University Centre for General Dermatology and Oncodermatology, Wrocław Medical University
A Polish man experienced a severe allergic reaction to the red ink used in his tattoo, resulting in hair loss, cessation of sweat production, and the development of vitiligo. This alarming case highlights potential adverse effects of certain modern tattoo inks on the immune system.
Tattooing is a time-honored practice that traditionally utilized black soot-based inks and manual techniques. Today, electric tattoo machines are employed to rapidly apply colorful synthetic inks across larger skin areas.
Many dyes found in colored tattoo inks were originally formulated for use in printer inks and automotive paints, not for human application. Reports of allergic reactions to colorful tattoo inks have surged in recent years, particularly among individuals with existing immune issues, such as eczema, asthma, and celiac disease. According to research, around 6% of people report allergic reactions that persist for more than four months, particularly with red ink.
The Polish man’s symptoms began four months post-tattoo application on his forearm. Initially, itched intensely, followed by the emergence of a widespread red rash. Over time, he developed hair loss, yellowing nails, swollen lymph nodes, and an inability to sweat. After two years, he also noticed large patches of vitiligo.
Despite consultations with several specialists, including dermatologists and allergists, the underlying issue remained undiagnosed. It wasn’t until the red ink decorations of his tattoo became visibly inflamed that suspicion arose. A biopsy of a swollen lymph node revealed traces of red ink had migrated from the tattoo site.
Due to limited treatment options, the man underwent eight surgeries to eliminate the problematic red ink and apply skin grafts. Post-treatment, while his hair has regrown and vitiligo has stabilized, he still suffers from permanent dysfunction of his sweat glands, presenting a risk of heat exhaustion and necessitating his resignation from military service, as he must frequently spray himself with water.
Despite attempts, dermatologists at Wrocław Medical University could not obtain a sample of the red ink for analysis. However, past studies have identified synthetic organic dyes, particularly azo dyes, as agents responsible for allergic reactions in red tattoos.
The potential health risks associated with tattoo ink are linked to its chronic activation of the immune system. Most tattoo ink remains on the skin, but some can migrate to lymph nodes. Here, immune cells known as macrophages attempt to eliminate the ink but often fail due to its size. This failure leads to a cycle of immune activation, as macrophages transfer the ink to others, perpetuating the immune response. Dr. Sine Clemmensen of the University of Southern Denmark elaborates on this issue.
The Polish man also had Hashimoto’s disease, an autoimmune condition that may have heightened his sensitivity, resulting in the immune system mistakenly attacking his skin.
Emerging research suggests that even individuals without pre-existing immune conditions might face long-term risks related to tattoos. Clemmensen’s findings indicate that having any tattoo color could triple the risk of developing lymphoma, a cancer affecting the lymphatic system.
In January 2022, following another case similar to that of the Polish man, the European Union initiated measures to enhance tattoo safety by restricting chemicals commonly found in tattoo inks with azo dyes. However, legislation in other regions is still pending.
Patrizia Schlosser’s ordeal began with a regretful call from a colleague. “I found this. Did you know?” he said, sharing a link that led her to a site called Mr. DeepFakes. Here, she was horrified to discover fabricated images portraying her in degrading scenarios, labeled “Patrizia Schlosser’s slutty FUNK whore” (sic).
“They were highly explicit and humiliating,” noted Schlosser, a journalist for North German Radio (NDR) and funk. “Their tactics were disturbing and facilitated their ability to distance themselves from the reality of the fakes. It was unsettling to think about someone scouring the internet for my pictures and compiling such content.”
Despite her previous investigations into the adult film sector, this particular site was unfamiliar. “I had never come across Mr. DeepFakes before. It’s a platform dedicated to fake pornographic videos and images. I was taken aback by its size and the extensive collection of videos featuring every celebrity I knew.” Initially, Schlosser attempted to ignore the images. “I shoved it to the back of my mind as a coping mechanism,” she explained. “Yet, even knowing it was fake, it felt unsettling. It’s not you, but it is you—depicted alongside a dog and a chain. I felt violated and confused. Finally, I resolved to act. I was upset and wanted those images removed.”
With the help of NDR’s STRG_F program, Schlosser successfully eliminated the images. She located the young man responsible for their creation, even visiting his home and conversing with his mother (the perpetrator himself remained hidden away). However, despite collaboration with Bellingcat, she could not identify the individual behind Mr. Deepfake. Ross Higgins, a member of the Bellingcat team, noted, “My background is in money laundering investigations. When we scrutinized the site’s structure, we discovered it shared an internet service provider (ISP) with a legitimate organized crime group.” These ISPs hinted at connections to the Russian mercenary group Wagner and individuals mentioned in the Panama Papers. Additionally, advertisements on the site featured apps owned by Chinese tech companies that provided the Chinese government with access to user data. “This seemed too advanced for a mere hobbyist site,” Higgins remarked.
And indeed, that was just the beginning of what unfolded.
The narrative of Mr. Deepfakes, recognized as the largest and most infamous non-consensual deepfake porn platform, aligns closely with the broader story of AI-generated adult content. The term “deepfake” itself is believed to have originated with its creator. This hub of AI pornography, which has been viewed over 2 billion times, features numerous female celebrities, politicians, European royals, and even relatives of US presidents in distressing scenarios including abductions, tortures, and extreme forms of sexual violence. Yet, the content was merely a “shop window” for the site; the actual “engine room” was the forum. Here, anyone wishing to commission a deepfake of a known person (be it a girlfriend, sister, classmate, colleague, etc.) could easily find a vendor to do so at a reasonable price. This forum also served as a “training ground,” where enthusiasts exchanged knowledge, tips, academic papers, and problem-solving techniques. One common challenge was how to create deepfakes without an extensive “dataset,” focusing instead on individuals with limited online images, like acquaintances.
Filmmaker and activist Sophie Compton invested considerable time monitoring deepfakes while developing her acclaimed 2023 documentary, Another Body (available on iPlayer). “In retrospect, that site significantly contributed to the proliferation of deepfakes,” she stated. “There was a point at which such platforms could have been prevented from existing. Deepfake porn is merely one facet of the pervasive issue we face today. Had it not been for that site, I doubt we would have witnessed such an explosion in similar content.”
The origins of Mr. Deepfakes trace back to 2017-18 when AI-generated adult content was first emerging on platforms like Reddit. An anonymous user known as “Deepfake,” recognized as a “pioneer” in AI porn, mentioned in early interviews with Vice the potential for such material. However, after Reddit prohibited deepfake pornography in early 2018, the nascent community reacted vigorously. Compton noted, “We have records of discussions from that period illustrating how the small deepfake community was in uproar.” This prompted the creation of Mr. DeepFakes, which initially operated under the domain dpfks.com. The administrator retained the same username, gathered moderators, and outlined regulations, guidelines, and comprehensive instructions for using deepfake technology.
“It’s disheartening to reflect on this chapter and realize how straightforward it could have been for authorities to curb this phenomenon,” Compton lamented. “Participants in this process believed they were invulnerable, expressing thoughts like, ‘They’ll come for us!’ and ‘They’ll never allow us this freedom!'” Yet, as they continued with minimal repercussions, their confidence grew. Moderation efforts dwindled amid the surge in popularity of their work, which often involved humiliating and degrading imagery. Many of the popular figures exploited were quite young, ranging from Emma Watson to Billie Eilish and Millie Bobby Brown, with individuals like Greta Thunberg also being targeted.
Who stands behind this project? Mr. Deepfakes occasionally granted anonymous interviews, including one in a 2022 BBC documentary entitled ‘Deepfake Porn: Can You Be Next?’, where the ‘web developer’ behind the site, who operates under the alias ‘Deepfake,’ asserted that consent from women was unnecessary because “it’s fantasy, not reality.”
Was financial gain a driving force? DeepFakes hosted advertisements and offered paid memberships in cryptocurrencies. One forum post from 2020 mentioned a monthly profit of between $4,000 and $7,000. “There was a commercial aspect to this,” Higgins stated, elaborating that it was “a side venture, yet so much more.” This contributed to its infamy.
At one time, the site showcased over 6,000 images of Alexandria Ocasio-Cortez (AOC), allowing users to create deepfake pornography featuring her likeness. “The implication is that in today’s society, if you rise to prominence as a woman, you can expect your image to be misused for baseless exploitation,” Higgins noted. “The language utilized regarding women on that platform was particularly striking,” he added. “I had to adjust the tone in the online report to avoid sounding provocative, but it was emblematic of raw misogyny and hatred.”
In April of this year, law enforcement began investigating the site, believing it had provided evidence in its communications with suspects.
On May 4th, Mr. DeepFakes was taken offline. The notice issued on the site blamed “data loss” due to the withdrawal of a “key service provider.” The message concluded with an assertion that “I will not restart this operation.” Any website claiming to be the same is false, and while this domain will eventually lapse, they distanced themselves from any future use.
