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12 Dec 23:52

Scream Writer Kevin Williamson Would Have Saved Randy If He Knew The Franchise Would Last This Long

by Tyler Llewyn Taing

2022 has been quite the year for fans of the "Scream" franchise. The fifth entry in the series, "Scream," purposefully named to make fun of the current Hollywood trend of the legacy sequel, was a pleasant January horror surprise and for many, the reinvigorating spark the franchise has needed. It was successful enough that a sequel is already filming and on track for an early 2023 theatrical release.

Today marks the 25th anniversary of the franchise's first sequel, "Scream 2," so Entertainment Weekly spoke to screenwriter Kevin Williamson about his approach to returning to the town of Woodsboro in 1997, how to elevate an already meta and over-the-top original film, and what he would have changed upon reflection looking back at the film as a full franchise.

Williamson had a packed run in the late '90s as the writer of the first "Scream," "I Know What You Did Last Summer," and the successful TV series "Dawson's Creek." When he returned with Horror legend Wes Craven to find the sequel's voice, they both felt that even though "Scream" was built on parody, it was still really important to raise the stakes — and so they axed Jamie Kennedy's character, Randy Meeks.

Looking back on the sequel with 25 years of distance and three more entries into the franchise, Williamson said that he would have chosen a different fate for Randy with insight. "I love Randy, I would have given him a much bigger life had I known this franchise was going to live and live," Williamson admitted. "I would have loved for him to be a legacy character."

Randy Was The Right 'Punch In The Gut'

The logic behind Randy's death is sound, after all, what's a slasher without some genuine tension? At the same time, Craven and Williamson knew ahead of time that they wanted to continue developing the franchise's core characters, so the big three were off-limits:

"I thought if you kill someone really important to the audience in the middle, it just ups the stakes. Everything's off the table. I knew we weren't going to kill Sydney, I knew we weren't going to kill Gale or Dewey. Those three characters, for 'Scream 2,' were safe, and so I had to look to the secondary characters. [...] At the time, I thought it would just be the punch in the gut the audience needed at that time, to really get mad, and get mad at the killer."

Randy is a fan-favorite character that many horror junkies quickly identified with, so it's great to know that there's a mutual amount of love coming from the screenwriter of the franchise. However, we're going to have to politely disagree with Williamson's take — there is such a thing as loving a character too much. Killing Randy off in "Scream 2" was the right call because out of all of the minor characters established at that point, he's easily the one the audience has grown the most attached to. It's difficult enough of a challenge to make a sequel that compares to the original, let alone stand on its own feet. That's where Randy's death falls into place, especially as the other, comparably beloved characters were off limits. It would have been a detriment to the film if "Scream 2" felt weightless.

Randy Meeks's Cinephile Legacy Lives On

Another reason why Randy had to make his exit is that there is a certain aura of safety in his presence as the go-to horror cinephile of the Woodsboro crew. Even though the franchise has largely stayed true to its roots as a modern parody/pastiche of the slasher genre, Randy's role in the first film saw him pointing out every horror trope and cliche that Ghostface would quickly follow in his murderous pursuits, and that the other characters needed to follow to survive.

In "Scream 2," our group of characters quickly turn to Randy for guidance once they realize Ghostface has manifested once again — his encyclopedic horror knowledge is once again a boon for their safety. Ironically, the character's hatred for horror sequels serves as foreshadowing. Due to his extremely meta knowledge of the genre, he's one of the film's very first targets, murdered right at the film's midpoints. You can feel Randy's presence and lack thereof, raising the stakes not just by offering a character of importance, but also one that had been the guiding force this entire time. When Randy Meeks dies, the training wheels for the Woodsboro gang are officially off.

While we certainly miss Randy (and probably wouldn't turn down a flashback scene at some point in the future), 2022's "Scream" did a fantastic job keeping the spirit of his character alive with the introduction of the Meeks-Martin twins. Chad (Mason Gooding) and Mindy (Jasmin Savoy Brown), are nephew and niece of everyone's favorite cinephile. Mindy inherited the movie brain, and has a few standout scenes explaining the rules of the "re-quel" legacy sequel. The pair will make their return in the next "Scream 6," so while Randy is definitively gone, his influence on the franchise is still felt.

Read this next: The Saddest Character Deaths In Horror History

The post Scream Writer Kevin Williamson Would Have Saved Randy If He Knew The Franchise Would Last This Long appeared first on /Film.

12 Dec 23:49

Underrail - Review

Ye Old Entertainment checked out Underrail: Underrail Review: A Fallout Meets X-files Post Apocalyptic RPG that you just can't miss!
12 Dec 23:45

The Xbox App on PC in 2022: Great Games and Improved Performance

by Jason Beaumont, Partner Director of Product Management, Player Experiences and Platform

2022 has been an incredible year for PC gaming. We have been so fortunate to have partners bringing amazing games to PC Game Pass like A Plague Tale: Requiem (on day one!), Persona 5 Royal, and rolling out the full game release of Grounded. All these games and hundreds more are in the Xbox app on PC, and I’m excited to share our final update for the Xbox app on PC as the year comes to a close.

Before we get to what’s new, I want to thank everyone in our community for your continued feedback and discussions to make the PC gaming experience even better. We’ll be back with more updates and more games in 2023, but for now let’s recap what updates you can see right now!


Riot Games Now Available with Xbox Game Pass


As we shared earlier today, exclusive benefits for Riot Games are now available for all Xbox Game Pass members. You can find Valorant, League of Legends, Teamfight Tactics, and Legends of Runeterra in the Xbox app on PC. To get started, pick which game to download and play, then follow the prompts to link your Game Pass and Riot accounts. We’re excited members can start playing Riot games with your Game Pass benefits on PC!

Riot Games Now Available with Xbox Game Pass Ultimate

Delivering a Faster and More Responsive App


This year, we continued to improve the performance and reliability of the Xbox app. With recent updates, the app now launches up to 40% faster. We have also made fixes to the Game Pass tab so that it loads up to 30% faster and is more responsive as you browse games.


Game Installation and Management Features


In February, we introduced a series of features to make installing PC Game Pass games better to meet the expectations of PC players. This includes features like accessing local game files, installing to any directory, moving games between drives, easier ability to mod games, and verifying and repairing installs.

In June, we rolled out the PC Bootstrapper, which provides a consistent and simple way for developers to integrate capabilities like Xbox services and game saves, as well as communicate game launch status, ensure the installed game is up to date, and more. This helps deliver the best experiences for players.

We’re also committed to improving the reliability of game downloads and installs with every update. With the September update, we saw player reports of games that didn’t download or didn’t install successfully reduced by nearly half, and we continue to see success rates trending up month after month for players downloading, installing, and launching games. We’ve also added notifications when Gaming Services updates are required so that the app will always be fresh for the best game play.


Making it Easier to Discover Great Games


We’ve continued to update the app to make it easier to discover the games you’ll love. You can see how well a game will run on your PC before you download it with the game performance fit indicator, and we partnered with HowLongToBeat so that you can view estimates for how long it will take you to complete a game for most PC Game Pass games. 

We’ve also made updates to make it easier to find your next game. Trailers, screenshots, and game descriptions are available at a glance right at the top of the Game Details pages and also show news from developers for most games. We changed the layout of the Xbox app on PC to make it easier to find new games, including more collections to explore, games front and center at the top of the tab, and improved accuracy of search. We also rolled out navigation improvements to find more games to play. All navigation is on the sidebar and the queue helps you easily track game installations so you can jump right in and play.

Thank you from our team for another great year of gaming. Please keep sharing your comments in the Feedback Hub, via Twitter, or the Xbox Insiders Reddit.

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12 Dec 23:44

The 12 Best Santa Clauses In Movies, Ranked

by Eric Langberg

Santa Claus first appeared on film all the way back in 1898, when he starred in a short film by George Albert Smith called, appropriately, "Santa Claus." In it, a silent Santa sneaks across a rooftop, climbs down a chimney, and leaves gifts for a little girl and boy who are nestled in their beds.

Ever since, holiday films have been stuffed with depictions of Father Christmas. Some are nice, and some are naughty. Some are jolly, and some are degenerate. Most are merry, but a few are murderous. Many films try to put their own spin on the Santa mythos, too, trying to make their St. Nick stand out from the pack of present-carrying holiday patriarchs. But others simply try to spread holiday joy, offering something jolly to put on while you sip hot cocoa and trim the tree.

With an eye toward giving you a little bit of everything that might be on your wishlist, we've made our own list of cinematic Santas and checked it twice. Here's a rundown of the best Santa Clauses in movie history, ranked from worst to best.

John Call — Santa Claus Conquers The Martians

Let's get this out of the way up top: "Santa Claus Conquers the Martians" is a terrible movie. The sets seem to be made of cardboard, the green Martian makeup is absurd and poorly applied, and the script is so thin that you can see straight through it. Or, to put it a little differently: With the right mindset, "Santa Claus Conquers the Martians" is a blast.

The children of Mars (who have names like Bomar and Girmar, because they're a boy and a girl — get it?) become depressed around Christmas time. News broadcasts from our planet teach them that there's a jolly fellow who might be able to cheer them up, so a troupe of Martians kidnap Santa, bring him back to the Red Planet, and force him to make toys.

The rest of the plot isn't worth mentioning, but John Call's Santa Claus is one of the few things in the movie that actually works. He seems to have stepped straight out of a Coca-Cola commercial; his laughs are hearty, his cheeks rosy, and his beard is snowy white. "Santa Claus Conquers the Martians" may be memorable for all the wrong reasons, but Call's Santa holds the whole thing together — or, at least, he tries.

Stan Francis — Rudolph The Red-Nosed Reindeer

Santa (Stan Francis) doesn't have all that much to do in "Rudolph the Red-Nosed Reindeer," Rankin/Bass' 1964 adaptation of the popular Christmas tune. Sure, he's there when Rudolph (Billie Mae Richards) is born, and he returns at the end; after all, he needs to ask the young reindeer to guide his sleigh, just like the song says. For the most part, though, the beloved TV special is about the shiny-nosed deer's adventure, during which he visits the Island of Misfit Toys with an elf who wants to be a dentist (Paul Soles).

What lands this Santa on this list is his musical number. The Rankin/Bass Christmas specials are full of original songs, and in "Rudolph the Red-Nosed Reindeer," Santa gets to sing a particularly underrated little number called "Jingle Jingle Jingle." Francis' warm voice easily conveys that this Santa is a jolly old man, and the song's lyrics, which include lines like "I am ol' Kris Kringle / I'm the king of Jing-a-ling," are simple yet effective. It's a catchy little ditty that's engineered to get stuck in your head, leaving you humming it all season long.

James Cosmo — Chronicles Of Narnia: The Lion, The Witch, And The Wardrobe

While C.S. Lewis' book explicitly calls him Father Christmas, Santa is never named as such in the film adaptation of "The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe." C'mon, though. Who else is the bearded fellow driving the reindeer-pulled sleigh? He's a jolly fellow who hands out presents to children. As the poet once said, it must be Saint Nick.

Here, he's played by James Cosmo, and though he's only in one scene, Father Christmas is important to the story for several reasons. First, his appearance indicates that the powers of the White Witch (Tilda Swinton) are waning. For hundreds of years, she has delighted in keeping Narnia frozen in winter, but makes sure that it's never Christmas. Second, the gifts he hands each of the Pevensie children prove to be very important. Little Lucy (Georgie Henley) gets a bottle of healing elixir and a small dagger, Susan (Anna Popplewell) receives a bow and quiver's worth of arrows, and Peter (William Moseley) is gifted a sword, all of which come in handy as the film continues.

Cosmo's Father Christmas fits right in with the world created by the film, and it's a nice twist that he greets the arrival of the children in Narnia with the same wonder that they feel when they see him. "Told you he was real," Lucy says, grinning, as Santa leaves, and it's hard not to smile along with her.

Jeff Gillen — A Christmas Story

Christmas is a happy time. Aside from the occasional horror movie, most movie Santas reflect the character's inherent jolliness. However, when you're still a kid who's only experienced Christmas a few times, Santa can seem weird, even frightening. Your parents want you to sit on a man's lap in the middle of a mall, where you're supposed to tell him your deepest desires while having your photo taken? What's happening here?

So, you can understand the reaction of Ralphie (Peter Billingsley) in "A Christmas Story," the perennial Christmas favorite that gets its own TV marathon every year. The movie is essentially a series of holiday-themed vignettes about everything from trouble with bullies to Christmas morning embarrassments. Fittingly, one of the most memorable sequences includes one of cinema's most memorable Santas. The family visits a department store to do some Christmas shopping, and Ralphie is made to wait in line for Santa (Jeff Gillen) with his younger brother, Randy (Ian Petrella).

As they get close to the front, the boys realize that this Santa isn't jolly. In fact, he and his elves are miserable. In a series of shots that put the leering St. Nick up close to the camera, Santa snarls, "What's your name, little boy?" The elves yell at a stricken Ralphie to hurry up, and Santa continues. "What do you want for Christmas, little boy?" Ralphie freezes, unsure how to respond. When you're a kid, no question in the world seems more important, and through Gillen's Santa, "A Christmas Story" captures that panic on celluloid.

Alec Baldwin — Rise Of The Guardians

"Rise of the Guardians" tells the tale of Jack Frost (Chris Pine), a magical being who controls the cold. He enjoys giving kids snow days and inspiring snowball fights, but Jack is lonely. In this day and age, no one believes in him. However, when the Boogeyman (Jude Law) threatens to fill the world with nightmares that'll make kids stop believing in magic, Jack still joins forces with the Guardians of Childhood to repel the attack. The Guardians are a team made up of figures like the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), the Sandman, and Santa Claus (Alec Baldwin), who here goes by the name "North."

The Santa who appears in "Rise of the Guardians" is a unique one. Baldwin gives him a Russian accent, and he's tattooed, with his forearms bearing the words "naughty" and "nice." He's not afraid to fight off the bad guys, sometimes even wielding two swords at once, but he's also a big softie. A lot of modern incarnations of St. Nick cut the character's childlike love of Christmas with a healthy dose of cynicism, but North gives himself over to the wonder of the season. "I was born with eyes that have always seen the wonder in everything, eyes that see lights in the trees and magic in the air," he tells a jaded Jack. "Rise of the Guardians" is a big-hearted movie, and North is an excellent Santa.

J.K. Simmons — Klaus

Plenty of films attempt to tell Santa Claus' origin story, putting their own spin on the big man's mythology. One such movie is Netflix's "Klaus," which re-images Santa (J.K. Simmons) as a benevolent woodsman who lives in the far north. The movie centers around Jesper (Jason Schwartzmann), a postman-in-training who's sent to the remote island town of Smeerensburg to raise support for the mail service. What Jesper doesn't know is that Smeerensburg is embroiled in a centuries-old rivalry between its two main families. The children aren't even sent to school, instead conscripted into daily skirmishes between households.

After Jesper meets the reclusive Klaus, however, he realizes that they can help one another. By having the children mail letters to the toymaker in exchange for presents, Jesper can raise his post office's numbers while also helping the locals bring laughter back into their lives. It's a charming story that includes a number of clever explanations for various aspects of the Santa mythos, such as when Klaus tosses Jesper down a chimney to help deliver a gift. The animation is gorgeously rendered, too; there's a reason it won the Annie Award for best feature.

Klaus himself is a gentle giant. In other projects, Simmons can be downright frightening, but here the woodsman is a kind character, making "Klaus" a lovely holiday watch.

Brandon Maggart — Christmas Evil

Christmas should inspire feelings of warmth and love, and a lot of Yuletide media reflects that. Some movies, however, lean hard into the feelings of isolation and detachment that sometimes come with the holidays. "Christmas Evil" is one of them. The marketing campaign for Lewis Jackson's 1980 slasher explicitly positioned the film as the successor to "Halloween" and "Friday the 13th." Some of its posters even featured a play on the "Halloween" tagline, selling the movie as "...the night he dropped in."

The "he," of course, is Santa ... except not really. In "Christmas Evil," Brandon Maggart plays Harry, a Christmas-obsessed weirdo who works in a toy factory. After a traumatic childhood incident involving Santa, Harry is now desperate to spread Christmas cheer. To that end, he spies on the children in his neighborhood, meticulously recording each instance of misbehavior he witnesses.

When Harry finally snaps, he starts believing that he's Santa and embarks on a murderous rampage. Good girls and boys get presents and toys; their parents, though, get an axe to the head. Maggart's portrayal of Harry is unforgettable. He's incredibly unsettling, but unlike the stars of other low-budget slashers that focus on the killer — "Maniac," for example — Harry is also weirdly sympathetic. He just really loves Christmas! The movie is creepy and unintentionally funny, looks cheap, and is oddly effective anyway. It's no wonder that John Waters loves it.

Tim Allen — The Santa Clause Franchise

For many millennials, Tim Allen is the movie Santa. In Disney's "The Santa Clause," Allen's divorced suburban dad, Scott Calvin, finds himself taking up the mantle of that other S.C. when he accidentally startles the real deal on the roof, making Santa fall to his demise. In the aftermath, Scott and his son (Eric Lloyd) are whisked away to the North Pole. There, they learn that, by putting on the red suit, Scott has triggered "the Santa clause," meaning that he's now responsible for delivering presents to the world's children every Christmas. Over the course of the following year, Scott gains weight, grows a beard, and develops a love of milk and cookies.

