Known for his painstakingly intricate mixed-media sculptures, Canadian artist Chris Millar continues to test the bounds of scale and detail. Two recent works epitomize his ongoing explorations: “A Prize Every Time” and “Loom Beneath the Loam,” the latter of which contains eight tiny paintings, two relief sculptures, and numerous sculptural elements attached to a brass frame. Cartoonish pendants, vignettes with faces, branch-like tendrils and more lend the piece an enigmatic contraption-like quality, as if the pull of a hidden lever will send the entire thing into motion.

In a departure from his multimedia pieces, “A Prize Every Time” is a meticulously rendered acrylic painting containing some 90 portraits of notable figures from Alberta who populate a map of the province, where the artist originally hails from. It has the look of a tourism map merged with a look-and-find book.

“To an American audience, a lot of the Alberta-centric easter eggs will go over their heads, but even if they don’t know about Alberta’s history or geography, it’s a pretty fun painting to look at!” Millar says. You may recognize a few famous individuals, such as Michael J. Fox and Joni Mitchell, both of whom were born there.

See more on Millar’s Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article A Visual Cacophony of People, Places, and Things Fill Chris Millar’s Mixed-Media Paintings appeared first on Colossal.

Die gore wolf in Epe heeft de hond van de schaapsherder al opgevreten (daar lopen nu twee kuddebeschermingshonden bij dus nu durft die miet niet meer) en nu is hij toe aan het toetje. PANNEKOEKEN. Nu zit er in de bossen bij Epe een uitstekend pannekoekenrestaurant en kennelijk zijn daar mensen die wolven pannekoekjes voeren. En zo gaat die wolf mensen associëren met vreten en is het geen wolf meer, maar gewoon een valse teirnghond die alleen maar meer vreten komt halen bij de mensen. De gemeente heeft bordjes opgehangen dat het beest niet gevoerd mag worden, ook geen pannekoeken. Maurice la Haye van de Zoogdiervereniging: "Als er signalen zijn dat een wolf gevoerd is, schiet het dier dan dood." Het is niet bekend of de wolf een voorkeur heeft voor stroop, poedersuiker, kaas+spek of alleen kaas.

He’s decided he wants to be with her, writes Eleanor Gordon-Smith – this means choosing between what feels fair and what’s best for your relationship

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My parents got divorced four years ago, at which point my brother and I were both in our 40s, and our parents almost 70. They broke up after my mother discovered that my dad had been having an affair. The feeling of letdown was enormous, as if our father had suddenly become this person we didn’t recognise. He had always taught us to be fair and honest, and this made us question everything.

My brother and I have made a lot of effort to keep him included in our lives since then, especially for the sake of his grandchildren. However, we’ve only had one demand – that we get to see him alone. The Other Woman still feels like the cause of the breakup of our family. I feel an enormous amount of hurt and resentment about the lies and deceit, but I’ve made a conscious effort to not wipe out his positive impact on my life up to that point.

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It’s won all the awards and now it’s going out in a blaze of comedy. Everything that could possibly go wrong for the restaurant does … but who cares when the fusion of tragedy and laughter is this good?

It may not be a gastronomic reference many midwestern gourmands would appreciate, but the last episode of the last season of The Bear was Marmite TV. Set in the back yard of the titular Chicago restaurant – transformed over the course of the show from a sandwich shop to a fine dining establishment by its talented and troubled head chef Carmy Berzatto (Jeremy Allen White) – the season four finale consisted of the cast shouting over each other about their respective grudges, oscillating between rage and misty-eyed sentimentality. A naturalistic exchange of complex emotional truths? A rare opportunity to flesh out TV characters’ psyches away from the demands of an actual narrative? Maybe. Or a plotless, unpleasantly cacophonous half-hour designed to entertain no one besides those unhealthily invested in the inner lives of Carmy, his protege Syd (Ayo Edebiri) and their ragtag bunch of fictional colleagues? Yeah, I didn’t love it.

