Reality TV star Gemma Collins influenced her followers to have confidence as she enjoyed the Italian sun in a bright swimsuit.
The former I’m A Celebrity contestant is no stranger to posing in swimwear, having left her fans “obsessed” a few months ago after she stunned in a strapless bright pink swimsuit.
However, for her latest social media upload, Gemma opted for another look that didn’t go unnoticed by her 2.3 million followers.
Gemma showed off a stunning bright blue swimsuit while in Italy (Credit: Splashnews.com)
Gemma Collins wows in a bright blue swimsuit
In an Instagram post shared today (July 4), the GC was captured in a video wearing a low-cut bright blue swimsuit with short sleeves.
She teamed the look with a matching tie-up skirt and sported her long signature blonde hair down while accessorizing with a headscarf.
Gemma was filmed on a boat in the sea as she expressed her love for Italy. She unwrapped her skirt to show off her swimsuit and did a twirl for her followers to see.
Confident in her own skin, Gemma urged others to feel the same, expressing: “Girls, if you’re going on holiday this year, show the stuff, you know? Just be who you are! Live the Dolce Vita life, GC style!”
“DOLCE VITA @bluediamondcruise NO FILTERS not even Paris ! Just CONFIDENCE,” she wrote in her caption.
‘I need that swimsuit immediately!’
Fans rushed to the comments section to praise Gemma, many of whom wanted to know where her swimsuit was from.
“Love that swimsuit Gemma. Where’s it from plz?” one user wrote.
“Swimsuit is gorgeous. Where is it from pls x,” another person shared.
“Gemma, where is that costume from! Stunning,” a third remarked.
“Holy god, I need that swimwear immediately!!!!!” a fourth insisted.
Meanwhile, others wrote: “I loveeee seeing people dress for their environment, this is Italy all over, love it!”
Another expressed: “Love your look! You look great.”
Head to our Facebook page @EntertainmentDailyFix and let us know what you thought of this story. We want to hear your thoughts!
Dan Walker left his job at BBC Breakfast after admitting the early mornings took a massive toll on him.
The former Strictly star left BBC Breakfast in 2022 after six years on the show. He moved to Channel 5 to present the evening news instead.
In a previous interview, Dan opened up about the health ordeal he suffered during his BBC Breakfast days.
Dan Walker opened up on This Morning in 2024 (Credit: ITV)
Dan admitted to ‘crying’ in the toilets during BBC Breakfast role
During an appearance on This Morning in 2024, Dan told hosts Josie Gibson and Dermot O’Leary that he used to set his alarm for 3am for BBC Breakfast.
“By Wednesday I was, like, full zombie mode. And also you get really emotional. By Wednesday I was like, end of the show, you are like, in the toilets just crying,” Dan explained.
“Anything sets you off. Someone says something nice about your trousers and you are like, [fake cries].”
Josie asked Dan if he would cry in the toilets on a daily basis, to which Dan stated: “Well, not every day.”
Dan admitted that when you get “sleep deprived,” you get a “little bit emotional”.
Dan left BBC Breakfast in 2022 (Credit: BBC)
‘It was too big of an opportunity to say no’
Things got better for Dan, however, as his job at Classic FM required him to get up at 5:30am.
Enjoying the job, Dan said he felt “great” and “refreshed”. He added: “If you enjoy the job you do, we are all privileged to do something that we love doing.”
A lover of radio, Dan said he loves talking to people and “getting those messages back” from listeners.
Admitting he’s not short of offers, Dan returned to working early mornings again as he felt it was “too big an opportunity to say no”.
The 49-year-old said he would “hate to be in a situation a few years down the line when I am listening to someone else doing it, thinking, ‘That would have been amazing to do.’”
Read more: Dan Walker admits ‘worry’ over big changes at the BBC: ‘I do not miss the mess’
So, what do you think? Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think.
It’s the heights of the British sporting summer with Formula One returning to Silverstone, Wimbledon swishing rackets through its middle weekend, and pubs needing funny opening hours to account for the World Cup.
True to form, it’s also time for another heatwave, so I hope you’re not overdoing it under the clear skies and blazing sunshine.
In the News This Week
Do you like 4.7 inch discs? Well, I’ve got bad news for you.
Games in Review & Featured Articles
Just a couple reviews in the pile for this week:
Away from that, we also had deep dives into Early Access releases for the ambitious open world RPG Fatekeeper and the magical survival game Witchspire.
