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How Frankenstein’s creature designer found a new look for an iconic monster

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How Frankenstein’s creature designer found a new look for an iconic monster

For Mike Hill and Guillermo del Toro, it all started with Frankenstein.

Years ago, Hill — a sculptor and special effects artist — was exhibiting his works at a convention in Burbank. Del Toro saw some of Hill’s monstrous creations on display and was so impressed that he decided to get in touch, tracking down Hill’s contact info from an obscure model kit forum. “I don’t know how he found me from some 20-year-old website,” says Hill, who describes del Toro’s investigation as “very Columbo-esque” work. “But he wrote to me, told me who he was, and asked to commission something.”

That first commission turned out to be a sculpture of Boris Karloff having his makeup applied for the iconic 1931 version of Frankenstein, and it would go on to be displayed in the director’s famous Bleak House. “Immediately it was Frankenstein,” Hill says, “our very first job together.”

From there, a fruitful relationship blossomed; Hill went on to design creatures for films like Nightmare Alley and The Shape of Water, and the Netflix anthology Cabinet of Curiosities. But when word came out that del Toro was working on his own long-awaited version of Frankenstein, Hill’s phone remained curiously silent. “I was fretting because I knew he was going to do Frankenstein and hadn’t been in touch with me,” Hill tells me. “It was driving me bonkers.” But del Toro hadn’t forgotten about his partner — in fact, it turns out Hill was vital for the project.

“Guillermo invited me for breakfast and he said: ‘Listen, we’re doing Frankenstein. If you’re not doing it, then I’m not doing it, so it depends on you right now. Eat your eggs and tell me at the end of it if we’re doing the movie.’”

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Naturally, Hill said yes.

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Jacob Elordi and Mia Goth.
Image: Netflix

That version of Frankenstein had a brief run in theaters and will be streaming on Netflix on November 7th. And it was particularly challenging for Hill given how ubiquitous Frankenstein’s creature is. Karloff’s interpretation from Frankenstein in 1931, designed by legendary Universal makeup artist Jack Pierce, is an indelible part of pop culture, and since then there have been hundreds of variations across stage and screen. “It was very difficult trying to come up with something that no one had ever seen,” Hill says.

The design process was a collaborative one between the director and artist. Del Toro didn’t provide explicit instructions, but instead explained what he didn’t want. The creature shouldn’t be hideous, for example, which meant no heavy, ugly stitching. From there Hill created a few options, and spent some time researching 18th-century surgery techniques, before hitting on the final version. “I just wanted to make him of the period, like he was built in the 1800s,” Hill says. “I wanted it to look like a human being had meticulously done this to him.”

This iteration of the creature is tall and lean, with scars covering his entire body to create an almost geometric pattern. This fits with the story of the film, which really digs into the pseudoscientific process that Victor Frankenstein goes through to build this creature and eventually bring him to life. And that contrast between beauty and horror is a key part of the character, according to Hill. “There’s a certain beauty that Victor was striving for,” he says. “He tried to make a beautiful glass window, it just ended up stained and broken.”

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Sketches from Guillermo del Toro’s Frankenstein notebook.
Image: Netflix

In those early stages, Hill had little to go on. There was no script, nor was anyone cast as the creature. Later, he spent eight months designing prosthetics for an actor who eventually left the project due to a conflict. At that point, del Toro sent Hill a list of potential actors he was considering to take over, and one in particular stood out: Jacob Elordi, who eventually took on the role.

Hill cites “his demeanor, his gangliness, his limbs, his doe-like eyes,” as the reasons Elordi was so perfect as the creature. It helps that the Euphoria star is a towering 6-foot-5 and, according to Hill, has the kind of face that makeup artists dream about. “Jacob’s bone structure made things a lot easier,” he says. “He has this very strong jaw, this very strong chin. Speaking as a prosthetics artist, chins are a pain in the ass.” The final version of the design involved 42 different prosthetics pieces, and when Elordi had to wear the full-body kit, it required around 10 hours in the makeup chair.

Mike Hill.
Image: Netflix

One of the most important parts of the final design is how it’s able to evolve over the course of the movie. Initially, the creature is bald and nearly naked, signaling his childlike innocence. But after being abandoned by his creator, he takes on a harder look, eventually growing out his hair and wearing a long cloak. Elordi’s demeanor changes as well; he mostly cowers early on, before being turned into something much more menacing and terrifying. From a design standpoint, all that really changes is the hair and wardrobe; and yet, the transformation is dramatic.