Making Santa into a job title for a reluctant normie is a fun concept for a holiday film. However, while it's enjoyable to watch Scott wrestle with what's happening to him, it's even better when he gives in to his new lifestyle. The "Santa Clause" sequels involve finding a Mrs. Claus (Elizabeth Mitchell) and battling an evil Jack Frost (Martin Short); there's even a Disney+ series that sees Scott searching for his successor. While the series offers up diminishing returns, the original film remains one of cinema's most memorable trips to the North Pole.

David Harbour — Violent Night

When we first meet David Harbour's Santa Claus, he's drunk in a pub in England, taking a break on Christmas Eve because he's so disillusioned by the world's lack of holiday spirit. These days, it seems that kids only want video games or cash, and Santa's considering retirement. However, while delivering toys to the home of an ultra-rich family in Connecticut, Santa slides down the chimney and into the middle of a home invasion thriller. Festively-named criminals led by someone calling himself Mr. Scrooge (John Leguizamo) are attempting to steal $300 million from the vault in the basement, and they don't care how many security personnel (or family members) they have to kill to do it.

"Violent Night" is as brutal as its title suggests. Before the night is over, Santa has punched, kicked, stabbed, slashed, immolated, crushed and blown up countless bad guys, and that's not including those he dispatches with a snowblower or candy cane. However, as he does on "Stranger Things," Harbour imbues his character with a warm, beating heart underneath the gruff exterior. Sure, this Santa loves the sound of a person's skull crunching under a sledgehammer, but he's also moved to tears by the purity of a child leaving him homemade cookies.

Mickey Rooney — The Year Without A Santa Claus

"The Year Without a Santa Claus" is the best of the Rankin/Bass Christmas specials, thanks in large part to Mickey Rooney, who plays Santa. It's a tremendous vocal performance, full of all the warmth, wit, and wonder one wants from a stop-motion Santa. Here, Santa wakes up shortly before Christmas with a sniffle. He's soon convinced to take a year off, assured that the children of the world will understand. As soon as he makes the announcement, though, he regrets it; the next thing he knows, he's flying to Southtown, USA in an attempt to rescue a reindeer and two elves who have gone to find some lingering Christmas spirit.

"The Year Without a Santa Claus" is perhaps most memorable for its weather-controlling brothers, Heat Miser (George S. Irving) and Snow Miser (Dick Shawn). The emotional crux of the film, however, is "I Believe in Santa Claus," a song that Rooney sings with several other characters. It's an ode to choosing to believe in the things that make life worthwhile, like Saint Nick himself. "Wipe that question from your mind! Yes, he does exist," Santa sings. For years, I believed him.

Kurt Russell — The Christmas Chronicles

Kurt Russell is one of cinema's most reliable badasses. He was Snake Plissken in "Escape from New York" (and its sequel). He was R.J. MacReady in "The Thing." He's a fixture of modern-day westerns, appearing in the likes of "Bone Tomahawk" and "The Hateful Eight." Who could have guessed, then, that one of his best late-career performances would be as Santa Claus?

In 2018, Russell led the cast of Netflix original holiday movie "The Christmas Chronicles." The film is about two kids (Judah Lewis and Darby Camp) who stow away on Santa's sleigh, causing him to crash. In the process, he misplaces both his magical hat as well as his bag of presents. In order to save society's flagging Christmas spirit, Santa and the children must find the presents and get them delivered on time.

The movie trades on Russell's star image, making Santa into quite a rascal. It even includes a show-stopping performance of Elvis Presley's "Santa Claus is Back in Town." Russell, of course, played the King in John Carpenter's made-for-TV biopic, and it's delightful to see him turn on the rocker's charm while wearing the red suit. "The Christmas Chronicles" ends with a charming cameo, introducing Russell's real-life partner Goldie Hawn as Mrs. Claus. They would both return in "The Christmas Chronicles 2," a less-successful follow-up that nevertheless solidifies Russell as one of the best movie Santas of all time.

Edmund Gwenn — Miracle On 34th Street

When I was younger, my parents told me that mall Santas were actually the big guy's helpers, but that the Santa in the Macy's Thanksgiving Day Parade was the real deal. It's a concept they may have picked up from "Miracle on 34th Street," the 1947 comedy about a man who calls himself Kris Kringle (Edmund Gwenn). Kris is tapped to ride in the Thanksgiving Day Parade, then hired to be the Santa at Macy's throughout the holiday season. However, it's soon clear that he believes that he's the actual Father Christmas.

"Miracle on 34th Street" is a charming movie helped immensely by a delightful performance from a young Natalie Wood. She plays Susan, a girl who doesn't believe in Santa until she meets Kringle. The film builds to a court case where Kringle must prove that he's the real Santa; if he loses, he'll be committed to Bellevue Hospital for psychiatric help. It's a heady angle for a movie aimed at kids, but Gwenn anchors the film with his committed performance and the twinkle in his eye. His beard is real — he invites Susan to tug on it for proof — and it's easy to be won over by the character's love of the season.

Gwenn is so good in "Miracle on 34th Street" that he won an Oscar. In his acceptance speech, he beamed, "Now I know there's a Santa Claus." He's an easy pick for the best onscreen Santa of all time.

Read this next: The 50 Best Christmas Movies Of All Time, Ranked

The post The 12 Best Santa Clauses in Movies, Ranked appeared first on /Film.

12 Dec 11:56

Royal Ransomware Threat Takes Aim at U.S. Healthcare System

by info@thehackernews.com (The Hacker News)
The U.S. Department of Health and Human Services (HHS) has cautioned of ongoing Royal ransomware attacks targeting healthcare entities in the country. "While most of the known ransomware operators have performed Ransomware-as-a-Service, Royal appears to be a private group without any affiliates while maintaining financial motivation as their goal," the agency's Health Sector Cybersecurity
12 Dec 11:54

[Switch] (Game) Star Horizon

by /u/mohsreg_
12 Dec 11:50

Skyrim DLSS And FSR 2 Mod Available Now For Download; Also Supports XeSS Upscaling

by Aernout van de Velde

Skyrim DLSS2 fsr2 mod

The Elder Scrolls V: Skyrim DLSS and FSR2 (as well as XeSS) mod is available now for download.

In October of this year, we reported that modder 'PureDark' was working on an upscaler mod for various titles, including Skyrim, Fallout 4, and Resident Evil Village. As explained by the modder, this exciting new project aims to introduce support for DLSS, FSR2, and XeSS in said games. The mod received its first impressive footage last month, and 'PureDark' promised it would be released publicly soon.  Fast forward one month and this exciting new mod is now available for download for the Special and Anniversary Editions of The Elder Scrolls V: Skyrim.

We already mentioned it last month, but the results of using DLSS and FSR2 in Skyrim is pretty spectacular. We've included the notes that the modder released for this mod down below:

  • DLSS/FSR2/XeSS don't work with ENB, but you can still use DLAA with ENB since there's no upscaling.
  • A workaround version with ENB compatiblity is in development, and Boris also said he would do compatibility from his side, when he does this version will be compatible with ENB.
  • NOTE That they are two different things, ENB got issue with DRS, that's why it doesn't work with this mod, I made a workaround on my own using a completely different method that's hacky but works. When Boris decides to made compatibility for DRS, this mod will just work without needing any change.
  • Non-RTX cards can't use DLSS/DLAA, but you can use FSR2 and XeSS.
  • But since both FSR2 and XeSS has no official DX11 implementation released, I was forced to make a DX11/DX12 hybrid solution, so your card must at least support DX12 to use FSR2 and XeSS
  • It supports VR, but there's little gains with this mod due to the wasted performance for processing the whole VR texture when lots of the pixels are emtpy or unseen. 
  • Currently a VR version is being developed that has fixed foveated DLSS and other optimization specifically for VR.
  • Performance gain depends on how much you are GPU limited, if you don't see any gains it's very normal, you are most likely CPU limited.
  • Even if you can't get more FPS in a CPU limited case, you are however getting the superior AA from the DLSS pipeline, it's much better than TAA, or you can just use DLAA (with performance cost).

Those interested in trying out this new mod can download it via Nexusmods here. As always, follow the provided installation instructions before downloading and using this modification.

The post Skyrim DLSS And FSR 2 Mod Available Now For Download; Also Supports XeSS Upscaling by Aernout van de Velde appeared first on Wccftech.

12 Dec 11:50

Phil Spencer: Sony PlayStation grows ‘by making Xbox smaller’

by Chris Moyse

xbox playstation making smaller spencer

Cutting words as Activision merger continues to mire

Xbox Head of Gaming Phil Spencer raised eyebrows this weekend with sharp remarks aimed at rivals Sony PlayStation — In an interview with the Second Request podcast, Spencer opined that the way PlayStation grows its brand is by shrinking the perceived size of the Xbox zeitgeist.

"Sony is trying to protect its dominance on the console. The way they grow is by making Xbox smaller," said Spencer (as noted by VGC). "[Sony] has a very different view of the industry than we do. They don't ship their games day and date on PC, they do not put their games into their subscription [service] when they launch their games."

Spencer's candid comments come at a particularly stressful time for the Xbox brand, which continues to hit wall after wall in parent company Microsoft's ongoing efforts to purchase studio giant Activision Blizzard. While the deal was initially announced one year ago, Microsoft is still yet to close, having found opposition from global antitrust regulators as well as loud and undying opposition from Sony itself.

"Sony is leading the dialogue around why the deal shouldn't go through," continues Spencer. "The largest console maker in the world raising an objection about the one franchise [Call of Duty] that we've said will continue to ship on the platform. It's a deal that benefits customers through choice and access."

As noted by Spencer, at the center of the merger stalemate lies Activision billion-dollar franchise Call of Duty, essentially The Golden Goose of gaming. Xbox had previously offered PlayStation a guaranteed three years of continued licensing for future CoD titles, but the offer was rejected, with PlayStation CEO Jim Ryan openly calling it “inadequate on many levels”. Spencer also announced that, should the merger complete, Call of Duty will return to Nintendo platforms, seemingly wishing to curry favor from that particular demograph.

The strangest thing about this whole endeavor is, for many years now, PlayStation and Xbox have offered up the image that they are pretty buddy-buddy — friendly rivals that are totes proud of each other's accomplishments. But, with the money on the table and the fate of Call of Duty in the balance, clearly the familiar commentary of the '90s console wars is starting to rear its ugly head once again.

Phil Spencer claims PlayStation wants to grow ‘by making Xbox smaller’ VGC

The post Phil Spencer: Sony PlayStation grows ‘by making Xbox smaller’ appeared first on Destructoid.

12 Dec 03:09

Skyrim DLSS2/FSR2/XeSS Upscaler Mod is now available for download

by John Papadopoulos

Last month, we informed you about a mod for The Elder Scrolls V: Skyrim that would be adding support for DLSS 2, FSR 2 and XeSS. And today, we are happy to report that this Upscaler Mod is available for download. For those wondering, this mod supports VR. However, there are currently very few performance … Continue reading Skyrim DLSS2/FSR2/XeSS Upscaler Mod is now available for download →

The post Skyrim DLSS2/FSR2/XeSS Upscaler Mod is now available for download appeared first on DSOGaming.

12 Dec 00:49

How to Remove the DRM on Any Ebook You Own

by Dan Price

Digital Rights Management, or DRM, is specifically designed to control the use, modification, and distribution of any copyrighted material and is now a common feature of everything from ebooks to music files.

12 Dec 00:38

Rebel FM Episode 563 - 12/09/2022

With the game awards wrapped, 2023 is looking ... overwhelming. We discuss how, what we're looking forward to, our big question marks, and also chat about Choo Choo Charles, Dwarf Fortress, Forspoken, and plenty more.  This week's music:  August Burns Red - O Come O Come Emmanuel
12 Dec 00:35

The 15 Best John Candy Movies, Ranked

by Margaret David

John Candy may no longer be with us, but he's still Canada's national treasure. Amongst his raunchy '80s peers, the Second City comedy alumnus had a gift. His warmth never failed to give us a smile when he appeared on-screen. His best films built on that endlessly loving part of Candy, turning him into an honorary family member, a silly babysitter for our darker days.

Despite his comedy prowess, his dramatic roles made us look at him in a new light. When he died in 1994 at 43, we lost decades of potential work where we could have deepened his craft. As a Canadian whose vibrant attitude borrows from the best in Candy, Ryan Reynolds understands what Candy means to all of us. Reynolds' production company is working on a documentary on Candy's life and legacy. For now, we have Candy's movies to remember him by when we miss his infectious laugh. These 15 films showcase him at his best. Regardless of what critics might have said at the time, only our love for John Candy matters.

15. Delirious

"Delirious" is as over-wrought and pointlessly intricate as the soap opera melodramas at the film's heart. That's part of the joke, but it's a joke that doesn't quite work all the time. But Candy's performance makes a weak movie into something watchable. His generally reasonable responses to becoming a reality-warping writer with a magic typewriter carry the film.

Yes, this is a gimmick made familiar by the classic "Twilight Zone" episode "A World of His Own." Some might think of the Will Ferrell-staring movie "Stranger Than Fiction." They're all worlds of metafiction where a humble writer changes the world with a word. But only Candy's version uses his deus ex machina to fix his past mistakes. He also actively chooses not to meddle in the minds of people around him. By the end, it's not quite a shaggy dog story, but it's close. Yet there's still the classic Candy message throughout its runtime: kindness matters more than cruelty.

14. Home Alone

Candy has what we'd call a glorified cameo in the first entry of the Wet Bandits vs. Kevin McCallister (Macauley Culkin) saga. But he still has moments that matter. As Kevin's parents realize they screwed up hard, it's Kate (Catharine O'Hara) who does her best to haul herself back home. Of course, it's an uphill push against Christmas traffic, so she has to resort to the kindness of strangers. Fortunately, the stranger who guides her on her mission is Gus Polinski (Candy), the Polka King of the Midwest.

Gus is the spiritual cousin of Del Griffith. As in "Planes, Trains, and Automobiles," we're taking some unorthodox trails back to the family home in Chicago. While Kate is beside herself at what she accidentally did to Kevin, it's cheery, garrulous Gus that keeps her sane. Like Del, Gus is no saint. He's a warm, caring guy with a few screwy family issues. The anecdotes he shares — leaving his kid at a funeral parlor or being on the road too long — are all too relatable for viewers. Candy's warm heart helps uplift the whole thing.

13. Heavy Metal

The animated 1981 anthology "Heavy Metal" used pretty much everyone from the Second City sketch comedy team to voice its early '80s weirdness. (Producer Ivan Reitman would continue to work with Candy and Harold Ramis in the following years.) Yes, the quality of the voice acting here is dodgy. Honestly, casting Candy in the "Den" segment as our lead, a horny teenager who wakes up in a Conan-style fantasy is a choice. Nonetheless, he gives it his all, infusing the kid and his shredded comic book body with eager innocence.

"Den" isn't the only segment to feature Candy. He's also a desk sergeant in "Harry Canyon" -- where his voice makes a lot more sense -- and a lusty robot in "So Beautiful & So Dangerous," which is less successful. Yet "Heavy Metal" overall is still a great trip of a movie. Its rotoscope art and bangin' soundtrack keep the project together. Although Candy might not be the focus here, it's still a key part of his film history. This wonderful oddity ranks higher than prior films on this list due to how well it showcases Candy's range.

12. The Rescuers Down Under

Gen X kids grew up with a lot of wonderful anthropomorphic critters. (I'm not saying that's why we have so many furries in our generation, but there might be a connection worth exploring!) Strangely, we had a good decade of comedy relief birds to love. Kehaar (Peter Capaldi) kicked us off in the late '70s in the traumatizing "Watershed Down," and "Secret of NIMH" gave us the lovable Jeremy (Dom DeLuise). But in 1990, Candy also gave us Wilbur, the dorky albatross that acts as the comedy sidekick to the Rescuers, in "The Rescuers Down Under."

Wilbur, in addition to looking like Candy, is just as eager and warm-hearted as his human counterpart. He jumpstarts his engine the moment he finds out this trip to Australia is a rescue operation for a kid. To compensate for being an affable dork, Wilbur gets to be a hero in his own right. He's one of the first on the scene to protect the eggs of the giant golden eagle Marahute (Frank Welker) -- even though his reward is to become a chew toy for the fledglings in the last moments of the movie.

11. Who's Harry Crumb

The critics were not kind to "Who's Harry Crumb" on its floundering release in February 1989. With due respect, they're so wrong. The subtitle for this movie is now "The Idiot's Guide to Knives Out." Why not? The premise is tailor-made for a young Benoit Blanc if he were loopy on edibles and not 100% sure of his skills.

In the film, Harry (Candy) is a private investigator whose boss assigns him to a high-profile kidnapping case -- finding the daughter of millionaire P.J. Downing (Barry Corbin). He's not supposed to succeed because (of course) his boss is in on the crime. But the kind and bumbling Harry makes an ally of P.J.'s youngest daughter, Nikki (Shawnee Smith), who has more than enough brains for both of them. The pair charmingly fumble through the best Rich Bastard tropes of the time: infidelity and wild escapes to Buenos Aires. In the end, Harry succeeds, even if by accident. Still, there's a spark of real insight in Crumb's mind. Honestly, he should've had a cozy mystery novel series launched in his honor. We'd have 50+ books by now, and we could read them all in Candy's iconic voice.