Things got much darker with the atmospheric Polish folklore feeding into our Dziady preview, we ripped and tore through a look at the ‘flying tank’ action of Doom: The Dark Ages – Revelations, and hands on with the single player focussed Splatoon Raiders.
And we had a couple of blogs and features as I wrote up my experience in getting SteamOS to run and dual boot on my gaming PCs, and Tuffcub shared some hard truths about the announced demise of physical PlayStation games.
And we wrap up for the week with What We Played featuring Like a Dragon: Infinite Wealth, Beastro & Silent Hill 2.
Trailer Park
Dawn of War IV Battlefield Report shows off a full multiplayer battle
Space Marine 2 dev shows off new Turok: Origins gameplay
Virtua Fighter Crossroads new trailer shows the villain of the piece – haven’t we seen him before?
Your Achievements
What have you all been playing through the sweltering conditions?
Andrewww has let his PS Plus subscription drop, and while he’s waiting for the value to improve, he’s realised that was where he was getting access to almost all of his current games. But this has nudged him back to tackle his backlog, starting with Kona 2. And he’s been out and about to see Linkin Park in the pouring rain in Zurich!
And fresh off a trip to Belfast to see The Cure – “awesome gig!” – TSBonyman has been playing Neon Abyss and Deadzone Rogue and having fun with both.
That’s the round up for this week. Hope you have a great weekend and we’ll see you back here on Monday!
Emma Willis opened up about her children in an emotional moment at the Attitude Pride Awards in London last night (July 3).
Willis hosted the ceremony at The Chancery Rosewood and used her opening speech to reflect on equality, acceptance and LGBTQ+ representation.
As reported by The Standard, she also pointed to the venue’s history, where the hotel once housed the US Embassy in Grosvenor Square.
Emma told guests it felt “ironic” that the building now celebrated individuality. “This room was built for diplomats and it’s now being used to celebrate people who got where they are by being anything but,” she said.
Emma shares three children with husband Matt (Credit: Splashnews.com)
Emma Willis makes emotional speech about her children
The mood changed when Emma spoke about her family. She shares Isabelle, 17, Ace, 14, and Trixie, 10, with husband Matt Willis.
She started a question, then choked up. “What kind of…,” she began before asking, “What kind of world do we want to live in?”
Emma then fought back tears. “Oh, God. I’ve got three kids, and I want to live in a world where they are free to be themselves.”
Emma Willis children: how many kids she has with Matt Willis
Emma Willis and Matt Willis have three children together.
Isabelle, 17
Ace, 14
Trixie, 10
Emma and Matt have spoken publicly at times about parenting, family life and wanting to keep their children safe as they grow up.
She followed with a direct plea for safety and acceptance. “Where they feel safe to express themselves in whatever way they choose and that they are free to love whoever they choose, without fear.”
She then thanked the people in the room. “It’s because of all of you in this room that hopefully they’ll be able to grow up and do that.”
‘We are shining a light on the real people who make a real difference’
Willis gathered herself and returned to the purpose of the night. She praised the people honoured at the awards.
She told the audience: “This is, I think, the most important awards ceremony of the year. We are shining a light on the real people who make a real difference.”
What was Channel 4’s Swiped with Emma and Matt Willis?
Swiped was a Channel 4 documentary featuring Emma and Matt Willis examining smartphone use among children.
The programme worked with The Stanway School in Colchester and followed a 21-day challenge in which Year 8 pupils, along with Emma and Matt, gave up smartphones.
The documentary explored concerns about screen time, online safety, sleep, anxiety and classroom focus.
Her message reached beyond her own home as she spoke about a world where children can live openly and without fear.
The speech came during a major career shift for the presenter. In May, Emma said she could not “find the words” after the BBC named her as one of the new hosts of Strictly Come Dancing.
She will join Josh Widdicombe and former Strictly professional Johannes Radebe on the new presenting line-up.
They will take over from Tess Daly and Claudia Winkleman. The pair announced their departure from the BBC One series in October 2025.
So, what do you think? Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think.
I’ve always been a massive advocate for the revolutionary technology behind blockchain. But let’s be real—sometimes you come across data that forces you to step back and question the mechanics of the systems we are building. While researching the latest infrastructure reports, I stumbled upon a study published in the PNAS Nexus journal, and the numbers are genuinely staggering.
