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  • ‘Monsters, Inc.’ Themed Land Will Open at Disney World in 2027

    ‘Monsters, Inc.’ Themed Land Will Open at Disney World in 2027

    THe’Monsters, Inc.’ themed land, Monstropolis is set to open at Disney’s Hollywood Studios at Disney World in 2027.

    The news was announced Saturday at D23. Vice President Creative, Walt Disney World Portfolio at Walt Disney Imagineering, Michael Hundgen told Variety, “We’re so excited to bring Monstropolis to life for fans.”

    Currently under construction, Monstropolis will transport visitors into the world of Sulley and Mike.

    According to Disney, guests will have the chance to explore the city, meet its citizens, taste unique cuisine, and step into the everyday world of monsters in a totally new way. For the first time, two worlds—once separated—are coming face to face, not through screams, but through laughter.

    Hundgen explained, “’Monsters, Inc’ is right up there in terms of iconic locations. The moment you saw it, you thought, ‘I want to go to a world where monsters live and work and play.’ And so, to get to do that at the scale that we’re doing it at is phenomenal. Not only is it about the breadth of the land, but also about creating some of these iconic locations that we’ve seen in the films throughout the years that we’re now getting to realize.’”

    A central element of Monstropolis is its theatrical experience, which Hundgen emphasized as an important addition to the land. “We knew the door coaster was the cornerstone of the experience,” he said. “It feels like just giving them a coaster would shortchange the experience. So, we embarked on this idea of a theater experience that would really orient our guests to Monsters. We’re inviting folks into this land for the first time, and the monsters are a little skittish around that, so they’re kind of feeling us out. For so long they’ve been sometimes as afraid of us as we are of them, and so this idea that we’re all working in harmony together is new to them.”

    Hundgen explained that it wouldn’t be a typical theater experience. Collaborating with Pixar and Industrial Light & Magic, the team has developed high-definition panels combined with physical characters. In addition to humor and heart, the show will feature a new original song written exclusively for the park by composer Randy Newman.“It’s the first time Randy has ever written something exclusively for a Disney theme park,” Hundgen revealed, calling the song a perfect complement to the high-thrill rollercoaster that will be located nearby.

    Disney’s first-ever suspended rollercoaster ride will be a major highlight of the land. “It’s a showstopper,” Hundgen declared. “It’s the first hanging coaster we’ve ever done at Disney anywhere in the world. That opening scene will take you straight into the laugh floor, and guests will be placed into contraptions that Mike has created to harness both laughs and screams. The idea is that if you combine those two things—well, screams are powerful, but laughs are even more powerful.”

    The ride will take guests 40 feet high in four seconds, he teases. “When you think about show-stopping moments in our canon, that is going to be up there as one of the biggest and best that we’ve ever seen.”

    The rollercoaster will take guests 40 feet high in just four seconds. “When you think about show-stopping moments in our canon, this will rank as one of the biggest and best,” Hundgen teased. He credited the Imagineering team and their research and development efforts for pushing the boundaries of innovation. “Some of the techniques we’re using in the theater itself come from our partnerships with R&D and ILM,” he said. “More importantly, it’s about using technology to support the story we’re telling. What can we do to deepen the emotional connection guests have with these characters while using tech to enable that?”

    Hundgen also noted the use of innovative techniques in both the theater and coaster experience. “We’re drawing inspiration from immersive theater and optical illusions that make you feel like things are actually there—paired with physical elements that truly are there,” he explained. “You’ll see plenty of that in the theater experience, as well as a few tricks in the coaster that combine old-school illusions with new tech, all infused with the humor and heart of these characters.”

    In addition to the theatrical experience and the rollercoaster, Monstropolis will feature merchandise locations and new restaurants—Disney staples. Among them will be Archie’s Scare Pig Pizza, inspired by the mascot from “Monsters University,” and Harryhausen’s, the sushi restaurant featured in the first film where Mike and Celia went on their date.

    “We’re reimagining Harryhausen’s as a brand-new space,” Hundgen shared. “The menu will be wildly fun. Imagine sushi dishes inspired by the monster world: sushi rolls, tempura satays, all with iconic names that feel straight out of the film.” Guests can also look forward to an animatronic octopus sushi chef. “We’re going to have a full-on animatronic sushi octopus figure, cooking up sushi and playing host,” he confirmed.