Mr. Deepfake has ended—but Compton suggests it could have concluded sooner. “All indicators were present,” she commented. In April 2024, the UK government detailed plans to criminalize the creation and distribution of deepfake sexual abuse content. In response, Mr. Deepfake promptly restricted access for users based in the UK (this initiative was later abandoned amidst the 2024 election campaign). “This clearly demonstrated that Mr. Deepfakes wasn’t immune to government intervention—if it posed too much risk, they weren’t willing to continue,” Compton stated.
However, deepfake pornography has grown so widespread and normalized that it no longer relies on a singular “base camp.” “The techniques and knowledge that they were proud to share have now become so common that anyone can access them via an app at the push of a button,” Compton remarked.
For those seeking more sophisticated creations, self-proclaimed experts who once frequented forums are now marketing their services. Patrizia Schlosser has firsthand knowledge of this trend. “In my investigative work, I went undercover and reached out to several forum members, requesting deepfakes of their ex-girlfriends,” Schlosser recounted. “Many people claim this phenomenon is exclusive to celebrities, but that’s not accurate. The responses were always along the lines of ‘sure…’
“Following the shutdown of Mr. DeepFakes, I received an automated response from one of them saying something akin to: ‘If you want anything created, don’t hesitate to reach out… Mr. DeepFakes may be gone, but we’re still here providing services.’
In the UK and Ireland, contact the Samaritans at freephone 116 123 or via email at jo@samaritans.org or jo@samaritans.ie. In the US, dial or text 988 Lifeline at 988 or chat via 988lifeline.org. Australian crisis support can be sought at Lifeline at 13 11 14. Find additional international helplines at: befrienders.org
In the UK, Rape Crisis offers assistance for sexual assault in England and Wales at 0808 802 9999 and in Wales at 0808 801 0302. For Scotland, the contact number is 0800 0246 991, while Northern Ireland offers help. In the United States, support is available through RAINN at 800-656-4673. In Australia, support can be found at 1800 Respect (1800 737 732). Explore further international helplines at: ibiblio.org/rcip/internl.html
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In 2016, a 19-year-old Daniel Kelly faced charges for computer hacking, extortion, and fraud linked to a significant data breach at a British telecom firm, resulting in a four-year prison sentence. Post-release, he has collaborated with over 35 cybersecurity firms to create campaigns and thought leadership pieces. The reality of digital threats.
As a teenager, gaming dominated my life. I spent upwards of 12 hours daily immersed in it. My focus was entirely on video games, as school didn’t captivate me and my offline social interactions were minimal. Gaming became my world, a means of escape, and my community.
Trouble began around 2011 or 2012 when I was competing in an online multiplayer game and experienced a sudden internet disconnection just before the match. It turned out that my opponent had managed to trace my IP address and launched a Distributed Denial of Service (DDoS) attack against me. This incident sparked my curiosity to understand how it was accomplished, leading me to an online hacking forum—not out of malicious intent, but pure curiosity.
Delving into video game cheating sparked my interest in the workings of websites, prompting me to learn about hacking web applications. I began reporting vulnerabilities to various companies and ultimately gained a position as a security researcher with Microsoft.
What deterred me from pursuing that path was the sense of futility I felt. At that time, formal bug bounty programs—incentives for responsible hackers who discover vulnerabilities—were non-existent, and many companies failed to grasp the concept of responsible disclosure. Consequently, those who reported issues were often ignored or even threatened. For a teenager yearning for acceptance and community, this was transformative.
“I would tell my younger self not to cross certain lines.” (Photo of model posing) Composite: Stocksy/Guardian Design
From 2012 to 2015, things intensified. I forged connections on hacking forums, and the discussions gradually shifted from curiosity to darker topics. I found myself leaning towards cybercrime without fully realizing how far from my initial intentions I had strayed.
Following my arrest, I faced endless legal battles and delays while on police bail for four years.
My first prison experience was at HMP Belmarsh, an environment that felt chaotic and unpredictable. For the initial weeks, I remained hyper-alert—not from fear, but due to the atmosphere. Eventually, you adapt to the prison’s daily rhythm, which also forces you to deeply reflect on your choices. It wasn’t entirely negative, but it was certainly isolating.
The sensation of being liberated can be most simply described as “weird.” You expect freedom to be an emotional high point, but it’s often disorienting. After months or years of being told what to do and when, emerging back into society comes with the expectation of returning to normalcy. Adjusting took time; I had to reacquaint myself with making small decisions and rebuild my confidence.
My sentence included a Serious Crime Prevention Order, which I still abide by more than a decade later. It impacts nearly every aspect of my life, imposing restrictions on my technology use and online activities. The awareness that one misstep could lead to loss of freedom creates a constant tension.
Since being released, I’ve found a way to merge two realms I know intimately: cybersecurity and cyber threat intelligence. Many cybersecurity marketing teams lack technical skills, while many tech experts struggle to communicate their work to the public effectively. I’ve built a bridge between these areas. The same knowledge that once led me astray now serves as the bedrock of my business—an odd yet positive twist.
Kelly’s business now leverages his skills for profitability. Composite: Getty Images/Guardian Design
If you have talents but feel isolated, it’s easy to gravitate toward communities that seemingly accept you but ultimately lead you astray. During my youth, I attempted to apply my skills positively. Had there been a more structured and constructive avenue for young individuals to showcase their abilities, my trajectory might have been different. I wasn’t predisposed to commit typical crimes; it was indeed a valid case where no one intervened to guide my potential for legal use. This lack of guidance combined with innate talent can be hazardous.
Fergus Hay, founder of The Hacking Games, aims to reshape the narrative surrounding hacking from one viewed solely as criminal to one seen as constructive when applied correctly. The partnership between Co-op and The Hacking Games offers young minds an outlet to hone their digital skills toward ethically sound careers—precisely the preventative approach we need. It provides young people with technical skills a positive direction. As a member of The Hacking Games Virtue Community, I strive to guide the next generation in avoiding my past mistakes and using their skills for societal protection.
I would advise anyone passionate about technology to not overlook the opportunities that come from being open about your learning journey. The Internet can connect you with individuals who recognize your potential and provide opportunities. The essential aspect is to focus your energy on mastery rather than mischief. Be mindful of the motives of those around you. If someone suggests that laws are irrelevant or that all laws are inconsequential, it’s a warning sign. The boundary between curiosity and crime can blur quickly without guidance.
My thoughts on what advice I would give my younger self continue to evolve. The obvious response would be, “Please don’t.” Yet, the reality is that everything I experienced has fundamentally shaped who I am and my current endeavors.
Still, I would advise my younger self, “Don’t cross that line.” Avoid threatening or extorting businesses—that remains my greatest regret. I’d also emphasize the importance of considering the outcomes and realizing how many lives are impacted by rash actions. While curiosity itself isn’t wrong, the way it was wielded was flawed.
If you’ve taken a physics class, you likely have “memorable” instances of measuring light speed, spending hours setting mirrors, lenses, and light sources just right to achieve the result: just under 300 million meters per second. This figure is a fundamental constant in physics and vital for comprehending the universe.
When observing space, light is our primary resource. While we have other means, like gravitational waves, they currently offer limited insights, so I might be exaggerating a tad. Almost all advancements in astronomy and cosmology derive from collecting light that has traversed from the edge of reality over millions, or even billions, of years. Light from our nearest star takes over four years to reach us. The duration it takes for light to travel may be one of the most practical yet least intuitive aspects of physics.
Humans have debated light’s speed long before we truly understood light itself. For centuries, many intellectuals believed that the glowing in certain animals’ eyes at particular angles indicated they emitted light, resembling a lantern. Nonetheless, they debated whether light traveled instantaneously or required time to propagate, a question not thoroughly tested until the 17th century.
An early endeavor to quantify it involved placing a lantern at a distance and measuring the time difference between it lighting up and the observer seeing the light. This method proved ineffective (Galileo and his peers failed to attain conclusive measurements because the lantern was too close), leading scientists to explore more complex and accurate approaches. The first effective instrument was developed in 1675 by Ole Römer while measuring Jupiter’s moon Io’s orbital period. He observed that the period seemed to vary as the distance from Earth to Jupiter fluctuated, which seemed perplexing. Why would Io’s orbit correlate with Earth’s positioning? The only variation was the time it took for light to travel from Io to Earth, diminishing as the two grew closer. A colleague, Christian Huygens, calculated that light’s speed was around 220,000,000 meters per second. Although this estimate lacked precision due to unknown earthly movements, it established a foundation for later refinements. By the early 18th century, measurements were within a few percent of the current consensus of light’s speed in vacuum: 299,792,458 meters per second.
This prompts two inquiries: Why is the speed of light seemingly arbitrary, and why is there a speed limit at all? The first question is straightforward, linked to our units. Meters and seconds (or miles and hours) originated from human experiences. For instance, a mile equals 1,000 steps and has no relation to fundamental constants. The second question is more complex, entwined with special relativity.