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In the end, Frankenstein proved to be an ideal collaboration for Hill and del Toro. The artist tells me that he’s been making monsters since he was a kid, scooping up mud from a nearby riverbank to sculpt them with, and from those early days Mary Shelley’s story was a guiding influence. He went on to create multiple versions of the creature as a professional artist, and is currently working on a short film based on a decade-old sculpture. Just like del Toro, the idea of tackling Frankenstein in his own way was a longtime goal. So while it may have involved a bit of stress waiting for del Toro’s call, it was ultimately worth it.

“I always dreamed that he would make it,” Hill says.

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The future of local TV news has taken a Trumpian turn

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The future of local TV news has taken a Trumpian turn

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more stories on Big Tech versus politics in Washington, DC, follow Tina Nguyen and read Regulator. The Stepback arrives in our subscribers’ inboxes at 8AM ET. Opt in for The Stepback here.

A long time ago, in 2004, the Federal Communications Commission laid down a rule designed to prevent a monopoly: No one company could broadcast to more than 39 percent of all the TV households in the United States. But then Donald Trump returned to the White House in 2025. Brendan Carr became FCC chairman and immediately kicked off a deregulatory initiative called “Delete, Delete, Delete,” in which Carr vowed to get rid of “every rule, regulation, or guidance document” that placed “unnecessary regulatory burdens” on companies. And within months, Nexstar, which already owned over 200 stations nationwide and had hit its ownership cap, announced that it had entered an agreement to purchase its rival, Tegna, for an estimated $6.2 billion — something that could only happen, however, if Carr agreed to change the FCC’s rules.

If you ask Nexstar why it’s pursuing a merger that would give it control of over 80 percent of the market, it’d point to Big Tech as the culprit. As advertisers take their money to Netflix, YouTube, and other digital streamers, linear television — the local television news, the broadcast affiliates, the basic cable networks — has suffered, forcing them to consolidate and shut down newsrooms. In that sense, Nexstar argued, the merger would help it compete for ad revenue with the streaming services, thereby building more robust local journalism. However, the merger’s opponents believe that this is a basic violation of antitrust laws and principles — not to mention the danger of letting one company have editorial control over the vast majority of America’s local television newsrooms.

But the second Trump administration handles regulatory hurdles a little differently than others, and companies have found that it’s faster to get what they want if they bypass the agencies and talk (read: suck up) to Trump directly. And when Nexstar did so publicly, it confirmed its opponents’ fears about political influence. Last September, in the fraught weeks after the fatal shooting of Charlie Kirk, Nexstar announced it would no longer broadcast Jimmy Kimmel Live! — a response to Carr’s claim that the FCC could revoke the broadcast licenses of TV stations that aired the comedian’s comments related to Kirk. It briefly led to ABC suspending Kimmel’s show, though ABC and Nexstar soon reversed their decision after a massive nationwide backlash and an ABC boycott.

However, Nexstar’s loyalty to Trump himself was not enough to win over his most powerful MAGA supporters. Newsmax, a cable news network with a deeply pro-Trump bent, and its CEO, longtime Trump donor and outside adviser Chris Ruddy, filed a lawsuit objecting to the merger, claiming that Nexstar’s anticompetitive behavior would force channels like his off the air with steeper carriage fees. He specifically accused Nexstar of jacking up the fees for stations to carry Newsmax, while offering its similar network, NewsNation, for much cheaper.

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The Nexstar-Tegna MAGA makeover then took a more subtle turn. NewsNation hired the pro-Trump Fox News commentator Katie Pavlich and gave her her own primetime show. (The network had already hired a slew of former Fox journalists as well.) Around this time, a political group called Keep News Local began airing ads in DC that seemed to directly address Trump, praising him for having “defeated the fake news monopolies before through independent voices and local news” and claiming that the Nexstar-Tegna merger was “crucial for MAGA to survive.” (A little self-contradictory and mildly illogical, but it’s the kind of stuff that Trump likes to hear.) When I last spoke to Ruddy in February, I asked if he’d worried that the dark money going into Keep News Local would sway Trump, and he chose his words carefully: “I think at the end of the day, Trump makes up his own mind. I’m not sure he’s going to be influenced by an ad campaign.”