10. Splash

A fumbling young romantic crosses the path of a humanoid sea creature like nothing the world has ever seen. The creature is valuable to government researchers, and the young romantic's charming story takes some bittersweet twists as they and their friends work to rescue the creature and decide where their future together will take them. Nope, not "The Shape of Water!" I'm talking about the classic romantic comedy "Splash." Tom Hanks portrays our romantic young lead, Allen, whereas Candy plays his ride-or-die brother, Freddie. The creature? Well, that's Darryl Hannah at her youthful finest, embodying the mermaid that falls in love with a human man.

Without a doubt, this film is Hanks' showcase and a highlight of his early comedy era. But Candy is still here to be the emotional counterweight. He's a little bit of a lech, which now brings John discomfort. But his loyalty to his brother is vital. Freddie helps his brother heal a temporary breach between him and his mermaid love and ensures their happy ending at the cost of his.

9. JFK

Oliver Stone's rambling narration of the events surrounding the assassination of John F. Kennedy in JFK is near-total fiction. However, that doesn't stop the movie from being an intriguing dispatch from a weirder reality. Yes, Candy's role in it is small. But it's a pivotal one and unusually ironic. He plays Dean Andrews Jr., a New Orleans lawyer who entangles himself in Jim Garrison's (Kevin Costner) attempt to pin the assassination on someone other than Oswald.

In real life, Andrews was a Candy-type character. His appearance is dead on, as Andrews was a fast talker inclined towards larger-than-life anecdotes. (Y'know, another Del Griffith.) But Stone tries to reshape Andrews into a shadowy figure, a man willing to manipulate the Garrison Investigation for secretive ends. Candy does a fascinating job, giving us a glimpse of an alternate universe where he would live long enough to follow Robin Williams' turn into more frequent dramatic roles. It's not enough to make us believe in what Stone is peddling here, but that's not John Candy's problem.

8. Stripes

A great way to make a really weird night for yourself is to watch "Full Metal Jacket" and "Stripes" back-to-back. They have a vaguely similar pace: The first half of basic training and the second half of war-is-hell hijinks. In this thin comparison, Candy's role as Dewey Oxberger runs analogous to Vincent D'Onofrio's Private Pyle. With, thankfully, a far better outcome for Dewey.

John Candy, as ever, gives Dewey a genuine personality. Dewey wants to get into shape so he can be one of the cool kids. The rest of his squad doesn't treat him like garbage for this, and there are no late-night abusive hazing rituals. The worst treatment he gets is mud wrestling with women for money. (Hey, who wouldn't?) Dewey stays broad and lovable throughout the film's runtime. As a war hero with a big, affable heart and a dead-on sense of humor (yes, we do fall in love with that, guys), Candy ends the film as the teen girl dreamboat we deserve.

7. Summer Rental

Certain movies herald annual events like eating Chinese takeout during the 24-hour "Christmas Story" marathon or watching "Halloween" while you suck down mini-candies meant for trick-or-treaters. For some of us, the turn of the season from spring to June's sweaty heat means we're putting "Summer Rental" on TV for the 30th-ish time. "Summer Rental" is the perfect example of the airy '80s comedy with jokes that haven't aged well and a pair of surgically-upgraded breasts that did.

In "Summer Rental," Candy is our fumbling, bumbling dad, who wants a nice summer holiday away from being an air traffic controller. His career explains why he's uptight and easily stressed out. But his behavior also leads to blowouts over trivial things like lobsters. The plot here is less interesting than watching Candy bounce off Rip Torn's Scully, a "pirate" and restaurateur who's slinging cheap fish sticks. It may not be critically beloved — few Candy movies are — but it's a relaxed, cheerful way to ring in the summer season.

6. Cool Runnings

Let's not pretend the classic feel-good movie "Cool Runnings" is a docu-drama. The movie is heavily Disneyfied to amp up a genuine underdog story about a four-man Jamaican bobsled team who has pretty much no chance to win at the 1988 Winter Olympics. But victory isn't the point. What matters more here is the effort and the desire to be recognized as something more than a joke. For once, it's a story about humans being good. Candy portrays the team manager Irv Blitzer. As he's done in prior films on this list, he knows exactly which heartstrings to tug on and when.

Irv's not real. However, Howard Siler, a former Olympic bobsledder who helped coach the fledgling bobsledders, inspired his role. This film gives him a subplot, which sees Candy starts as less than likable -- a former cheat who's a jerk to the people around him. But the team's dedication to the sport teaches him how to put other people's needs first. Not only does Candy get to act more than his usual fun fare, but his big heart still gets to save the day in the last act.

5. The Great Outdoors

It's easy to mentally bundle "The Great Outdoors" with "Summer Rental." But this time, Candy's Chet is just trying to relax. But he goes into a spooky old forest with bears and his grating brother, Roman (Dan Aykroyd). Despite casting the former Ghostbuster, there are few scares in these woods. Instead, we get human selfishness, abandoned mine shafts, and a pissed-off bald bear -- played by Bart the Bear, one of the industry's most famous animal actors.

Of course, this is also the land of the Old 96er, a steak-snarfing challenge that would've given "Man v. Food" pause. Naturally, Roman goads Chet into an attempt. (You've probably at least seen the panicking GIF of Chet and the scary butcher.) But as a second viewing makes clear, it's one of our first clues that there's another story under the silly family hijinks. Candy's loving nature elevates this film. Not even Roman can take advantage of Chet's kindness for long. "The Great Outdoors" spotlights one of Candy's nicest and funniest roles. But playing him off of Aykroyd adds an edge of morality to the proceedings we hadn't seen as developed in prior films.

4. Uncle Buck

"Uncle Buck" and the next entry are tied in this ranking. As Buck Russell, Candy is at his best and funniest. It's not a surprise to find out that his top-rated films are John Hughes productions. No clearer is that fact than here, with Candy thrust into the center of a family with flaws, where his unique brand of warmth and humor helps everyone feel like they can be a better version of themselves.

Buck isn't much of a role model. But he's something much better: a good, flawed dude who ultimately tries to do his very best for everyone he cares about -- even if he's picked the wrong thing to do. Forget Yoda. Sometimes trying really is as good or better as succeeding. "Uncle Buck" is also Macaulay Culkin's first big hit as youngest son Miles. His persistent attitude with Buck is a highlight. Buck's best scene, though, is when he turns up at school to defend Maizy Russell's (Gaby Hoffmann) imagination from an off-brand Miss Trunchbull.

3. Spaceballs

Mel Brooks' sci-fi parody "Spaceballs" might be a bit overloved. Throughout its runtime, it's clear that Mel isn't a big sci-fi fan. Beyond its "Star Wars" inspiration, The jokey costumes and gags take from only the most well-known sources. But Mel certainly understands movies, not to mention the industry itself, and the most on-point laugh is still Yogurt's push for merchandising. He also has a great cast to deflate the George Lucas machine and fittingly cast Candy as our serial number-free Chewbacca.

Fuzzy space dog Barf (Candy) is his own best friend and soon becomes ours too. His silly antics and loyalty to Lone Star keep the movie from turning into something too cynical. He's the background character we all want more of, and in a way, "Spaceballs" makes a clever bookend to Candy's work on "Heavy Metal." This film is about not taking things too seriously and loving things enough that light teasing is ok. Brooks' lesson is one some "Star Wars" fans still need to learn. That aspect keeps this movie and Barf's happy sidekick vibes still relevant and vital.

2. Only The Lonely

We all knew John Candy for his comedic work and joy, but his sincerity was just as important. His father figure-like roles act as replacements for the troubled people in our lives. We loved his imperfect character who taught us valuable lessons. Perhaps too much sincerity is cheesy, as critics didn't care for his painfully sincere Danny in 1991's "Only the Lonely."

The heavy emotional beats here are more serious than the usual tones of his films -- making this into an old-time melodrama, the sort of film that used to star Bette Davis and Claude Rains. Given that approach, it's no surprise that Candy's equally melodramatic mother is played by screen legend Maureen O'Hara. (She was a queen of Hollywood long before she became John Wayne's go-to movie love.) "Only the Lonely" is purposefully out of time, a throwback to black-and-white romances that offered a slight sting on their way to a happy ending. Candy plays this movie as straight as Cary Grant and it works! With a heart as honest as Candy's, it's a movie that needs revisiting today.

1. Planes, Trains, And Automobiles

There isn't much of a bloodthirsty argument over which John Candy movie is the best. Sooner or later, it's Thanksgiving time and we're riveted once again watching him and Steve Martin verbally choke each other out. In "Planes, Trains, and Automobiles," Candy is Del Griffith, a kind and annoyingly daffy fellow who helps the uptight Neal Page (Martin) get home for the holidays.

The world has moved on since the analog days of phone booths and manually flagging down taxis. Still, "Planes, Trains, and Automobiles" is as fresh as your aunt's mouth after her second bottle of cheap wine. Underneath the snapped insults is a love for our starring characters and humanity. Neal's adventure with Del is a relevant and timeless story. Del is our reminder to be kind to each other, that it's hard work, and that we're all carrying our unique pains. Martin is magnificent here, but it's Candy's spotlight. His lasting message is that we can and should be better. But -- as importantly -- it's okay to laugh when things get tough. Sometimes, it's downright necessary. Thankfully, we have Candy's immortalized work to remind us of that.

Read this next: The 14 Greatest '80s Romantic Comedies Ranked

The post The 15 Best John Candy Movies, Ranked appeared first on /Film.

12 Dec 00:32

Adam Warlock, The Magus, And More: Your Study Guide For Guardians Of The Galaxy Vol. 3

by Cameron Roy Hall

"The Guardians of the Galaxy Vol. 3" is the upcoming and final installment in James Gunn's trilogy of space adventures for the Marvel Cinematic Universe. Back in 2013, when the first official image from "Vol. 1" was released, it would not be unfair to say the general public expected very little from a movie starring a tree and a raccoon. Now, almost a decade later, the Guardians are staple of modern pop culture, not only appearing in their own projects but in most of Marvel's major crossovers events, a Disney+ miniseries, and a Christmas holiday special, too. 

Despite already possessing an extensive cinematic catalogue to draw from, Gunn's "Vol. 3" is set to introduce even more obscure characters and storylines from the comics onto the screen (Gunn does love his Z-listers). The sheer amount of information you're expected to process in order to appreciate the plot is going to be ... extreme. 

But that shouldn't necessarily deter you. Especially you, in fact, as you're the one who clicked on an article with the words "study guide" in the title. Welcome home you wonderful nerd! We've done our best to compile everything you need to know in preparation for "Vol. 3." We even have a couple of suggestions for further reading, just in case comics are your flavor of fun. 

Cosmo The Spacedog

Although not seen in the latest trailer for "The Guardians of the Galaxy Vol. 3," we know that the film will feature Cosmo the Spacedog (voiced by Maria Bakalova), a character who was officially introduced in "The Guardians of the Galaxy Holiday Special" as the latest member of the Guardians. She technically appeared far earlier and far more briefly in Volumes 1 and 2. On the small chance that you missed her, in "Vol. 1," the poor puppy was held prisoner by the Collector (Benicio del Toro) as part of his, well, collection. That all changed when a certain infinity stone went nuclear. Don't worry, though, no CGI dogs were harmed in the making of this movie. In "Vol. 2," she's really just seen during the credits to remind everyone that there's a dog wearing a spacesuit hanging around. 

The Marvel Cinematic Universe hasn't provided us with an origin for its version of Cosmo yet and, to be fair, the comics haven't done much better. On the page, Cosmo is the last surviving remnant of a bygone Soviet space program who possesses telekinetic abilities. Are her powers connected to the program? Who knows, we don't, because it's never explained. What is explained, however, is that Cosmo possesses a great mind and a rad job -- the spacedog actually runs security for Knowhere, the decapitated floating head of a Celestial that so many call home. In the MCU, if Cosmo holds a similar position, it has yet to be revealed. The Guardians apparently bought Knowhere prior to the events depicted in James Gunn's Holiday Special, so maybe it's going to be a down-the-line sort of thing? 

Adam Warlock

Possibly the most highly anticipated addition to "The Guardians of the Galaxy Vol. 3" is that of Adam Warlock (Will Poulter), an on-again-off-again member of the Guardians. His inclusion was revealed during one of the end credit scenes of "Vol. 2" and, since then, TikTok has spent more than a little time marveling over Poulter's physical transformation in preparation for the role. No, we won't be hyperlinking to any of that. Use your imagination, ya filthy animals. Marvel's literal golden boy appears for a smattering of seconds in the latest trailer and he does not look pleased about it. Neither does Nebula (Karen Gillan).

The Marvel Cinematic Universe has already strayed from a comics-accurate origin story for Adam. Oh, he's always a pod person but Ayesha (Elizabeth Debicki), who's typically the Mark Two to his Mark One, had no part in his creation. It's kind of difficult to play Dr. Frankenstein when you don't exist, yet. No, Adam was concocted by the Enclave, a group of scientists with a vicious urge to control the course of humanity's development. Unfortunately for them, Adam pulled a Mewtwo and came into the world with a conscience -- a conscience but zero context for it. He figures it out, eventually.

By the way, notice that rock in Adam's forehead? In the comics, that's the soul stone, a gift from the High Evolutionary (more on him later). Between possessing an infinity stone and a regenerative cocoon, the latter of which resurrects him with additional powers to supplement whatever shortcoming led to his last death, Adam is an unparalleled cosmic force. Well, almost unparalleled ... there's always the Magus (more on him later, too). 

Lady Lylla

The latest trailer for "Guardians of the Galaxy Vol. 3" gave us our first look at Lady Lylla (rumored to be voiced by Lady Gaga), a sapient otter with whom Rocket Raccoon (Bradley Cooper) shares a deep affection. Her name appeared in "Vol. 1" on Rocket's rap sheet. Now, her inclusion, as well as James Gunn's reveal that "Vol. 3" will feature Rocket's origin story, seems to confirm that the upcoming film will take the Guardians to Halfworld, Lylla and Rocket's roboscaped home planet (more on that later). For now, let's focus on Lylla. Her origin is similar to Rocket's, but their subsequent life trajectories are where the real differences come into play. 

Lylla is a business heiress whose parents ran a massive toy company, which would be the perfect setup for a Hallmark film, were it not for the ensuing murder. Mommy and daddy Lylla were killed for profit by Judson Jakes, a sapient mole who really, really wanted to be the CEO of an empire in which he owned no claim. There's a few versions of what happens next, but the important thing to understand is that a bunch of greedy ne'er-do-wells attempt to marry her to legally steal her fortune. Typically, she marries Blackjack O'Hare (three guesses what sapient he is), a mercenary who does good from time to time but, uh, struggles.

Some versions of the story end with Rocket giving that marriage his blessing -- he's rarely around, anyway -- and others end with Lylla getting a divorce so that she can be with her favorite trash panda. Either way, we're hoping that James Gunn carved out some space for a fuzzy soap opera in "Vol. 3." Honestly, it would make our year. 

The High Evolutionary

The High Evolutionary (Chukwudi Iwuji) made his first public appearance for "The Guardians of the Galaxy Vol. 3" at the 2022 San Diego Comic Con. Iwuji appeared in full costume, no doubt in a move designed by Marvel to mimic similar live appearances from Tom Hiddleston as Loki, the trickster god. While the High Evolutionary has never been the friendliest dude, that live appearance served to cement his presence in "Vol. 3" as a purely antagonistic force. How else are we supposed to interpret a threat of human dissection? More recently, TEV (his name takes too long to write out) appeared in the latest trailer for "Vol. 3," creepily observing someone in what we can only describe as a human hamster wheel, which leans pretty heavily into the whole mad scientist vibe.

In the comics, TEV started out as a dude named Herbert Wyndham doing weird science projects in his parent's basement. Eventually, his work in genetics expanded, resulting in his expulsion from Oxford University for being hilariously unethical. In fairness, he was close to success, so close that an Inhuman sought him out with the final puzzle piece to making his dreams of radical evolution possible. Cue the montage -- Herbert moved his work to a remote mountain atop of a demon's eternal cage (no, seriously), created a race of animal-based humanoids called the New Men, then moved his work and his citadel (oh yeah, he made a citadel) to space, where he literally created a second earth to house his New Men. 

It's vitally important to understand how condensed that last paragraph is. Herbert got around. He fought, recruited, and even accidentally created heroes, all in the name of the belief that he alone could mold a better society, populated by better life. 

The Magus (???)

As far as we know, there's no official confirmation that "The Guardians of the Galaxy Vol. 3" will feature the Magus. Sure, Marvel could be keeping him under wraps as part of some big reveal, but it's also possible that he's simply not in the movie. Besides, there are a million other characters to juggle in James Gunn's script anyway, and the Magus demands an exorbitant amount of exposition. At the very least, we'll know for certain in 2023. 