    Monstropolis is scheduled to open in 2027, with restaurants, merchandise experiences, and the theater show debuting alongside the new land. Hundgen expressed excitement about the ambitious project. “Monsters, being one of the first out the gate, will really raise the bar. It’s an incredible project team—passionate and dedicated—and they’ve worked through some pretty gnarly challenges. This will be a fantastic addition to Hollywood Studios and Walt Disney World as a whole. It’s going to be quite the destination.”

  • Apple Turns to Alibaba to Help Build AI Model for China

    Apple Turns to Alibaba to Help Build AI Model for China

    In brief

    • Apple trained a large language model for China with support from Alibaba, Reuters reported.
    • The deal could make Apple the first foreign company allowed to operate its own proprietary AI model in China.
    • Apple Intelligence is expected to reach Chinese iPhones through an iOS update in the coming months.

    Apple trained its own AI model for China with Alibaba’s help as it races to bring Apple Intelligence to Chinese customers, Reuters reported.

    Citing three people familiar with the matter, Reuters said the Cyberspace Administration of China registered Apple’s generative AI service last month, clearing a key regulatory hurdle that has kept OpenAI’s ChatGPT and Anthropic’s Claude unavailable in China.

    Myriad: When will OpenAI release GPT-6? Click to make your prediction.
    Myriad: When will OpenAI release GPT-6? Click to make your prediction.

    Alibaba Chairman Joe Tsai confirmed the companies’ arrangement in February 2025.

    “They talked to a number of companies in China,” Tsai reportedly said at the time. “In the end they chose to do business with us.”

    According to Reuters, Apple plans to pair its model with Alibaba’s Qwen and technology from Baidu. It remains unclear what role each system will play; however, Apple Intelligence, the company’s branded artificial intelligence initiative, is expected to reach Chinese iPhones through an iOS update “in the coming months.”

    The news comes after a difficult year for Apple’s AI business.

    In January, the company said its next-generation Foundation Models would use Google’s Gemini, instead of a proprietary design, following delays and a weak reception for Apple Intelligence.

    In May, Apple agreed to pay $250 million to settle claims that it misled iPhone buyers about AI features that were unavailable at launch. The delay has left Apple trailing Chinese rivals such as Huawei, which already sells phones with AI features.

    In June, the company unveiled Siri AI, a rebuilt assistant that can hold conversations, analyze images, and use personal context. Apple said the assistant would enter beta later this year but remain unavailable in China while it worked through regulatory requirements.

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  • CLARITY Act Odds Decline as SEC and CFTC Build Interim Fixes

    CLARITY Act Odds Decline as SEC and CFTC Build Interim Fixes

    Congress and the regulators are no longer moving on the same timeline. The CLARITY Act, the U.S. crypto market structure bill meant to settle long-running questions over digital asset issuance and trading, now looks less likely to pass in 2026. Galaxy Research’s latest read, the original report, points to fading legislative momentum and a shift toward faster agency action.

    The banking sector’s resistance to sweeping market structure changes has already been visible in the Senate, where major crypto legislation faced a last-minute lobbying fight. That friction is now part of the broader backdrop for the CLARITY Act. As the calendar tightens, the practical question for exchanges, issuers, and compliance teams is not whether Congress will act, but which agency will fill the gap first.

    Agency action is accelerating

    The SEC and CFTC have responded to the uncertainty by pushing administrative measures: rulemaking, interpretive guidance, and regulatory exemptions. Galaxy says the goal is to clarify how digital assets should be issued, traded, and supervised while the legislative path remains blocked. A staff interpretation or an exemption can be more useful in the near term than a bill that may never get a floor vote.

    That speed has real value. A token project waiting on registration guidance or a trading platform trying to understand which regulator has jurisdiction can make operational decisions off an agency action far sooner than off a stalled congressional process. For institutional buyers and token issuers, the difference between a statute and an agency exemption is not academic. A statute binds the agency and survives a leadership change. An exemption is only as durable as the current line of thinking at the commission.

    The urgency is especially visible in tokenized real-world assets, where issuance and settlement structures are already scaling. Recent tokenization activity shows that market participants are not waiting for Washington to settle every definition before expanding products.

    Temporary clarity has a hard ceiling

    Galaxy’s caution is straightforward: administrative fixes lack legal durability. Rulemaking and guidance can be revised or reversed by a future administration, and they cannot replace a long-term framework established by Congress. That creates a different kind of uncertainty. Firms can build against an SEC staff position only to have a new chair unwind it after a political transition.

