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First, the big changes to how the skill works. On top of the double jump you can unlock, there's now a horizontal dash that allows you to zoom across trepidatious spots. At high levels you can unlock a second one of these too, making getting around a breeze. Simply running around on foot will get you passive XP for the skill now, so you'll be working while you're working! You also won't have to worry about fall damage as much as for one there's less of it, but there's a new breakfall mechanic which lets you do a little roll as you land to keep yourself moving.

There's more besides the mechanical additions to agility. Windstep is now an agility spell instead of a runecrafting reward, for one. You'll be able to dig up Kebbit Burrows which act as little shortcuts between various parts of the map. Your jump height is higher and you have more control in the air, and as you level up your agility skill, you'll use less stamina while sprinting, as well as have more carrying capacity.

Then, there's those new Wipeout-esque courses. You'll find six of them in total, complete with leaderboards so you can see how much better your friends who have more time to play the game are than you. Beat the gold medal times and you'll get some displayable medals and gold-trimmed versions of the regional capes. The courses do tickle me quite a lot as there's that sort of viral Robloxian/asset-flip Steam game vibe to it, just all with a fantasy patina and wizards wearing funny hats doing sick flips. But it's RuneScape after all, so it's allowed!

The agility update is out in RuneScape: Dragonwilds now. %!s()

My 225-square-foot home for seven days of cruising the Mediterranean Sea felt bigger than I expected.

When I booked the sea terrace room with the adults-only cruise line Virgin Voyages in 2023, I was prepared to feel cramped in the tiny space, especially since I was traveling with someone else.

I'm glad I was wrong.

My cabin on Virgin Voyages' Valiant Lady ship had a starting rate of $5,910 for a weeklong stay for two people, though Business Insider paid a media rate for the cruise.

The cruise sailed round-trip from Barcelona to ports in Italy and France, including one overnight stay in Ibiza. I spent more time in my room than I thought I would because it was so comfortable and luxurious. Here's a look at every detail that made it worth the price.

Virgin Voyages' Valiant Lady ship has 1,408 cabins and suites. My room was toward the back of deck 12.

I booked a third-tier stateroom with a balcony — a step above sea-view cabins, which have only a window, and two steps above an interior room with no view.

The room was 225 square feet, including the balcony. I thought the cabin efficiently used the tiny space without sacrificing luxury details.

Inside was a queen-size bed, a desk, a bathroom, and plenty of hidden storage compartments. Considering the room's small size, I was surprised by the ample floor space. I never felt too confined in my cabin.

At the front of the cabin, the bathroom was stocked with toiletries and storage spaces to keep the counter clutter-free.

The bathroom felt luxurious thanks to a rainfall showerhead. Wall shelving made it easy to keep the space looking tidy.

Across from the bathroom, an iridescent curtain hid the closet.

Inside, I spotted a shelf with two empty bins for extra storage and a cabinet holding emergency life vests, towels, a safe, and drawers I filled with clothing.

Next to the closet, the desk against the wall had an ottoman tucked underneath it. I thought this made the room feel bigger.

Beneath the desk, I spotted a hidden mini fridge, which I used to keep my drinks cold.

I thought the vibrant, round mirror above the desk added a unique touch of luxury.

At the back of the room, there was a comfortable queen-size bed. Next to it, a thin nightstand was light enough to move around the room as needed.

I learned from the Virgin Voyages app that crew members could transform the bed into a couch upon request. This made the cabin feel more like a living room during the day.

The cabin also had an in-room tablet with entertainment and smart controls.

I didn't have to leave my bed to change the lighting or close the curtains.

From "hangover" to "photo shoot," different tablet settings changed the mood lighting throughout the room.

The best part of the cabin was the balcony. It had a table, chairs, and a large, netted hammock.

I spent a lot of time on my balcony during the voyage. With the fresh air and sunset views, I thought it was worth the upgrade for a private outdoor space.

With multipurpose furniture and plenty of storage, I thought the 225-square-foot room was big enough to keep two people comfortable.

I'd definitely book a sea terrace cabin with Virgin Voyages again. And I'd recommend it to adult travelers who want to feel wrapped in luxury at sea.

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Joey Hadden

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Joey Hadden is a travel reporter and photojournalist at Business Insider based in NYC. She covers transportation modes, alternative lifestyles, and luxury travel. Many of Joey's stories are visual features that give readers a front-row seat to her personal experiences at home and around the world.Joey graduated from St. Edward's University in May 2019 with a BA in Photocommunications. Since joining BI in 2019, Joey has traveled by train in seven different countries, from day trips to overnight rides as long as 30 hours. She's ridden on many different train lines, including Amtrak, Via Rail, and the iconic Orient Express of the 21st century, among others. During her travels, she's slept in countless accommodations — five-star hotels, unique tiny homes, and private train cabins, to name a few.When traveling in North America, Joey takes readers inside the continent's wealthiest enclaves where billionaires hide away, from Jackson Hole, Wyoming, to Medina, Washington. She spends her free time singing and playing drums for the indie-rock band Blanket Approval. You can follow Joey on Instagram or send her an email at [email protected] ArticlesI spent $1,000 to have a room to myself on a 30-hour Amtrak ride. It was the best experience I've had on an overnight train in the US.I booked basic economy flights with Delta and United. They felt like 2 completely different classes.I went on an adults-only cruise for the first time, and 8 things surprised meI spent 2 nights in a 2-story, 100-square-foot tiny home in Germany that was smaller than any I've seen in the USStep inside the richest city in Arizona, where wealthy Californians are flocking for private mountainside estates