The answer lies in perhaps the most recognizable equation: e=mc2. This equation implies that energy and mass can be interchanged. When objects move at extremely high or relativistic speeds, I like to think of them possessing momentum, blending mass and velocity. To increase an object’s speed, we must continually supply more energy. A massive object achieving light speed would require infinite momentum, equating to infinite energy or mass. This situation is unattainable. As an object nears light speed, its mass escalates, making further acceleration unfeasible. Light, having no mass, circumvents this dilemma.
Moreover, special relativity illustrates that an outside, stationary observer would perceive something quite unusual. When an object travels at relativistic speeds, time appears to slow down from an external viewpoint. If I were moving away from you at 99% of light speed, I’d observe my aging decelerating. This phenomenon is termed time dilation. Concurrently, another effect, length contraction, would have you notice that I’m shrinking increasingly as I accelerate. From my frame of reference, I wouldn’t perceive time slowing down or my stature diminishing, but from your outlook, the closer I get to light speed, the shorter and more ageless I appear.
Herein lies a paradox: if I somehow reached light speed, time would seemingly stop for an outside observer as my height approaches zero. I would cease to exist, along with time and space. Luckily, the laws of physics preclude that scenario. Only massless entities can attain that speed limit: photons, gluons, and gravitational effects. Nothing surpasses light speed through space and time.
Rather than feeling disheartened by the universe’s speed limitations, we should celebrate them. The speed of light carries a crucial consequence: it underpins the whole notion of causality. All physics, and our comprehensive understanding of everything, hinges on the principle that effects always follow causes, never the other way around.
Consider this: as I approach light speed, you observe my time slowing down. It will cease entirely when I attain light speed. Should I exceed light speed, from your perspective, I’d be reversing time. If I transmitted a signal faster than light, a hypothetical message defying physics, you’d receive it before I sent it. Absent a universal speed limit, discerning which events caused which effects would be impossible, rendering the universe largely incomprehensible.
Finally, here’s a thought-provoking notion: if all signals require time to travel, and time progresses variably in frames of reference moving at different speeds, what does simultaneous meaning? If I wink at my reflection, the reflected wink arrives slightly later than my physical action, due to light needing to bounce off my face, towards the mirror, and back into my eyes. If two events simultaneously occurred across the universe, I must ask, “By whose standard?” Depending on the distance separating two locations, event 1 might have occurred first for one observer, while event 2 happened prior to event 1 for another. There is no objective simultaneity, no definitive “same time.” This reality stems solely from light’s finite speed. Fascinating, right?
Oscar Isaac embodies the obsessive and charismatic Victor Frankenstein
Ken Woroner/Netflix
frankenstein Directed by Guillermo del Toro, Now playing in selected cinemas in the UK and US, streaming on Netflix beginning November 7th
Guillermo del Toro has long been captivated by the intersections of science, mythology, and monsters. In his latest film, frankenstein, he finally explores Mary Shelley’s essential text—the 1818 novel widely regarded as the foundation of both science fiction and modern horror.
The outcome is visually lavish, delivered with intensity, and at times thought-provoking, though its pacing and certain design choices reflect the influence of Netflix, the film’s financier.
Shelley’s tale of Victor Frankenstein, the brilliant yet reckless scientist seeking to animate lifeless matter, remains one of the most poignant cautionary narratives regarding the allure and risks of scientific ambition. In del Toro’s rendition, Oscar Isaac portrays Victor as a charismatic and obsessive character, driven by his personal and intellectual struggles into unknown territories.
Isaac’s performance captures both arrogance and fragility, while the surrounding ensemble enriches the narrative. Charles Dance plays Victor’s authoritarian father, and Mia Goth delivers a standout performance as the poignant and compassionate Elizabeth Lavenza.
The film truly shines in the laboratory scenes. Del Toro, alongside production designer Tamara Deverell, crafts an environment echoing a 19th-century anatomical theater, equipped with towering instruments and rudimentary electrical devices. The representations of anatomy and experimental medicine are stylized, yet maintain an element of realism. Authenticity is embedded in the nuances of ligation, scalpel usage, and surgical procedures.
However, Victor’s excess may risk the film’s realism. The abundance of fresh corpses at his disposal stretches believability, yet his actions resonate with Romantic-era debates on electricity, vitalism, and the boundaries of life and death.
The creature, created and forsaken by Victor (played by Jacob Elordi), deviates from the iconic giant with a neck bolt seen in the 1931 film frankenstein. Instead, we encounter a leaner, scarred figure brought to life through prosthetics and CGI. While effective, certain close-ups—particularly when the creature lies still—evoke discomfort due to his jawline. Additionally, his appearance, imbued with a brooding “emo” aesthetic, aligns more closely with contemporary tastes than Shelley’s 19th-century context.
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The film’s visuals present chiaroscuro depictions of captivating laboratories and landscapes. “
In many ways, this aesthetic continues the early films’ fascination with biology as bricolage, viewing the body as a site for transformation, as seen in water shape. Even through a modern lens, this creature exemplifies our enduring interest in reconstructing life from remnants—a scientific ambition that remains as mesmerizing today as it was in Shelley’s era.
Story-wise, frankenstein may falter in places. Del Toro dedicates his 150 minutes of screen time to Victor’s formative years, intellectual development, and gradual immersion into his quest for conquering death. While this extensive focus fleshes out Victor’s psyche, it may result in a sluggish pacing that some viewers could find overly drawn-out. Additionally, the creature’s strength—capable of lifting a ship as if it were driftwood—runs the risk of exaggeration, potentially undermining the film’s serious examination of scientific potential.
Nevertheless, the central theme remains pressing. In the end, frankenstein is less about the mechanics of resurrection and more about society’s response to the unfamiliar. The film dazzles with consistent visual allure, featuring Dan Laustsen’s cinematography that highlights chiaroscuro scenes of both laboratories and landscapes, along with Alexandre Desplat’s score oscillating between eerie crescendos and tender motifs of longing.
Del Toro’s oeuvre includes various ambitious projects; however, frankenstein stands as a sincere and provocative exploration of one of science’s most profound fables. It compels us to question not only whether we can engineer life, but also whether we can coexist with what we’ve created.
In the German fairy tale of the fisherman and his wife, an old man catches a peculiar fish—a talking flounder. This enchanting creature holds an enchanted prince within, granting any wish the fisherman desires. His wife, Ilsevil, revels in her newfound fortune, continuously asking for more extravagant things. They transform their humble shed into a grand castle, yet it never feels sufficient. Ultimately, she desires to become Pope, and eventually, God. This insatiable greed enrages the elemental power, darkens the ocean, and restores her to her original impoverished state. The moral of the story: Don’t covet what you aren’t entitled to.
Numerous variations of this classic tale exist. Sometimes, wishes are clumsy or contradictory rather than overtly aggressive toward the divine order, as seen in Charles Perrault’s “outrageous wishes.” Similarly, in W.W. Jacobs’ 1902 horror story “The Monkey’s Paw,” wishes unintentionally harm those closer to the wishers than the objects of their desires.
Nowadays, many young people grow up with their own enchanted fish in their pockets. They can wish for homework completion, and the fish fulfills those wishes. They can indulge in countless sexual scenarios, and if they bypass age restrictions using a VPN, those scenarios become visible. Soon, they may wish for movies that match their interests, and those will materialize in seconds. They hope to finish their college essays—only to find them fully written.
This shift in perspective not only alters the consumer relationship with creative arts—literature, music, and visual content—but also redefines the essence of creativity and, thus, being human. In the near future, most individuals may delegate troublesome interactions to AI agents. These agents would negotiate contracts, act as representatives, receive critique, match information, and gather opinions. And the ocean remains undisturbed.
Currently, a young Ilsevil, sitting in a university auditorium, might still face fines from professors who grew up in a different era when they see her entrusting a seductive fish to write yet another essay. However, this won’t last much longer, as Ilsevil will soon belong to a confident majority, with most professors having shared her experiences. Ilsevil desires a boyfriend, a spiritual guide, and a therapist, and soon, she will have them. With each of these connections, it feels as if Ilsevil has known them for years, and in a literal sense, she has.
Just like her mythological counterpart, she aspires to be Pope and soon accomplishes this within her small world. However, one could challenge Ilsevil for complicating matters. If becoming Pope becomes effortless, the allure of the title will dwindle for her generation. After all, the most intriguing and desirable things often require overcoming significant obstacles. Yet, Ilsevil understands that the nature of this attractive resistance can also be found in encouragement, learning, and even more precise wishes.