We all know Bitcoin uses a lot of electricity, but the conversation usually stops there. What nobody is talking about is the pure, unadulterated waste built into the system. We aren’t just consuming power; we are literally throwing it away.
Here is my breakdown of why Bitcoin’s current mining race is leaking energy at an alarming rate, and why the growing monopoly in the sector should have us all worried.
The “Accidental Fork” Dilemma
To understand the scale of this waste, we have to look at how the Bitcoin network operates under the hood. Miners are in a relentless, global race to solve complex digital puzzles to validate blocks.
Because the financial stakes are so incredibly high, the margin for winning this race has shrunk down to fractions of a second. This extreme competition triggers what experts call “accidental forks.”
The Collision: Multiple miners frequently solve the puzzle at the exact same millisecond, creating parallel blocks.The Discard: The network eventually accepts only one of these blocks as valid, rewarding that specific miner.The Waste: The competing blocks are orphaned and deleted. Every single watt of electricity and computational power used to generate those losing blocks evaporates into thin air.
This isn’t a minor system bug; it’s a foundational inefficiency in the Proof-of-Work protocol. The research indicates that this specific flaw results in 16,000 megawatts of wasted energy. To put that into perspective, that discarded energy is equal to the total output of all 701 hydroelectric power plants in Switzerland.
And remember, that is just the wasted energy. Bitcoin’s total annual consumption sits around 138 terawatt-hours—more than the entire yearly electricity demands of developed nations like Norway or the Netherlands.
The Illusion of Decentralization
Beyond the environmental footprint, there is a structural issue here that directly threatens the core philosophy of Web3: Centralization.
As the hardware required to compete becomes more expensive and power-hungry, smaller independent miners are being pushed out of the game. What we are left with is an oligopoly. Right now, just three major mining pools control over 50% of all newly produced blocks.
This extreme concentration of power terrifies me. When three entities control the majority of the network’s hash rate, the network is vulnerable:
Censorship: These mega-pools have the power to arbitrarily delay or ignore specific transactions.Security Risks: It opens the door dangerously wide for a 51% attack, where bad actors could potentially rewrite the blockchain or double-spend coins.
We championed Bitcoin because it promised a decentralized financial future. Seeing it dominated by a few massive server farms feels like we are just replacing Wall Street banks with Silicon Valley mining pools.
It’s easy to focus solely on electricity, but the environmental toll goes deeper. These massive data centers generate enough heat to melt their own components, meaning they require aggressive, continuous cooling systems.
A 2023 report from the United Nations highlighted a deeply sobering fact about the crypto ecosystem’s water consumption. In 2021 alone, the freshwater used strictly to cool Bitcoin mining equipment exceeded the domestic water needs of 300 million people living in rural Sub-Saharan Africa.
When we evaluate the “cost” of digital assets, we have to look at the physical resources required to maintain them. As the financial value of the network grows, the incentive to build even larger, more resource-hungry data centers will only increase.
Where Do We Go From Here?
I am not saying Bitcoin is doomed, but we cannot ignore the physical limits of our planet. The blockchain community is full of brilliant minds, and if we want this ecosystem to survive long-term, we need to push for sustainable infrastructure and seriously evaluate alternatives to the current Proof-of-Work model. The innovation shouldn’t just be in the code; it needs to be in how we power it.
I want to hear from you. Do you think Bitcoin’s immense resource consumption is a justified price to pay for a secure, decentralized financial network, or do you think the protocol needs a massive overhaul to survive the next decade? Drop your thoughts below—let’s discuss.
I’ve always been fascinated by how we harness nature’s power, but let’s be honest: manufacturing renewable energy hardware can sometimes be a massive logistical nightmare. When I was recently diving into the mechanics of vertical-axis wind turbines—the ones you increasingly see popping up on city rooftops—I realized just how heavy, expensive, and difficult those curved blades are to produce.
Historically, you need massive metal molds, heavy aluminum, and a ton of energy just to build the exact machinery that’s supposed to help us save energy. It feels a bit ironic, doesn’t it? But this week, I stumbled upon a brilliant breakthrough from researchers at Concordia University that completely flips the script. We are now looking at 4D printed composite blades that are 80% lighter and literally shape themselves.
Here is my deep dive into why this self-forming technology is about to change the game for urban clean energy and beyond.
