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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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Blue Origin successfully reused its New Glenn rocket

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Blue Origin successfully reused its New Glenn rocket

Today’s launch of AST SpaceMobile’s BlueBird 7 satellite aboard Blue Origin’s reusable New Glenn rocket was a partial success. The New Glenn touched down on its landing pad without incident, making it the second launch and landing for the first stage booster, and officially giving Jeff Bezos a reusable launch vehicle. Unfortunately for AST SpaceMobile, the mission was less successful. Its cell-tower-in-space was delivered to a lower orbit than expected by the second stage of the launch vehicle, rendering it functionally useless.

While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited.

Bezos, for his part, posted a video of the landing on X without comment.

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iPhone and Samsung flashlight tricks you should know

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iPhone and Samsung flashlight tricks you should know

NEWYou can now listen to Fox News articles!

Most people treat their phone flashlight like a basic on and off switch. You tap it when you drop something under the couch or walk through a dark parking lot. That’s it.

But with the latest software updates, both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. You can control how bright it is. On some devices, you can even change how wide the beam spreads.

Once you know where to look, it feels like you just upgraded your phone without spending a dollar.

10 IOS 26 TRICKS THAT HELP YOU GET MORE OUT OF YOUR IPHONE

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Both iPhone and Samsung phones have quietly turned the flashlight into something much more useful. (Silas Stein/picture alliance)

iPhone flashlight features you’re probably missing

Your iPhone flashlight does more than turn on and off, and a few hidden controls can completely change how you use it.

How to adjust iPhone flashlight brightness

On almost all iPhones:

  • Swipe down from the top right to open Control Center
  • Press and hold the flashlight icon
  • Drag the vertical slider up to increase brightness or down to lower it

This has been around for years, but many people still tap instead of holding. That’s where the real control lives.

How to change iPhone flashlight beam width (Pro models)

This is the feature most people have never seen. On newer Pro iPhones running the latest software:

  • Swipe down to open Control Center
  • Press and hold the flashlight icon
  • When the flashlight control appears at the top of the screen, swipe left or right to adjust the beam width

You can go from a narrow, focused beam to a wide flood of light.

That means:

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  • Narrow beam = better for seeing farther ahead
  • Wide beam = better for lighting up a full area

This feature was introduced in iOS 18 and is still available in iOS 26.4, but it only works on iPhone 14 Pro and newer Pro models, including iPhone 15 Pro and later versions. You won’t see it on standard models.

How to turn on iPhone flashlight from the Lock Screen

You don’t even need to unlock your phone:

  • Press and hold the flashlight icon on the Lock Screen

It turns on instantly, which is faster than digging through menus.

How to use Siri to control your iPhone flashlight

You can say:

  • Hey Siri, turn on the flashlight.”
  • “Set flashlight to 50 percent.”
  • Hey Siri, turn off the flashlight.”

It’s one of the fastest hands-free options when your hands are full.

The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. (Anna Barclay/Getty Images)

Bonus: Use iPhone flashlight for alerts and notifications

Your iPhone can use the flashlight as a visual alert:

  • Go to Settings
  • Tap Accessibility
  • Tap Audio/Visual
  • Scroll down and turn on Flash for Alerts

Your flashlight will blink for calls and notifications, which helps if your phone is on silent or in a noisy place.

Samsung flashlight features you should know

Samsung takes a different approach and, in some ways, gives you more flexibility right out of the box.

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Note: Settings may vary depending on your Samsung device model and One UI version.

How to adjust Samsung flashlight brightness

On most Samsung Galaxy phones:

  • Swipe down to open Quick Settings
  • Press and hold the flashlight icon
  • Use the brightness slider (labeled “Brightness”) to adjust the light level

Many people miss this because a quick tap only turns the flashlight on or off. The brightness controls appear after you press and hold, giving you more control depending on your situation.

How to turn on the Samsung flashlight with your voice

If you use Google Assistant:

  • “Hey Google, turn on the flashlight.”
  • “Hey Google, turn off the flashlight.”

It works well when your hands are full or when you need quick access.

10 INCREDIBLY USEFUL IPHONE AND ANDROID TRICKS THAT MAKE YOUR LIFE EASIER

How to customize Samsung flashlight access

Samsung gives you a few ways to keep the flashlight within easy reach. To keep it in your main Quick Settings panel:

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  • Swipe down from the top of the screen to open Quick Settings
  • If you do not see the flashlight icon in the main panel, tap the pencil icon to edit
  • Tap Edit 
  • Find Flashlight in the available buttons
  • Hold and drag the flashlight icon  into the main Quick Settings area
  • Tap Done or Save if prompted

Bonus: Use the Samsung flashlight for alerts and notifications

Samsung phones can also use the flashlight for visual alerts:

  • Go to Settings
  • Tap Accessibility
  • Tap Advanced settings
  • Tap Flash notifications
  • Turn on Camera flash notification

You can also turn on Screen flash notification if you want your display to light up instead.

When iPhone and Samsung flashlight features actually matter

This is where it becomes practical:

  • Walking at night: a narrow beam helps you see farther ahead
  • Power outage: a wide beam lights up more of the room
  • Looking for something nearby: lower brightness avoids harsh glare
  • Emergency situations: faster access can save time

Once you start adjusting the light instead of just turning it on, it becomes far more useful.

Take my quiz: How safe is your online security?

Think your devices and data are truly protected? Take this quick quiz to see where your digital habits stand. From passwords to Wi-Fi settings, you’ll get a personalized breakdown of what you’re doing right and what needs improvement. Take my Quiz here: Cyberguy.com   

Apple improved control with hardware and software, while Samsung focused on flexibility and customization. (Kurt “CyberGuy” Knutsson)

Kurt’s key takeaways

The flashlight is one of the most used features on your phone, yet most people never go beyond the basics. Apple improved control with hardware and software, while Samsung focused on flexibility and customization. Both approaches make a simple tool far more capable.

Have you ever discovered a hidden feature on your phone that made you wonder what else you’ve been missing? Let us know by writing to us at Cyberguy.com

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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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