    The result is a two-tier regulatory reality. Congress may still deliver a durable statute, but for now the industry is operating on guidance that is faster to arrive and easier to reverse. That is not a stable foundation for capital-intensive infrastructure decisions.

    For legal and compliance leaders, the shift also changes the type of risk they have to manage. A legislative process carries one set of lobbying and timing risks. An administrative process carries another: the possibility that a guidance document disappears with a new administration, or that a court reads a rule more narrowly than staff intended. That distinction is now a planning cost, not a theoretical concern.

    Meanwhile, builder activity continues to concentrate in a few dominant ecosystems regardless of the legal noise. Developer activity this week remains clustered among major Layer 1 and Layer 2 networks, but the rules for the assets built on those chains still depend on whatever the agencies do next.

  • ‘The Pitt,’ ‘Hacks’ and ‘Beef’ Among Astra TV Awards Winners

    ‘The Pitt,’ ‘Hacks’ and ‘Beef’ Among Astra TV Awards Winners

    Hacks,” “The Pitt” and “Beef” were the big winners of the 2026 Astra TV Awards.

    “The Pitt” took home the most trophies of the night with six. Those include for best drama series, streaming drama ensemble, actor in a drama series for Noah Wyle, supporting actor in a drama series for Patrick Ball, supporting actress in a drama series for Sepideh Moafi and guest actress in a drama series for Tal Anderson.

    “Hacks” won several comedy awards, including best comedy series, actress in a comedy series for Jean Smart, supporting actress in a comedy series for Hannah Einbinder and directing in a comedy series for Lucia Aniello’s work on the final episode. “Shrinking” took home awards for best streaming comedy ensemble, actor in a comedy series for Jason Segel, supporting actor in a comedy series for Harrison Ford and guest actor in a comedy series for Michael J. Fox.

    “Beef” dominated the limited series and TV movie categories, earning five awards, including for best limited series, actor in a limited series for Oscar Isaac and supporting actor in a limited series for Charles Melton. Lee Sung Jin also won for directing the episode “Oh, The Comfort, The Inexpressible Comfort.”

    Elsewhere, Keri Russell won actress in a drama series for her work in “The Diplomat,” Macaulay Culkin won guest actor in a drama series for “Fallout,” Vince Gilligan won writing in a drama series for “Pluribus” (specifically, the episode “We Is Us”), Christina Ricci won guest actress in a comedy series for “Wednesday” and “The Comeback” won for writing in a comedy series, with Lisa Kudrow and Michael Patrick King being recognized for the episode “Valerie Does It All.”

    In the nonfiction and variety programming categories, “The Late Show with Stephen Colbert” won for talk or variety series, “The Muppet Show” won for stand-up or variety special, “John Candy: I Like Me” won for documentary TV movie and “Lost Women of Alaska” won for docuseries or nonfiction series.

    “Tonight’s winners represent the extraordinary range of talent and storytelling that continues to make television such a powerful medium,” Astra Awards EVP Matt Weis said in a statement. “From established icons to exciting new voices, we’re proud to celebrate the artists and creative teams whose work has entertained, surprised and connected with audiences over the past year.”

    The Astra Awards are voted on by the Hollywood Creative Alliance, honoring the best achievements in television from the past year. As previously announced, Troy Kotsur, William H. Macy, Cedric the Entertainer, Jason Ritter, Shawn Hatosy and Natalie Alyn Lind were all recognized with special achievement awards.

  • Ethereum and Solana may become scarcer – THESE Grayscale projections say…

    Ethereum and Solana may become scarcer – THESE Grayscale projections say…

    Ethereum [$ETH] was trading at $1,876.89 at press time, following a slight increase over the previous day but a 2.16% decline over the previous week. Meanwhile, Solana was trading at $75.16 at press time, following a slight increase over the previous week and a slight decline over the previous day.

    These contradictory price movements imply that there is no clear bullish or bearish momentum dominating the cryptocurrency market, which is extremely erratic.

    In fact, there were no clear indications of bulls or bears on the RSI for either $ETH or $SOL as well.

    Grayscale paints a concerning picture for $ETH and $SOL

    At the same time, Zach Pandl, Head of Research at Grayscale, presented his analysis indicating that Ethereum and Solana may become more scarce assets due to their respective networks’ consideration of lowering the annual production of new tokens.