The Magus is a monstrous god worshipped by the Universal Church of Truth. His skin is chalky white -- or a lovely lilac, depending on the artist -- and his eyes are blood red beneath a shock of silver hair. He is quite literally demented, which is never a great descriptor for a deity. The Magus' power is so catastrophic that Adam Warlock required the aid of Thanos, the mad titan, to defeat him ... and even that was a near thing. While we don't know if he will appear in "Vol. 3," we know who will portray him, should the need arise, because the Magus is actually Adam Warlock himself. Twisty, right?

The Magus is Adam Warlock from a distant, possible future, after numerous regenerations and untold traumatic experiences. Like Adam, death isn't necessarily the end for the Magus, although at least one possible version of him was consumed by Adam's soul stone, which cut off his access to his variant of the regenerative cocoon. Remember how we said that this guy demands exorbitant exposition? He's a time-jumping, psychopathic serial killer hellbent on snuffing out his previous lives until they're embittered enough to become him. Then again, maybe he just likes killing.

A Changing Of The Guard

James Gunn has long since confirmed that "The Guardians of the Galaxy Vol. 3" will be the last film to feature the current roster for the Guardians. The lineup includes Peter Quill (Chris Pratt), aka Star Lord, Nebula, Drax (Dave Bautista), Mantis (Pom Klementief), Rocket Raccoon, Groot (Vin Diesel), and Cosmo the Spacedog. Gamora (Zoe Saldaña) is no longer a member, as the only surviving iteration of the character never underwent the emotional arc that convinced her to become a Guardian in the first place (more on her later). 

Now, Gunn's comments obviously come with a tinge of finality, especially since this will almost certainly be his last production with Marvel, but that doesn't inherently mean that characters will die. Sometimes, people get happy endings, or at least peaceful ones. Besides, the team is already changing, as the above roster proves. Whatever comes in "Vol. 3," it won't be totally unprecedented. The only real question is, then, how will the Guardians change? Will they evolve (haha), or disband?

Some are speculating that Rocket will bite the dust because the trailer seems to focus on him more than the others. Further, several cast members have hinted that "Vol. 3" is the end of the road for their characters or, at the very least, their present contracts, including PrattBautista and Karen Gillan. Their potential departures (or deaths) could make room for new members, like Adam Warlock, or more room for older members, like Mantis, who "The Guardians of the Galaxy Holiday Special" set up as having a greater storyline in "Vol. 3." 

Gamora's New, Old Life

The Gamora that audiences will see in "The Guardians of the Galaxy Vol. 3" will not be the same Gamora they have grown accustomed to. The version of her that defied Ronin the Accuser (Lee Pace), fought Ego the Living Planet (Kurt Russel), and inadvisably fell in love with Peter Quill, died at the hands of her adoptive father, Thanos (Josh Brolin), in "Avengers: Infinity War." What's left of her resides forever inside the soul stone, alongside Natasha Romanoff (Scarlett Johansen), aka Black Widow. The Marvel Cinematic Universe has not clarified as to what that particular experience is like, so we're going to pretend that kicking it in the soul stone is kind of like having a permanent private paradise ... most other theories would make it a literal hell.

Sidestepping that theological nightmare, the reason that Gamora is still traipsing around the MCU post-mortem is because of time-travel shenanigans. This new Gamora comes from an earlier point on her own timeline, so she's missing the sweet, sweet character development that put an end to her days as a bloodthirsty assassin. Thanks to some footage shared at the 2022 San Diego Comic Con, we know that Gamora will return in "Vol. 3" as a new leader of the Ravagers, the same space pirate organization that employed the late Yondu (Michael Rooker) and still employs Stakar Ogord (Sylvester Stallone). 

Based on comments from Zoe Saldaña, "Vol. 3" might be Gamora's last adventure. Like all of the actors mentioned previously, however, her comments are vague enough to not guarantee anything. With an air of finality looming over the film, will the new, older Gamora get a crash course in emotional growth, or will she be forced to endure death a second time? 

Rocket Racoon's Tragic Origin

So far, the Marvel Cinematic Universe has nailed its portrayal of Rocket Raccoon. He's a gun toting, short fused, master pilot with a penchant for plotting and four letter words. The fact that he just happens to be a cybernetically enhanced space raccoon has not been addressed in any substantial way, not until the latest trailer for "The Guardians of the Galaxy Vol. 3," that is. As the trailer suggests, there once was a point in Rocket's life when he was a regular animal. 

In the comics, Rocket is the product of extensive delegation. On the planet that would later come to be known as Halfworld, humanoid aliens tended a sizeable population of clinically insane patients. When they lost their funding, the humanoid aliens cranked out a cast of robots to tend to the patients in their upcoming absence. Soon afterward, the robots got smacked with a massive dose of radiation from a nearby star going nova. Somehow, that radiation gifted them sentience and, with that sentience, they collectively agreed to abandon the medical field. The sentient robots gathered up the planet's animal life and performed deeply invasive and deeply traumatic genetic and cybernetic experiments upon them so that the animals could also gain sentience and subsequently take over care for the patients, which we should probably mention are called "Loonies" in the comics. 

Unlike the humanoid aliens, who immediately dipped after they created the robots, the robots simply moved to the other side of the planet and fashioned it to their liking, an action which would ultimately earn the planet its title of Halfworld. The animals handled their duty of care slightly better than those who came before but it wasn't the life for Rocket, who took his nonconsensual consciousness and bolted.  

Reading Assignments

This last bit is for all the folks out there who might enjoy a little comic exploration. Consider this your assigned reading in preparation for "The Guardians of the Galaxy Vol. 3." It's important to remember that everything suggested here will be functionally adjacent, as the Marvel Cinematic Universe enjoys taking liberties with the source material.

If you're interested in Cosmo the Spacedog, we recommend "Nova Vol. 4 #8, 9, & 10"  from 2007 and "Guardians of the Galaxy Vol. 2 #1" from 2008. If you're interested in Adam Warlock and the Magus, Marvel recommends these issues as essential reading, including "Fantastic Four #67" from 1967 and "The Infinity Entity #1" from 2016. We extra recommend looking into "Warlock #1" from 1972 because James Gunn listed it as one of his favorite comics of all time back in 2017.  If you're interested in Rocket Raccoon, Lady Lylla, and Halfworld, we recommend "The Incredible Hulk #271" from 1982 and "Rocket Raccoon #1,2,3 & 4" from 1985. 

If you're interested in the The High Evolutionary, try out this comprehensive reading list, which includes "Thor #131 - 153" from 1966 and "Fantastic Four #164 176" from 1975. A word of caution ... good ol' Herbert wormed his way into almost every run of every comic, so be mindful of spoilers when clicking that last hyperlink. 

As of now, "Vol. 3" is set to release May 5th, 2023. Hopefully that gives you enough time to parse through all of your new homework!

Read this next: 11 Marvel Comics Villains We Really Want To See In The MCU

The post Adam Warlock, The Magus, And More: Your Study Guide For Guardians Of The Galaxy Vol. 3 appeared first on /Film.

12 Dec 00:30

Why the Laws of Physics Don't Actually Exist

by EditorDavid
Theoretical physicist Sankar Das Sarma wrote a thought-provoking essay for New Scientist magazine's Lost in Space-Time newsletter: I was recently reading an old article by string theorist Robbert Dijkgraaf in Quanta Magazine entitled "There are no laws of physics". You might think it a bit odd for a physicist to argue that there are no laws of physics but I agree with him. In fact, not only do I agree with him, I think that my field is all the better for it. And I hope to convince you of this too. First things first. What we often call laws of physics are really just consistent mathematical theories that seem to match some parts of nature. This is as true for Newton's laws of motion as it is for Einstein's theories of relativity, Schrödinger's and Dirac's equations in quantum physics or even string theory. So these aren't really laws as such, but instead precise and consistent ways of describing the reality we see. This should be obvious from the fact that these laws are not static; they evolve as our empirical knowledge of the universe improves. Here's the thing. Despite many scientists viewing their role as uncovering these ultimate laws, I just don't believe they exist.... I know from my 40 years of experience in working on real-life physical phenomena that the whole idea of an ultimate law based on an equation using just the building blocks and fundamental forces is unworkable and essentially a fantasy. We never know precisely which equation describes a particular laboratory situation. Instead, we always have to build models and approximations to describe each phenomenon even when we know that the equation controlling it is ultimately some form of the Schrödinger equation! Even with quantum mechanics, space and time are variables that have to be "put in by hand," the article argues, "when space and time should come out naturally from any ultimate law of physics. This has remained perhaps the greatest mystery in fundamental physics with no solution in sight...." "It is difficult to imagine that a thousand years from now physicists will still use quantum mechanics as the fundamental description of nature.... I see no particular reason that our description of how the physical universe seems to work should reach the pinnacle suddenly in the beginning of the 21st century and become stuck forever at quantum mechanics. That would be a truly depressing thought...!" "Our understanding of the physical world must continue indefinitely, unimpeded by the search for ultimate laws. Laws of physics continuously evolve — they will never be ultimate." Thanks to long-time Slashdot reader InfiniteZero for sharing the article!

Read more of this story at Slashdot.

11 Dec 19:30

Horror Actors Who Passed Away After Filming Movies

by Jenn Adams

Death and the horror genre go hand in hand. Not every scary movie features the death of a character, and horror is certainly not the only type of film in which characters die, but terrifying films deal with the business of death (i.e. the realms both near and beyond the grave). Once the cameras stop rolling and the director yells "cut," most actors walk back into the sunlight and leave the terrifying scenes they're creating behind. Every once in a while, the shadow of death seems to follow actors home, claiming them shortly after they've finished making their films. Sometimes these deaths lead to rumors of curses and jinxed productions, but they are simply one part of life's vicious circle. However, unsettling coincidences and the eerieness of seeing an actor in a role after passing on often lead to the feeling that something darker is afoot.

The following list is a remembrance of actors who passed away after filming horror movies. Some add a final chapter to long and prosperous lives, while others recount a cruel ending to promising careers. They are real examples of the horrors the genre trades in like illness, accidents, addiction, and murder. We honor these lost actors by watching their films, celebrating their careers, and remembering the real lives that were lost once the cameras stopped rolling.

Jack MacGowran And Vasiliki Maliaros — The Exorcist (1973)

The most famous horror movie in history also has one of the most famous horror movie curses. William Friedkin's blockbuster "The Exorcist" follows a young girl possessed by a demonic entity. Controversial at the time, "The Exorcist" shocked audiences with its horrific effects and profane dialogue. Audience members reported fainting, shortness of breath, vomiting, and spiritual and psychological trauma, making the film a word-of-mouth sensation leading to lines around the block. Aside from the onscreen horrors, "The Exorcist" is associated with nine deaths, including two actors appearing in the film who passed away shortly after. Jack MacGowran, who plays the alcoholic director Burke Dennings, died of complications of the flu on January 31st, 1973, nearly a year before the film's December release. Just ten days later, Vasiliki Maliaros (who plays Father Karras's elderly mother) died of natural causes, an eerie coincidence given her character's cinematic demise.

Both MacGowran and Maliaros were older actors and their deaths, while tragic, are simply a part of life. More horrific is the troubled production itself. A mysterious fire destroyed part of the set, a convicted murderer appears as an extra, and Friedkin's quest for verisimilitude led to stressful and dangerous working conditions. Hoping to depict genuine discomfort onscreen, Friedkin refrigerated the set, arranged for a gun to fire at random intervals, and ordered stunt operators to vigorously jerk the harnesses of his leading ladies, causing significant back injuries for both Linda Blair and Ellen Burstyn.

Sid Haig — 3 From Hell (2019)

Stephen King's Pennywise is largely credited with recent waves of coulrophobia sweeping the nation, but another cinematic clown may be even more terrifying. Sid Haig's Captain Spaulding is a bloodthirsty harlequin with streaked makeup, a killer fried chicken recipe, and a murder ride that hides an underground lair filled with unspeakable horrors. Haig stars in Rob Zombie's Firefly Trilogy as the patriarch of a murderous family who delights in torturing tourists wandering into their roadside attraction. Haig is mostly known for his later career in horror, but he broke into the industry as a young tap dancer, winning his first paying gigs in Christmas shows. Haig went on to play the disabled Ralph in "Spider Baby" and starred alongside Pam Grier in the blaxploitation films "Coffy" and "Foxy Brown."

Haig was set to star in the third Firefly film "3 From Hell," but ill health forced Zombie to reduce his role dramatically. Rather than replace him entirely, Zombie insisted on including Haig in the film. He rewrote the story to offer Captain Spaulding a satisfying arc, telling Consequence, "But I had already spoken to Sid about how important it was for him to be in this movie and it was important to me. It was important to him. It was important to the fans." Haig died of a lung infection on September 21st, 2019, just five days after "3 From Hell" premiered along with the final appearance of his most famous character.

Aaliyah — Queen Of The Damned (2002)

Though death is always tragic, the passing of those just entering adulthood feels cruel. R&B sensation Aaliyah was only 22 when she was killed in a plane crash on August 25, 2001 after returning from a video shoot in the Bahamas. The young dynamo began her music career at just 12 years old when she transitioned from singing in church to performing with the legendary Gladys Knight. Aaliyah released her first hit album "Age Ain't Nothing But a Number" in 1994, at the tender age of 15. She followed this with two more platinum albums and five Grammy nominations in just seven years.

A triple threat, Aaliyah had begun acting as well and recently starred opposite martial arts superstar Jet Li in the action love story "Romeo Must Die." She had just wrapped production of her sophomore film "Queen of the Damned '' and had been cast in sequels to "The Matrix" before boarding the doomed flight. "The Queen of the Damned" is an adaptation of Anne Rice's third novel in her wildly popular Vampire Chronicles. Despite a magnetic performance by Aaliyah, the film suffers from a rushed script and fumbled adaptation of the beloved book. It's gone on to achieve camp classic status, but will forever be known as the R&B goddess's final on-screen appearance and a cruel reminder of the star she might have been.

Bela Lugosi — Plan 9 From Outer Space (1957)

Of all the iconic horror characters, few are as recognizable as Bela Lugosi's Count Dracula. Born in 1882, Lugosi began acting in his native Hungary before immigrating to the United States to pursue acting. In 1927, he debuted the role that would make him famous, appearing for the first time as Count Dracula on a Broadway stage and later in Tod Browning's 1931 film adaptation "Dracula." From there he became a mainstay in the burgeoning horror genre, appearing in classics such as "Murders in the Rue Morgue" and "The Wolf Man."

Lugosi's final onscreen appearance in Ed Wood's "Plan 9 From Outer Space" is famous for an entirely different reason. Wood was notorious in the industry for his incompetence as a director and the often comical awfulness of his films. "Plan 9" is particularly egregious and known as the worst movie ever made. Having passed away long before the film's conception, Lugosi scenes — likely shot for a project called "The Vampire's Tomb" — were shoehorned into the film by Wood, adding to the nonsensical energy. Additional scenes were filmed with a stand-in much taller than Lugosi who spends the rest of the film hunching over and covering his face. After a legendary but troubled career, Lugosi died in his California home on August 16, 1956, nearly three years before the release of his final film. He will always be remembered for his iconic portrayal of Count Dracula despite the bizarre addendum to his career.

Donald Pleasance — Halloween: The Curse Of Michael Myers (1995)

When most fans think of John Carpenter's "Halloween," they picture legendary Final Girl Laurie Strode and the iconic killer Michael Myers. However, Michael's psychiatrist Dr. Sam Loomis is just as crucial to the franchise's legacy. Played by acclaimed British actor Donald Pleasance, Loomis is an unhinged doctor determined to keep his most dangerous patient from killing again. Despite his horror cred, Pleasance got his start in more dramatic roles. After working steadily for years on the British stage and then in film and TV, Pleasance landed his breakthrough role in "The Great Escape," a World War II film chronicling the miraculous escape of Allied prisoners of war. Pleasance drew on his own horrific experiences as a POW in a Nazi camp for his part.

Pleasance appeared in four additional entries in the "Halloween" franchise as the long-suffering doctor continuously warning others of Michael's evil. Considering his character's appeal, Pleasance told Fangoria, "I've tended to play Loomis with a light touch ... not totally comedic, but in a manner that fits with these films' attention to suspense and tension." Pleasance died of complications from heart surgery on February, 2 1995, seven months before the release of "Halloween: The Curse of Michael Myers." The beloved actor lives on with his iconic voice recreated in both "Halloween H20: 20 Years Later" and "Halloween" (2018). A recreation of the character appears in "Halloween Kills," seeing Loomis attempt to kill Michael once and for all.

Brad Renfro — The Informers (2008)

In hindsight, how Brad Renfro was discovered cast an auspicious shadow over his career. The 11-year-old from Knoxville, TN was cast as Mark Sway, a tough kid from a trailer park in Joel Schumacher's "The Client." Renfro was recommended for the role by a retired police officer who remembered him being difficult in a D.A.R.E. class. Renfro's career began to skyrocket and he booked high-profile roles in "The Cure," "Sleepers," and "Apt Pupil." Unfortunately, the young actor suffered from an addiction to hard drugs and alcohol. Run-ins with law enforcement began to torpedo his promising career. Renfro's tragic story is a prime example of how dangerous growing up in the film industry can be. The actor was clearly in need of guidance, but with so much money depending on his performances no one was willing to step in and redirect his path. He died of an accidental overdose on January 15, 2008. He was just 25 years old.