For months, no one could accurately predict if Trump would override Carr’s wishes and bless the deal, as he’s often done for other companies facing regulatory scrutiny. Trump’s Truth Social posts about the merger have been a good indicator of how precarious the merger has been and who’s been able to influence him at any given moment: Last November, he blasted the deal as an “EXPANSION OF THE FAKE NEWS NETWORKS,” but by February, he posted that the deal would “help knock out the Fake News because there will be more competition.”

Several current and former NewsNation employees told Status at the time that they feared that the parent company was steering NewsNation away from the centrist, “unbiased” reputation they’d long cultivated. “A lot of people within the network believe that the network has gone hard right to appeal to Trump and Brendan Carr,” one former employee told Status. Coincidentally, days before the deal was finalized, NewsNation began ramping up its explicitly pro-Trump content, tweeting a clip of CNN’s Kaitlan Collins being berated by White House press secretary Karoline Leavitt, along with the comment “Just going to leave this here.”

When Trump greenlit the merger in mid-March, but before the FCC’s three commissioners could vote on whether to waive the ownership cap, Nexstar and Tegna immediately announced a new complication: Tegna and Nexstar had already started merging. Tegna was no more and CEO Mike Steib had already sold $22.6 million of his company stock.

In response, eight state attorneys general and satellite TV operator DirectTV, which had already been planning to file separate federal antitrust suits against the merger, asked US District Judge Troy Nunley in Sacramento for an emergency restraining order that would prevent Nexstar from taking over Tegna’s assets. The order was granted on March 27th and on April 17, Nunley issued a formal injunction, ruling that Tegna must be operated as an independent financial entity, and Nexstar must take steps to ensure it remains separate from Tegna before further legal proceedings.

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For now, Nunley has allowed the states and DirecTV to combine their cases, in which both argue that the merger was a clear violation of antitrust laws and would crush news competition.

Meanwhile, Republicans and Democrats in Congress are furious at Carr. On March 30th, Sens. Ted Cruz (R-TX) and Maria Cantwell (D-WA) sent the chairman a joint letter admonishing him for allowing his staff to waive the regulations to let the merger pass, instead of having the full commission of political appointees — one from the Biden administration — vote on it. “Under these circumstances,” they wrote, “any subsequent vote risks being largely procedural rather than a genuine exercise of commission responsibility.” They also pointed out that their hasty approval without the commission’s approval would now complicate the merger financially: “In a transaction of this scale, where integration proceeds quickly and unwinding becomes impractical, delay in judicial review can insulate the decision from meaningful challenge.” Notably, though they share similar ideological views on the media and deregulation, Cruz and Carr have frequently clashed over how to achieve their objectives. Cruz previously slammed Carr as a “mafioso,” for instance, for the way he’d used the FCC to silence Kimmel.

But even if it’s legally paused, the journalistic merger’s fallout has started to hit local news. NPR’s David Folkenfirk reported on Tuesday that Tegna journalists had already started receiving orders to stop broadcasting content from major broadcasters like ABC, CBS, and NBC — media outlets being targeted by Carr — and instead begin airing content from Nexstar’s NewsNation.

  • Brendan Carr’s views on using the FCC to punish major broadcasters was outlined pretty extensively in the chapter he authored in Project 2025, an initiative led by the conservative Heritage Foundation on how to reform the federal bureaucracy to be more favorable to the American right.
  • Exactly how much is local television losing to digital? According to industry publication NewscastStudio, in an investor call defending the purchase, Nexstar chairman Perry Sook cited a market research study from Borrell Associates, which found that “digital advertising in local markets exceeds $100 billion, compared to just $25 billion for local linear television advertising, with nearly two-thirds of digital ad dollars flowing to five major technology companies.”
  • If you want to see exactly how much Keep Local News was trying to suck up to Trump, the ads are archived here.
  • The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
  • The LA Times reported on last week’s preliminary hearings in front of Nunley, and how lawyers for Nexstar, the states, and DirecTV plan to argue their case.
  • The Desk has insights from Kirk Varner, a former TV newsroom director, on how the case could go.
  • Andrew Liptak covered Nexstar’s previous acquisition sprees for The Verge in 2018.
  • Adi Robertson walks through exactly how the Kimmel suspension was an attack on free speech.
  • Brendan Carr keeps trying to convince people that he’s not threatening to suspend broadcast licenses for reporting on unfavorable things like the Iran war, reports Lauren Feiner.
  • The Vergecast has a long-running segment called “Brendan Carr is a dummy.”
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Chinese robot breaks human world record in Beijing half-marathon

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Chinese robot breaks human world record in Beijing half-marathon

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A Chinese-built humanoid robot beat the human half-marathon world record in Beijing on Sunday, marking a breakthrough moment in a high-stakes global race for technological dominance.