Today, young people grow up with enchanting fish in their pockets…the fisherman and his wife. Illustration: Aramie
She dedicates much of her energy to refining the tone of her results. Though she may lack an innate sense of what makes her writing compelling, she can gauge the appropriateness of her content through responses from others and AI. This becomes a way to develop wishes that are more reliable than ever before. In times past, Ilsevil rarely encountered anyone who found her words intriguing or surprising. However, nowadays, every conversation she has with her AI is regarded as captivating and surprising. At last, she feels heard in a way that human partners might struggle to offer.
But what occurs when the fulfillment of all wishes leads Ilsevil to feel empty? What paths remain open to her?
The first path is the descent into decadence. This pattern is familiar from studies of affluent individuals. In the future, those with ample wealth will be able to hire human therapists or enjoy films featuring real people. Recently, someone in an AI forum suggested that AI might produce excessive amounts of child sexual abuse imagery, suggesting that this will avoid harm to real children. Consumers of such visuals seek not only visual stimulation but also a sense of certainty that real children were harmed. They claim the “aura” surrounding their products. With sufficient resources, Ilsevil could tread this path, just as they do.
The second path involves creating a small, insular community that deliberately constructs challenges and obstacles for one another, perhaps in a cult-like manner reminiscent of traditional sports or hunting clubs. They may host secret or exclusive underground events, with no other objective than to endure the discomfort of queuing and waiting. This concept was inspired by Stanisław Lem’s novel “Futurological Congress.” As of 2025, queuing remains a free experience, but future generations may be astonished by this.
The third path is both the most likely and the most obvious. Within her fairytale existence, Ilsevil uncovers the fundamental principle of redefining her wishes, enhancing their significance while infusing them with a sense of guilt. Guilt is a powerful mechanism constraining individuals to a product; a beloved but embarrassing product becomes intertwined with one’s identity, fostering neuroses and alternative realities that amplify this guilt.
Ilsevil naturally assumes the enormous ecological guilt connected to the immense resource waste created by AI. This primary guilt has shifted directly to her from the actions of large corporations and states. Consequently, she begins to limit and punish herself in her daily life. Each morning, she awakes with the conviction that every small choice and desire inflicts great harm on the “planet,” “society,” or “future.” She flourishes within her martyr-like guilt, assuming a savior’s role. This newfound identity feels like an eternal struggle without resolution, becoming a magical element that preserves her self-sacrificial essence amidst her internal contradictions. Rather than protesting against the insatiable waste of resources, Ilsevil constrains her personal freedom, encompassing nutrition, water consumption, family size, and mobility. Ultimately, she embodies a sort of sacrificial figure, taking all her transgressions to the grave.
The cautionary tales of European folklore against impulsive and unwise wishes stem from a universal theme: the intricate journey of individual lives. They explore questions about personal growth, life’s purpose, and what to pass on to the next generation. Yet in this final scenario, Ilsevil finds herself unable to address these fundamental questions freely; they are decided for her.
I found myself in a softly illuminated room, making my way to the table. The beat of “Mamushi” by Megan Thee Stallion filled the air, while two large white circles moved rhythmically along the silhouette of my body displayed on the screen.
Is this an exclusive sex club in Germany at 2 AM?
Unfortunately, no. I’m actually in a suburban shopping center on a Tuesday afternoon, experiencing a massage from an Aescape robot.
Aescape lets me explain, is a “groundbreaking lifestyle robot company” that “transforms the wellness sector by delivering outstanding massage experiences.” To put it simply, they provide robot massages: a cushioned table paired with two large robotic arms that knead your body according to your preferences and a preset program.
I absolutely love massages—there’s nothing that makes me happier than having the sack of flesh I call a body manipulated like Wagyu beef. So, I opted for the “power-up” option for 30 minutes, which costs $60 and promises to make you feel “good and alert.”
According to Mayo Clinic Health System, massage therapy can benefit numerous conditions including anxiety, depression, sports injuries, digestive issues, headaches, and soft tissue sprains. It also enhances circulation, boosts the immune system, reduces stress, and increases energy levels.
But can a robotic massage compare to one delivered by a human?
“There are many gimmicks out there. My mother owns a massage chair, and I use a Theragun at home,” explains Christa de La Garza, a board-certified massage therapist from Colorado. While these devices can be beneficial, Della Garza believes there’s no cause for concern about robots taking over.
Primarily, there are tangible physical advantages to interacting with humans. During the early days of the pandemic, many felt “skin hungry,” a term reflecting a need for physical touch that comes from prolonged isolation.
A paper published in 2024 in Nature, indicated that receiving touch is “very significant,” revealing that touch interventions help alleviate pain, depression, and anxiety in adults. The study found that while touch from objects and robots could provide physical benefits, the mental health advantages were minimal.
“Receiving safe and therapeutic touch is incredibly powerful,” shared Della Garza.
Aescape clarifies on their website that they do not intend to replace therapists but rather to complement their services and address workforce shortages in the industry.
An Aescape robot masseuse. Photo: Provided by Aescape
Upon my arrival, the efficient, blonde receptionist assured me, “Humans can’t be replaced.” Although I was late due to parking complications, the machine didn’t seem to mind. It felt like a typical spa, complete with nail polish, pedicures, and crystals for sale at the front desk. As we walked to the robot room, she mentioned that Aescape is quite popular, especially among clients who “are uneasy about being touched by strangers.”
Once inside, she provided me with high-compression, Aescape-branded leggings and top to wear. As my treatment began, I learned these garments help improve the machines’ “body detection.” Lying on the table, I remained very still as the Aescape robot scanned my shape. The staff explained the screen controls and an emergency button to halt the process if needed.
“We don’t need it!” she said cheerfully before changing my outfit.
Once I was facing the screen, I was greeted with a variety of options. What kind of music would I prefer? Choices included a playlist named lo-fi ambient jazz, classic rock, or “brat.” I could also see clear outlines revealing my body’s quirks—did they have to outline my saddlebags so distinctly?—or watch calming videos of the ocean, snowy mountains, or rainy forests. The headrest could be adjusted for different pressure settings on the machine.
One of Della Garza’s concerns about robotic massages is the potential for overthinking. With a human therapist, you tend to surrender more, as they steer the majority of the experience, allowing you to switch off your mind.
I, however, was distracted by the temptation to fine-tune the music and visuals. Did I want to see the snow? It was okay. Was a “Brat” playlist relaxing? Nope—back to ambient lo-fi. Is that really what my body looks like? This is unsettling.
Several friends expressed concern that a robotic massage might make me anxious. What if the powerful robotic arms tore through my muscles like a pile of deli meat? Conversely, my greater worry was that the massage wouldn’t be firm enough, leaving my tension knots intact.
Nevertheless, the massage proved enjoyable. The robot’s smooth plastic hands felt pleasantly warm. While they lack the finesse and precision of human touch, they provide a rather fun experience. In fact, the robot hands resemble knobby shapes, much like small Dutch clogs, with a firm push against the back.
By the end of the session, I felt significantly more relaxed than when I began. Although I wasn’t exactly elated, I sensed that I could comfortably drift into a deep, dreamless sleep.
While it certainly can’t replace the human touch, I appreciate the surrender and attention to detail a traditional massage provides. Additionally, Aescape doesn’t address the head, hands, or feet. But if you’re feeling sore after a workout or find yourself walking around a suburban shopping center for a duration, I could see it as a viable option. It’s relatively affordable, and there’s no need to tip.
POriswork often resembles neither a shield nor a duty; it’s primarily focused on documentation, online training, and educating individuals about driver criminal courses. Yet sometimes, reality echoes artistry. In 2020, the International Police infiltrated Encrochat, an encrypted phone network utilized by organized crime groups globally. They had a staggering 74 days of access to all communications, images, and plans involving drug trafficking, money laundering, scams, and homicide. “It was like LinkedIn for organized crime,” remarks Matt Horn, principal commander of the UK’s National Crime Agency (not an actor from Gavin & Stacey).
Operation Dark Phone: Murder by Text (Sunday, 9pm, Channel 4) presents a documentary drama that artfully centers around these messages, providing a gripping insight into how criminal enterprises function. Here, “sweets” refer to bullets, while “pineapple” signifies a homemade projectile. A violent British criminal, known for lying low in Spain, orchestrates a corrosive attack on a rival, even while sharing images of his breakfast: sliced cucumber with paprika—quite the culinary juxtaposition. The advised trick is to ensure the victim can’t reach the sink, allowing the acid to do its grim work. Not so appetizing.
The show is steeped in remarkably dark humor, largely courtesy of usernames like “Click” on an anonymous platform. Names like “Mystical Steaks,” “Worthy Bridges,” and “Top Shags” contain the absurdity akin to Chris Morris’s work. At one point, an agent describes interactions with the user “Livelong” and “Ball-Sniffer,” assuming the latter’s lowly status. Agents in their respective fields navigate through a thrilling narrative. Typically, they handle fewer than 100 explicit life threats in a year, yet during this operation, they intercepted over 150 in just six weeks. Logistically, that poses a challenge.