The Magic of 4D Printing: No Molds Required
You might already be familiar with 3D printing, but 4D printing adds an entirely new dimension: time and transformation. The material actually reacts and changes shape after the manufacturing process is complete.
Here is the coolest part about the Concordia University study: these researchers aren’t actively trying to print a complex, curved blade. Instead, they are manufacturing flat carbon fiber and epoxy panels.
Self-Shaping Materials: Once the flat panels are cured and cooled down, the differing mechanical properties of the layered materials cause them to bend and curl completely on their own.Zero Heavy Machinery: The material naturally reacts to its environment and settles into the perfect aerodynamic curve.Massive Cost Reductions: By eliminating the need for heavy metal molds and complex shaping machinery, the barrier to entry for manufacturing these turbines drops significantly.
If you ask me, removing the clunky, traditional molding process from the equation is an absolute game-changer for scaling up local, urban energy production.
The Brilliance of the “Inverse Design” Approach
Typically, engineering a composite material involves a lot of trial and error. You stack the carbon fiber, cure it, see how it shapes up, and if it’s wrong, you start completely over. The team behind this new turbine blade did something totally different, which I find incredibly smart. They call it Inverse Design.
Instead of guessing how a flat panel might curl, they decided exactly what aerodynamic shape they wanted the final blade to be. Then, they used complex mathematics to calculate backward. They determined precisely how to lay and weave the flat carbon fiber sheets so that, upon cooling, they would naturally warp into that exact target design.
Think of it like baking a cake that perfectly frosts and decorates itself while it cools down on the kitchen counter. It’s highly calculated, predictable, and extremely efficient.
80% Lighter, 100% Better Performance?
When I read the actual lab test results, I was genuinely shocked. You might assume that a self-curling carbon panel would be fragile or less efficient than a solid piece of machined metal. The reality is the exact opposite:
Drastic Weight Reduction: These new composite blades are roughly 80% lighter than commercial aluminum blades of the exact same size.Higher Rotational Speeds: In controlled lab environments, the dramatic reduction in weight allowed the turbines to spin significantly faster.Increased Energy Output: Faster spinning with less physical resistance means these turbines have the potential to generate much more electricity under the exact same wind conditions.
Lower weight also translates to easier transportation and drastically simplified rooftop installations. You wouldn’t need a heavy-duty crane to get these set up on a standard residential or commercial building.
A Future Beyond the Wind
As someone who loves tracking where technology is heading, I always look at how a specific breakthrough can bleed into other industries. This isn’t just about sticking better, lighter turbines on our city buildings—though that alone is a massive win for the environment. Think about the broader applications of “Inverse Design” and self-shaping composites:
Aerospace: Imagine lighter, self-forming wing components that reduce the overall weight of an aircraft, saving thousands of gallons of jet fuel.Automotive: We could see cheaper, mold-free manufacturing processes for electric vehicle bodies, making EVs more affordable for everyone.Smart Architecture: Building materials that react and shape themselves based on temperature or weather conditions to naturally insulate our homes.
Seeing heavy, clunky manufacturing processes replaced by smart, self-assembling materials makes me incredibly optimistic about our tech future. It proves that sometimes, the best way to solve a complex engineering problem is to step back and let the materials do the hard work for you. I am definitely going to keep a close eye on how quickly this leaps from the university lab to our local rooftops.
What about you? If you could use this “self-shaping” 4D material to redesign an everyday object to be 80% lighter and more efficient, what would you choose to build?
When I first came across Tilly’s story, I literally got goosebumps. I stopped scrolling, put my coffee down, and just stared at the screen. I always thought cyborgs were concepts permanently trapped inside sci-fi movies like Alita: Battle Angel or the Star Wars universe. But seeing a 13-year-old girl confidently equipping herself with 3D-printed bionic arms made me realize something profound: the future isn’t a distant dream. It is breathing right next to us.
We’ve been looking at the sky for flying cars, but the real technological revolution is happening right on our bodies. And honestly, it’s far more fascinating than anything Hollywood could write.
Breaking the Sci-Fi Barrier
For decades, the prosthetic industry felt incredibly sterile. If you lost a limb, you were given something designed to hide the difference. They were heavy, clunky, and quite frankly, soulless. They tried to mimic human skin but always ended up looking like mannequin parts.
