gamey storytelling reflexes were still fully intact. We almost instantly end up in a ruined grocery store chock-full of environmental storytelling (Ellie notes a happy birthday banner and 2003’s Employee of the Year wall).

And like in any new game new season of a TV show, we quickly run into a whole new variant of mushroom monster that retains some of its strategic instincts and can take cover rather than blindly rushing at you. Some of the jump scares were so much like quick-time events that I almost grabbed my controller so I could press X and help Ellie out.

Kyle: Yeah, it’s pretty easy to see that the semi-stealthy assault on the abandoned market came directly from the game. I felt like there was some implication that the “strategic” zombie still had a little more humanity left in her that was struggling to fight against the fungus’ pull, which was pretty chilling in the way it was presented.

Andrew: Yes! Fungus is still a maximally creepy and visually interesting way for an infection to spread, and it’s a visual note that helps TLoU stand out from other zombie stories.

It does seem like we’re moving into Phase 2 of most zombie apocalypse fiction. Phase 1 is: There’s an infection! Society collapses. Phase 2 is: Humanity attempts to rebuild. But maybe the scariest monster of all… is humankind??

I’ve always found Phase 2 to be inherently less interesting because I can watch all kinds of shows where people are the antagonists, but Joel and Ellie remain unique and compelling enough as characters that maybe they’ll carry me through.

A teenager should have some hobbies.

Credit: Warner Bros. Discovery

A teenager should have some hobbies. Credit: Warner Bros. Discovery

Kyle: The first game already established a lot in the way of “humans are the real monsters” vignettes. And while I still don’t want to give too much away, I will say that human-versus-human drama is definitely going to be an increasingly central part of the narrative going forward.

Speaking of which, I wondered what you made of the brief scenes we get with Abby leading a reluctant but willing band of revenge-seekers that see doctor-murdering Joel as an unalloyed evil (somewhat justifiably, especially from their point of view).

Andrew: My first thought was “look at all these clean, hot, well-coiffed apocalypse survivors.” At least Joel and Ellie both look a little weathered.

But in seriousness, yes, it’s obvious that What Joel Did is a bomb that’s going to go off sooner rather than later. Trying to address it without addressing it has pushed taciturn, closed-off Joel into therapy, where he insists to a woman whose (presumably infected) husband he killed that he’s a “good guy.” And it seems clear to me that Ellie’s shunning of Joel is coming from her sense that something is amiss, just as much as it is about a 19-year-old rebelling against her would-be father figure.

In Joel’s case, it’s telling that it seems like lying to Ellie is weighing on him more than the murder-rampage itself. But having these improbably fresh-faced Firefly remnants chasing him down will mean that he might end up paying for both.

Kyle: I think Joel can live with sacrificing the entire world to save Ellie. I don’t think he can live with Ellie knowing he did that pretty much against her explicit wishes.

Andrew: Oops!! Pobody’s nerfect!

Kyle: I’m sure Abby will understand if Joel just says he made an oopsie.

Andrew: Seriously. Can’t believe they’re still mad even after a five-year time jump. Can’t we all just move on?

As we close, and while at least trying to avoid spoilers, are there any game moments you’re looking forward to seeing? Or are you just hoping that this season can “fix” a story that didn’t work as well for you in video game form?

How can you stay mad at this man?

Credit: Warner Bros. Discovery

How can you stay mad at this man? Credit: Warner Bros. Discovery

Kyle: Actually, I don’t have to spoil anything to say that the scene at the dance was one I was looking forward to seeing in both the game and the show. That’s because a large chunk of it was the first bit of the game Sony ever showed during a memorable E3 2018 press conference, which would end up being the company’s last ever official E3 press presentation.

Besides making me an instant fan of the song “.44 Pistol,” that scene had me very excited to see how the social adventures of “All Growed Up” Ellie might develop. And while I don’t feel like the game really delivered a very satisfying or believable version of Ellie’s evolution, I’m hopeful the show might be able to smooth out some of the rough storytelling edges and give a more compelling version of the character.

Andrew: Yeah. Video games get remastered, but they mostly seek to preserve the original game rather than overhauling it. A well-funded multiseason TV adaptation is a rare opportunity for a redo.

Kyle: The way HBO handled the first season gives me hope that they can once again embrace the excellent world-building of the games while adding some prestige TV polish to the plot.

HBO’s The Last of Us is back for season 2, and so are we Read More »

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Wheel of Time recap: The show nails one of the books’ biggest and bestest battles

Andrew Cunningham and Lee Hutchinson have spent decades of their lives with Robert Jordan and Brandon Sanderson’s Wheel of Time books, and they previously brought that knowledge to bear as they recapped each first season episode and second season episode of Amazon’s WoT TV series. Now we’re back in the saddle for season 3—along with insights, jokes, and the occasional wild theory.

These recaps won’t cover every element of every episode, but they will contain major spoilers for the show and the book series. We’ll do our best to not spoil major future events from the books, but there’s always the danger that something might slip out. If you want to stay completely unspoiled and haven’t read the books, these recaps aren’t for you.

New episodes of The Wheel of Time season 3 will be posted for Amazon Prime subscribers every Thursday. This write-up covers episode seven, “Goldeneyes,” which was released on April 10.

Lee: Welcome back—and that was nuts. There’s a ton to talk about—the Battle of the Two Rivers! Lord Goldeneyes!—but uh, I feel like there’s something massive we need to address right from the jump, so to speak: LOIAL! NOOOOOOOOOO!!!! That was some out-of-left-field Game of Thrones-ing right there. My wife and I have both been frantically talking about how Loial’s death might or might not change the shape of things to come. What do you think—is everybody’s favorite Ogier dead-dead, or is this just a fake-out?