A robot developed by Chinese smartphone maker Honor completed the 21-kilometer (13-mile) race in 50 minutes and 26 seconds, beating the human record of about 57 minutes set by Uganda’s Jacob Kiplimo last month.

The performance marked a dramatic improvement from last year’s inaugural event, when the top robot finished in more than 2 hours and 40 minutes.

Dozens of humanoid robots competed alongside about 12,000 human runners, navigating a parallel course to avoid collisions.

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CHINA’S COMPACT HUMANOID ROBOT SHOWS OFF BALANCE AND FLIPS

A robot crosses the finish line in the Beijing E-Town Half Marathon and Humanoid Robot Half-Marathon held in the outskirts of Beijing on April 19, 2026. (Andy Wong/AP)

Nearly half of the robots ran using autonomous navigation, while others relied on remote control, organizers said.

Despite the breakthrough, the race still saw glitches, with some robots stumbling at the start or veering into barriers.

Engineers said the winning robot was designed to mimic elite athletes, featuring long legs of about 37 inches and advanced cooling systems to sustain performance.

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US TARGETS CHINESE ROBOTS OVER SECURITY FEARS

“Looking ahead, some of these technologies might be transferred to other areas,” said Du Xiaodi, an engineer with the Honor team. “For example, structural reliability and liquid-cooling technology could be applied in future industrial scenarios.”

Team members celebrate next to the winning Honor Lightning humanoid robot during a medal ceremony after the second Beijing E-Town Half Marathon and Humanoid Robot Half Marathon in Beijing, China, on April 19, 2026. (Maxim Shemetov/Reuters)

Spectators reacted with a mix of amazement and unease at the machines’ rapid progress.

“It’s the first time robots have surpassed humans, and that’s something I never imagined,” Sun Zhigang, who attended the event with his son, told The Associated Press.

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HUMANOID ROBOTS HIT MASS PRODUCTION IN CHINA

“The robots’ speed far exceeds that of humans,” spectator Wang Wen told the outlet. “This may signal the arrival of sort of a new era.”

A robot starts alongside human runners at the Beijing E-Town Half Marathon and Humanoid Half Marathon on the outskirts of Beijing on April 19, 2026. (Ng Han Guan/AP)

Experts say the race highlights China’s accelerating push to dominate robotics and artificial intelligence, even as widespread commercial use of humanoid robots remains limited, according to Reuters. The experts said Chinese robotics firms are still working to develop the AI software needed for humanoids to match the efficiency of human factory workers.

Runners take pictures of a humanoid robot during the second Beijing E-Town Half Marathon and Humanoid Robot Half Marathon in Beijing on April 19, 2026. (Haruna Furuhashi/Pool Photo via AP)

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“The future will definitely be an AI era,” engineering student Chu Tianqi told Reuters. “If people don’t know how to use AI now … they will definitely become obsolete.”

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The competition underscores a broader technological race between China and the United States, as Beijing invests heavily in advanced robotics as part of its long-term economic strategy.

The Associated Press and Reuters contributed to this report.

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The RAM shortage could last years

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The RAM shortage could last years

According to Nikkei Asia, even as suppliers ramp up DRAM production, manufacturers are only expected to meet 60 percent of demand by the end of 2027. SK Group chairman has even said that shortages could last until 2030.

The world’s largest memory makers — Samsung, SK Hynix, and Micron — are all working to add new fabrication capacity, but almost none of it will be online until at least 2027, if not 2028. SK opened a fab in Cheongju in February, but that is the only increase in production among the three for 2026.

Nikkei says that production would need to increase by 12 percent a year in 2026 and 2027 to meet demand. But according to Counterpoint Research, an increase of only 7.5 percent is planned.

The new facilities will primarily focus on producing high-bandwidth memory (HBM), which is used in AI data centers. With the companies already prioritizing HBM over general-purpose DRAM used in computers and phones, it’s not clear how much these new fabs will help alleviate the price crunch facing consumer electronics. Everything from phones and laptops, to VR headsets and gaming handhelds have seen price increases due to the RAM shortage.

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