But watching Tilly flex her bionic arms—customized, sleek, and unapologetically robotic—shattered that old paradigm for me. She wasn’t trying to hide her missing hands; she was upgrading them.
The Shift in Perception: We are moving from a mindset of “replacing a loss” to “enhancing a human.”The Hero Complex: Companies like Open Bionics are designing limbs that look like they belong to superheroes. Kids don’t feel disabled; they feel like they have superpowers.
The Economics of Empowerment
Here is the part that completely blew my mind while I was researching this. Technology is useless if only billionaires can afford it. Traditional prosthetics can cost tens of thousands of dollars, and for a growing child like Tilly, you have to replace them constantly. It’s a financial nightmare for families.
Then comes 3D printing, flipping the entire table.
80% Cheaper: By utilizing advanced 3D printing techniques, these next-generation bionic arms cost a fraction of the price of traditional medical prosthetics.Incredibly Lighter: Traditional arms rely on heavy motors and dense materials. The new bionic limbs use lightweight polymers, making them comfortable enough for a teenager to wear all day without fatigue.Rapid Customization: If a piece breaks, or if the child grows, you don’t need a massive medical manufacturing plant. You just print a new part.
The Spartan Army of Tomorrow
Seeing Tilly become an ambassador for this technology made me think about where we are heading as a species. We are creating a new community—a “Spartan army,” if you will—of individuals who are fusing with technology to overcome physical limits.
I used to be skeptical about transhumanism. I worried it would strip away our humanity. But looking at the pure joy and confidence radiating from Tilly, I realized that technology, when applied with empathy, actually amplifies our human spirit. It gives a voice to the voiceless and strength to the vulnerable.
Because remember, the future is not fiction; it is being coded right now, layer by layer, in 3D printers around the world.
Are we slowly turning into cyborgs to overcome our biological limits? And if so, is that something we should fear, or celebrate? Tell me, whose side are you on in this evolution?
Following one of the strongest debut seasons in Marvel Animation history, X-Men ’97 faced enormous expectations entering Season 2. Fortunately, the first three episodes prove the series hasn’t lost any momentum, delivering another thrilling blend of superhero action, emotional storytelling, and deep comic book lore.
Rather than easing viewers back into the world of the X-Men, Season 2 immediately picks up after the explosive finale of Season 1. With the team scattered across three different time periods, the opening episodes follow multiple storylines simultaneously while laying the groundwork for Apocalypse‘s rise.
It’s an ambitious approach, but one that largely succeeds.
Episode 1 centers on Cyclops, Jean Grey, and the future timeline, adapting elements from The Adventures of Cyclops and Phoenix. Their reunion with Nathan, better known as Cable, provides some of the strongest emotional moments of the season so far. The episode reminds viewers that beneath all of the time travel and mutant battles, X-Men ’97 continues to thrive because of its characters.
X-Men 97′ Season 2 [credit: Marvel Animation]
Episode 2 shifts gears with a fun, action-packed adventure featuring Cable, Jubilee, Sunspot, and the formation of a new X-Force. While the episode embraces the over-the-top style of the classic ’90s comics, it also explores the moral differences between Cable’s hardened worldview and Jubilee’s optimism. Their dynamic creates one of the season’s most entertaining character pairings.
The third episode may be the strongest of the bunch, taking audiences thousands of years into the past as Magnetoencounters a young En Sabah Nur, the mutant destined to become Apocalypse. Rather than presenting the iconic villain as a one-dimensional conqueror, the episode explores his origins in a surprisingly thoughtful way. The conversations between Magneto and En Sabah Nur are among the most compelling scenes in the series, adding emotional complexity to a character fans thought they already knew.
Visually, X-Men ’97 remains one of Marvel’s most impressive productions. The animation captures the spirit of the original 1990s series while elevating every action sequence with fluid movement, vibrant colors, and cinematic direction. Whether it’s mutant powers colliding on the battlefield or quieter emotional moments between teammates, every frame feels carefully crafted.
The voice cast also continues to shine, bringing authenticity and heart to these beloved characters. Even with multiple storylines unfolding simultaneously, each episode finds time for meaningful character moments that remind viewers why the X-Men have endured for generations.
The biggest criticism of these opening episodes is pacing. Episode 1 in particular moves through a significant amount of story in a short amount of time, and several of the timelines could have benefited from an extra episode to further develop their characters and emotional beats. It’s less a flaw in storytelling than a reminder that there’s simply so much happening at once.