Image of Loial

NOOOOOOOOO

Credit: Prime/Amazon MGM Studios

NOOOOOOOOO Credit: Prime/Amazon MGM Studios

Andrew: Standard sci-fi/fantasy storytelling rules apply here as far as I’m concerned—if you don’t see a corpse, they can always reappear (cf. Thom Merrillin, The Wheel of Time season three, episode six).

For example! When the Cauthon sisters fricassee Eamon Valda to avenge their mother and Alanna laughs joyfully at the sight of his charred corpse? That’s a death you ain’t coming back from.

Even assuming that Loial’s plot armor has fallen off, the way we’ve seen the show shift and consolidate storylines means it’s impossible to say how the presence or absence of one character or another couple ripple outward. This episode alone introduces a bunch of fairly major shifts that could play out in unpredictable ways next season.

But let’s back up! The show takes a break from its usual hopping and skipping to focus entirely on one plot thread this week: Perrin’s adventures in the Two Rivers. This is a Big Book Moment; how do you think it landed?

Image of Padan Fain.

Fain seems to be leading the combined Darkfriend/Trolloc army.

Credit: Prime/Amazon MGM Studios

Fain seems to be leading the combined Darkfriend/Trolloc army. Credit: Prime/Amazon MGM Studios

Lee: I would call the Battle of the Two Rivers one of the most important events that happens in the front half of the series. It is certainly a defining moment for Perrin’s character, where he grows up and becomes a Man-with-a-capital-M. It is possibly done better in the books, but only because the book has the advantage of being staged in our imaginations; I’ll always see it as bigger and more impactful than anything a show or movie could give us.

Though it was a hell of a battle, yeah. The improvements in pulling off large set pieces continues to scale from season to season—comparing this battle to the Bel Tine fight back in the first bits of season one shows not just better visual effects or whatever, but just flat-out better composition and clearer storytelling. The show continues to prove that it has found its footing.

Did the reprise of the Manetheren song work for you? This has been sticky for me—I want to like it. I see what the writers are trying to do, and I see how “this is a song we all just kind of grew up singing” is given new meaning when it springs from characters’ bloody lips on the battlefield. But it just… doesn’t work for me. It makes me feel cringey, and I wish it didn’t. It’s probably the only bit in the entire episode that I felt was a swing and a miss.

Image of the battle of the Two Rivers

Darkfriends and Trollocs pour into Emond’s Field.

Darkfriends and Trollocs pour into Emond’s Field.

Andrew: Forgive me in advance for what I think is about to be a short essay but it is worth talking about when evaluating the show as an adaptation of the original work.

Part of the point of the Two Rivers section in The Shadow Rising is that it helps to back up something we’ve seen in our Two Rivers expats over the course of the first books in the series—that there is a hidden strength in this mostly-ignored backwater of Randland.

To the extent that the books are concerned with Themes, the two big overarching ones are that strength and resilience come from unexpected places and that heroism is what happens when regular, flawed, scared people step up and Do What Needs To Be Done under terrible circumstances. (This is pure Tolkien, and that’s the difference between The Wheel of Time and A Song of Ice and FireWoT wants to build on LotR‘s themes and ASoIaF is mainly focused on subverting them.)

But to get back to what didn’t work for you about this, the strength of the Two Rivers is meant to be more impressive and unexpected because these people all view themselves, mostly, as quiet farmers and hunters, not as the exiled heirs to some legendary kingdom (a la Malkier). They don’t go around singing songs about How Virtuous And Bold Was Manetheren Of Old, or whatever. Manetheren is as distant to them as the Roman Empire, and those stories don’t put food on the table.

So yeah, it worked for me as an in-the-moment plot device. The show had already played the “Perrin Rallies His Homeland With A Rousing Speech” card once or twice, and you want to mix things up. I doubt it was even a blip for non-book-readers. But it is a case, as with the Cauthon sisters’ Healing talents, where the show has to take what feels like too short a shortcut.

Lee: That’s a good set of points, yeah. And I don’t hate it—it’s just not the way I would have done it. (Though, hah, that’s a terribly easy thing to say from behind the keyboard here, without having to own the actual creative responsibility of dragging this story into the light.)

In amongst the big moments were a bunch of nice little character bits, too—the kinds of things that keep me coming back to the show. Perrin’s glowering, teeth-gritted exchange with Whitecloak commander Dain Bornhald was great, though my favorite bit was the almost-throwaway moment where Perrin catches up with the Cauthon sisters and gives them an update on Mat. The two kids absolutely kill it, transforming from sober and traumatized young people into giggling little sisters immediately at the sight of their older brother’s sketch. Not even blowing the Horn of Valere can save you from being made fun of by your sisters. (The other thing that scene highlighted was that Perrin, seated, is about the same height as Faile standing. She’s tiny!)

We also close the loop a bit on the Tinkers, who, after being present in flashback a couple of episodes ago, finally show back up on screen—complete with Aram, who has somewhat of a troubling role in the books. The guy seems to have a destiny that will take him away from his family, and that destiny grabs firmly ahold of him here.

Image of Perrin, Faile, and the Cauthon sisters

Perrin is tall.

Credit: Prime/Amazon MGM Studios

Perrin is tall. Credit: Prime/Amazon MGM Studios

Andrew: Yeah, I think the show is leaving the door open for Aram to have a happier ending than he has in the books, where being ejected from his own community makes him single-mindedly obsessed with protecting Perrin in a way that eventually curdles. Here, he might at least find community among good Two Rivers folk. We’ll see.