    Source: Grayscale

    Currently, issuing new $ETH and $SOL, which expands the total supply, helps to fund staking rewards on Ethereum and Solana.

    This inflation would be decreased by the suggested modifications. Comparable to lowering the production of a commodity, the value of the current tokens may rise if demand remains constant or rises and fewer new tokens are introduced to the market.

    According to Pandl, by 2031, the annual supply growth of $ETH and $SOL may drop to about 0.4% and 1.1%, respectively, bringing them closer to Bitcoin’s supply growth and below gold’s estimated 1.8% annual supply growth.

    What about stakers?

    For stakers, there is a trade-off, though. People who stake their tokens will get fewer tokens as rewards if there are fewer new $ETH and $SOL created.

    After a decrease in inflation, for instance, a staker who earns 5 $SOL might only receive 3 $SOL. Yet, the value of those three $SOL might still surpass the value of the initial five $SOL if the decreased supply makes $SOL more scarce and its price increases noticeably.

    Therefore, while stakers must weigh the potential for higher token prices against the possibility of lower token rewards, unstaked holders may directly profit from increased scarcity.

    s up for debate and do not guarantee changes.

    This was consistent with an earlier report from AMBCrypto that stated that Solana’s ecosystem provides more than just trading and DeFi, which is why it is drawing in more users and money.


    Final Summary

    • Both Ethereum’s and Solana’s price actions are not that strong, with RSI supporting this narrative.
    • Garyscale suggests that Ethereum and Solana may become more scarce assets due to their respective networks’ consideration.
  • Binance Ends Transactions With 16 Platforms, Warns of Wallet Reviews

    Binance Ends Transactions With 16 Platforms, Warns of Wallet Reviews

    Binance Sets Three Deadlines for Transaction Restrictions

    Transactions involving 16 crypto-asset service providers will no longer be processed through Binance under restrictions announced Aug. 14. The exchange instructed users not to send funds to, receive assets from, or otherwise engage directly or indirectly with the named entities after their respective effective dates.

    Restrictions took effect Aug. 7 for Shelbit, operated by Shelbit General Trading LLC, and Aban Tether Exchange. Binance applied a second deadline on Aug. 13 to A7 Nigeria, A7 Africa and Pilotfinance Ltd., followed by an Aug. 23 cutoff covering 11 more platforms, including HTX, EXMO, Rapira, Aifory Pro, ABCeX, and WhiteBird.

    The remaining Aug. 23 entities are Noonecrypto Inc., Tradex, Monease Ltd., Bitpapa and Exnode, including Exnode Pay. Binance cautioned:

    “Any transactions attempted on or after these dates, may be held and subject to a compliance review. Restrictions may be applied to the impacted wallet(s) while the review is ongoing and such activity may also constitute a breach of Binance Terms of Use.”

    Sanctions Target Iranian and Russian Crypto Networks

    U.S. authorities imposed sanctions on Shelbit and Aban Tether through an Office of Foreign Assets Control (OFAC) action on Aug. 7. The Treasury Department alleged that Shelbit addresses exchanged more than $3 million with Islamic Revolutionary Guard Corps addresses, while Aban Tether processed transactions involving previously designated Iranian exchanges.

    Earlier enforcement against Nobitex, Wallex, Bitpin and Ramzinex increased screening requirements surrounding Iranian exchange exposure. The June 2 sanctions action involving four Iranian platforms covered businesses that OFAC later identified among Aban Tether’s transaction counterparties, connecting the August restrictions to a broader campaign targeting Iran-linked digital asset flows.

    U.K. authorities separately targeted cryptocurrency exchanges and the Kremlin-backed A7 network through 18 sanctions designations announced May 26. Officials alleged that A7 supported sanctions evasion, military procurement and oil-related payments, while the network claimed it moved more than $90 billion during the previous year.

    The U.K. package included several entities appearing on Binance’s list, such as EXMO Exchange Ltd., Rapira Group LLC, Sooty Ltd., Bitpapa, Nueva Cryptologia and Huobi Global. The sanctions also reached exchanges and payment providers associated with Russia-facing settlement routes, stablecoin infrastructure and cross-border liquidity channels.