X-Men 97′ Season 2 [credit: Marvel Animation]
Even so, those concerns do little to diminish what has been an outstanding start to Season 2. Marvel Animation has once again found the perfect balance between nostalgia and fresh storytelling, honoring classic comic arcs while keeping longtime fans guessing about what’s coming next.
Three episodes in, X-Men ’97 is already shaping up to be one of the year’s best animated series. If the remaining episodes maintain this level of quality, Season 2 has every chance of surpassing its already exceptional predecessor.
Verdict
X-Men ’97 wastes no time reminding fans why it became one of Marvel’s biggest success stories. While the opening episodes occasionally move too quickly through their ambitious storylines, the outstanding animation, emotional character work, and faithful adaptation of beloved comic arcs make for an exceptional return. After three episodes, Season 2 is firing on all cylinders.
Halo’s long-rumoured multiplayer project, commonly known as Project Ekur, has reportedly been cancelled, bringing an end to one of the strangest ongoing mysteries surrounding the future of the franchise.
The report comes from Rebs Gaming, who has spent the past few years investigating the project and its connection to Tatanka, the long-rumoured Halo battle royale project that was reportedly being worked on by Certain Affinity. According to Rebs, multiple Halo Studios employees have now told him that Project Ekur is no longer in development.
As always with Halo rumours, it is worth stressing the obvious: Microsoft and Halo Studios never officially announced Project Ekur, which means there is technically no official cancellation either. This is a cancellation report for a game that was never publicly revealed, because apparently Halo development lore now requires its own forensic department.
Still, there has been enough smoke around this thing for years that it is worth going through what Project Ekur was supposedly meant to be, and how it apparently evolved from one thing into another before being shelved.
The story really begins with Tatanka. Back in January 2022, Windows Central reported that Certain Affinity was working on a new Halo Infinite mode codenamed Tatanka, described at the time as something designed to appeal to players who might not usually jump into traditional Halo Arena or Big Team Battle. Certain Affinity later confirmed in April 2022 that it was “deepening” its relationship with 343 Industries and had been entrusted with evolving Halo Infinite in “new and exciting ways,” although it did not publicly name Tatanka.
Over time, Tatanka was understood to Halo’s battle royale project, or at least something battle royale-adjacent. Reports and leaks suggested drop pods, large-scale maps, squads and a more accessible multiplayer structure. But like many things attached to Halo Infinite’s post-launch era, the project’s direction appears to have changed repeatedly.
By early 2024, reports claimed Tatanka had been cancelled. Game Developer described it as an “open secret” Halo battle royale project from Certain Affinity and 343 Industries that was now reportedly dead, while other reporting suggested the idea had not simply vanished but may have evolved into something else. That something else appears to have been Project Ekur.
According to Rebs’ more recent reporting, Ekur began after the cancellation of the Tatanka battle royale concept, when Halo Studios started looking seriously at how to move the franchise to Unreal Engine. That official move was eventually announced in October 2024, when 343 Industries rebranded as Halo Studios and confirmed that future Halo projects would use Unreal Engine 5, with multiple new games in development.
That is where Ekur becomes especially interesting. Based on Rebs’ source, Certain Affinity was given the go-ahead to prototype Ekur as a way of answering two very important technical questions: could Halo assets from Slipspace and Blam be imported into Unreal Engine 5, and could Unreal be made to actually feel like Halo?
Rebs claims both goals had been achieved by June 2023, with Halo Infinite’s play space and Tatanka’s map imported into Ekur for Live Fire gameplay tests featuring AI. His source also believed September 2023 was the deadline for a full prototype and a decision on whether Ekur would be greenlit as a full project.
That makes Ekur sound less like a simple “new Halo mode” and more like a bridge between old Halo and new Halo. If the report is accurate, the project was partly a technical experiment designed to test whether Halo could survive the jump away from its own technology and into Unreal Engine 5 without losing the feel of Halo itself.
Gameplay-wise, Ekur also appears to have changed shape. In an earlier report, Rebs described it as an extraction shooter project being developed by Certain Affinity. However, in a follow-up video, he clarified that this description was outdated. According to his newer source, Ekur had explored extraction-shooter ideas, but eventually moved closer to what sounds like a “Super Big Team Battle” concept.