The entire Whitecloak subplot is something that stretches out interminably in the books, as many side-plots do. Valda lasts until Book 11 (!). Dain Bornhald holds his grudge against Perrin (still unresolved here, but on a path toward resolution) until Book 14. The show has jumped around before, but I think this is the first time we’ve seen it pull something forward from that late, which it almost certainly needs to do more of if it hopes to get to the end in whatever time is allotted to it (we’re still waiting for a season 4 renewal).

Lee: Part of that, I think, is the Zeno’s Paradox-esque time-stretching that occurs as the series gets further on—we’ll keep this free of specific spoilers, of course, but it’s not really a spoiler to say that as the books go on, less time passes per book. My unrefreshed off-the-top-of-my-head recollection is that there are, like, four, possibly five, books—written across almost a decade of real time—that cover like a month or two of in-universe time passing.

This gets into the area of time that book readers commonly refer to as “The Slog,” which slogs at maximum slogginess around book 10 (which basically retreads all the events of book nine and shows us what all the second-string characters were up to while the starting players were off doing big world-changing things). Without doing any more criticizing than the implicit criticizing I’ve already done, The Slog is something I’m hoping that the show obviates or otherwise does away with, and I think we’re seeing the ways in which such slogginess will be shed.

There are a few other things to wrap up here, I think, but this episode being so focused on a giant battle—and doing that battle well!—doesn’t leave us with a tremendous amount to recap. Do we want to get into Bain and Chiad trying to steal kisses from Loial? It’s not in the book—at least, I don’t think it was!—but it feels 100 percent in character for all involved. (Loial, of course, would never kiss outside of marriage.)

Image of Loial, Bain, and Chiad

A calm moment before battle.

Credit: Prime/Amazon MGM Studios

A calm moment before battle. Credit: Prime/Amazon MGM Studios

Andrew: All the Bain and Chiad in this episode is great—I appreciate when the show decides to subtitle the Maiden Of The Spear hand-talk and when it lets context and facial expressions convey the meaning. All of the Alanna/Maksim stuff is great. Alanna calling in a storm that rains spikes of ice on all their enemies is cool. Daise Congar throwing away her flask after touching the One Power for the first time was a weird vaudevillian comic beat that still made me laugh (and you do get a bit more, in here, that shows why people who haven’t formally learned how to channel generally shouldn’t try it). There’s a thread in the books where everyone in the Two Rivers starts referring to Perrin as a lord, which he hates and which is deployed a whole bunch of times here.

I find myself starting each of these episodes by taking fairly detailed notes, and by the middle of the episode I catch myself having not written anything for minutes at a time because I am just enjoying watching the show. On the topic of structure and pacing, I will say that these episodes that make time to focus on a single thread also make more room for quiet character moments. On the rare occasions that we get a less-than-frenetic episode I just wish we could have more of them.

Lee: I find that I’m running out of things to say here—not because this episode is lacking, but because like an arrow loosed from a Two Rivers longbow, this episode hurtles us toward the upcoming season finale. We’ve swept the board clean of all the Perrin stuff, and I don’t believe we’re going to get any more of it next week. Next week—and at least so far, I haven’t cheated and watched the final screener!—feels like we’re going to resolve Tanchico and, more importantly, Rand’s situation out in the Aiel Waste.

But Loial’s unexpected death (if indeed death it was) gives me pause. Are we simply killing folks off left and right, Game of Thrones style? Has certain characters’ plot armor been removed? Are, shall we say, alternative solutions to old narrative problems suddenly on the table in this new turning of the Wheel?

I’m excited to see where this takes us—though I truly hope we’re not going to have to say goodbye to anyone else who matters.

Closing thoughts, Andrew? Any moments you’d like to see? Things you’re afraid of?

Image of Perrin captured

Perrin being led off by Bornhald. Things didn’t exactly work out like this in the book!

Credit: Prime/Amazon MGM Studios

Perrin being led off by Bornhald. Things didn’t exactly work out like this in the book! Credit: Prime/Amazon MGM Studios

Andrew: For better or worse, Game of Thrones did help to create this reality where Who Dies This Week? was a major driver of the cultural conversation and the main reason to stay caught up. I’ll never forget having the Red Wedding casually ruined for me by another Ars staffer because I was a next-day watcher and not a day-of GoT viewer.

One way to keep the perspectives and plotlines from endlessly proliferating and recreating The Slog is simply to kill some of those people so they can’t be around to slow things down. I am not saying one way or the other whether I think that’s actually a series wrap on Loial, Son Of Arent, Son Of Halan, May His Name Sing In Our Ears, but we do probably have to come to terms with the fact that not all fan-favorite septenary Wheel of Time characters are going to make it to the end.

As for fears, mainly I’m afraid of not getting another season at this point. The show is getting good enough at showing me big book moments that now I want to see a few more of them, y’know? But Economic Uncertainty + Huge Cast + International Shooting Locations + No More Unlimited Cash For Streaming Shows feels like an equation that is eventually going to stop adding up for this production. I really hope I’m wrong! But who am I to question the turning of the Wheel?

Credit: WoT Wiki

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Creating a distinctive aesthetic for Daredevil: Born Again


Ars chats with cinematographer Hillary Fyfe Spera on bringing a 1970s film vibe to the Marvel series.

Enthusiasm was understandably high for Daredevil: Born Again, Marvel’s revival of the hugely popular series in the Netflix Defenders universe. Not only was Charlie Cox returning to the title role as Matt Murdock/Daredevil, but Vincent D’Onofrio was also coming back as his nemesis, crime lord Wilson Fisk/Kingpin. Their dynamic has always been electric, and that on-screen magic is as powerful as ever in Born Again, which quickly earned critical raves and a second season that is currently filming.

(Some spoilers for the series below, but no major reveals beyond the opening events of the first episode.)