    A7 Expands Alternative Payments as Compliance Pressure Rises

    A7 has promoted alternative cross-border settlement systems as Western governments tighten access to established financial channels. A7 says it serves more than 10,000 trade partners and intermediates nearly one-fifth of Russia’s international settlements market. Its A7A5 ruble-backed stablecoin has reportedly surpassed $100 billion in aggregate transaction volume.

    Binance has expanded compliance operations while responding to scrutiny over transactions involving restricted parties. The company previously reported a 96.8% decline in sanctions-related transaction exposure between January 2024 and July 2025. Its compliance operation includes more than 1,500 workers, representing about 25% of its global workforce.

    Users remain responsible for confirming the destination, network, and counterparty before initiating an irreversible blockchain transfer. A small test transaction can expose address or network errors, although it would not eliminate the compliance risks associated with transferring assets to a restricted platform or wallet connected to one.

    Centralized exchanges retain custody over customer assets and can delay, review, or prevent withdrawals under applicable rules. A self-custodial wallet gives its owner control of the private keys, but it does not remove sanctions obligations or protect users who transact with restricted counterparties. Binance’s final group of platform restrictions takes effect Aug. 23.

  • PBS Could Lose 70 Years of Historic Archive Footage Over Cloud Dispute

    PBS Could Lose 70 Years of Historic Archive Footage Over Cloud Dispute

    Nine PBS, a public service broadcaster based in St. Louis, has filed a lawsuit which alleges a cloud storage vendor is preventing it from accessing huge volumes of its historically important footage.

    The station claims its access was abruptly cut off early this year by Open Source Storage in the lawsuit filed in Denver District Court, first reported by industry publication Current.

    The lost footage, said to amount to roughly 50 terabytes of data, reportedly included historical items shot over roughly 70 years of the station’s programming. These include the history of East St. Louis, the COVID-19 pandemic and the Great Flood of 1993, which caused widespread damage to the Mississippi and Missouri rivers.

    “We are committed to ensuring we can recover and restore full access to this valuable content, which Nine PBS rightfully owns, as it holds significant historical importance for St. Louis,” said Nine PBS VP and CCO Leah Freeman in a statement to Current. 

    OSS reportedly had an agreement with information technology firm Iron Mountain to provide data storage, but went “defunct.” As a result, the data was left stranded in one of Iron Mountain’s data centers. Iron Mountain has reportedly so far refused to return the materials to the station because its client, OSS, technically owned “the physical services housing the data” within Iron Mountain.

    The judge sided with Nine PBS in a preliminary hearing earlier this week. However Iron Mountain has insisted that recovering the data isn’t a simple matter. Iron Mountain told Ars Technica following the decision that OSS still owns “the physical services housing the data,” and it only provides physical infrastructure, network connectivity, power, and the building itself. 

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    “Our customers rent space for their servers and other hardware. These are the client’s assets. We don’t have access to the data on the hardware/servers because they belong to our customers,” an Iron Mountain spokesperson told Ars. 

    The company also claimed that attempting to recover the data would violate basic data privacy protocols, for example, exposing the confidential data of other clients. Despite technical hurdles, Nine PBS and Iron Mountain must provide updates to the court by September 14.

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  • ‘RuPaul’s Drag Race’ Renewed for Season 19 at MTV

    ‘RuPaul’s Drag Race’ Renewed for Season 19 at MTV

    She’s back, back, back again! MTV has renewed RuPaul’s Drag Race for its upcoming 19th season, while Paramount+ has additionally greenlit new seasons of the All Stars spinoff.

    The renewals come after the mainstay series celebrated its 18th season, where Myki Meeks was crowned America’s Next Drag Superstar. RuPaul’s Drag Race also recently received 11 Emmy nominations this awards season, with RuPaul earning his 11th consecutive nomination for outstanding reality or reality competition program host. Season 18 notably delivered double-digit growth over the previous season and set a new franchise premiere viewership record.

    RuPaul’s Drag Race All Stars wrapped its season 11 on Paramount+ in July, with Crystal Methyd winning and becoming the first person of Mexican descent to win the mainstay series.

    With the renewal announcement came additional orders for Untucked, the companion series that takes viewers behind-the-scenes of the show. RuPaul’s Drag Race, RuPaul’s Drag Race: Untucked, RuPaul’s Drag Race All Stars and RuPaul’s Drag Race All Stars: Untucked are produced by World of Wonder Productions.