Detectives had access to criminal messages for 74 days. Photo: Channel 4
The show excels in captivating its audience. The narrative arc introduces well-developed characters and builds tension towards a crescendo. “Ace-Prospect” is seen importing firearms into the UK, while “Livelong” seeks revenge against him. Neither side, connected through intermediaries, knows the identity of the opposing party. The NCA faces a time crunch, often receiving message data a full day late, leading to a relentless race against time. A dilemma arises when an Ace-Prospect hitman mistakenly delivers a “pineapple” to a rival’s garden without it detonating—how do they safeguard the lives of nearby children while upholding their covert mission?
This narrative is far more enticing than traditional Crimewatch formats. Rather than petty criminals, it presents affluent players orchestrating offenses from afar. Is it ethical? Is there a risk of glamorizing crime? The visual portrayal evokes leisure, showcasing luxurious pools, gym-toned physiques, and cinematic weapons. The actor portraying Livelong bears a striking resemblance to Claes Bang and often appears shirtless. Nevertheless, beneath the surface, it’s a moral tale. The text echoes horrifying fantasies: “I’ll take his eyes out and chase him around all the prisons,” reminiscent of an acid-infused nightmare.
Gang members contributed to their own downfall with constant oversharing, boasting, and vanity. Photo: Channel 4
The allure lies not just in the medium but in the underlying message. The downfall of these criminals stems from superficial behavior, incessant sharing, and physical vanity driven by social media pride. Livelong’s identity is ultimately exposed when he posts a triumphant selfie. Just imagine an old-school criminal’s disbelief at this premise; I envision them slapping their foreheads, only to forget to release their fists and knock themselves out.
The criticism leveled at the series arises from the realization that this isn’t mere dramatization—it’s grounded in reality. Part of the critique stems from fear—a reminder to us that there exist individuals who trivialize their lives and revel in violence. Operation Dark Phone is a four-part documentary series providing a harrowing glimpse into police operations, promising even more astounding revelations as the story unfolds. If your faith in humanity feels shaken, you might want to skip this one. Just in case, you might want to avoid supermarket pineapples too.
Last week, The Guardian engaged with the creators of Lili, Macbeth’s video game, which was showcased at the Cannes Film Festival. The prominent quote from this piece stated, “Shakespeare will write for today’s game.” Shakespeare was immersed in the Elizabethan era of theatre, a time when, much like contemporary video games, plays were regarded as mere popular entertainment and often overlooked for serious analysis or preservation! Authorities at the time similarly fretted over the violent and obscene nature of these plays and their potential influence on the masses.
If he were to embrace the notion of a 21st-century Shakespeare crafting games, what type would that entail? Our key argument is that Shakespeare was invested in populism and entertainment. Thus, if we focus on pure profit, he might develop casual smartphone games—akin to Tencent’s massively popular multiplayer arena game, King of Honor, which raked in $2.6 billion (£1.9 billion) last year. However, while the Bard had a fascination with royalty and honor (and certainly making money), it’s a stretch to envision Hamlet as a multiplayer arena-style battler. Surely, our noble characters would barely utter, “O, this would melt, thaw, and settle into dew. Before it evaporates with a barrage of sc-heat.” There’s also little room for the intricacies of storytelling or military rhetoric in battle royale games like Fortnite, despite Shakespeare’s acknowledged affinity for conflict and mortality.
No, if Shakespeare were to return in the early 21st century, it seems he would gravitate towards open-world role-playing adventures. In such a realm, he would have the freedom to craft nuanced stories with an array of characters in diverse settings. The marsh of King Lear could transform into a desolate wasteland, echoing the ravages of Fallout. Macbeth’s Castle might resemble Elden Ring’s ghostly dungeons or settings in The Witcher 3. Verona, home to Romeo and Juliet, could present a captivating yet troubled rendition reminiscent of GTA’s Los Santos. The persistent themes of Shakespeare—war’s nature, revenge, madness, and free will—are at the heart of fantasy RPGs. His talent for incorporating characters from all walks of life is mirrored in the intricate social hierarchies of expansive open-world games. Shakespeare’s historical narratives blend real and fictional figures, akin to the Assassin’s Creed series, which also grapples with themes of identity, disguise, and fantasy.
“This castle has a comfortable seat”… The Witcher 3 represents the kind of open-world RPG that a reborn bard could inspire. Photo: CD Projekt Red
Moreover, open-world games possess a similarly free-form structure and psychological depth as Shakespeare’s theatrical works. They feature subplots, side quests, nonlinear timelines, and morally complex characters. Vast and sprawling, these games invite diverse interpretations; audiences often become both spectators and participants within the narrative. Likewise, Shakespeare aimed for his audiences to engage with the performance, utilizing asides, quips, and monologues to blur the lines between the stage and the audience. Today’s vocal and interactive gamers share more with Shakespeare’s Elizabethan viewers than with the polite crowds of modern theater.
This intriguing intersection of Shakespeare and open-world games is gradually gaining recognition. A few years back, the RSC commissioned three artists to explore live theater interactions with technology. One such artist, digital creator Adam Clarke, experimented with staging Shakespeare’s performances in Minecraft. Recently, I viewed Grand Theft Hamlet, an incredible documentary showcasing efforts to perform Hamlet within Grand Theft Auto during the COVID lockdowns. After all, if any genre can technically express Shakespeare’s fundamental philosophy, it’s that of open-world online video games, where everyone is merely a player on the great stage of life.
What to play
An intriguing strategy sim… Lift Lift. Photo: Adriaan de Jongh
It’s always refreshing to witness a familiar video game genre reimagined thoughtfully. Lift Lift, created by Dutch designer Adriaan de Jongh and his small team, offers a fresh take on tower defense games—think Plants vs. Zombies. In this version, the landscape is significantly more expansive, incorporating tactical elements like the capacity to lay the groundwork for new towers before gathering the necessary resources. With engaging visual aesthetics and sound effects, this strategy sim proves appealing to both newcomers and veterans alike.
Available on: PC Estimated playtime: Over 15 hours
What to read
It’s a flesh scar… Elden Ring. Photo: Bandai Namco
Writer, director, and gaming enthusiast Alex Garland has confirmed his involvement in the upcoming live-action adaptation of Elden Ring, produced by A24 and Bandai Namco. If realized, the initial moments of the film will depict the protagonist’s repeated defeats at the hands of the Tree Sentinel Knight.
Pac-Man officially turns 45! The BFI features articles tracing the game’s development, from its origins as a pizza-inspired saga to the distinct personalities of the ghosts. However, Ms. Pac-Man remains the superior game.
Game design icon Peter Molyneux recently participated in a Q&A at the Nordic Game 2025 Conference, where gi.biz shared his intriguing insights on the fate of Project Milo. If you have to ask what it is, you may never know.
For those intrigued, check out Hurt Me Plenty, an exquisite coffee table book exploring the finest first-person shooters from the 2000s. It dissects titles like Call of Duty 4: Modern Warfare, Half-Life 2, and Unreal Tournament, along with an obscure gem known as Code Name: Nina—an insightful overview of this pivotal era in shooter game design.
What is the strangest game you’ve ever played? Last year, I explored Harold Halibut on Game Pass, which stands out as one of the most bizarre experiences I’ve encountered. I’m eager to hear about other unusual gaming journeys.
I’ve played many peculiar titles. Seaman (the fish who speaks with Leonard Nimoy’s voice), Mr. Mosquito (where you embody a mosquito), and Catamari Damacy (where you roll up a massive ball of trash for the King of the Universe) have all left an imprint. I’ve also ventured into more obscure games like the Spectrum classic Fat Worm Blows a Sparx (you are a microscope worm trapped in a computer), the strange Amiga adventure Tone’s Tass Town (where you’re caught in a punk-infused 1980s dimension), and the quirky PlayStation 2 voyeur simulator Polaroid Pete (you’re a photographer capturing odd happenings in a park).
My personal favorite is Sega’s Ambulance Emergency Call, a game reminiscent of Crazy Taxi. If you collide too much, you have to perform CPR while transporting a critically ill patient. It was a notable arcade hit, yet it surprisingly didn’t make it to home consoles—I can’t fathom why!
If you have a blocking question or anything to share about the newsletter, please reach out to pushingbuttons@theguardian.com
Bora Chong’s Red Sword is set on a planet of conflict
Liu Zishan/Shutterstock
Although there are no blockbuster science fiction releases for May, several remarkable titles stand out. All Versions of Yours is a book I want everyone to read. This month also features two intriguing sci-fi thrillers by Adam Oevani and Burnaby Martin, but it’s Catherine Chidsey’s eerie Guilt that has captivated me enough to consider it my next read—unless I get sidetracked by a narrative of warfare on an alien planet inspired by the true history of Boracheon, Red Sword.