The alleged pitch involved players, teammates and a squad of friendly AI exploring a large map, gathering resources and battling other teams. Rebs’ source compared the project’s conceptual foundation more to Halo 5’s Warzone mode than a traditional extraction shooter, though some extraction elements were apparently still present.
That detail matters because it changes the entire flavour of the project. “Halo extraction shooter” sounds like Microsoft chasing whatever genre is currently fashionable. “Large-scale Halo multiplayer with AI squads, resources, Spartans, Elites and Warzone DNA” sounds far more like something rooted in Halo’s own history.
One of the more eye-catching details from Rebs’ report is that Certain Affinity was allegedly pitching playable Spartans and Elites, complete with face, body and armour customization. The armour system was reportedly similar to Halo 4’s customization. If true, that alone would have made Ekur notable, since playable Elites have been one of those features Halo fans have been asking to see properly return for years.
There was also some confusion over who was actually developing Ekur. Rebs initially said Certain Affinity was developing it, but later suggested the studio may have only prototyped the project for Halo Studios. Another source cited by Rebs, Technical Halo, claimed that Certain Affinity was not developing the next Halo multiplayer game, while a dataminer known as Grunt API had reportedly discovered a test server connected to Ekur. Rebs said that server was referred to as a Thunderhead server and was evidence that Ekur still existed at the time.
In other words, the project’s trail seems to go something like this: Tatanka began as a Certain Affinity-led Halo Infinite multiplayer experiment, apparently with battle royale elements. That version was cancelled or abandoned. Ekur then emerged as a new Unreal Engine prototype, potentially using pieces of Tatanka as a foundation. It explored extraction-shooter ideas before reportedly drifting toward something closer to Halo 5 Warzone or a much larger Big Team Battle-style experience. Certain Affinity may have prototyped it, while Halo Studios may later have taken over or folded it into its own internal plans.
And now, according to Rebs, it is dead.
In his latest video, Rebs says multiple Halo Studios employees told him Project Ekur is no longer in development. He says he does not know exactly when it was cancelled or the exact reason why, but he claims some developers from the Ekur team were moved onto Halo: Campaign Evolved last summer because that project was allegedly facing major development problems. Rebs is careful not to say this directly caused Ekur’s cancellation, only that it may explain part of what happened.
That is an important distinction. The safe read is not “Campaign Evolved killed Ekur.” The safer read is that Ekur may have lost staff while Halo Studios focused resources elsewhere, and was cancelled sometime after.
If accurate, it leaves Halo’s multiplayer future in a strange place. Halo Studios has confirmed that multiple Unreal Engine 5 Halo projects are in development, but it has not properly explained what the next major Halo multiplayer experience will be. Rebs speculates that because Halo Studios has said fans can expect an update on the return of the Halo Championship Series, some kind of classic multiplayer experience must still be planned. But even he admits that is only a guess.
For now, Project Ekur sounds like another fascinating Halo project players may never actually get to see. What reportedly started as a way to test Halo inside Unreal Engine 5 became a large-scale multiplayer experiment with AI squads, resource gathering, playable Elites and Halo 5 Warzone influence, only to apparently be cancelled before it was ever officially revealed.
Recentely, it has been reported that a big reason for Xbox’s upcoming culling of its studios is to refocus resources into its biggest teams and franchises, with Halo being one of them.
BridgeBench’s debugging score for Claude Fable 5 dropped from 86.2 to 25.9 after its July 1 reinstatement—but the collapse came from the safety classifier routing most tasks to Opus 4.8, not from the model getting dumber.
Arena.AI ran thousands of blind human-preference votes and found Fable 5’s performance mostly flat versus the June version, with some categories—document and expert text—actually improving after reinstatement.
Anthropic has acknowledged its new classifiers will produce false positives on routine coding and debugging, and says the system will be refined over time—but has given no timeline.
Claude Fable 5 came back online July 1, and the verdict on social media was not nice: broken, nerfed, lobotomized, underperforming, not the same model.
Have been using Fable 5 all day just continuing what I was doing with Opus
The findings are true
It’s completely nerfed
Politics has nuked civilian technological advancement once again https://t.co/Ed3jrqOxbK
— BharadwajC (@bwjbuild) July 2, 2026
The criticism from users was resounding. Then, two benchmarks—BridgeBench AI and Arena AI—published data the same day and reached opposite conclusions. One found a severe quality degradation in the outputs, the other found differences so small they may not be relevant enough to notice.