Renfro's final film, "The Informers," is a star-studded adaptation of the Bret Easton Ellis novel exploring the debaucherous climate of 1983 Los Angeles featuring Billy Bob Thornton, Kim Basinger, Winona Ryder, Mickey Rourke, and Amber Heard. Despite an impressive cast, the film received negative reviews. However, Ellis praised Renfro's performance as a doorman named Jack who finds himself roped into a kidnapping-for-hire plot in which he's asked to kill a young boy. Jack takes mercy on the child, faking the murder and secretly letting him go. One only wishes someone had taken similar pity on Renfro himself.

If you or anyone you know is struggling with addiction issues, help is available. Visit the Substance Abuse and Mental Health Services Administration website or contact SAMHSA's National Helpline at 1-800-662-HELP (4357).

Natalie Wood — Brainstorm (1983)

Natalie Wood is one of the rare examples of a child's Hollywood success story. Breaking into the industry at just four years old, she landed her first major role as a little girl who doesn't believe in Santa Claus in "Miracle on 34th Street." Wood went on to star in the classic films "Rebel Without a Cause," "Splendor in the Grass," and "West Side Story" receiving three Oscar nominations before her 25th birthday. After a less ambitious schedule in the 1970s, Wood was poised to make a comeback with Douglas Trumbull's "Brainstorm." The film had all the makings of a science fiction blockbuster, with the special effects master piloting an innovative new approach to filming and a plot revolving around virtual reality decades before it became a ubiquitous term.

Tragedy struck near the end of production when Wood died on a weekend boating trip with her co-star Christopher Walken and her husband Robert Wagner. Her body was found floating near the couple's yacht on November 29, 1981. Mystery surrounds Wood's untimely death and it's likely we will never know what happened on that cold November night, but her passing irrevocably changed the trajectory of what was to be her return to the screen. After a protracted legal battle and slight restructuring, "Brainstorm" was finally released on September 30, 1983. Overshadowed by "The Big Chill," the sci-fi thriller received middling reviews and has been almost completely forgotten save for the final onscreen appearance of its doomed star.

Brandon Lee — The Crow (1994)

One of Hollywood's most tragic examples of a bright career cut short is the death of Brandon Lee. Son of martial arts legend Bruce Lee, the 28-year-old actor had just landed his breakout role in Alex Proyas' "The Crow." Lee would play Eric Draven, a murdered musician who a mysterious crow resurrects to avenge the death of his fiancée. The shoot had been plagued with problems including accidents, injuries, cut corners, and destruction, but nothing could compare with the tragedy to come.

Towards the end of production, Lee was filming a pivotal scene in which his character is shot by intruders upon returning to his apartment. In a cruel twist of fate, the prop gun fired a real bullet into Lee's abdomen. The actor passed away when surgeons were unable to repair the damage. The death was ultimately ruled an accident resulting from a failure to properly clean the gun's barrel. The cast and crew banded together to finish the project as a tribute to Lee. Despite macabre rumors, footage of his death was not used in the final cut and has been locked away for decades. Proyas completed the film using extra footage, stand-ins, and CGI to recreate Lee's image in a few key scenes. "The Crow" premiered to rave reviews and praise for its leading man, a sign of the bright career he would have had and a haunting reminder of what might have been.

Brittany Murphy — Something Wicked (2014)

Despite her iconic performance as Tai in Amy Heckerling's "Clueless," Brittany Murphy was anything but a ditzy actress. After moving to L.A. at the age of 14, Murphy won her breakout role in "Drexell's Class" followed by overnight stardom in the Alicia Silverstone classic. She soon impressed audiences with her scene-stealing performances in "Girl, Interrupted" and "Don't Say a Word." Though Murphy's star was on the rise, her personal life was in turmoil. Rising to fame during the heyday of TMZ, Murphy was a frequent target of gossip bloggers like Perez Hilton, with unfounded rumors circulating about her mental stability, drug addiction, and eating disorders. Following a series of public engagements, Murphy met and quickly married screenwriter Simon Monjack, whom many friends and colleagues worried was controlling and manipulative.

Months after filming wrapped on "Something Wicked," a psychological thriller that would become her final role, Murphy collapsed in her L.A. home and was rushed to the hospital where she succumbed to a combination of pneumonia and iron deficiency. The shock of losing such a young woman to a preventable disease combined with bizarre behavior from her mysterious husband ignited a rash of conspiracy theories and attention from internet sleuths. Though Murphy had completed her work on "Something Wicked," post-production suffered numerous delays including outdoor reshoots continually rescheduled due to unpredictable weather. The low-budget film received a small release on April 4, 2014, more than four years after the death of its most famous star.

If you or someone you know is dealing with domestic abuse, you can call the National Domestic Violence Hotline at 1−800−799−7233. You can also find more information, resources, and support at their website.

Dominique Dunne — Poltergeist (1982)

Of all the losses connected to the so-called "Poltergeist" curse, few are as heartbreaking and senseless as the murder of Dominique Dunne. The youngest child of a prominent Hollywood family, Dunne began acting on stage and in television shows like "Breaking Away" and "Fame." With her star on the rise, Dunne's first major film was "Poltergeist," the story of a family haunted by the spirits lurking within their suburban home. The terrifying film was a hit and Dunne seemed poised for a wildly successful career.

On October 30th, 1982, just months after the film's release, Dunne was studying lines at home when her ex-boyfriend John Sweeney knocked at the door. Dunne had recently ended the relationship due to his violent and controlling behavior and he had apparently come to win her back. The conversation did not go as planned. Sweeney attacked Dunne, leaving her alive but unresponsive. Rushed to the hospital, she remained on life support for five days before finally passing away surrounded by her family. Sweeney was subsequently convicted of manslaughter and served an infuriating two-and-a-half years in jail. Dunne's father, writer Dominick Dunne, penned a heartbreaking essay for Variety chronicling the trial and indicting a judge who seemed to clearly favor the defense. While Dunne's death is often connected to a curse said to shadow the iconic film, the real curse her murder highlights is a legacy of violence against women and a legal system that too often fails to deliver justice.

If you or someone you know is dealing with domestic abuse, you can call the National Domestic Violence Hotline at 1−800−799−7233. You can also find more information, resources, and support at their website.

Read this next: The Saddest Character Deaths In Horror History

The post Horror Actors Who Passed Away After Filming Movies appeared first on /Film.

11 Dec 19:27

No, Remote Employees Aren't Becoming Less Engaged

by EditorDavid
"Employees have gotten more — not less — engaged over the past three years since remote work became the norm for many knowledge workers," argues an assistant professor of management from the business school at the University of Texas at Austin. He'd teamed up with a software company providing analytics to large corporations to measure the number of spontaneously-happening individual remote meetings: Given the anecdotal evidence of workers recently disengaging or quiet quitting, we had originally predicted that one of the easiest ways to observe this effect would be a continual decrease in the number of times remote or hybrid coworkers were engaging — or meeting — with each other. However, we found quite the opposite. To more deeply explore the nature of how remote collaboration is changing over time, we gathered metadata from all Zoom, Microsoft Teams, and Webex meetings (involving webcams on and/or off) from 10 large global organizations (seven of which are Fortune 500 firms) spanning a variety of fields, including technology, health care, energy, and financial services. Specifically, we compared six-week snapshots of raw meeting counts from April through mid-May in 2020 following the Covid-19 lockdowns, and the same set of six weeks in 2021 and 2022.... This dataset resulted in a total of more than 48 million meetings for more than half a million employees.... In 2020, 17% of meetings were one-on-one, but in 2022, 42% of meetings were one-on-one... In 2020, only 17% of one-on-one meetings were unscheduled, but in 2022, 66% of one-on-one meetings were unscheduled. Furthermore, the growth in one-on-one meetings between 2020 and 2022 was almost solely due to the increase in unscheduled meetings (whereas scheduled meetings remained relatively constant)... The combination of these findings presents an interesting picture: not that remote workers seem to be becoming less engaged, but rather — at least with respect to meetings — they are becoming more engaged with their colleagues. This data also suggests that remote interactions are shifting to more closely mirror in-person interactions. Whereas there have been substantial concerns that employees are missing out on the casual and spontaneous rich interactions that happen in-person, these findings indicate that remote employees may be beginning to compensate for the loss of those interactions by increasingly having impromptu meetings remotely.

Read more of this story at Slashdot.

11 Dec 05:22

The Original Penguin Actor, Burgess Meredith, Almost Had The Perfect Cameo In Batman Returns

by Marcos Melendez

At the ripe age of 30, Tim Burton's "Batman Returns" has aged pretty wonderfully. The film did not exactly adhere to the source material, but it was able to capture the essence of a great live-action Batman film. It featured Michael Keaton's best performance as the titular character, while Michelle Pfeiffer cemented herself as the quintessential Catwoman. The film also boasted a fan-favorite and inspired performance by Danny DeVito as the Penguin. And, as it turns out, the film nearly included a previous incarnation of the villain from the iconic "Batman" television series.

Burgess Meredith, who played the Penguin in the "Batman" television series from 1966, almost made his way into "Batman Returns." The first person to play the Penguin in live-action, Meredith brought the villain to life in a campy, yet faithful fashion. He looked the part as well, sporting a comic-accurate suit and purple top hat, appropriately colorful for the era. Compared to Meredith's performance, DeVito played a distant version of Penguin's counterpart. In a way, Meredith paved the path for DeVito's interpretation — so much so that "Batman Returns" considered paying homage to the '60s TV series by bringing back the actor for a small yet vital role.

An Orphan Not Named Bruce

In "Batman Returns," the film opens with a pretty bleak and disturbing origin story for the antagonist. Oswald Cobblepot, the son of two wealthy Gotham socialites, was born heavily deformed on a cold winter night. When they decide to abandon the child, the parents drop Oswald off in the sewers as a wee baby. It's here where he is raised by a group of penguins, spending over thirty years plotting his revenge on the world that abandoned him. Naturally, Meredith was eyed for the role of Tucker Cobblepot, Penguin's father.

Unfortunately, Meredith could not join the film at the time due to an illness, so the role went to Paul Reubens instead. Meredith's inclusion would have seen him literally introduce a new version of the character to the world, one much more disturbing than the last. And while DeVito's iteration bares little resemblance to Meredith's take on the character, it would have been fitting to see a metaphorical passing of the baton. Don't get me wrong, Reubens was a pretty good choice and even played Oswald's father again in "Gotham" decades later, too. But c'mon, just imagine how cool Meredith would've looked in a Burton film.

Although the cameo appearance didn't end up happening, both superhero projects remain pinnacles of live-action Batman adaptations. The '60s "Batman" series is available to stream on Roku, while "Batman Returns" can currently be watched on HBO Max.

Read this next: What These DC Villains Really Look Like Under The Makeup

The post The Original Penguin Actor, Burgess Meredith, Almost Had the Perfect Cameo in Batman Returns appeared first on /Film.

11 Dec 03:18

It's DOOM's 29th Anniversary. What's Your Favorite Story?

by EditorDavid
It was 29 years ago today that DOOM was first released — and we're still using it! Here in 2022, the latest mod reportedly converts its demons into the zombies and creepers from Minecraft. This week Hackaday wrote about a simple emulated RISC-V processor that runs DOOM. Last month someone even got DOOM running in Notepad. And recently WebTV enthusiasts not only jerry-rigged a contemporary TV to a WebTV unit, but then actually got it to play a 1990s-era WebTV version of DOOM on their TV screen. The last 29 years have been a long, strange trip. A hidden Doom level appeared in Microsoft Excel. A Doom video was also used to promote Windows 95. And then there was that weird Doom movie starring The Rock and Karl Urban... By 2015 Doom was inducted into the World Video Game Hall of Fame. In 2016 John Romero created a new level. Later that year a new release of Doom even featured a mod with one of the the original Doom II levels from 1994. In 2016 we'd asked Slashdot readers to share their own favorite stories about Doom — and the best thing about that post is those 351 comments. ("I went to the door, confused why the police were banging on my door.... They said they had reports of shots being fired." ) Is anyone still playing Doom today? Share your own thoughts and memories in the comments. And what's your own favorite story about Doom?

Read more of this story at Slashdot.

11 Dec 02:15

Witcher 3 Next-Gen Update Features Witcher 3 HD Reworked Project, HD Monsters Reworked Mod & More; HDR Enabled Automatically

by Aernout van de Velde

The Witcher 3 Next-Gen Update

CD Projekt Red's Global Community Manager, Marcin Momot, has taken to Twitter to provide some additional details about next week's free The Witcher 3 Next-Gen update.

We already knew that the next-gen version of The Witcher 3: Wild Hunt might be using some popular community mods, and we now have a confirmed list of mods that will be included in the next-gen version, including the ever-popular HD Reworked Project from modder HalkHogan. As revealed by Momot, the following mods have been implemented in the game:

  • The Witcher 3 HD Reworked Project by HalkHogan
  • HD Monsters Reworked by Denroth
  • Immersive Real-time Cutscenes by teiji25
  • Nitpicker's Patch by chuckcash
  • World Map Fixes by Terg500

In addition to the above, the community manager also provided more information about the game's HDR feature, which will be automatically enabled if supported by your display. Momot also revealed that the team is planning to add an HDR calibration option to the next-gen version through a future patch.

"A word of clarification on the HDR feature in The Witcher 3 NG update for PC, PS5 & XSX|S", Momot explained. "For the release of the game it will be automatically enabled when connected to an HDR screen. We plan to add a calibration menu in one of the future patches. Thanks for your patience!"

The Witcher 3: Wild Hunt Next-Gen update releases in a few days on December 14 across PC, PlayStation 5, Xbox Series X, and Xbox Series S. The patch will be free for those already owning The Witcher 3 on their platform.

CD Projekt Red announced the next-gen version of the 2015 title back in September of last year.

“Enhanced with the power of next-gen consoles and modern PC hardware in mind, the upcoming release of CD Projekt Red’s award-winning role-playing game will feature dozens of visual, performance, and technical enhancements over the original", CD Projekt Red wrote last month. "These include ray tracing support, faster loading times on consoles, as well as a variety of mods integrated into the experience, among many others. You can also look forward to new additional content inspired by The Witcher series from Netflix.”

The post Witcher 3 Next-Gen Update Features Witcher 3 HD Reworked Project, HD Monsters Reworked Mod & More; HDR Enabled Automatically by Aernout van de Velde appeared first on Wccftech.

11 Dec 02:11

So Many Floppies! - Late DOS/Early Windows Era Installations

by Great Hierophant
The CD-ROM format continually promised to make floppy disks obsolete.  First introduced in a usable form in 1986, the CD-ROM's 650MiB capacity was enormous when 1.2MiB 5.25" floppies were largest available removable media at the time and hard drives maxed out at around 50 MiB.  While CD-ROMs were standard equipment on current PCs by 1995 and the principal method for software installation by that year, the PCs reliance on floppy disks for operating system installation lasted for much longer than anyone anticipated.  How long you ask?  Let's find out.

Read more »
You say "obsessed" as if it is a bad thing.
10 Dec 13:41

43 Best Gifts for Mom for the Holidays 2024

by Lindsey Hunter Lopez
Whether you're shopping for mom, grandma or your mother-in-law, you’ll find a gift for every type of mom out there. From a kitchen counter garden to a designer handbag, we've picked only the best.
10 Dec 03:22

Doing Windows, Part 11: The Internet Tidal Wave

by Jimmy Maher

On August 6, 1991, when Microsoft was still in the earliest planning stages of creating the operating system that would become known as Windows 95, an obscure British researcher named Tim Berners-Lee, working out of the Conseil Européen pour la Recherche Nucléaire (CERN) in Switzerland, put the world’s first publicly accessible website online. For years to come, these two projects would continue to evolve separately, blissfully unconcerned by if not unaware of one another’s existence. And indeed, it is difficult to imagine two computing projects with more opposite personalities. Mirroring its co-founder and CEO Bill Gates, Microsoft was intensely pragmatic and maniacally competitive. Tim Berners-Lee, on the other hand, was a classic academic, a theorist and idealist rather than a businessman. The computers on which he and his ilk built the early Web ran esoteric operating systems like NeXTSTEP and Unix, or at their most plebeian MacOS, not Microsoft’s mass-market workhorse Windows. Microsoft gave you tools for getting everyday things done, while the World Wide Web spent the first couple of years of its existence as little more than an airy proof of concept, to be evangelized by wide-eyed adherents who often appeared to have read one too many William Gibson novels. Forbes magazine was soon to anoint Bill Gates the world’s richest person, his reward for capturing almost half of the international software market; the nascent Web was nowhere to be found in the likes of Forbes.

Those critics who claim that Microsoft was never a visionary company — that it instead thrived by letting others innovate, then swooping in and taking taking over the markets thus opened — love to point to its history with the World Wide Web as Exhibit Number One. Despite having a role which presumably demanded that he stay familiar with all leading-edge developments in computing, Bill Gates by his own admission never even heard of the Web until April of 1993, twenty months after that first site went up. And he didn’t actually surf the Web for himself until another six months after that — perhaps not coincidentally, shortly after a Windows version of NCSA Mosaic, the user-friendly graphical browser that made the Web a welcoming place even for those whose souls didn’t burn with a passion for information theory, had finally been released.