Set in Australia during the late 21st century, this novel (originally released in Australia in 2022 but now gaining broader distribution) tells the tale of Taoi, who lives in a world where most people immerse themselves in a virtual reality called Gaia. Each day, she enters Gaia from her apartment pod to work. The real world is a grim place riddled with relentless heat, devoid of trees and wildlife. This chilling future vision prompts her partner Navin to consider uploading himself to Gaia permanently, seeking an escape as his physical body deteriorates. Taoi, however, is conflicted. This is currently my favorite read—an engaging, thought-provoking sci-fi narrative that lingers in my mind. Watch out, New Scientist Book Club: this might be a selection for us later this year!
I enjoy speculative thrillers, and this one examines the scars left by the Atlantic slave trade. The story kicks off with an unexplainable death – a man found 1600 km from any ocean, while his son appears to have drowned. Detective Ethan Kroll delves into the mystery, uncovering details about Abi Eniola, who claims to be an ordinary Nigerian woman, although her extraordinary skills and high-tech tools suggest otherwise.
On the disputed planet, women are compelled to battle for POWs, revealing a “truly alien landscape” that exposes scientific hatred and the truth about her identity and her fellow captives. Bora Chong draws upon real history to create this narrative, particularly the Korean soldiers who fought for the Qing Dynasty against Russia. It seems like a must-read!
Requiem unfolds in a moon-sized graveyard in space
Luca Oleastri/Alamy
Another riveting sci-fi horror piece comes from former president of the Association of Horror Writers, John Parisano. Set within the lunar cemetery of Eden, this story follows entities in the universe reclaiming the souls of the deceased. A spirit named Roland must fight to protect what he loves as their souls are threatened.
I’m also intrigued by never let me go, which reimagines England in 1979, where triplets Vincent, Lawrence, and William reside in a government-run facility known as the Sycamore scheme. They are monitored by three figures: morning, afternoon, and night mothers, recording their every move and keeping meticulous notes of their dreams and sins. As the government begins shutting down these homes, the children start to realize their lives might differ drastically from what they’ve been led to believe. I can’t wait to uncover the mystery of this tale.
This upcoming novel is being labeled speculative fiction, suggesting it isn’t traditional fantasy or science fiction, but it definitely piques my interest. The story revolves around Lina and her father arriving at a peculiar seaside building with a “time-made” design that symbolizes a clash between past and future. There, they meet an excommunicated 17th-century Jewish scholar and poets from the Tang Dynasty. What brings Lina and her father to this location?
As a reader, I’m often drawn to narratives focusing on mothers trying to protect their children in perilous futures. This one involves a world of extreme heat, forcing people to live nocturnally, with a mysterious sound field that has loomed for two decades. Scientist Hanna, once affiliated with Soundfield, must now safeguard her gifted son, Isaac.
In a grim future filled with raging wildfires, Iris, a hotelier in the German spa town of Badheim, believes the arrival of a young mother and daughter guests poses a significant threat.
I find the pitch for one novel appealing: “Boy Meets Girl Meets AI Therapist.” Adrian begins using Sike, an AI psychotherapy app designed to monitor users’ emotions and behaviors for optimal mental well-being. He becomes entangled with venture capitalist Maquie, keen on the next tech breakthrough, but she refuses to engage with Sike.
There’s nothing better than a good alien insect…
Victor Zastolskiy/Alamy
Jeff’s ordinary existence is upended when he encounters “a pale woman”; suddenly, he finds himself as a mercenary battling alien insects on the front lines. This intriguing premise is from the publisher of Joe Haldeman’s military sci-fi novel, Eternal War—a title I’m eager to explore, especially given my fascination with alien insects.
The Art and Science of Writing Science Fiction
Dive into the realms of science fiction and learn how to craft your own captivating stories in this immersive weekend getaway.
IIn the West Bank city of Nablus, Rashid Abueide operates a nut roaster to support his family. Additionally, he is an award-winning game developer. A decade ago, amidst the escalating 2014 Gaza war, he created a compelling video game titled “Lilya and the Shadow of War” which depicts a man’s quest for safety for his daughter and himself. However, amidst the falling missiles, it becomes evident that safety is unattainable. Initially rejected by Apple upon release in 2016 due to inappropriate content, the decision was eventually reversed after a week of protests.
Despite the acclaim and attention “Lilya” received, Abueide struggled to secure funding for his next game through conventional means. His envisioned game, “dream on the pillow,” narrates the story of the 1948 Nakba and reflects on the Arab-Israeli conflict through a mother’s folklore. Rejected nearly 300 times for being contentious and risky, Abueide’s games challenge the narratives surrounding the Palestinian experience, which has long been taboo.
Historical Background…The game’s timeline switches between the protagonist Om’s past and her horrifying present. Photo: Rasheed Abueide
Currently, as conflict rages in his homeland, Abueide is resolute in telling the Palestinian narrative. With the collaboration of a dedicated team, he initiated a crowdfunding campaign to bring “Dreams on a Pillow” to life.
Despite challenges, the team successfully reached its fundraising goal through Launch Good, a platform that acknowledges Muslim causes. This achievement covers a significant portion of the game’s development costs, paving the way for further funding opportunities as the project evolves. Abueide expresses gratitude for overwhelming support and emphasizes the importance of portraying the Palestinian plight in gaming.
“I want to send a message.” Rashid Abueide, who operates a nut roaster in Nablus. Photo: Rasheed Abueide
“The Dream on the Pillow” draws inspiration from a mother fleeing with her infant, inadvertently carrying a pillow and recalling her childhood in Palestine. The game interweaves her journey post-Tantura massacre with nostalgic dreams, using the pillow as a key element for progression but also triggering nightmares. Abueide anticipates a two-year development timeline, underscoring the project’s significance with contingency plans in place for potential interruptions.
Abueide’s ultimate goal is for players to empathize with the Palestinian experience, understanding the lasting impact of past conflicts on present realities. By shedding light on the ongoing struggles of the Palestinian people, he aims to prompt an informed and empathetic response from players.
In June 1972, the Royal Society of Medicine in London hosted a symposium called “Man in His Place.'' The lecture featured a diverse group of speakers, including Jacob Bronowski, who was featured in a highly acclaimed 13-part BBC television series. rise of manwill be broadcast the following year. But the first person to take to the stage was John Bumpass Calhoun of the National Institute of Mental Health in suburban Washington, DC.
Even those in the audience familiar with Calhoun's work had no idea what was in store for them, and the title of his talk, “Death Squared: The Explosive Growth and Demise of Rat Populations” was not conveyed very well. “I mainly talk about rats, but my thoughts are about humans, healing, life and its evolution,” he began. He went on to describe a long-term experiment he is conducting on population dynamics in mice living in a “utopian environment” he calls Space 25. Although his research subjects were rodents, Calhoun believed that his metropolis had an effect on humans. A cautionary tale about the chaos and social collapse that awaits humanity in an overpopulated world.
An ecologist turned psychologist turned futurist, Calhoun became a science rock star in the 1970s. His message resonated at a time when the human population was rapidly expanding and overpopulation was a major political issue. As interest in his research grew, Calhoun was courted by the great and the good, from politicians and urban planners to prison reformers and writers. He also had an audience with the Pope. Strange as it may seem, his rodent city…
IIt’s ’90s week in Podcastland! At least, you’d think so, judging by the nostalgic homage to children’s entertainment from decades past. There’s an entire series dedicated to the fictional purple dinosaur Barney, and investigative news stalwarts Serial Productions literally digs deep into an important subject: What happened to the whale in Free Willy?
For a bit more extreme retro nostalgia, there’s also the Audible star’s new Agatha Christie adaptation, with Game of Thrones’ Peter Dinklage playing Poirot in Christie’s first novel, The Case in Stiles. Himesh Patel and Harriet Walter co-star as Hastings. Does the fact that they started at the beginning of the Christie canon mean they intend to publish all the books? We certainly don’t disagree.
But if that thought strikes fear into your time-pressed mind, don’t worry. For those who want to immerse themselves in a long-running show without digging through their entire back catalogue, we’ve rounded up the best listens. You can take inspiration from the proliferation of 1990s podcasts, but wait 30 years for retro, nostalgic podcasts before listening to the highlights.