Both of them, in their own way, are correct.
The short version: The model didn’t get dumber. The gatekeeper in front of it got much more aggressive. That distinction matters a lot depending on what you use Fable for.
What BridgeBench actually measured
BridgeMind—an AI evaluation platform—re-ran its full coding suite against the July 1 version of Fable 5 the day it came back.
BridgeBench tests real-world coding tasks across categories including debugging, refactoring, and hallucination resistance, scored 0–100 on how well the model completes each category. The results were grim on paper: Debugging fell from 86.2 to 25.9, Refactoring from 73.6 to 38.4, and Hallucination resistance from 75.9 to 61.7.
FABLE 5 CAME BACK NERFED.
We re-ran the July 1st version of Claude Fable 5 on BridgeBench.
The new guardrails are kicking in on way too many tasks and falling back to Opus… pic.twitter.com/tcUDDXpZMF
— BridgeMind (@bridgemindai) July 2, 2026
The catch is in the methodology. Of 12 TypeScript debugging tasks, only three actually reached Fable 5. The remaining nine were intercepted by Anthropic’s new safety classifier and rerouted to Claude Opus 4.8—and BridgeBench scores every fallback as zero, because the model that answered wasn’t the one under evaluation.
The classifier, deployed as a condition of Fable’s reinstatement, was trained to block the Amazon-reported jailbreak technique—one that got Fable 5 to identify and demonstrate software vulnerabilities. It works. It also catches a lot of things it shouldn’t. Debugging TypeScript looks enough like “security work” to the classifier that the fallback fires constantly.
What Arena.AI actually measured
Arena.AI, an LLM benchmarking and comparison platform, ran the same question through a different lens. The platform collects thousands of blind human-preference votes across multiple categories—text, vision, document, code, and agent—and ranks models using Elo scoring, the chess-derived rating system that adjusts for statistical uncertainty across thousands of head-to-head matchups. When two models go head-to-head anonymously and humans pick a winner, the score reflects actual perceived quality, not infrastructure routing.
The community has been asking how Claude Fable 5 compares before vs. after its latest re-deployment.
We collected thousands of votes on the new endpoint across Arenas – Text, Vision, Document, Code, and Agent – and here’s an early score preview.
So far, scores look mostly… https://t.co/FKDaPpz10e pic.twitter.com/1nJDHqnlIj
— Arena.ai (@arena) July 2, 2026
The before-and-after comparison showed Fable 5 largely holding its ground. Frontend code dropped from 1650 to 1623 Elo—a difference Arena noted is within the confidence interval as data keeps accumulating. Document performance improved by 34 points. Expert text went up 25. Creative writing edged up slightly by 9. The categories that declined: Coding at -18, hard prompts at -3—are precisely where the classifier is most likely to intercept the prompt before Fable can answer.
In other words, when Fable 5 actually handles the task, it still performs like Fable 5. The frustration on X isn’t about a worse model but more about paying for a model that often isn’t the one answering.
Who’s affected, who isn’t
General users doing creative writing, document analysis, research, and expert-level text queries will likely notice little to no difference. Those are the categories where Arena.AI shows flat or improved performance. If there is some improvement, it might be too small to notice, especially in subjective, qualitative tasks like creative writing, where it is hard to fully measure results.
So, basically, writers, researchers, and analysts will get the Fable 5 they expected. Developers are a different story.
Anyone working in security-adjacent territory—coding memory management, anything touching words like “vulnerability,” “exploit,” “hook,” or even “fix”—is going to hit the fallback regularly.
The gap between BridgeBench’s collapse and Arena’s stability comes down to task type. BridgeBench loads its suite with exactly the kind of code-repair and debugging prompts that trigger the new classifier. Arena’s human voters ask a much wider mix of things, and most of them don’t look like exploit code to a safety layer.
Anthropic has said the classifiers will improve over time, acknowledging they currently cast too wide a net. The original ban came after Amazon researchers found a technique to get Fable to identify and demonstrate software vulnerabilities—and the U.S. government treated that as a national security threat. The fix was to make the classifier conservative enough to catch that and everything around it, then tune it down later.
Anthropic has given no target date for when that will happen.
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