Gates focused instead on a different model of online communication, one arguably more in keeping with his instincts than was the free and open Web. For almost a decade and a half by 1993, various companies had been offering proprietary dial-up services aimed at owners of home computers. These came complete with early incarnations of many of the staples of modern online life: email, chat lines, discussion forums, online shopping, online banking, online gaming, even online dating. They were different from the Web in that they were walled gardens that provided no access to anything that lay beyond the big mainframes that hosted them. Yet within their walls lived bustling communities whose citizens paid their landlords by the minute for the privilege of participation.

The 500-pound gorilla of this market had always been CompuServe, which had been in the business since the days when a state-of-the-art home computer had 16 K of memory and used cassette tapes for storage. Of late, however, an upstart service called America Online (AOL) had been making waves. Under Steve Case, its wunderkind CEO, AOL aimed its pitch straight at the heart of Middle America rather than the tech-savvy elite. Over the course of 1993 alone, it went from 300,000 to 500,000 subscribers. But that was only the beginning if one listened to Case. For a second Home Computer Revolution, destined to be infinitely more successful and long-lasting than the first, was now in full swing, powered along by the ease of use of Windows 3 and by the latest consumer-grade hardware, which made computing faster and more aesthetically attractive than it had ever been before. AOL’s quick and easy custom software fit in perfectly with these trends. Surely this model of the online future — of curated content offered up by a firm whose stated ambition was to be the latest big player in mass media as a whole; of a subscription model that functioned much like the cable television which the large majority of Americans were already paying for — was more likely to take hold than the anarchic jungle that was the World Wide Web. It was, at any rate, a model that Bill Gates could understand very well, and naturally gravitated toward. Never one to leave cash on the table, he started asking himself how Microsoft could get a piece of this action as well.

Steve Case celebrates outside the New York Stock Exchange on March 19, 1992, the day America Online went public.

Gates proceeded in his standard fashion: in May of 1993, he tried to buy AOL outright. But Steve Case, who nursed dreams of becoming a media mogul on the scale of Walt Disney or Jack Warner, turned him down flat. At this juncture, Russ Siegelman, a 33-year-old physicist-by-education whom Gates had made his point man for online strategy, suggested a second classically Microsoft solution to the dilemma: they could build their own online service that copied AOL in most respects, then bury their rival with money and sheer ubiquity. They could, Siegelman suggested, make their own network an integral part of the eventual Windows 95, make signing up for it just another step in the installation process. How could AOL possibly compete with that? It was the first step down a fraught road that would lead to widespread outrage inside the computer industry and one of the most high-stakes anti-trust investigations in the history of American business — but for all that, the broad strategy would prove very, very effective once it reached its final form. It had a ways still to go at this stage, though, targeting as it did AOL instead of the Web.

Gates put Siegelman in charge of building Microsoft’s online service, which was code-named Project Marvel. “We were not thinking about the Internet at all,” admits one of the project’s managers. “Our competition was CompuServe and America Online. That’s what we were focused on, a proprietary online service.” At the time, there were exactly two computers in Microsoft’s sprawling Redmond, Washington, campus that were connected to the Internet. “Most college kids knew much more than we did because they were exposed to it,” says the Marvel manager. “If I had wanted to connect to the Internet, it would have been easier for me to get into my car and drive over to the University of Washington than to try and get on the Internet at Microsoft.”

It came down to the old “not built here” syndrome that dogs so many large institutions, as well as the fact that the Web and the Internet on which it lived were free, and Bill Gates tended to hold that which was free in contempt. Anyone who attempted to help him over his mental block — and there were more than a few of them at Microsoft — was greeted with an all-purpose rejoinder: “How are we going to make money off of free?” The biggest revolution in computing since the arrival of the first pre-assembled personal computers back in 1977 was taking place all around him, and Gates seemed constitutionally incapable of seeing it for what it was.

In the meantime, others were beginning to address the vexing question of how you made money out of free. On April 4, 1994, Marc Andreessen, the impetus behind the NCSA Mosaic browser, joined forces with Jim Clark, a veteran Silicon Valley entrepreneur, to found Netscape Communications for the purpose of making a commercial version of the Mosaic browser. A team of programmers, working without consulting the Mosaic source code so as to avoid legal problems, soon did just that, and uploaded Netscape Navigator to the Web on October 13, 1994. Distributed under the shareware model, with a $39 licensing fee requested but not demanded after a 90-day trial period was up, the new browser was installed on more than 10 million computers within nine months.

AOL’s growth had continued apace despite the concurrent explosion of the open Web; by the time of Netscape Navigator’s release, the service had 1.25 million subscribers. Yet Steve Case, no one’s idea of a hardcore techie, was ironically faster to see the potential — or threat — of the Web than was Bill Gates. He adopted a strategy in response that would make him for a time at least a superhero of the business press and the investor set. Instead of fighting the Web, AOL would embrace it — would offer its own Web browser to go along with its proprietary content, thereby adding a gate to its garden wall and tempting subscribers with the best of both worlds. As always for AOL, the whole package would be pitched toward neophytes, with a friendly interface and lots of safeguards — “training wheels,” as the tech cognoscenti dismissively dubbed them — to keep the unwashed masses safe when they did venture out into the untamed wilds of the Web.

But Case needed a browser of his own in order to execute his strategy, and he needed it in a hurry. He needed, in short, to buy a browser rather than build one. He saw three possibilities. One was to bring Netscape and its Navigator into the AOL fold. Another was a small company called Spyglass, a spinoff of the National Center for Supercomputing (NCSA) which was attempting to commercialize the original NCSA Mosaic browser. And the last was a startup called Booklink Technologies, which was making a browser from scratch.

Netscape was undoubtedly the superstar of the bunch, but that didn’t help AOL’s cause any; Marc Andreessen and Jim Clark weren’t about to sell out to anyone. Spyglass, on the other hand, struck Case as an unimaginative Johnny-come-lately that was trying to shut the barn door long after the horse called Netscape had busted out. That left only Booklink. In November of 1994, AOL paid $30 million for the company. The business press scoffed, deeming it a well-nigh flabbergasting over-payment. But Case would get the last laugh.

While AOL was thus rushing urgently to “embrace and extend” the Web, to choose an ominous phrase normally associated with Microsoft, the latter was dawdling along more lackadaisically toward a reckoning with the Internet. During that same busy fall of 1994, IBM released OS/2 3.0, which was marketed as OS/2 Warp in the hope of lending it some much-needed excitement. By either name, it was the latest iteration of an operating system that IBM had originally developed in partnership with Microsoft, an operating system that had once been regarded by both companies as nothing less than the future of mainstream computing. But since the pair’s final falling out in 1991, OS/2 had become an irrelevancy in the face of the Windows juggernaut, winning a measure of affection only in some hacker circles and a few other specialized niches. Despite its snazzy new name and despite being an impressive piece of software from a purely technical perspective, OS/2 Warp wasn’t widely expected to change those fortunes before its release, and this lack of expectations proved well-founded afterward. Yet it was a landmark in another way, being the first operating system to include a Web browser as an integral component, in this case a program called Web Explorer, created by IBM itself because no one else seemed much interested in making a browser for the unpopular OS/2.

This appears to have gotten some gears turning in Bill Gates’s head. Microsoft already planned to include more networking tools than ever before in Windows 95. They had, for example, finally decided to bow to customer demand and build right into the operating system TCP/IP, the networking protocol that allowed a computer to join the Internet; Windows 3 required the installation of a third-party add-on for the same purpose. (“I don’t know what it is, and I don’t want to know what it is,” said Steve Ballmer, Gates’s right-hand man, to his programmers on the subject of TCP/IP. “[But] my customers are screaming about it. Make the pain go away.”) Maybe a Microsoft-branded Web browser for Windows 95 would be a good idea as well, if they could acquire one without breaking the bank.

Just days after AOL bought Booklink for $30 million, Microsoft agreed to give $2 million to Spyglass. In return, Spyglass would give Microsoft a copy of the Mosaic source code, which it could then use as the basis for its own browser. But, lest you be tempted to see this transaction as evidence that Gates’s opinions about the online future had already undergone a sea change by this date, know that the very day this deal went down was also the one on which he chose to publicly announce Microsoft’s own proprietary AOL competitor, to be known as simply the Microsoft Network, or MSN. At most, Gates saw the open Web at this stage as an adjunct to MSN, just as it would soon become to AOL. MSN would come bundled into Windows 95, he told the assembled press, so that anyone who wished to could become a subscriber at the click of a mouse.

The announcement caused alarm bells to ring at AOL. “The Windows operating system is what the dial tone is to the phone industry,” said Steve Case. He thus became neither the first nor the last of Gates’s rival to hint at the need for government intervention: “There needs to be a level playing field on which companies compete.” Some pundits projected that Microsoft might sign up 20 million subscribers to MSN before 1995 was out. Others — the ones whom time would prove to have been more prescient — shook their heads and wondered how Microsoft could still be so clueless about the revolutionary nature of the World Wide Web.

AOL leveraged the Booklink browser to begin offering its subscribers Web access very early in 1995, whereupon its previously robust rate of growth turned downright torrid. By November of 1995, it would have 4 million subscribers. The personable and photogenic Steve Case became a celebrity in his own right, to the point of starring in a splashy advertising campaign for The Gap’s line of khakis; the man and the pants represented respectively the personification and the uniform of the trend in corporate America toward “business casual.” Meanwhile Case’s company became an indelible part of the 1990s zeitgeist. “You’ve got mail!,” the words AOL’s software spoke every time a new email arrived — something that was still very much a novel experience for many subscribers — was featured as a sample in a Prince song, and eventually became the name of a hugely popular romantic comedy starring Tom Hanks and Meg Ryan. CompuServe and AOL’s other old rivals in the proprietary space tried to compete by setting up Internet gateways of their own, but were never able to negotiate the transition from one era of online life to another with the same aplomb as AOL, and gradually faded into irrelevancy.

Thankfully for Microsoft’s shareholders, Bill Gates’s eyes were opened before his company suffered the same fate. At the eleventh hour, with what were supposed to be the final touches being put onto Windows 95, he made a sharp swerve in strategy. He grasped at last that the open Web was the here, the now, and the future, the first major development in mainstream consumer computing in years that hadn’t been more or less dictated by Microsoft — but be that as it may, the Web wasn’t going anywhere. On May 26, 1995, he wrote a memo to every Microsoft employee that exuded an all-hands-on-deck sense of urgency. Gates, the longstanding Internet agnostic, had well and truly gotten the Internet religion.

I want to make clear that our focus on the Internet is critical to every part of our business. The Internet is the most important single development to come along since the IBM PC was introduced in 1981. It is even more important than the arrival of [the] graphical user interface (GUI). The PC analogy is apt for many reasons. The PC wasn’t perfect. Aspects of the PC were arbitrary or even poor. However, a phenomena [sic] grew up around the IBM PC that made it a key element of everything that would happen for the next fifteen years. Companies that tried to fight the PC standard often had good reasons for doing so, but they failed because the phenomena overcame any weakness that [the] resistors identified.

Over the last year, a number of people [at Microsoft] have championed embracing TCP/IP, hyperlinking, HTML, and building clients, tools, and servers that compete on the Internet. However, we still have a lot to do. I want every product plan to try and go overboard on Internet features.

Everything changed that day. Instead of walling its campus off from the Internet, Microsoft put the Web at every employee’s fingertips. Gates himself sent his people lists of hot new websites to explore and learn from. The team tasked with building the Microsoft browser, who had heretofore labored in under-staffed obscurity, suddenly had all the resources of the company at their beck and call. The fact was, Gates was scared; his fear oozes palpably from the aggressive language of the memo above. (Other people talked of “joining” the Internet; Gates wanted to “compete” on it.)

But just what was he so afraid of? A pair of data points provides us with some clues. Three days before he wrote his memo, a new programming language and run-time environment had taken the industry by storm. And the day after he did so, a Microsoft executive named Ben Slivka sent out a memo of his own with Gate’s blessing, bearing the odd title of “The Web Is the Next Platform.” To understand what Slivka was driving at, and why Bill Gates took it as such an imminent existential threat to his company’s core business model, we need to back up a few years and look at the origins of the aforementioned programming language.


Bill Joy, an old-school hacker who had made fundamental contributions to the Unix operating system, was regarded as something between a guru and an elder statesman by 1990s techies, who liked to call him “the other Bill.” In early 1991, he shared an eye-opening piece of his mind at a formal dinner for select insiders. Microsoft was then on the ascendant, he acknowledged, but they were “cruising for a bruising.” Sticking with the automotive theme, he compared their products to the American-made cars that had dominated until the 1970s — until the Japanese had come along peddling cars of their own that were more efficient, more reliable, and just plain better than the domestic competition. He said that the same fate would probably befall Microsoft within five to seven years, when a wind of change of one sort or another came along to upend the company and its bloated, ugly products. Just four years later, people would be pointing to a piece of technology from his own company Sun Microsystems as the prophesied agent of Microsoft’s undoing.

Sun had been founded in 1982 to leverage the skills of Joy along with those of a German hardware engineer named Andy Bechtolsheim, who had recently built an elegant desktop computer inspired by the legendary Alto machines of Xerox’s Palo Alto Research Center. Over the remainder of the 1980s, Sun made a good living as the premier maker of Unix-based workstations: computers that were a bit too expensive to be marketed to even the most well-heeled consumers, but were among the most powerful of their day that could be fit onto or under a single desktop. Sun possessed a healthy antipathy for Microsoft, for all of the usual reasons cited by the hacker contingent: they considered Microsoft’s software derivative and boring, considered the Intel hardware on which it ran equally clunky and kludgy (Sun first employed Motorola chips, then processors of their own design), and loathed Microsoft’s intensely adversarial and proprietorial approach to everything it touched. For some time, however, Sun’s objections remained merely philosophical; occupying opposite ends of the market as they did, the two companies seldom crossed one another’s paths. But by the end of the decade, the latest Intel hardware had advanced enough to be comparable with that being peddled by Sun. And by the time that Bill Joy made his prediction, Sun knew that something called Windows NT was in the works, knew that Microsoft would be coming in earnest for the high-end-computing space very soon.

About six months after Joy played the oracle, Sun’s management agreed to allow one of their star programmers, a fellow named James Gosling, to form a small independent group in order to explore an idea that had little obviously to do with the company’s main business. “When someone as smart as James wants to pursue an area, we’ll do our best to provide an environment,” said Chief Technology Officer Eric Schmidt.

James Gosling

The specific “area” — or, perhaps better said, problem — that Gosling wanted to address was one that still exists to a large extent today: the inscrutability and lack of interoperability of so many of the gadgets that power our daily lives. The problem would be neatly crystalized almost five years later by one of the milquetoast jokes Jay Leno made at the Windows 95 launch, about how the VCR in even Bill Gates’s living room was still blinking “12:00” because he had never figured out how to set the thing’s clock. What if everything in your house could be made to talk together, wondered Gosling, so that setting one clock would set all of them — so that you didn’t have to have a separate remote control for your television and your VCR, each with about 80 buttons on it that you didn’t understand what they did and never, ever pressed. “What does it take to watch a videotape?” he mused. “You go plunk, plunk, plunk on all of these things in certain magic sequences before you can actually watch your videotape! Why is it so hard? Wouldn’t it be nice if you could just slide the tape into the VCR, [and] the system sort of figures it out: ‘Oh, gee, I guess he wants to watch it, so I ought to power up the television set.'”

But when Gosling and his colleagues started to ponder how best to realize their semi-autonomous home of the future, they tripped over a major stumbling block. While it was true that more and more gadgets were becoming “smart,” in the sense of incorporating programmable microprocessors, the details of their digital designs varied enormously. Each program to link each individual model of, say, VCR into the home network would have to be written, tested, and debugged from scratch. Unless, that is, the program could be made to run in a virtual machine.

A virtual machine is an imaginary computer which a real computer can be programmed to simulate. It permits a “write once, run everywhere” approach to software: once a given real computer has an interpreter for a given virtual machine, it can run any and all programs that have been or will be written for that virtual machine, albeit at some cost in performance.

Like almost every other part of the programming language that would eventually become known as Java, the idea of a virtual machine was far from new in the abstract. (“In some sense, I would like to think that there was nothing invented in Java,” says Gosling.) For example, a decade before Gosling went to work on his virtual machine, the Apple Pascal compiler was already targeting one that ran on the lowly Apple II, even as the games publisher Infocom was distributing its text adventures across dozens of otherwise incompatible platforms thanks to its Z-Machine.

Unfortunately, Gosling’s new implementation of this old concept proved unable to solve by itself the original problem for which it had been invented. Even Wi-Fi didn’t exist at this stage, much less the likes of Bluetooth. Just how were all of these smart gadgets supposed to actually talk to one another, to say nothing of pulling down the regular software updates which Gosling envisioned as another benefit of his project? (Building a floppy-disk drive into every toaster was an obvious nonstarter.) After reluctantly giving up on their home of the future, the team pivoted for a while toward “interactive television,” a would-be on-demand streaming system much like our modern Netflix. But Sun had no real record in the consumer space, and cable-television providers and other possible investors were skeptical.