Born Again was initially envisioned as more of an episodic reset rather than a straight continuation of the serialized Netflix series. But during the 2023 Hollywood strikes, with production halted, the studio gave the show a creative overhaul more in line with the Netflix tone, even though six episodes had been largely completed by then. The pilot was reshot completely, and new footage was added to subsequent episodes to ensure narrative continuity with the original Daredevil—with a few well-placed nods to other characters in the MCU for good measure.

It was a savvy move. Sure, fans were shocked when the pilot episode killed off Matt’s best friend and law partner, Foggy Nelson (Elden Hensen), in the first 10 minutes, with his grief-stricken law partner, Karen Page (Deborah Ann Woll), taking her leave from the firm by the pilot’s end. But that creative choice cleared the decks to place the focus squarely on Matt’s and Fisk’s parallel arcs. Matt decides to focus on his legal work while Fisk is elected mayor of New York City, intent on leaving his criminal life behind. But each man struggles to remain in the light as the dark sides of their respective natures fight to be released.

The result is a series that feels very much a part of its predecessor while still having its own distinctive feel. Much of that is due to cinematographer Hillary Fyfe Spera, working in conjunction with the broader production team to bring Born Again‘s aesthetic to vivid life. Fyfe Spera drew much of her inspiration from 1970s films like Taxi DriverThe French Connection, The Conversation, and Klute. “I’m a big fan of films of the ’70s, especially New York films,” Fyfe Spera told Ars. “It’s pervaded all of my cinematography from the beginning. This one in particular felt like a great opportunity to use that as a reference. There’s a lot of paranoia, and it’s really about character, even though we’re in a comic book environment. I just thought that the parallels of that reference were solid.”

Ars caught up with Fyfe Spera to learn more.

Karen, Matt, and Foggy enjoy a moment of camaraderie before tragedy strikes. Marvel Studios/Disney+

Ars Technica: I was surprised to learn that you never watched an episode of the original Netflix series when designing the overall look of Born Again. What was your rationale for that?

Hillary Fyfe Spera: I think as a creative person you don’t want to get too much in your head before you get going. I was very aware of Daredevil, the original series. I have a lot of friends who worked on it. I’ve seen sequences, which are intimidatingly incredible. [My decision] stemmed from wanting to bring something new to the table. We still pay homage to the original; that’s in our blood, in our DNA. But there was enough of that in the ether, and I wanted to think forward and be very aware of the original comics and the original lore and story. It was more about the identities of the characters and making sure New York itself was an authentic character. Looking back now, we landed in a lot of the same places. I knew that would happen naturally.

Ars Technica:  I was intrigued by your choice to use anamorphic lenses, one assumes to capture some of that ’70s feel, particularly the broad shots of the city.

Hillary Fyfe Spera: It’s another thing that I just saw from the very beginning; you just get a feeling about lenses in your gut. I know the original show was 1.78; I just saw this story as 2.39. It just felt like so many of the cityscapes exist in that wide-screen format. For me, the great thing about anamorphic is the relationship within composition in the lens. We talk about this dichotomy of two individuals or reflections or parallel worlds. I felt the widescreen gave us that ability. Another thing we do frequently is center framing, something the widescreen lens can really nail. Also, we shoot with these vintage-series Panavision anamorphics, which are so beautiful and textured, and have beautiful flaring effects. It brought organic textured elements to the look of the show that were a little out of the box.

Ars Technica: The city is very much a character, not just a showy backdrop. Is that why you insisted on shooting as much as possible on location?

Hillary Fyfe Spera: We shot in New York on the streets, and that is a challenge. We deal with everything from weather to fans to just New Yorkers who don’t really care, they just need to go where they’re going. Rats were a big part of it. We use a lot of wet downs and steam sources to replicate what it looks like outside our window every day. It’s funny, I’ll walk down the street and be like, “Oh look at that steam source, it’s real, it’s coming out of the street.”

Shooting a show of this scale and with its demands in a practical environment is such a fun challenge, because you have to be beholden to what you’re receiving from the universe. I think that’s cool. One of my favorite things about cinematography is that you can plan it to an inch of its life, prepare a storyboard and shot list as much as you possibly can, and then the excitement of being out in the world and having to adapt to what’s happening is a huge part of it. I think we did that. We had the confidence to say, “Well, the sun’s setting over there and that looks pretty great, let’s make that an element, let’s bring it in.” Man, those fluorescent bulbs that we can’t turn off across the street? They’re part of it. They’re the wrong color, but maybe they’re the right color because that’s real.

Ars Technica: Were there any serendipitous moments you hadn’t planned but decided to keep in the show anyway? 

Hillary Fyfe Spera: There’s one that we were shooting on an interior. It was on a set that we built, where Fisk has a halo effect around his head. It’s a reflection in a table. That set was built by Michael Shaw, our production designer. One of our operators happened to tilt the camera down into the reflection, and we’re like, “Oh my God, it’s right there.” Of course, it ended up in the show; it was a total gimme. Another example is a lot of our New York City street stuff, which was completely just found. We just went out there and we shot it: the hotdog carts, the streets, the steam, the pigeons. There’s so many pigeons. I think it really makes it feel authentic.

Ars Technica: The Matt Murdock/Wilson Fisk dynamic is so central to the show. How does the cinematography visually enhance that dynamic? 

Hillary Fyfe Spera: They’re coming back to their identities as Kingpin and Daredevil, and they’re wrestling with those sides of themselves. I think in Charlie and Vincent’s case, both of them would say that neither one is complete without the other. For us, visually, that’s just such a fun challenge to be able to show that dichotomy and their alter egos. We do it a lot with lensing.