    “Nearly twenty years later, what began as a dream has become an extraordinary global movement. We owe endless thanks to our partners at MTV and Paramount+, along with every queen, judge, crew member, and fan who has built RuPaul’s Drag Race,” World of Wonder said in a statement. “Drag brings people together in powerful ways — and we are honored to keep celebrating new voices and sharing iconic moments with the world.”

    RuPaul’s Drag Race has won the esteemed best reality competition program Emmy five times; it was the category’s powerhouse before The Traitors began its dominance in 2024. Michelle Visage, judge and executive producer, told The Hollywood Reporter that Drag Race reclaiming the best reality competition series Emmy this year would be “a statement without saying it’s a statement.” 

    “I think it would be a championship in a way that voices are being heard without saying things. It’s a statement without saying it’s a statement, do you know what I mean?” Visage said. “Especially with what’s going on in the political climate. But, we are grateful just being in that class of people that we’re in; being nominated, being included, being thought of is truly an honor. We spread the love. We’re still celebratory, but if we did [win], it’s definitely a ‘We’re not going anywhere’ type of statement.” 

  • NZXT H6 RGB Plus Review: Lots of Fans and Curve Appeal

    Though the curves at the vertical panel edges are the biggest change to the revised case’s shape, the H6 RGB+ also gains a bunch more vent holes and a whopping four more fans. The right side panel’s profuse perforations are shaped into stripes and the name “NZXT” embossed and ventilated. And the curve between that panel and the adjacent 45-degree-angled fan panel represents the union between two parts that were separate on the 2024 version of the case.

    The front connectors remain the same: two USB Type-A (Gen 1) and one USB Type-C (Gen 2×2) ports, and a four-pole headset jack that also works with stereo headphones. The new power button is larger and surrounded by an inward-curved bezel; the curve affords a better view of the illuminated power indicator ring.

    The front ports of the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    The H6 RGB+ has just one removable fan filter. It covers the bottom air intake. The other intake fans rely solely on the very fine size of their cover panel’s perforations to capture incoming dust. The filter is removable from the side with the case sitting upright, but I had slight difficulty getting its leading edge to align with the three catch tabs on the case’s underside while reinserting it. Flipping the case on its side made it a lot easier.

    Also, note in the image below that the middle screw holes in the fan mounts have no screws in them. That’s because the three intake fan-blade units here share a single 120mm-by-360mm frame.

    The bottom of the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    A traditional inset PCIe slot panel lets PC builders drop graphics and other expansion cards straight in without having to finagle around obstacles, though it does reduce the case’s interior space from 16.2 to 15.6 inches. NZXT rates card clearance just short of that, at 390mm. Almost any modern card should fit just fine in here.

    From this angle, you can also see that the power supply bay is directly behind the top of the motherboard, and that the back of the top panel has a tab you pull up to remove it. Look closer, and you might note that NZXT uses reverse-curve blades on all six of the intake fans (three side, three bottom) to conceal their motor frames on the side that isn’t showing. That’s a subtle touch well worth noting. The only fan here in standard orientation is the rear (exhaust) unit.

    The rear of the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    A group of access holes punched for an ATX motherboard’s perimeter allows the H6 RGB+ to support concealed motherboard headers for Asus BTF, Gigabyte Stealth, and MSI Project Zero reverse-connector boards. Additional holes above, below, and in front of the motherboard are designed to pass cables to the headers of standard boards.

    The NZXT H6 RGB+ with side panels removed

    (Credit: Thomas Soderstrom)

    Designed with a height-adjustment screw at the bottom and a damping pad on top, an L-shaped miniature card brace that protrudes from the front of the motherboard tray limits the maximum motherboard depth to around 10.8 inches when installed.

    The bottom fans of the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    That might seem significant, since the case isn’t rated as Extended ATX. Given that most retail “EATX” motherboards are only 10.5 to 10. 7 inches deep, that removable card brace could be the only thing to prevent a determined builder from installing one here. Just know that since the forward-facing portion of that brace stands around 4mm proud of the tray, boards with deeply offset back-bracing/stiffening panels, like my 10.5-inch-deep Asrock X870E Taichi, won’t sit all the way down on the front column of standoffs. (Conversely, that motherboard’s backplate-free “Liteversion fits perfectly.) Proceed with caution if you plan to install anything bigger than regular ATX.