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The study, which was published in Environmental Research Letters, also provides data to help park managers reduce risks by proactively targeting natural fire to decrease understory fuels.

"Fire is natural and necessary for forest health in California, but human-caused climate change is increasing wildfire above natural levels," said lead author Patrick Gonzalez, an associate adjunct professor in the Department of Environmental Science, Policy, and Management. "Through this work, I aim to help National Park Service staff, who have previously told me of the need for park-specific data to inform field decisions on fire management that account for climate change."

Fire managers currently use pre-European American settlement in 1849 as a reference condition to select areas for letting naturally ignited fires burn or for low-severity prescribed burning to reduce understory fuels. However, the researchers found that, since 1895, climate change has already increased temperatures in the four national parks by more than the global average.

To project further changes in wildfire, Gonzalez (PhD '97 Energy and Resources) and his co-author, Joshua Verkerke (MS '24 Environmental Science, Policy, and Management), analyzed how climate change could cause vegetation biome shifts in Sierra Nevada mountain ecosystems. "We found that the conventional method missed areas at risk under climate change," Gonzalez said.

The research found that climate change could shift biomes 230–480 meters upslope (755–1,575 feet) under the highest-emissions scenario, with red fir forest and alpine grassland at highest risk. Upslope shifts of lower-elevation vegetation could expand fire into areas where wildfire is currently rare. Further, the study found that, under the highest-emissions scenario, continued climate change could double or triple fire frequency. Fire frequency could stay the same or increase only slightly under a reduced-emissions scenario.

"Our results provide data for a new forward-looking approach that uses climate change reference conditions to set goals for ecosystem conditions," Gonzalez said. "Ultimately, cutting carbon pollution from cars, burning coal, livestock and other human sources that cause climate change remains the fundamental solution to reduce fire risks and protect our national parks."

Publication details

Patrick Gonzalez et al, Climate change increases risks of wildfire and biome shifts in United States national parks in California, Environmental Research Letters (2026). DOI: 10.1088/1748-9326/ae89cf

Who's behind this story?

Swati Mestri

Swati Mestri holds a bachelor's degree in Electronics Engineering and has worked as a content editor since 2019. She has experience editing research documents across technology, health care, and materials science, and has a particular interest in technology and space. Full profile →

Robert Egan

Bachelor's in mathematical biology, Master's in creative writing. Well-traveled with unique perspectives on science and language. Full profile →

Citation: Climate change increases wildfire risks in Yosemite and other national parks (2026, July 30) retrieved 30 July 2026 from https://phys.org/news/2026-07-climate-wildfire-yosemite-national.html

This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only. %!s()

In her new capacity, Schroeder will provide executive leadership across legal affairs, governance, organizational risk management, labor relations, compliance, and organizational administration, serving as a key member of the non-profit’s executive leadership team and strategic partner to CEO David Linde. Continuing to report directly to Linde, she will work closely with executive leadership and the board of directors to strengthen organizational effectiveness, support institutional growth and sustainability, and advance the Institute’s mission — enabling Linde to focus more fully on external leadership, fundraising, strategic partnerships, and organizational vision.

“Trista has been an indispensable partner to this organization and to me. Her judgment, integrity, and command of the complex and inspirational landscape we navigate have made her a trusted voice in every major decision we’ve made,” said Linde. “Expanding her mandate to general counsel and chief operating officer reflects the full scope of what she does for this Institute — and it allows me to spend more of my time where I’m needed most: with our artists, our partners, and the broader creative community. I couldn’t be more confident in her ability to help lead us through this pivotal chapter, including our transition to Boulder.”

“The board has come to rely on Trista’s counsel not only on legal matters but on the full range of governance and operational questions that come before us,” said Ebs Burnough, Sundance Institute Board Chair. “Simply put, Sundance Film Festival’s new home in Boulder would not have been possible without her — her leadership in negotiating the agreements that brought us there was extraordinary, and the Board is deeply grateful for the discipline and judgment she brought to securing this new chapter. This expanded role formalizes a partnership that has already proven essential to the Institute’s stability and growth.”