In Fisk’s case, we use a lot of wide-angle lenses, very close to him, very low angle to show his stature and his size. We use it with a white light in the pilot, where, as the Kingpin identity is haunting him and coming more to the surface, we show that with this white light. There’s the klieg lights of his inauguration, but then he steps into darkness and into this white light. It’s actually a key frame taken directly from the comic book, of that under light on him.

For Matt Murdock, it’s similar. He is wrestling with going back to being Daredevil, which he’s put aside after Foggy’s death. The red blinking light for him is an indication of that haunting him. You know it’s inevitable, you know he’s going to put the suit back on. It’s who these guys are, they’re damaged individuals dealing with their past and their true selves. And his world, just from an aesthetic place, is a lot warmer with a lot more use of handheld.

We’re using visual languages to separate everyone, but also have them be in the same conversation. As the show progresses, that arc is evolving. So, as Fisk becomes more Kingpin, we light him with a lot more white light, more oppression, he’s the institution. Matt is going into more of the red light environment, the warmer environment. There’s a diner scene between the two of them, and within their coverage Matt is shot handheld and Fisk is shot with a studio mode with a lockdown camera. So, we’re mixing, we’re blending it even within the scenes to try and stay true to that thesis.

Ars Technica: The episodes are definitely getting darker in terms of the lighting. That has become quite an issue, particularly on television, because many people’s TVs are not set up to be able to handle that much darkness.

Hillary Fyfe Spera: Yeah, when I visit my parents, I try to mess with their TV settings a little. People are just watching it in the wrong way. I can’t speak for everyone; I love darkness. I love a night exterior, I love what you don’t see. For me, that goes back to films like The French Connection. It’s all about what you don’t see. With digital, you see so much, you have so much latitude and resolution that it’s a challenge in the other way, where we’re trying to create environments where there is a lot of contrast and there is a lot of mystery. I just think cinematographers get excited with the ability to play with that. It’s hard to have darkness in a digital medium. But I think viewers on the whole are getting used to it. I think it’s an evolving conversation.

Ars Technica: The fight choreography looks like it would be another big challenge for a cinematographer.

Hillary Fyfe Spera: I need to give a shoutout to my gaffer, Charlie Grubbs, and key grip, Matt Staples. We light an environment, we shoot those sequences with three cameras a lot of times, which is hard to do from a lighting perspective because you’re trying to make every shot feel really unique. A lot of that fight stuff is happening so quickly that you want to backlight a lot, to really set out moments so you can see it. You don’t want to fall into a muddy movement world where you can’t really make out the incredible choreography. So we do try and set environments that are cinematic, but that shoot certain directions that are really going to pinpoint the movement and the action.

It’s a collaboration conversation with Phil Silvera, our stunt coordinator and action director: not only how we can support him, but how we can add these cinematic moments that sometimes aren’t always based in reality, but are just super fun. We’ll do interactive lighting, headlights moving through, flares, just to add a little something to the sequence. The lighting of those sequences are as much a character, I think, as the performances themselves.

Ars Technica: Will you be continuing the same general look and feel in terms of cinematography for S2?

Hillary Fyfe Spera: I’ve never come back for a second season. I love doing a project and moving on, but what was so cool about doing this one was that the plan is to evolve it, so we keep going. The way we leave things in episode nine—I don’t know if we’re picking up directly after, but there is a visual arc that lands in nine, and we will continue that in S2, which has its own arc as well. There are more characters and more storylines in S2, and it’s all being folded into the visual look, but it is coming from the same place: the grounded, ’70s New York look, and even more comic cinematic moments. I think we’re going to bring it.

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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Our top 10 Jackie Chan movies


Happy birthday to a living legend

Chan’s distinctive style combines slapstick, acrobatics, martial arts, and astonishing stunts he performs himself.

There is no action star quite like Jackie Chan, who made his name in the Hong Kong movie industry starting in the late 1970s and developed his own signature style: combining slapstick physical comedy with acrobatics and martial arts, and designing astonishing stunts—all of which he performed himself along with his own handpicked stunt team. His stunt sequences and fight choreography have influenced everything from The Matrix and Kill Bill to the John Wick franchise and Kung Fu Panda (in which he voiced Master Monkey).

Born on April 7, 1954, Chan studied acrobatics, martial arts, and acting as a child at the Peking Opera School’s China Drama Academy and became one of the Seven Little Fortunes. Those skills served him well in his early days as a Hong Kong stuntman, which eventually landed him a gig as an extra and stunt double on Bruce Lee’s 1972 film, Fist of Fury. He also appeared in a minor role in Lee’s Enter the Dragon (1973).

Initially, Hong Kong producers, impressed by Chan’s skills, wanted to mold him into the next Bruce Lee, but that just wasn’t Chan’s style. Chan found his milieu when director Yuen Woo-ping cast him in 1978’s kung fu comedy Snake in the Eagle’s Shadow and gave Chan creative freedom over the stunt work. It was Drunken Master, released that same year, that established Chan as a rising talent, and he went on to appear in more than 150 movies, becoming one of Hong Kong’s biggest stars.

Chan struggled initially to break into Hollywood, racking up commercial misses with 1980’s The Big Brawl and 1985’s The Protector. He had a minor role in 1981’s hit comedy, The Cannonball Run, and while it didn’t do much to raise his US profile, he did adopt that film’s clever inclusion of bloopers and outtakes during closing credits. It’s now one of the trademark features of Jackie Chan films, beloved by fans.

By the mid 1990s, Chan had amassed a substantial cult following in the US, thanks to the growing availability of his earlier films in the home video market, and finally achieved mainstream Hollywood success with Rumble in the Bronx (1995) and Rush Hour (1998). In his later years, Chan has moved away from kung fu comedies toward more dramatic roles, including the 2010 remake of The Karate Kid.