Alexi Duggins TV Deputy Editor-in-Chief
This week’s picks
Peter Dinklage in The Hunger Games: The Ballad of Songbirds and Snakes. Photo: Murray Close/Lionsgate
Mysterious incident at Stiles All episodes now available on Audible Peter Dinklage plays Hercule Poirot in this brilliantly cast adaptation of Agatha Christie’s debut novel. Rob Delaney, Harriet Walter, Jessica Gunning and Himesh Patel are joining the cast of the high-budget, immersive production. Dinklage’s Poirot transforms from a gritty force of nature into a wise and luminous soul in the story of the murder of a matriarch at the country estate where his Belgian detective friend Captain Hastings is recuperating from World War I. It covers a wide range of things. Alexi Duggins
good whale Wide range of weekly episodes available For an iconic investigative series like “Serial,” the whale from the ’90s movie “Free Willy” isn’t an obvious topic. But this fascinating series shows how, from his unhealthy years in captivity to becoming a Hollywood star, the PR-driven campaign to actually free him, and, sadly, how extremely difficult it was. We delve deep into the story of what happened to this creature, right down to how it turned out. Get used to it. advertisement
quilt Wide range of weekly episodes available Queer Britain, the UK’s first LGBTQ+ museum, has partnered with the producers of podcast The Log Books to produce this moving new series. Hosts Tash Walker and Adam Zumis travel around the UK collecting stories, starting with a trans woman in her 70s in Norfolk who sheds tears as she looks at an old photograph. Holly Richardson
generation barney Wide range of weekly episodes available Can a giant purple dinosaur provide a generation with much-needed solace during turbulent times? He certainly revolutionized children’s television in the 1990s, giving young viewers their first superstar. Host Sabrina Herrera, like any good children’s TV character, is full of joy as she tells the story of a dinosaur that provoked the hatred of outraged parents. Hannah Verdier
lady mafia Weekly episodes widely available Sarah King developed a reputation as the “female Bernie Madoff” after allegedly amassing large sums of money through loan sharks and spending them on jewelry, cars and extended stays at the Wynn Resort in Las Vegas. Now, Michelle McPhee gets her lawyer to tell her side of the story and why she doesn’t think he’s a fraud. HV
There’s a podcast for that
Alex Cooper interviews presidential candidate Kamala Harris on Call Her Daddy. Photo: Call Daddy/Reuters
this week, Rachel Aroesti We choose the 5 best podcasts Can be soaked or soakedfrom Radio 4’s classics to Alex Cooper’s $60 million show.
please call her dad Most podcasts, no matter how popular, feel like cult concerns. Their intimate banter and free-spirited vibe give the impression that they exist outside of mainstream cultural conversation. Even Alex Cooper’s Call Her Daddy, the second most listened to pod on the planet, has an upscale club vibe. But every once in a while, Cooper pulls off a headline-grabbing cut-through feat. The show, popular for its sex-positive take on femininity, has been in the news in recent months for interviews with Katy Perry (about her disastrous comeback) and Kamala Harris (about family life and campaigns). A must-listen episode for anyone looking to stay on top of the zeitgeist.
nymphet reunion If you’ve ever been baffled by the endless reboots of TikTok’s aesthetic or confused by the latest (like, 10-minute-old) trends, Nymphet Alumni is here to help. The trio of hosts Biz Sherbert, Sam Cummins, and Alexi Alario explore cutting-edge fashion and hyper-online phenomena (from “mogging” to Mormonism in an unashamedly literate yet never approachable way). (down to style). Sometimes they name trends themselves (see: Brockett, a fusion of soccer shirts and samba-meets-girly-girl attire), or look back at the 20th-century fashion roots of various revivals. Immerse yourself in the feeling of understanding the modern world, even if it’s just for an hour.
off menu Some podcasts succeed regardless of, or sometimes in spite of, their guests, while others rely heavily on the energy of the celebrities who participate. At this point, Ed Gamble and James Acaster are consummate professionals when it comes to eliciting dream meal-based jokes from their interview subjects, but they’re adamant about the off-menu episodes that are truly worth listening to. It includes a guest with eccentric tastes and the resulting spiral of hysterical callbacks. Highlights include Victoria Coren-Mitchell’s dinner party sandwich, Ivo Graham and Yeo Valley yoghurt, Nicola Coughlan’s Robbie Williams wrap and The Inbetweeners star Joe Thomas’ unparalleled madness, ‘Soft Touch’ and Buried Contains lamb.
desert island disc Few podcasts can trace back decades of archives, let alone ones that date back to the 1940s. But that’s what you get when you convert Britain’s longest-running radio show into a podcast. Desert Island Discs currently has 2,482 episodes, and its taste-based premise has proven to be an influential template for modern podcasts (see the aforementioned Off Menu and many others). The back catalog alone is a fascinating cultural chronicle, featuring some very famous guests, as well as many forgotten guests.
good one The old adage that analysis destroys comedy has now been completely debunked by critical forces that are more likely to take stand-up seriously. And Good Ones, a “podcast about jokes” by Vulture’s Jesse David Fox, certainly takes its comedy very seriously. Featuring guests such as John Early, Alex Edelman, Jack Whitehall, and Joel Kim Booster, Fox dives deep into the technique and background behind the routines and sketches. I talk about over two hours of post-mortems on my stand-up shows. It might be a bit too intense for serious listening, but it’s a thrilling and insightful peek behind the curtain, so be patient.
Researchers now believe they have identified the remains of a Norwegian story written more than 800 years ago that depicts a dead man being thrown into a castle well.
The Sverris Saga is a 182-section Old Norse document that records the exploits of King Sverre Sigurdsson, who came to power in the late 12th century. In one section, it is said that rival clans who attacked Sveresborg Castle near Trondheim, Norway, “took the dead, threw them into a well, and buried them with stones.”
The well was located within the castle walls and was the only permanent source of water for the area. It has been speculated that the man thrown into the well in this story may have been suffering from a disease, and that throwing him into the well may have been an early act of biological warfare.
In 1938, part of a medieval well in the ruins of Sveresborg Castle was drained, and a skeleton was discovered beneath the rubble and rocks at the bottom. The skeleton, known as “Wellman,” was widely believed to be the remains of the person mentioned in the story, but it was impossible to confirm that at the time.
now, Anna Petersen Researchers at the Norwegian Institute for Cultural Heritage in Oslo used radiocarbon dating and DNA analysis of the remains' teeth to show that the range of dates in which the man was alive is consistent with the castle raid. . Although it's not conclusive proof that the man is the person mentioned in the story, “circumstantial evidence is consistent with this conclusion,” Pellersen said.
The Well Man's skeleton was discovered in 1938
Riksantikvaren (Norwegian Directorate General for Cultural Heritage)
Additionally, the team was able to further enrich the story. “The investigation we conducted uncovered many details about both the incident and the person that were not mentioned in the story episode,” Petersen said.
For example, DNA suggests he likely had blue eyes and blonde or light brown hair. Researchers also believe, based on comparisons with modern and ancient Norwegian DNA,
that his ancestors came from Vest Agder County, in what is now the southernmost tip of Norway.
What they couldn't find was any evidence that the men were thrown into the well because they were sick or to make drinking water unavailable, but no evidence to the contrary. can't be found, and the question remains unanswered.
michael martin The researchers at the Norwegian University of Science and Technology in Trondheim say their approach of matching historical documents with DNA evidence will help them build family trees of long-deceased royal families and “physically reveal life stories such as movements.” He states that it may also be applicable to “describing and drawing schematically.” Anonymous people whose remains were recovered from archaeological excavations across geographic regions. ”
Researchers collected DNA from one of the skeleton's teeth
Norwegian Institute of Cultural Heritage (NIKU)
“To my knowledge, this is the earliest instance in which genomic information has been recovered from a specific person, or even a specific person, described in an ancient text,” Martin said.
He says generating genomic information from ancient skeletons can provide new details about a person. “These details are not included in the original text, so genetic data enriches the story and provides a way to separate fact from fiction,” Martin says.
IAs is often the case, this incident began with drama in a WhatsApp group. In 2021, a loose coalition of my friends and acquaintances, in order to survive repeated lockdowns, started playing a much maligned online game called “Excuse.” Betrayal and backstabbing are all part of the game.
Except this time people went too far, someone got so upset that he left the group, and to get him back, my friends came up with a dubious plan: they got Nigel Farage, of all people, to make a sarcastic apology video, urging his comrades to rejoin the group.
This was easy to do, thanks to Cameo, which Farage had recently signed up for. For around £100, Farage had 24 hours to record a 60-second video clip and distribute it through the app. The ploy worked, and peace was restored within the friend group, thanks to Cameo and Farage’s rather bewildered recitation of a series of inside jokes that he completely failed to understand.
It’s one of the many uses for Cameo, a service that lets anyone request custom videos for friends from celebrities and influencers and have them delivered within 24 hours. The site became an unexpected hit during the COVID-19 lockdown, helping it attract investment that put it at a $1 billion valuation in 2021.
The front page of the Cameo website, featuring some of the celebrities registered with the site. Photo: Cameo
But since then, things have been tough. The video is still being made, and it’s still… Eclectic. A number of celebrities and influencers (more on that later) are on board, but they seem to be struggling to pay the relatively small bills.
last month, Business Insider Reported Cameo reaches settlement with 30 U.S. states. The company was found to have violated the Federal Trade Commission’s rules regarding celebrity endorsements.
Cameo was fined $600,000, a modest sum for a billion-dollar company in theory, but court filings attested that it couldn’t afford that amount and instead settled for $100,000 (split among 30 states). So what went wrong?