While Gosling was trying to figure out just what this programming language and associated runtime environment he had created might be good for, the World Wide Web was taking off. In July of 1994, a Sun programmer named Patrick Naughton did something that would later give Bill Gates nightmares: he wrote a fairly bare-bones Web browser in Java, more for the challenge than anything else. A couple of months later there came the eureka moment: Naughton and another programmer named Jonathan Payne made it possible to run other Java programs, or “applets” as they would soon be known, right inside their browser. They stuck one of the team’s old graphical demos on a server and clicked the appropriate link, whereupon they were greeted with a screen full of dancing Coca-Cola cans. Payne found it “breathtaking”: “It wasn’t just playing an animation. It was physics calculations going on inside a webpage!”

In order to appreciate his awe, we need to understand what a static place the early Web was. HTML, the “language” in which pages were constructed, was an abbreviation for “Hypertext Markup Language.” In form and function, it was more akin to a typesetting specification than a Turing-complete programming language like C or Pascal or Java; the only form of interactivity it allowed for was the links that took the reader from static page to static page, while its only visual pizazz came in the form of static in-line images (themselves a relatively recent addition to the HTML specification, thanks to NCSA Mosaic). Java stood to change all that at a stroke. If you could embed programs running actual code into your page layouts, you could in theory turn your pages into anything you wanted them to be: games, word processors, spreadsheets, animated cartoons, stock-market tickers, you name it. The Web could almost literally come alive.

The potential was so clearly extraordinary that Java went overnight from a moribund project on the verge of the chopping block to Sun’s top priority. Even Bill Joy, now living in blissful semi-retirement in Colorado, came back to Silicon Valley for a while to lend his prodigious intellect to the process of turning Java into a polished tool for general-purpose programming. There was still enough of the old-school hacker ethic left at Sun that management bowed to the developers’ demand that the language be made available for free to individual programmers and small businesses; Sun would make its money on licensing deals with bigger partners, who would pay for the Java logo on their products and the right to distribute the virtual machine. The potential of Java certainly wasn’t lost on Netscape’s Marc Andreessen, who had long been leading the charge to make the Web more visually exciting. He quickly agreed to pay Sun $750,000 for the opportunity to build Java into the Netscape Navigator browser. In fact, it was Andreessen who served as master of ceremonies at Java’s official coming-out party at a SunWorld conference on May 23, 1995 — i.e., three days before Bill Gates wrote his urgent Internet memo.

What was it that so spooked him about Java? On the one hand, it represented a possible if as-yet unrealized challenge to Microsoft’s own business model of selling boxed software on floppy disks or CDs. If people could gain access to a good word processor just by pointing their browsers to a given site, they would presumably have little motivation to invest in Microsoft Office, the company’s biggest cash cow after Windows. But the danger Java posed to Microsoft might be even more extreme. The most maximalist predictions, which were being trumpeted all over the techie press in the weeks after the big debut, had it that even Windows could soon become irrelevant courtesy of Java. This is what Microsoft’s own Ben Slivka meant when he said that “the Web is the next platform.” The browser itself would become the operating system from the perspective of the user, being supported behind the scenes only by the minimal amount of firmware needed to make it go. Once that happened, a new generation of cheap Internet devices would be poised to replace personal computers as the world now knew them. With all software and all of each person’s data being stored in the cloud, as we would put it today, even local hard drives might become passé. And then, with Netscape Navigator and Java having taken over the role of Windows, Microsoft might very well join IBM, the very company it had so recently displaced from the heights of power, in the crowded field of computing’s has-beens.

In retrospect, such predictions seem massively overblown. Officially labeled beta software, Java was in reality more like an alpha release at best at the time it was being celebrated as the Paris to Microsoft’s Achilles, being painfully crash-prone and slow. And even when it did reach a reasonably mature form, the reality of it would prove considerably less than the hype. One crippling weakness that would continue to plague it was the inability of a Java applet to communicate with the webpage that spawned it; applets ran in Web browsers, but weren’t really of them, being self-contained programs siloed off in a sandbox from the environment that spawned them. Meanwhile the prospects of applications like online word processing, or even online gaming in Java, were sharply limited by the fact that at least 95 percent of Web users were accessing the Internet on dial-up connections, over which even the likes of a single high-resolution photograph could take minutes to load. A word processor like the one included with Microsoft Office would require hours of downloading every time you wanted to use it, assuming it was even possible to create such a complex piece of software in the fragile young language. Java never would manage to entirely overcome these issues, and would in the end enjoy its greatest success in other incarnations than that of the browser-embedded applet.

Still, cooler-headed reasoning like this was not overly commonplace in the months after the SunWorld presentation. By the end of 1995, Sun’s stock price had more than doubled on the strength of Java alone, a product yet to see a 1.0 release. The excitement over Java probably contributed as well to Netscape’s record-breaking initial public offering in August. A cavalcade of companies rushed to follow in the footsteps of Netscape and sign Java distribution deals, most of them on markedly more expensive terms. Even Microsoft bowed to the prevailing winds on December 7 and announced a Java deal of its own. (BusinessWeek magazine described it as a “capitulation.”) That all of this was happening alongside the even more intense hype surrounding the release of Windows 95, an operating system far more expansive than any that had come out of Microsoft to date but one that was nevertheless of a very traditionalist stripe at bottom, speaks to the confusion of these go-go times when digital technology seemed to be going anywhere and everywhere at once.

Whatever fear and loathing he may have felt toward Java, Bill Gates had clearly made his peace with the fact that the Web was computing’s necessary present and future. The Microsoft Network duly debuted as an icon on the default Windows 95 desktop, but it was now pitched primarily as a gateway to the open Web, with just a handful of proprietary features; MSN was, in other words, little more than yet another Internet service provider, of the sort that were popping up all over the country like dandelions after a summer shower. Instead of the 20 million subscribers that some had predicted (and that Steve Case had so feared), it attracted only about 500,000 customers by the end of the year. This left it no more than one-eighth as large as AOL, which had by now completed its own deft pivot from proprietary online service of the 1980s type to the very face of the World Wide Web in the eyes of countless computing neophytes.

Yet if Microsoft’s first tentative steps onto the Web had proved underwhelming, people should have known from the history of the company — and not least from the long, checkered history of Windows itself — that Bill Gates’s standard response to failure and rejection was simply to try again, harder and better. The real war for online supremacy was just getting started.

(Sources: the books Overdrive: Bill Gates and the Race to Control Cyberspace by James Wallace, The Silicon Boys by David A. Kaplan, Architects of the Web by Robert H. Reid, Competing on Internet Time: Lessons from Netscape and Its Battle with Microsoft by Michael Cusumano and David B. Yoffie, dot.con: The Greatest Story Ever Sold by John Cassidy, Stealing Time: Steve Case, Jerry Levin, and the Collapse of AOL Time Warner by Alec Klein, Fools Rush In: Steve Case, Jerry Levin, and the Unmaking of AOL Time Warner by Nina Munk, and There Must be a Pony in Here Somewhere: The AOL Time Warner Debacle by Kara Swisher.)

10 Dec 00:35

M3GAN Trailer Breakdown: 'Cause Baby, Dolls Kill

by BJ Colangelo

Horror has a new "It Girl," and her name is M3GAN. The upcoming killer AI doll movie from horror juggernauts Blumhouse Productions and James Wan's Atomic Monster Productions doesn't hit theaters until 2023, but horror fans across the globe can't get enough of her. 

"M3GAN," short for Model-3 Generative Android, is a life-like doll programmed to be "a child's greatest companion and a parent's greatest ally." Created by a talented toy company roboticist named Gemma (Allison Williams), the beta prototype of M3GAN is put to the test when Gemma is unexpectedly thrown into the role of a parental figure for her niece Cady (Violet McGraw) after her parents tragically die in a car accident. M3GAN was developed with the primary goal of protecting its primary user from emotional and physical harm, but when she becomes self-aware and overprotective of Cady, she'll stop at nothing to remove any obstacles that threaten her directive.

Directed by Gerard Johnstone ("Housebound") from a script by "Malignant" scribe Akela Cooper, "M3GAN" has been described by James Wan as "Annabelle" meets "The Terminator." The first trailer for the film had social media exploding with memes of M3GAN dancing and generating "ALL CAPS" responses of excitement, but the second trailer features plenty of moments that prove M3GAN is the evolution of the killer doll subgenre and will be an early front-runner for one of the most talked-about horror films of the year. 

Let's go, girls. It's time for a trailer breakdown.

She's Constantly Learning

Not much has been made public about M3GAN's capabilities in terms of learning from her surroundings, but the trailer features multiple shots through M3GAN's point-of-view. At one point, while she's analyzing Cady in what looks to be a playroom, a screen appears, measuring Cady's emotional state, heart rate, blood pressure, and other physiological levels. M3GAN's "pupils" dilate similarly to a camera shutter adjusting, giving an eerie indication that she's always taking in new information about the people around her. If M3GAN can read Cady's emotions, this would make her a wonderful companion robot as she'd know exactly what sort of comfort she needs.

At the same time, the ability to read someone's emotions with this level of accuracy is horrifying, as humans often try to hide their true feelings as a protective measure. Having such intimate knowledge of people's emotions would provide M3GAN with plenty of opportunities to manipulate the humans around her. Similarly, can M3GAN differentiate between natural anxiety and fear from genuine danger? Or will she overreact in response to small inconveniences to her companion? This ability is dangerous for someone programmed with a singular mission to protect at all costs.

There's also seemingly no limit to what M3GAN can learn. The trailer shows her correctly playing the piano, instigating a thumb war, dancing with Cady, operating power tools, scanning online databases, watching tutorial videos, driving a car, and perhaps scariest of all, correctly using sarcasm. It's clear that M3GAN is more advanced than all of the killer dolls and self-aware robots that came before her, and that reality is what horror is made of.

Her Violence Is Multi-Faceted

The usual slasher villain operates with a preferred method of killing, typically with a trademark weapon. Leatherface carves people up with a chainsaw, Freddy Krueger has his razored glove, Michael Myers loves an old-fashioned kitchen knife, and Jason Voorhees has a penchant for using a machete. M3GAN, on the other hand, looks to be killing people off by any means necessary. As she's programmed with the ability to read the humans around her, it's likely that her method of killing will be personalized to each victim.

Throughout the trailer, M3GAN is shown embracing a variety of violent means. At one point, she appears to physically slam Gemma on the table, indicating she can perform hand-to-hand combat, chases a young boy on all fours like an animal through the woods, stabs a flammable canister, looks to be hanging a man, and chases down Ronny Chieng with the titanium razor arm of a guillotine cutter. There's still the mystery of her driving a car as well. Is this another method of M3GAN's madness?

M3GAN's unpredictability with her murder methods makes her even scarier, but there's no telling what other abilities she may have developed or how resourceful she could be. For all we know, M3GAN could have some "MacGyver" levels of resourceful improvisation. M3GAN wasn't programmed for killing, it's something she learned how to do along the way. Considering what kind of absolutely insane stuff is available to read on the internet, the options for M3GAN's sadism are only limited by the human imagination.

M3GAN IS EVERYTHING!

Taking the in-universe reality that M3GAN is a killing machine that will certainly be the death of us all and throwing it out the window for a brief second, M3GAN's power is undeniable. Not just the power to decimate people with her evil robot abilities but also the sense that she has completely taken over the world of horror. Her sunglasses? Fierce. Her wig? Snatched. Her outfit? Unstoppable. Her makeup? Untouchable. Her dedication to Cady? Inspiring. Her attitude? Envious. M3GAN is the moment and the future — she is everything. Even without a movie in theaters, M3GAN has inspired memes, cosplays, TikTok challenges, and a rivalry with horror's current King of Killer Dolls, Chucky.

Even when her hair is roughed up and covered in dirt and leaves, M3GAN is not one to be crossed. She has the un-mess-withable attitude that so many people wish they could emulate, making her both an absolute nightmare and a dream come true. As the Peaches song "Boys Wanna Be Her" goes, "The girls wanna be her, the boys wanna be her, I wanna be her, Yes I do." M3GAN is equal parts alarming and aspirational, which is the key to crafting a horror icon.

Will M3GAN join the esteemed infamous rank of the creepy characters that came before her? Find out when "M3GAN" hits theaters on January 6, 2023.

Read this next: Horror Movies That Make Us Root For The Villain

The post M3GAN Trailer Breakdown: 'Cause Baby, Dolls Kill appeared first on /Film.

10 Dec 00:33

Passkey Support Rolls Out To Chrome Stable

by BeauHD
An anonymous reader quotes a report from Ars Technica: Following Google's beta rollout of the feature in October, passkeys are now hitting Chrome stable M108. "Passkey" is built on industry standards and backed by all the big platform vendors -- Google, Apple, Microsoft -- along with the FIDO Alliance. Google's latest blog says: "With the latest version of Chrome, we're enabling passkeys on Windows 11, macOS, and Android." The Google Password Manager on Android is ready to sync all your passkeys to the cloud, and if you can meet all the hardware requirements and find a supporting service, you can now sign-in to something with a passkey. [...] Now that this is actually up and running on Chrome 108 and a supported OS, you should be able to see the passkey screen under the "autofill" section of the Chrome settings (or try pasting chrome://settings/passkeys into the address bar). Next up we'll need more websites and services to actually support using a passkey instead of a password to sign in. Google Account support would be a good first step -- right now you can use a passkey for two-factor authentication with Google, but you can't replace your password yet. Everyone's go-to example of passkeys is the passkeys.io demo site, which we have a walkthrough of here.

Read more of this story at Slashdot.

09 Dec 20:06

Sometimes a spiritual successor is more promising than the sequel you wanted

by Rebecca Jones

I haven't been active in fandom spaces for years now, but lurking on the edges of social media forums dedicated to games I find cool does technically fall under the remit of my job. And let me tell you, the lead-up to a night like The Game Awards is always something else. Fringes of the Tomb Raider fanbase were getting hyped for the announcement of the next game because… well, it just feels like about time, right? The same went for Life Is Strange, but then, Life Is Strange fans have been predicting the imminent reveal of LIS3 literally on a weekly basis ever since True Colors launched, so they're bound to be right eventually. Ace Attorney stans were using numerology to predict that AA7 would finally get announced. Incredible scenes of completely baseless hype, and despite myself, I wanted to believe.

I genuinely daren't check in on any of those conversations today, because, honestly, it wasn't a massive night for long-running franchises, and I don't think I can handle the lamentations. And, while I'll admit that my initial skim of the trailers for familiar names came up a tad short, I'm not at all disappointed, because it looks like 2023 is going to be a stellar year for devs doing something cool with a new IP while learning a lot from their older projects.

Read more

09 Dec 20:05

Asahi Linux Achieves Major Breathrough With Apple Silicon GPU Support

by David Delony

The developers of Asahi Linux have announced that the Linux distribution targeting Apple Silicon CPUs now natively supports graphics acceleration. This is a major breakthrough for the distro and Linux support on modern Apple hardware.

09 Dec 20:02

Why Bob Odenkirk Didn't Want To Bulk Up For Nobody

by Jenna Busch

The action film "Nobody" hit theaters at a time when the pandemic-era box office was only starting to bounce back -- which is to say, if you haven't seen it yet, you should. It tells the story of a man named Hutch, who lives a dull suburban life. Each day he jogs, goes to work, and disappoints his family with his banality. When their home is broken into, his kid gets punched, and everyone thinks he's a failure. He's ... well, a nobody. That is, until, the proverbial crap hits the fan. Then Hutch's entire life changes, and we learn what he's been hiding under his everyday dad's existence. Hutch is a badass who has a history of taking down targets for years but has retired.

So, who played Hutch? Some hulked-out action star? Nope. It was Bob Odenkirk ("Breaking Bad," "Better Call Saul"). The film worked because Odenkirk wasn't hiding some wildly muscular physique behind his dad sweaters. He looked like a normal human being who had been doing his best to keep in shape without Hollywood trainers, a nutritionist, and a private chef. He's got skills, and they're deadly, but he doesn't look like he's been genetically gifted or has superpowers. Frankly, it was wonderful to see.

Odenkirk spoke with The Guardian about the film in 2021 and explained why he didn't want to bulk up for "Nobody." His logic, put simply, makes perfect sense.

'I Didn't Want To Look Like A Superhero'

As Bob Odenkirk explained to The Guardian, he spent two years training for "Nobody" with Daniel Bernhardt, who is a stunt actor you might know from "Barry." But while he went all-out in preparing for the film, he was "totally against bulking up:"

"I didn't want to look like a superhero. I've had friends who do these superhero movies, and they do that kind of weight training, and it's all about their biceps and all that s***. I said: 'I want to do my own fighting, but I also want to look like a dad.'"

That totally makes sense, and it's beautiful to hear. I'm not saying it isn't a lovely thing to watch the results of people like Jason Momoa in "Aquaman" or Alexander Skarsgård in "The Northman" work out non-stop with trainers for their films. Of course, I'm a massive fan of stunts and training techniques, but these characters are a magical superhero and a mythical hero from a Norse legend, respectively. They're not supposed to look like everyone else. Hutch, however, is hiding in plain sight after giving up a brutal career. There is no reason to expect that he'd be completely ripped. 