Look, nobody watches classic Jackie Chan movies for the plot, complex characterizations, or the dubbing (which is often hilariously bad). We’re here to gasp in admiration at the spectacular fight choreography and jaw-dropping stunts, peppered with a generous helping of slapstick humor. His gift for turning ordinary objects into makeshift weapons is part of his unique style, which I like to call Found Object Foo. Who could forget the hilarious chopsticks duel and “emotional kung-fu” (eg, fighting while crying or laughing to unmask an opponent’s weaknesses) in 1979’s The Fearless Hyena? Chan even inspired the entire parkour movement.

Chan has broken multiple fingers, toes, and ribs over the course of his long career, not to mention both cheekbones, hips, sternum, neck, and ankle. He has a permanent hole in his skull from one near-fatal injury. And he did it all for our entertainment. The least we can do is honor him on his 71st birthday. You’ll find our top 10 Jackie Chan films listed below in chronological order, spanning 30 years.

Drunken Master (1978)

bare chested young Jackie Chan in crouched position with hands held in front, while an older man stands beside him urging him on

Jackie Chan as Wong Fei-hung in Drunken Master. Credit: Seasonal Film Corp

In Drunken Master, Chan portrays a fictional version of legendary Chinese martial artist/folk hero Wong Fei-Hung, who undergoes strict, punishing training under the tutelage of another legend, Beggar So (Yuen Liu-Tin), aka the Drunken Master because he practices a martial art called “Drunken Boxing.” Fei-Hung chafes at the training initially, but after a humiliating defeat in a fight against the villain, Yim Tit-sam (Hwang Jang-lee, a specialist in Taekwondo), he devotes himself to learning the martial art.

Naturally we’re going to get a final showdown between Fei-Hung and his nemesis, Tit-Sam, aka “Thunderfoot” or “Thunderleg,” because of his devastating “Devil’s Kick.” Fei-Hung is able to match his rival’s kicks, but falters again when he comes up against Tit-Sam’s infamous “Devil’s Shadowless Hand.” That’s because Fei-Hung refused to learn a crucial element of the Hung Ga fighting system because he thought it was too “girly.” He ends up inventing his unique version of the technique (“Drunken Miss Ho”) to win the day. These are all fictitious moves that are nonetheless enormously fun to watch—even though Chan nearly lost an eye after taking a blow to the brow ridge in one scene.

Project A (1983)

Jackie Chan hanging off a clock tower

The famous clock tower stunt.  Credit: Golden Harvest

This film marks the official debut of the Jackie Chan Stunt Team and co-stars Chan’s longtime martial arts buddies, Sammo Hung and Yuen Biao, both major stars in their own right. They were known as the “Three Dragons” in the 1980s. Chan plays Sergeant Dragon Ma, a police officer battling both pirates and gangsters in Hong Kong, and corruption within his own law enforcement ranks. Hung plays a street informant named Fei (or Fats), who tips off Dragon to an illegal gun deal, while Biao plays an inspector and the nephew of the police captain, Hong Tin-Tsu. The three team up to take down the pirates and gangsters and restore integrity to the force.

There’s a lot of delightful slapstick stunt work in Project A, reminiscent of the work of Buster Keaton and Harold Lloyd, but apparently Chan never saw either man’s films before developing his signature style. (In 1987’s Project A Part 2, Chan does pay direct homage to Keaton’s most famous stunt from Steamboat Bill, Jr.) The highlight is Chan hanging off a clock tower (a la Lloyd) 60 feet above the ground and falling backward through a canopy. Ever the perfectionist, Chan insisted on an additional two takes of the dangerous stunt until he was satisfied he’d gotten it exactly right.

Wheels on Meals (1984)

Chan vs Benny “The Jet” Urquidez: one of the best martial arts fight scenes of all time.

Hung and Biao joined Chan again for 1984’s Wheels on Meals, with Chan and Biao playing Chinese cousins running a food truck in Barcelona. They get snared into helping their private investigator friend Moby (Hung) track down kidnappers intent on capturing a young woman named Sylvia (Lola Forner), who turns out to be the illegitimate daughter of a Spanish count.

There’s an exciting raid of the villains’ castle that involves scaling the castle walls, but the undisputed highlight of the film is the showdown between Chan and professional kickboxing champion Benny “the Jet” Urquidez, widely regarded as one of the best martial arts fight sequences on film. Both Chan and Urquidez exchange kicks and blows with dazzling speed. At one point, Urquidez lets loose a kick so fast that the resulting wake blows out a row of candles. (You can see it in the clip above; it’s not a trick.) And throughout, one gets Chan’s trademark physical comedy, even taking a moment to rest on a chair to catch his breath before the next round of blows.

Police Story (1985)

Jackie Chan in green khaki jumpsuit hanging off a bus using the crooked handle of a metal umbrella

Chan hung off a moving bus using the crook in an umbrella handle. Credit: Golden Harvest

Police Story introduced Chan as Hong Kong Police detective Ka-Kui “Kevin” Chan and launched one of the actor’s most popular trilogies. Kevin joins an undercover mission to arrest a well-known crime lord and through a complicated series of events, ends up being framed for murdering a fellow police officer. Now a fugitive, he must track down and capture the crime lord to clear his name—defeating a horde of evil henchmen and saving his girlfriend, May (Maggie Cheung), in the process.