Whatever your perspective, it’s hard to deny that The Bear is one of the shows that best encapsulates what was so great and not-so-great about peak streamer-era TV. The brainchild of writer-director Christopher Storer, the series always prioritised thematic richness and indie movie melancholy over focus-grouped crowd-pleasing or hoary screenwriting convention. As a result, it walked the line between uncompromising integrity and tedious self-indulgence – something only possible during a period, now passed, when platforms considered pouring money into auteurish shows a price worth paying for cultural clout.

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From Cameron’s Brexit exit to Starmer’s Burnham bow-out, half a dozen PMs have gone. So who’s the best of the bunch?

The UK has had six prime ministers in the last 10 years – with a seventh likely to be in place by as early as mid-July.

John Crace ranks those who have been booted out of Downing Street between 2016 and 2026.

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The move comes after Russia’s Consulate General in the Romanian city of Constanta was closed last month following a drone crash in the country.

The World Cup as I see it: not the matches, but everything surrounding them. The trumpet that blooms into flowers. The cleats that wait. The flag with a dove. The musical note made of two soccer balls. The trophy. The hand. The kick. A personal series of vector and 3D illustrations celebrating soccer as a global celebration, the small symbols, the bright colors, the joy that brings the whole world together every four years. Created with Adobe Illustrator. Vector illustrations with texture and 3D objects. A vibrant color palette designed for celebration.illustration, football illustration, soccer illustration, world cup, sports illustration, vector illustration, 3d illustration, character illustration, editorial illustration, digital illustration, colorful illustration, adobe illustrator, illustrator, graphic design, illustration series

A few different names will appear on the timesheets during first practice at the Austrian Grand Prix.

AI agents now write code and run tasks at machine speed, and sometimes those same agents delete the wrong thing. AI-enabled attackers can also use AI to find zero-day vulnerabilities more easily. Most recovery systems still run at human speed, which widens the gap between how fast data can be lost and how fast it can be restored. Eon was built to close that gap. In our latest Hot Seat, Tim Phillips talks to Gonen Stein, president and co-founder of Eon, about what recovery should look like in the agentic AI era. Stein and his co-founders previously built CloudEndure, a cloud migration and disaster recovery outfit that AWS acquired. They found that backup had never been redesigned for cloud-native infrastructure: the old model assumed static servers and scheduled maintenance windows, while cloud environments change constantly. There's also a gap between the C-suite's faith in recovery and today's reality. Eon's research found that 98 percent of executives were confident in recovery, while most had suffered three or more failures last year. As Stein puts it, a completed backup is not the same as a tested restore. Configurations drift, new services appear, and backup policies fall behind, so the plan looks fine until you need it. The risk is not hypothetical. In April, an AI agent tasked with resolving a credential mismatch in PocketOS's staging environment deleted the production database and took the attached backups with it. The event took nine seconds. The agent used valid credentials and a legitimate API, so no alert fired. Eon's answer is to hold backups in immutable, logically air-gapped vaults with separate credentials, so that when something goes wrong the restore can target a single table or record rather than rebuild the whole environment. Watch the Hot Seat to hear Stein on AI-augmented attacks, the case for isolated recovery, and the checks to run first. You will learn about: Why confidence outruns evidence: a green tick on a backup dashboard does not confirm that a full recovery has been tested, and most organizations cannot pass that test. AI on both sides: coding agents ship faster than humans can review their work, while AI-augmented attackers shrink the window between finding a vulnerability and exploiting it. Recovery outside the blast radius: backups that share credentials or storage with production are vulnerable to the same attacks and faults, which is why air-gapped vaults matter. Granular restore: why you should be able to recover a specific table or record at a precise timestamp, rather than rehydrating an entire environment. If you are responsible for cloud data, backup policy, or recovery planning, watch this one. Sponsored by Eon.io + Inc.