Odenkirk, on the other hand, is a real-life superhero. He had a heart attack while filming the sixth season of "Better Call Saul" and was back at work six weeks later. I'd say that qualifies him for a cape. 

Here's hoping that the sequel to "Nobody" -- which is reportedly being developed by producers David Leitch and Kelly McCormick's 87North Productions -- happens.

"Nobody" is currently streaming on HBO Max.

Read this next: The 14 Greatest Action Movies Of The 21st Century

The post Why Bob Odenkirk Didn't Want To Bulk Up For Nobody appeared first on /Film.

09 Dec 18:42

The Elder Scrolls VI Will Be Microsoft Exclusive, FTC Says; Suggests Microsoft Can’t be Trusted

by Aernout van de Velde

The Elder Scrolls VI

The Elder Scrolls VI as well as Bethesda's Starfield and Redfall will be Microsoft exclusives, the FTC has said.

We already knew that Starfield will be exclusive to Xbox and PC, and although it hasn't been officially confirmed just yet, it appears that the next entry in The Elder Scrolls series will follow the same route. In the freshly-filed FTC complaint to block Microsoft's Activision-Blizzard transaction, the commission has now also said that The Elder Scrolls VI will be exclusive to Xbox and PC, suggesting that Microsoft is playing a dirty game when it comes to withholding franchises from rival consoles.

We've included the part of the complaint in which the FTC mentions Zenimax's upcoming titles down below:

Microsoft’s past conduct provides a preview of the combined firm’s likely plans if
it consummates the Proposed Acquisition, despite any assurances the company may offer
regarding its plans. In March 2021, Microsoft acquired ZeniMax Media Inc. (“ZeniMax”), the
parent company of the well-known game developer and publisher Bethesda Softworks LLC
(“Bethesda”). Microsoft assured the European Commission (“EC”) during its antitrust review of
the ZeniMax purchase that Microsoft would not have the incentive to withhold ZeniMax titles
from rival consoles. But, shortly after the EC cleared the transaction, Microsoft made public its
decision to make several of the newly acquired ZeniMax titles, including Starfield, Redfall, and
Elder Scrolls VI, Microsoft exclusives.

Going by earlier words from Xbox head Phil Spencer, The Elder Scrolls VI will indeed be Microsoft exclusive. Back in 2020, Bethesda's Todd Howard, however, said that it would be kind of hard to imagine that the game would be Xbox-exclusive.

"I would agree that is hard to imagine", Howard said when asked about Microsoft locking down The Elder Scrolls VI to Xbox and PC.

Whether The Elder Scrolls VI will end up on PlayStation remains to be seen, but we would be kind of surprised if it did.

A release date for The Elder Scrolls VI has yet to be revealed - as far as we know, the game won't be out before 2025-2026.

The post The Elder Scrolls VI Will Be Microsoft Exclusive, FTC Says; Suggests Microsoft Can’t be Trusted by Aernout van de Velde appeared first on Wccftech.

09 Dec 18:42

AMD Radeon RX 7900 XTX & RX 7900 XT 3DMark GPU Benchmarks Leak, Trading Blows With The NVIDIA RTX 4080

by Hassan Mujtaba

AMD Radeon RX 7900 'RDNA 3' GPU To Be Available In Good Quantities At Launch, Reports Supply Chain 2

The first 3DMark GPU benchmarks of AMD's Radeon RX 7900 XTX & RX 7900 XT graphics cards have leaked out by Videocardz.

AMD Radeon RX 7900 XTX & RX 7900 XT Leaked 3DMark Benchmarks Show Trading Blows With The NVIDIA RTX 4080

The benchmarks give us a look at the synthetic performance of AMD's upcoming Radeon RX 7900 XTX & RX 7900 XT graphics cards which will launch next week. The benchmarks include 3DMark FS (Fire Strike) and 3DMark TS (Time Spy), both of which are some of the most popular benchmarks to date. Each benchmark was run at two presets. For 3DMark Time Spy, these presets are 4K Extreme and 1440P Performance while for Fire Strike, these are 4K Ultra and 1440P Extreme.

Custom AMD Radeon RX 7900 XTX & RX 7900 XT Graphics Cards To Cost Up To $1600 US In China 1

Starting with the 3DMark Time Spy performance score, the AMD Radeon RX 7900 XTX is over 50% faster than the Radeon RX 6950 XT while the Radeon RX 7900 XT is over 25% faster. Meanwhile, the NVIDIA GeForce RTX 4090 sits 12% faster than the 7900 XTX and 18% faster than the RX 7900 XT.

3DMark Time Spy Graphics
Score
0
7000
14000
21000
28000
35000
42000
0
7000
14000
21000
28000
35000
42000
RTX 4090 OC
37.1k
RTX 4090
35.7k
RTX 4080 OC
29.8k
RTX 4080
29.1k
RX 7900 XTX
25.5k
RX 7900 XT
23.9k
RTX 3090 Ti
21k
RTX 3090
19.7k
RTX 3080 Ti
19.3k
RX 6950 XT
19k
RX 6900 XT
18.5k
RTX 3080 12 GB
18.1k
RTX 3080 10 GB
17.8k
RX 6800 XT
17.6k
RX 6800
15.1k
RTX 2080 Ti
14.1k

In 3DMark Time Spy Extreme, the difference is smaller as the Radeon RX 7900 XTX & RX 7900 XT are just 5% slower than the RTX 4080 while being around 50% faster than their predecessor, Radeon RX 6950 XT.

3DMark Time Spy Extreme Graphics
Score
0
5000
10000
15000
20000
25000
30000
0
5000
10000
15000
20000
25000
30000
RTX 4090 OC
20.4k
RTX 4090
19.2k
RTX 4080 OC
15.2k
RTX 4080
14.4k
RX 7900 XTX
13.7k
RX 7900 XT
13.7k
RTX 3090 Ti
11.2k
RTX 3090
10.1k
RTX 3080 Ti
9.8k
RX 6950 XT
9.4k
RX 6900 XT
9.3k
RTX 3080 12 GB
9.1k
RTX 3080 10 GB
8.9k
RX 6800 XT
8.6k
RX 6800
7.2k
RTX 2080 Ti
6.6k

Moving over the 3DMark Fire Strike Extreme numbers, this particular benchmark has always been better on AMD cards and we see similar results in this benchmark. The Radeon RX 7900 XTX is able to beat the RTX 4080 (even overclocked) here while the RX 7900 XT is within reach. The 7900 XT also ends up 30% faster than the Radeon RX 6950 XT graphics card.

3DMark Firestrike Extreme Graphics
Score
0
9000
18000
27000
36000
45000
54000
0
9000
18000
27000
36000
45000
54000
RTX 4090 OC
48.1k
RTX 4090
45.3k
RX 7900 XTX
37.7k
RTX 4080 OC
36k
RTX 4080
34.9k
RX 7900 XT
33.5k
RX 6950 XT
28.4k
RX 6900 XT
27.3k
RX 6800 XT
25.7k
RTX 3090 Ti
24.9k
RTX 3090
23.9k
RTX 3080 Ti
23.2k
RX 6800
21.3k
RTX 3080 12 GB
21.3k
RTX 3080 10 GB
21.1k
RTX 2080 Ti
16.2k

Lastly, we have the 3DMark Fire Strike Ultra benchmark results where the Radeon RX 7900 XTX & RX 7900 XT do lag behind the NVIDIA RTX 4080 a bit but not by a huge margin. This may be due to insufficient optimizations at lower resolutions since both cards are aiming the 4K gaming segment.

3DMark Firestrike Ultra Graphics
Score
0
5000
10000
15000
20000
25000
30000
0
5000
10000
15000
20000
25000
30000
RTX 4090 OC
26.5k
RTX 4090
24.9k
RTX 4080 OC
19.9k
RTX 4080
19.2k
RX 7900 XTX
18.9k
RX 7900 XT
16.9k
RX 6950 XT
14.9k
RX 6900 XT
13.6k
RX 6800 XT
12.8k
RTX 3090 Ti
12.8k
RTX 3090
12.5k
RTX 3080 Ti
12.1k
RX 6800
10.5k
RTX 3080 12 GB
10.5k
RTX 3080 10 GB
10.1k
RTX 2080 Ti
8k

The performance of both cards was also leaked within Blender which shows the RTX 4090 sitting 3x & the RTX 4080 sitting around 2.5 times faster than the new RDNA 3 offerings. The RX 7900 XTX can be seen sitting around 75% faster than the RX 6950 XT but its no match to the Ada Lovelace chips.

Blender (Median Score)
Score
0
4000
8000
12000
16000
20000
24000
0
4000
8000
12000
16000
20000
24000
RTX 4090
12.1k
RTX 4080
9.2k
RTX 3090 Ti
6.1k
RTX 3090
6k
RTX 3080 Ti
5.6k
RTX 3080
4.9k
RX 7900 XTX
3.8k
RX 7900 XT
3.5k
RX 6950 XT
2.2k
RX 6900 XT
2.1k
RX 6800 XT
2k
Arc A770
1.6k
Arc A750
1.6k

Once again, these are just synthetic performance benchmarks and do not represent actual gaming performance. We are yet to see how the cards perform in games, especially ray-tracing titles since all console and PC games seem to be headed that way. So it's wise to wait a few more days before making your buying decision.

AMD Radeon RX 7900 XTX 24 GB Graphics Card "Official" Specifications

The AMD Radeon RX 7900 XTX graphics card utilizes the full Navi 31 XTX GPU which features a total of 48 WGPs, 96 CUs, and 6144 cores. The core clock for the graphics card is maintained at 2.3 GHz base clock and 2.5 GHz boost clock, delivering up to 61 TFLOPs of compute performance at a 355W TBP.

  • AMD Navi 31 XTX: 6144 Cores, 384-bit Bus, 96 MB Infinity Cache, 308mm2 GPU Die @5nm
  • AMD Navi 21 XTX: 5120 Cores, 384-bit Bus, 128 MB Infinity Cache, 520mm2 GPU Die @7nm
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The AMD Radeon RX 7900 XTX graphics card will also carry 6 MCD's which will feature 16 MB Infinity Cache per die and 96 MB in total across a 384-bit wide bus interface. The card features 24 GB VRAM capacities and has 20 Gbps dies offering up to 960 GB/s bandwidth (3.5 TB/s with Infinity Cache).

AMD Radeon RX 7900 XT 20 GB Graphics Card "Official" Specifications

There will also be a cut-down variant that will feature the Navi 31 XT GPU core. This chip is going to pack 42 WGPs (84 Compute Units) or 5376 cores and will be featured on the Radeon RX 7900 XT graphics card. That's 12.5% fewer cores than the full-fat variant. The GPU will also run at slightly lower clock speeds with the game clock rated at just 2.0 GHz which is 300 MHz slower than the XTX variant and a 100 MHz lower boost clock of 2.4 GHz at a TBP of 300W.

  • AMD Navi 31 XT: 5376 Cores, 320-bit Bus, 80 MB Infinity Cache, 308mm2 GPU Die @5nm
  • AMD Navi 21 XT: 4608 Cores, 256-bit Bus, 128 MB Infinity Cache, 520mm2 GPU Die @7nm
sapphire-amd-radeon-rx-7900-xt-20-gb-graphics-card-_3
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The Radeon RX 7900 XT graphics card will also feature 20 GB of GDDR6 memory across a 320-bit wide bus interface. Since there are only 5 MCDs enabled, the card will end up with 80 MB of Infinity Cache which is 16MB lower than the top variant and a 16.6% decrease. The card offers 800 GB/s of bandwidth (3.5 TB/s with Infinity Cache).

AMD Radeon RX 7900 "RDNA 3" Graphics Cards Availability

The AMD Radeon RX 7900 XTX 24 GB and Radeon RX 7900 XT 20 GB graphics cards will be available on 13th December for prices of $999 US and $899 US, respectively.

AMD Radeon RX 7900 Series "Official" Specifications:

Graphics Card AMD Radeon RX 7900 XTX AMD Radeon RX 7900 XT AMD Radeon RX 6950 XT AMD Radeon RX 6900 XT
GPU Navi 31 XTX Navi 31 XT Navi 21 KXTX Navi 21 XTX
Process Node 5nm+6nm 5nm+6nm 7nm 7nm
Die Size 300mm2 (Only GCD)
522mm2 (with MCDs)
300mm2 (Only GCD)
522mm2 (with MCDs)
520mm2 520mm2
Transistors 58 Billion 58 Billion 26.8 Billion 26.8 Billion
GPU WGPs 48 42 40 40
Stream Processors 6144 5376 5120 5120
TMUs/ROPs 384 / 192 384 / 192 320 / 128 320 / 128
Game Clock 2.3 GHz 2.0 GHz 2100 MHz 2015 MHz
Boost Clock 2.5 GHz 2.4 GHz 2310 MHz 2250 MHz
FP32 TFLOPs 61 TFLOPs 52 TFLOPs 23.65 TFLOPs 23.04 TFLOPs
Memory Size 24 GB GDDR6 20 GB GDDR6 16 GB GDDR6 16 GB GDDR6
Infinity Cache 96 MB 80 MB 128 MB 128 MB
Memory Bus 384-bit 320-bit 256-bit 256-bit
Memory Clock 20 Gbps 20 Gbps 18 Gbps 16 Gbps
Bandwidth 960 GB/s 800 GB/s 576 GB/s 512 GB/s
Effective Bandwidth 3.5 TB/s 3.5 TB/s 1728.2 GB/s 1664.2 GB/s
TBP 355W 300W 335W 300W
PCIe Interface TBA TBA PCIe 4.0 x16 PCIe 4.0 x16
Price $999 US $899 US $1099 US $999 US
Which flagship graphics cards are you most interested in?
  • NVIDIA GeForce RTX 4090
  • AMD Radeon RX 7900 XTX
  • NVIDIA GeForce RTX 4080
  • AMD Radeon RX 7900 XT
Vote to see results
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The post AMD Radeon RX 7900 XTX & RX 7900 XT 3DMark GPU Benchmarks Leak, Trading Blows With The NVIDIA RTX 4080 by Hassan Mujtaba appeared first on Wccftech.

09 Dec 18:41

Elden Ring’s Colosseums Are a Decent Diversion That Only A Few Will Enjoy for a Long Time

by Francesco De Meo

Elden Ring Colosseums

Since its release in February, Elden Ring received several free updates that tweaked the game's balance and fixed several issues, but none of them introduced new content to the open-world game by From Software. However, this finally changed with free update 1.08, which opens the doors of three Colosseums in the Lands Between, long suspected to be part of the developer's plans to expand their game.

While it is not the main focus of their experiences, PvP has always been an important part of all entries in the Souls series, and the same is true for Elden Ring, although changes to the invasion mechanics over the previous games have made it difficult for die-hard PvPer to have actual duels with other players. The introduction of the three Colosseums, and with them three new PvP modes, finally allows these players to duel to their heart's content, as the Royal Capital Colosseum grants access to the Duel mode, a simple one versus one mode where players can fight against another without distraction. Each match comprises a single round and can last up until 180 seconds.

The other two Colosseums are located in Limgrave and Caelid and offer two other PvP modes called United Combat and Combat Ordeal. In the first, players are divided into two teams, and the team with the highest kill count wins. The second mode works like the first, only that it's every Tarnished for itself. By participating in these two PvP modes from the Caelid Colosseum, it is possible to play a variation that allows Tarnished to use Spirit Ashes for an even more intense combat experience.

Being only a few days since the grand opening of the Elden Ring new Colosseums, it is pretty easy to find matches, although a random connection error here and there can lengthen matchmaking times. The Souls series' typical netcode hasn't been changed with the update, so lag still makes it challenging to understand whether an opponent was hit by your strikes. In the future, I wish From Software would eventually look at their netcode and improve things accordingly to provide a smoother experience. However, the online experience isn't what makes this new addition to Elden Ring less than exciting. While it is nice that From Software has finally given PvP enthusiasts something to have fun with, I feel like very few people will continue using the Colosseums in their current state, and even then, Duel will probably be the only mode that will be somewhat populated in the coming weeks.

While United Combat and Combat Ordeal can be fun due to their chaotic nature, the truth is that there is absolutely no reason to play these modes other than having a little bit of mindless fun, as there are no rewards to be obtained by winning games, other than a little medal next to the name of players who have won enough matches and no sort of leaderboard system that may have provided some sort of incentive. For any player who isn't really into PvP, playing any of the new PvP modes can also be a frustrating experience due to the lack of rank-based or level-based matchmaking. Someone who hasn't completed the game or does not have an optimal build will struggle a lot, and with no reward for their trouble, they have no reason to partake in these new modes.

 

The addition of the Elden Ring Colosseums seems to be a way to get some PvP content out of the way to focus on meatier additions, possibly via paid DLC, but I can't help but feel that it could have been handled a bit better. In their current state, the PvP modes are something that most players will try out for a few hours before leaving them behind for good. Hopefully, From Software will introduce new features and some rewards down the line that will make these modes a meaningful piece of content like most of the optional content found in the rest of the game.

The post Elden Ring’s Colosseums Are a Decent Diversion That Only A Few Will Enjoy for a Long Time by Francesco De Meo appeared first on Wccftech.