The film is noteworthy for its many elaborately orchestrated stunt scenes. For instance, during a car chase, Chan finds himself hanging off a double-decker bus with nothing but the hooked end of a metal umbrella. (An earlier wooden umbrella prop kept slipping off the bus.) The climactic battle takes place in a shopping mall, and the stunt team broke so many glass panels that the film was dubbed “Glass Story” by the crew. The finale features Chan sliding down a pole covered in strings of electric lights that exploded as he descended. Chan suffered second-degree burns on his hands as well as a dislocated pelvis and back injury when he landed.

Armour of God (1986)

Jackie chan opening coat to reveal array of explosives strapped to his chest

Chan nearly died doing a stunt for Armour of God. Credit: Golden Harvest

Of all the death-defying stunts Chan performed over hundreds of films, the one that came the closest to killing him—while shooting Armour of God—was relatively mundane. Chan was simply jumping off a ledge onto a tree, but the branch broke, and he crashed to the ground, hitting his head on a rock. His skull was cracked, with a bit of bone penetrating part of his brain, an injury that took eight hours of surgery to repair, followed by a long recovery that delayed production of the film. Chan has a permanent hole in his skull and suffered partial hearing loss in his right ear.

Chan stuck with tradition and showed the footage of the accident in the ending credits of this Indiana-Jones style adventure film. His daring base jump off a cliff—after setting off a series of explosives in a cave to take out a monastic cult—onto the top of a hot air balloon that closes the film was done in two stages. Since Chan had no BASE jumping experience, he jumped onto the balloon by skydiving off a plane. The crew rigged him up with a wire to get a shot of him “jumping” off the cliff.

Police Story 3: Supercop (1992)

Chan and Michelle Yeoh take out the bad guys atop a moving train.

If the second installment of this trilogy was largely dismissed as mediocre “filler” in Chan’s expansive oeuvre, the third film, Supercop, ranks as one of his best. Kevin Chan returns for another undercover assignment to take down a drug cartel led by kingpin Khun Chaibat (Kenneth Tsang), and finds himself paired with Chinese Interpol officer Jessica Yang, played by a young Michelle Yeoh (credited as Michelle Kwan). This does not please Kevin’s longtime girlfriend, May (Maggie Cheung), who ends up blowing his cover and getting taken hostage by Chaibat and his wife (Josephine Koo) because of her jealousy.

May might be a bit irritating, but Yeoh’s Yang is pure dynamite, matching Chan’s prowess in a series of fight scenes and gamely performing her own stunts—including riding a motorbike onto a moving train (see clip above), where she and Chan battle the bad guys while dodging helicopter blades. (Yeoh had a narrow escape of her own during an earlier stunt when she fell into oncoming traffic, suffering only minor injuries.) Special shoutout to Bill Tung, reprising his role as Kevin’s superintendent, “Uncle” Bill Wong, who at one point appears in drag as Kevin’s aging grandmother in a remote village to keep Kevin’s cover story secure.

Drunken Master II (1994)

Chan fights fire with fire in Drunken Master II.

Released in the US as The Legend of Drunken Master, this one will always top my list as Jackie Chan’s best film, against some very stiff competition. It works on every level. This is technically not a sequel to the 1978 film, but it does feature Chan playing the same character, Wong Fei-hung. The film opens with Fei-hung getting into a fight all across (and under) a train with a military officer who has mistaken Fei-hung’s box of ginseng for his own box containing the Imperial Seal. The British consul wants to smuggle the seal out of China, with the help of a group of local thugs. Fei-hung finds himself embroiled in efforts to retrieve the seal and keep it in China where it belongs.

Fei-hung is a fan of Drunken Boxing, and his father disapproves of this and other screwups, kicking his son out of the house. We are treated to an amusing scene in which an intoxicated Fei-hung drowns his sorrows and sings an improvised song, “I Hate Daddy”—right before being attacked by the thugs and soundly defeated, since he’s too tipsy even for Drunken Boxing. (The trick is to be just inebriated enough.)

But Fei-hung gets his revenge and saves the day in a literal fiery showdown against the consul’s chief enforcer, John (taekwondo master Ken Lo). This is Chan’s physical comedy at its best: Drunken Boxing requires one to execute precise martial arts moves while remaining loose and being slightly off-balance. The stunts are equally impressive. At one point in the finale, Chan falls backward into a bed of hot coals (see clip above), scrambling to safety, before chugging industrial alcohol and blowing flames at his attackers wielding red-hot pokers.

Rush Hour (1998)

black man and asian man on the street in front of yellow car with hands up, pistols dangling from one finger to signal surrender

Chris Tucker co-starred with Chan in Rush Hour. Credit: New Line Cinema

Chan finally made his big North American mainstream breakthrough with 1995’s Rumble in the Bronx, which grossed $76 million worldwide, but if we’re choosing among the actor’s US films, I’d pick 1998’s Rush Hour over Rumble for inclusion on this list. Hong Kong Detective Lee (Chan) comes to Los Angeles to help negotiate the return of a Chinese consul’s kidnapped daughter, Soo-Yung (Julia Hsu), to whom he once taught martial arts. He’s paired with LAPD Det. James Carter (Chris Tucker), who is supposed to keep Lee occupied and out of the way while the “real” cops handle the investigation. Wacky hijinks ensue as the two gradually learn to work together and ultimately save the day.

Sure, the decades of injury and advancing age by this point have clearly taken their toll; Chan moves more slowly and performs fewer stunts, but his fighting skills remain world-class. While Rush Hour grossed an impressive $244 million worldwide and spawned two (subpar) sequels, it was not a critical favorite; nor was it among Chan’s favorites, who criticized the dearth of action and his English, admitting he often had no idea what Tucker was saying. The two nonetheless have good onscreen chemistry, with a solid supporting cast, and it all adds up to an entertaining film.

