The Dark Urge Explained: A BG3 Player’s Guide

by

Considering another playthrough of *Baldur’s Gate 3*? You might have noticed the “The Dark Urge” option. This isn’t a typical character creation preset – it’s a completely separate origin story with a dark past and unique content. It offers the best of both worlds: full character customization *and* a detailed, built-in narrative that connects directly to the game’s main story.

Bhutan’s Ethereum Leap: A Digital Identity Revolution 🌐✨

by

Bhutan, that enigmatic kingdom nestled in the Himalayas, is now engaged in a digital migration as intricate as a chess game played by a master. The national digital identity system, once content on the Polygon network, is now making its grand ascent to Ethereum. This endeavor, involving roughly 800,000 citizens, is a testament to the country’s penchant for the dramatic and the technologically sublime. By Q1 2026, the transition shall be complete, marking a seismic shift in Bhutan’s blockchain ballet. It is a move that prioritizes the security and transparency of the Ethereum mainnet, as if the kingdom were whispering, “Polygon, you were but a prelude.”

Jafar Panahi’s Cinematic Rebellions

by

I met with Jafar Panahi, 65, at the Reign restaurant in Toronto’s Fairmont Royal York hotel. Sheida Dayani, a theater historian and professor, was there to translate for him during his press tour for his new film, *It Was Just an Accident*. The film was secretly shot over 25 days in Tehran, and he’s become quite skilled at working discreetly. He arrived dressed in his typical style: dark sunglasses, a black polo shirt, and an army-green jacket, with a faint smell of cigarettes – he smokes about three packs a day. His voice is deep and resonant. He wasn’t feeling his best and was drinking hot water with honey instead of his usual Persian remedy, rock candy. We met just hours before the film’s premiere at the Toronto Film Festival, which was the sixth stop on a world tour that began at Cannes in late May, where *It Was Just an Accident* won the Palme d’Or. This award put him in an exclusive group of filmmakers – only three others, Henri-Georges Clouzot, Michelangelo Antonioni, and Robert Altman – have won the top prize at Cannes, Venice, and Berlin.