    The GPU brace of the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    Also not on NZXT’s list is the case’s 280mm-format radiator capability, but you can see the extra row of fan mounts at 140mm spacing right along those of the rated 120mm spacing. With the H6 RGB+ having ample room (more than 65mm) between the top of the motherboard and the top radiator mount, most closed-loop coolers of typical 52mm-to-54mm thickness fit easily within the 410mm length of the panel’s interior.

    The top fan mount on the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    One place you won’t be putting a radiator is behind the front/side fan assembly. There’s simply no space above or below the fans for the end caps of the radiator, which are necessary to hold fittings on one end and to redirect coolant at the other.

    The NZXT H6 RGB+ with side panels removed

    (Credit: Thomas Soderstrom)

    Slide tabs on the back panel hold the H6 RGB+’s drive cage between its power supply shelf and its bottom panel. Secured to those tabs via a single knurled screw, the cage can hold a single 3.5-inch drive on its inner portion and two 2.5-inch drives on its outer portion.

    The storage mounts on the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

    Behind the removable drive cage is NZXT’s Control Hub Lite. This module connects NZXT’s proprietary fans to the company’s own CAM software through an internal USB 2.0 motherboard header cable. Drawing current from our power supply’s SATA drive power cable, it also appears to add an ARGB input to enable motherboard ARGB lighting pass-through, though the case does not include an extension cable to reach any of those motherboard headers.

    The control hub on the NZXT H6 RGB+

    (Credit: Thomas Soderstrom)

  • Netflix Fires Back Against Tyra Banks’ ‘America’s Next Top Model’ Docuseries Defamation Lawsuit

    Netflix Fires Back Against Tyra Banks’ ‘America’s Next Top Model’ Docuseries Defamation Lawsuit

    Netflix has filed a motion to strike and dismiss Tyra Banksdefamation lawsuit against Netflix over her portrayal in the streamer’s America’s Next Top Model docuseries, entitled Reality Check.

    Banks filed a lawsuit against Netflix in June, where she argued she was falsely represented in the docuseries, arguing that her comments were “stripped of context and reassembled to support a false and defamatory narrative unrelated to what she actually expressed.” She participated in a three-and-a-half hour long interview, outlining that just 16 minutes of her footage was used for Reality Check.

    Netflix’s motion, which was filed Friday, argues that Banks’ complaints are “about ordinary editorial decisions.”

    The motion confirms that Banks sat for a three-and-a-half-hour interview, adding that “After the interview, [Banks] signed an agreement granting the filmmakers the right to edit her interview footage, acknowledging she had ‘no right to review or approve’ the finished documentary, and releasing claims arising from it — including for defamation and false light. She now alleges the documentary, Reality Check: Inside America’s Next Top Model (the ‘Documentary’), defames her — not because it says anything false about her, but because she wanted advance notice of what another interviewee would say, more of her interview included, and her perspective presented differently.”

    In Banks’ lawsuit, she specifically cited how she was shown in the docuseries responding to cycle two contestant Shandi Sullivan’s alleged sexual assault during filming. She was shown being asked “You remember the story with Shandi?” in Reality Check, to which she responded “um,” before the screen cuts to black, creating a “devastating and deliberate” implication that Banks couldn’t remember the assault, she argued in her suit.

    “And when Banks is asked whether she remembers Sullivan’s story, the Documentary shows her answer: ‘I do remember her story.’ A documentary expressly showing Banks remembering does not imply that she forgot,” Netflix’s motion reads in response.

    “Banks understands editorial discretion. She created, hosted, and executive produced 24 seasons of ANTM, making the same kinds of editorial decisions she now attacks — what footage to include, what to omit, and how to present competing narratives,” the motion continues. “The Documentary simply turned that editorial lens back on ANTM and Banks. Her disagreement with the resulting portrayal does not make it defamatory.”

    A Netflix spokesperson told ABC News in a statement Friday they plan to “vigorously defend” the docuseries and those behind it.

    “Directors Daniel Sivan and Mor Loushy are respected documentarians who thoroughly interviewed the people behind America’s Next Top Model,” the statement reads. “Tyra Banks was given the opportunity to speak openly about her experience and the creators fairly presented her perspective alongside those of every other participant shown in this documentary. We stand behind Reality Check: Inside America’s Next Top Model and will continue to vigorously defend it.”

    The Hollywood Reporter has reached out to Banks’ lawyer for comment.