Shanghai Noon (2000)

asian man with long hair in a cowboy hat with hands on hips, a stance mirrored by blonde man standing next to him on the right, in a 19th century suit

Chan teamed up with Owen Wilson for Shanghai Noon. Credit: Buena Vista Pictures

Chan found an even better match when he co-starred with Owen Wilson in Shanghai Noon, best described as a “buddy Western” action/adventure. Chan plays Chon Wang (as in John Wayne), a Chinese Imperial guard who comes to the American West to rescue the kidnapped Chinese princess Pei-Pei (Lucy Liu). He ends up bonding with a bumbling, rakishly charming outlaw named Roy O’Bannon (Wilson), who agrees to help find the princess with the ulterior motive of stealing some of the gold being offered as ransom. Since they are also accidental fugitives, they must elude a posse led by the sadistic Marshall Nathan Van Cleef (Xander Berkeley).

Both Chan and Wilson’s comedic talents are on brilliant display here, with plenty of creative fight choreography and set stunt pieces to keep hardcore fans happy. The script is clever, the supporting cast is excellent, and the pacing never lags. If you’re keen to make it a double feature, the 2003 sequel, Shanghai Knights, brings Chon Wang and Roy to jolly old England to recover a stolen Imperial Seal and foil a plot against the British throne. Granted, it’s not as good as its predecessor, but the Chan/Wilson chemistry still makes it work.

The Forbidden Kingdom (2008)

man in white shirt and green khaki paints kicking up from his back on the ground at another man in disheveled dress in a fighting stance

Chan and Jet Li found it easy to work together in The Forbidden Kingdom. Credit: Lionsgate

The Forbidden Kingdom is a fantasy film in the wuxia genre that features not just Chan, but his fellow martial arts film legend, Jet Li, for their first on-screen pairing. A young man in Boston, Jason (Michael Angarano), who loves wuxia movies, finds a mysterious golden staff in a local Chinatown pawn shop that transports him to a village in ancient China. He is attacked by soldiers keen to get the staff but is saved by an inebriated traveling scholar named Lu Yan (Chan), a reference to one of the Eight Immortals mentioned in the Drunken Master films.

The magical staff turns out to be the key to releasing the mythical Monkey King, imprisoned by his rival the Jade Warlord. Jason’s presence could fulfill an ancient prophecy of a Seeker who will use the staff to free the Monkey King. Li plays the Silent Monk, who teams up with Jason, Lu Yan, and a young woman known as the Golden Sparrow (Liu Yifei) to fulfill the prophecy. The Forbidden Kingdom is a visual feast, featuring stunning fight choreography and production design in the wuxia tradition, as well as an impressive, highly stylized fight scene between Li (tai chi) and Chan (Drunken Boxing).

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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Go back to the Grid in TRON: Ares trailer

An AI program enters the real world in TRON: Ares.

It’s difficult to underestimate the massive influence that Disney’s 1982 cult science fiction film, TRON, had on both the film industry—thanks to combining live action with what were then groundbreaking visual effects, rife with computer-generated imagery—and on nerd culture at large.  Over the ensuing decades there has been one sequel, an animated TV series, a comic book miniseries, video games, and theme park attractions, all modeled on director Steve Lisberg’s original fictional world.

Now we’re getting a third installment in the film franchise: TRON: Ares, directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil), that serves as a standalone sequel to 2010’s TRON: Legacy. Disney just released the first trailer and poster art, and while the footage is short on plot, it’s got the show-stopping visuals we’ve come to expect from all things TRON.

(Spoilers for ending of TRON: Legacy below.)

TRON: Legacy ended with Sam Flynn (Garrett Hedlund), son of Kevin Flynn (Jeff Bridges) from the original film, preventing the digital world from bleeding into the real world, as planned by the Grid’s malevolent ruling program, Clu. He brought with him Quorra (Olivia Wilde), a naturally occurring isomorphic algorithm targeted for extinction by Clu.

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Trump tariffs terrify board game designers

Placko called the new policy “not just a policy change” but “a seismic shift.”

Rob Daviau, who helps run Restoration Games and designed hit games like Pandemic Legacy, has been writing on social media for months about the fact that every meeting he’s in “has been an existential crisis about our industry.”

Expanding on his remarks in an interview with BoardGameWire late last year, Daviau added that he was a natural pessimist who foresaw a “great collapse in the hobby gaming market in the US” if tariffs were implemented.

Gamers aren’t likely to stop playing, but they might stick with their back catalog (gamers are notorious for having “shelves of shame” featuring hot new games they purchased without playing them… because other hot new games had already appeared). Or they might, in search of a better deal, shop only online, which could be tough on already struggling local game stores. Or games might decline in quality to keep costs lower. None of which is likely to lead to a robust, high-quality board gaming ecosystem.

Stegmaier’s forecast is nearly as dark as Daviau’s. “Within a few months US companies will lose a lot of money and/or go out of business,” he wrote, “and US citizens will suffer from extreme inflation.”

The new tariffs can be avoided by shipping directly from the factories to firms in other countries, such as a European distributor, but the US remains a crucial market for US game makers; Stegmaier notes that “65 percent of our sales are in the US, so this will take a heavy toll.”

For games still in the production pipeline, at least budgetary adjustments can be made, but some games have already been planned, produced, and shipped. If the boat arrives after the tariffs go into effect—too bad. The US importer still has to pay the extra fees. Chris Solis, who runs Solis Game Studio in California, issued an angry statement yesterday covering exactly this situation, saying, “I have 8,000 games leaving a factory in China this week and now need to scramble to cover the import bill.”

GAMA, the trade group for board game publishers, has been lobbying against the new tariffs, but with little apparent success thus far.

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