Day to day, the site operates much the same as before, offering custom videos to those seeking them from a range of actors, comedians and influencers, including British names like actor Miriam Margolyes (£134 a video), former footballer John Terry (£197), singer Gareth Gates (£47) and presenter and environmental activist Ben Fogle (£71).
In the US, NSync’s Lance Bass (235 pounds) and Dean Norris (235 pounds), who played DEA agent Hank Schrader, Breaking Bad (193 pounds), and former supporters of the U.S. version. Office Kevin Malone, aka Brian Baumgartner (154 pounds), or “Drunk Meredith” Kate Flannery (150 pounds).
While each has its own fanbase, sometimes with cult followings, Cameo has struggled to attract or retain A-list celebrities and influencers with top-tier followings, in part because using the app poses significant risks to a celebrity’s reputation: Some have used the app for more nefarious purposes, such as scripting videos to trick celebrities into making racist or other insults.
Last year, the “Russian group” A series of videos was commissioned and stitched together. Video recordings from Cameo and similar services made it appear as if various prominent U.S. figures were calling Ukrainian President Volodymyr Zelensky a corrupt drug addict, creating the illusion that they were helping to stage an intervention.
The disinformation campaign also included cameos from actor Elijah Wood and convicted rapist boxer Mike Tyson, though both have since withdrawn their cameos, and both Norris and Flannery are still active on the site.
Cameo takes 30% of creators’ fees for handling sales, transaction fees, and hosting and submitting the videos. Larger creators appear to have decided to forgo this potential revenue stream because it would require making lots of individual videos that never get published, or because of the risks. But smaller creators say it’s a convenient, hassle-free source of funding with few downsides.
HHave you ever been to Taylor Town? As you know, it’s where The Beatles came from. It’s where you can catch a ferry across the River Mersey. It’s home to two famous football stadiums, Goodison Park and Anfield, the latter of which I think was home to Taylorpool FC. Oh, wait. It’s not. It’s Liverpool, right?
Frankly, you could be forgiven for making that mistake, because the place is getting all hyped up about Taylor Swift’s upcoming concert, with “Liverpool Loves Taylor” posters plastered all over the city and an 11-part art installation trail featuring a grand piano, a throne and “hand-made seagulls” has been created. Rename the town after the star.
But is it too much? When does one musician have too big an impact on the world? Is Taylor Swift (whisper it) boring? These are the topics explored in detail in the latest series of The Guardian’s Pop Culture With Chanté Joseph. Swift’s Elle Hunt takes a deep dive into the artist. This week, we’re joined by a great club history of a Welsh LGBTQ+ venue, a wild tale of people mixed up at birth, and a profile of sporting heroes from Colin Murray and Ellis James. We also bring you a roundup of the best podcasts to get you through the upcoming Euros. And if England doesn’t perform as well as expected, there’s one piece of advice from Liverpool’s new de facto mayor: shake it off.
Alexi Duggins Deputy TV Editor
This week’s picks
East Block, an LGBT club in London. Photo: PYMCA/UIG/Getty Images
All you need to play for Wondery+, all episodes will be released on Monday Just in time for the Euros, Ellis James and Colin Murray launch their Sports Heroes Podcast to celebrate the 20th anniversary of Wayne Rooney’s Euro debut. Their fact-packed commentary is passionate and they have a lot of empathy for the young Rooney’s first appearance as he faced off against the press conferences and tabloids. With Euro 2004 coming up, the pressure is even greater as a nation places its hopes on the talented 18-year-old. Hannah Verdier
‘WWhen people play video games, they want to have fun,” Josh Mansell, composer of Naughty Dog’s early Crash Bandicoot games, tells me. It’s a simple word, but one that laid the foundation for everything that PlayStation’s most famous mascot would represent. “Crash Bandicoot” was fun, even when players were banging their heads against CRT TVs in frustration when “Slippery Climb”’s paranoid, creepy music started playing his 100th time. And Mansell’s soundtrack was there to remind us of that from start to finish.
However, the characteristically eccentric, manic energy that fuels Crash’s reckless platforming adventures didn’t come out of nowhere. “When I was working on the game, I was throwing things at the wall to see what would stick,” Mansell says.
Crash wasn’t as fast as Sonic or as approachable as Mario. He was scruffier, edgier, and an underdog than his sanitized mainstream stablemates. And the music captured that. It was insistent, encouraging, and quirky. A witty little Looney Tunes cartoon about someone getting addicted to sugar and accidentally wandering into the third dimension. However, that cheerful Hawaiian surf rock atmosphere was almost something completely different.
Early drafts of the score for the first Crash Bandicoot game were ambient and drum-heavy, focusing on creating a sonic jungle around Crash. So you will feel like you are with him on this dangerous island, surrounded by plants as deadly as animals. . This music was actually very similar to one of Mansell’s earliest projects as a composer, his American Kraft cheese commercial. “This commercial is about a little kid going through a jungle, and it’s all animated, and even the beat I used there is very similar to one of the beats that ended up in ‘Crash.’ I did.
“The early, more ambient stuff works better. It draws you into the jungle and into the immersive nature of what games should be.”
Josh Mansell, Crash Bandicoot game soundtrack composer then and now Photo: Josh Mansell
But Crash Bandicoot is not Uncharted or The Last of Us. Mansell had worked with Naughty His Dog during his “punk” days, and created Crash as a rival (and parody) of Sonic the Hedgehog. Developer’s “Hollywood” days were still two generations ahead of him, and at this point the music needed to be weird and quirky, more akin to a Saturday morning cartoon than a prime-time TV show.
And it was Hog Wild, one of Crash Bandicoot’s most infamous levels, that provided Mansell with the inspiration he needed to fit firmly into Crash’s baggy jolt. “‘Hog Wild’ was a big turning point, especially in terms of the feedback I got regarding the music,” he says. “They were pointing me in the direction of creating a more ‘experimental’ score, using all the percussion and ambience. Environmental sounds. And I think the reactions were divided. ”
Some producers at publisher Universal were not convinced by this more experimental approach. Mansell has previously been quoted as referencing the likes of Aphex Twin and Juan Atkins in these early scores, but that is completely untrue. Mansell says he admires the way the musicians were able to create deep soundscapes with limited space and tools. And that’s what he wanted to do with the Clash, more than “imitate the kind of music they were making”. We weren’t going to get someone like Alberto Balsalme from Crash Bandicoot, right?
“Hog Wild’s music was more…I don’t want to make a pun and say Universal…more comical,” Mansell says. “People laughed at it, and I started to feel like there was an even more positive response. It didn’t sound like Mario music, but it sounded like our own version of Mario. It was more animated, more It’s going to be character-driven.”
“This is what it’s supposed to sound like” when you’re jumping over things on a pig’s back, Mansell points out. And he’s right. Both in music and gaming, Hog Wild is a solid introduction to what Crash Bandicoot is all about. This is where this game departs from its infamous 2D platforming cousins Mario and Sonic. Hog Wild is his eighth level in the game and represents what Crash needs to be: fun, fast, reckless, and stupid. The perfect mascot for Sony and his fledgling PlayStation console.
“[Hog Wild] It was an eye-opener. That’s when I started to see what this game was all about. You’re playing a comic. You are a cartoon character. The person who designed the character was involved with Looney Tunes, right? Charles Zembilas brought that sensibility to the game before I stepped in. ”
Mansell is first and foremost a drummer, and you’ll find that Crash Bandicoot’s melodies, from the first game all the way to Crash Team Racing, are all very percussive and assertive. Just as you can tell that Dave Grohl writes vocal parts from a drummer’s perspective, you can tell that Mansell has a rhythmic heart. Everything about Crash feels groovy, uplifting, and tireless. He specifically mentions Stewart Copeland of the Police as an influence in this regard (“one of my favorite drummers of all time”), and for him the Ruins level of Clash 2 is a true “hat”. ). This creates an interesting loop. Two years after the release of Crash Bandicoot, Copland began composing the music for the Spyro the Dragon series, which also happened to be fortuitous for Mansell.
When Crash finds his feet, or “butt,” consider that during development it was called “Sonic’s Butt Game” because everyone kept paying attention to Crash’s polygonal butt. Mansell felt encouraged. According to the composer, Crash 2 (Cortex Strikes Back) and 3 (Warped) became more “musical” and he began drafting in a more personal style, taking liberties with this blossoming series (very Newly encouraged by its unexpected success in Japan) into the stratosphere.
A road sign near a property recently purchased by Flannery Associates near Rio Vista, California.
Josh Edelson/AFP via Getty Images
For the past six years, a mysterious group called Flannery Associates has been buying up swaths of farmland in Solano County, north of San Francisco.now it has Plans to build a city on an area of more than 200 square kilometers have been made public, and the name of the project has been revealed. california forever.
Jan Sramek, CEO of the business, said: work Investors include venture capitalist Marc Andreessen and LinkedIn co-founder Reid Hoffman. They are…
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