Prior to joining Sundance Institute, Schroeder served as founding executive firector of the Hollywood Commission, working alongside Anita Hill and Kathleen Kennedy to address sexual harassment in Hollywood and advance industry-wide inclusivity and equity. She guided the commission through its start-up phase, set its strategic five-year plan, and executive produced its inaugural Hollywood Commission: Ideas Summit. Earlier in her career, Schroeder served as general counsel to The Team (formerly Wasserman) in Los Angeles, where she helped steer the company’s M&A strategy through the acquisition and integration of more than twelve companies over a five-year window, working with top athletes across the NBA, NFL, MLB, MLS, FIFA, golf, and action sports. She also served as Wasserman’s Chief Administrative Officer, establishing and leading the company’s legal department while driving corporate operations across human resources, crisis management, corporate communications, IT, and real estate.

Schroeder earned her J.D. at Georgetown University Law Center and served as a law clerk to the Honorable George H. King of the U.S. District Court for the Central District of California. She began her legal career as an associate at Proskauer Rose, where she advised entertainment industry clients on corporate and litigation matters including copyright and trademark enforcement, employment disputes, government investigations, and licensing. Prior to law school, Schroeder was a research producer for Charlie Rose on PBS, and began her career at Morgan Stanley. %!s()

The Fast and Furious veered off the road with its last two efforts.

Then there’s Spider-Man…

When was the last time you saw a bad Spider-Man movie?

Ever since we first met Tom Holland‘s Peter Parker, getting a surprise visit from Tony Stark in 2016’s Captain America: Civil War, the character has lit up the screen.

Holland’s jittery, earnest, winsome take on the iconic 64-year-old comic iconic was instantly likable, radiating teen-geek charisma.

Each of Holland’s first three solo Spider-Man films has performed better than the last. In 2017, Homecoming grossed $880 million globally. Then 2019’s Far From Home racked up $1.1 billion. Then No Way Home made an incredible $1.9 billion. All scored above 90 percent on Rotten Tomatoes.

Some critics say Brand New Day, which opens this week, is the best in the franchise. It’s poised to explode at the box office, tracking to open at $465 million globally. The anticipation for the film is remarkable considering how little Brand New Day relies on the usual superhero franchise pump-up mechanics. There’s no cliffhanger storyline leading into this film, no splashy new villain in the trailers, no end-of-the-world stakes, or parade of returning legacy stars. Brand New Day is simply: Hey, Spider-Man is back. As analyst Jeff Bock put it on X: “Superhero fatigue is real, but Spider-Man fatigue is not.”

The success is all the more remarkable considering Spider-Man’s wonky joint custody corporate stewardship. Peter Parker is like a kid with divorced parents who’s been forced to split his time between mom and dad. The solo films are Columbia Pictures releases financed by Sony, with Marvel Studios acting as a creative manager, and handling MCU integration in the crossover films. Plus there’s former Sony boss Amy Pascal, who helped engineer the Marvel deal in 2015, and has continued producing the solo movies through her Pascal Pictures banner and acting as a bridge between Sony and Marvel.

It’s seemingly a “too many cooks” recipe for disaster, but it’s somehow worked. One wonders, if Disney had managed to seize full control of the character, if the franchise would enjoyed the same stellar track record (one can only imagine the mandatory Disney+ spin-off series).

All of Spider-Man’s responsible parties would presumably love to exclusively claim credit for the franchise’s success. But Marvel has had its stumbles of late, and Sony’s Spider-Man-adjacent villain movies (like Madame Web, Morbius and Kraven the Hunter) have largely flopped, so neither is otherwise flawless at franchise management. Few ever talk about the writers on superhero movies, for some reason, but clearly Chris McKenna and Erik Sommers (who co-wrote Homecoming and are the sole credited writing team for the three other Holland films) deserve plenty of credit (while Holland’s appearances in Civil War, Infinity War and Endgame were scripted by Christopher Markus and Stephen McFeely).

But also: One suspects the way Holland has played Parker has helped inform how the character has been written and directed. A script informs an actor how to play a role. But particularly in a franchise, the actor’s delivery can teach its creative shepherds how best to use him moving forward. One can argue over which actor has been the best Spider-Man, but there’s no argument over which actor has been the most successful Spider-Man.

Notably, the two animated Spider-Verse movies were also box office and critical hits. So was nearly every Spider-Man movie since Sam Raimi launched the franchise’s modern era back in 2002. There is only one outright creative dud in the mix — 2007’s Spider-Man 3. Many likewise bash 2014’s The Amazing Spider-Man 2, though, in my book, Marc Webb’s film is very underrated. Still, even if you count Amazing Spider-Man 2 as a disappointment, that’s still a success rate of nine films out of 11 (assuming Brand New Day is a hit, which is basically a given).

So there’s perhaps another reason for the franchise’s continued success: This is a character that’s so beloved and straightforward, he’s actually tough to mess up. On the DC side, the equivalent is probably Batman. You can make a lousy Spider-Man or Batman movie … it’s just tougher to do so.

It helps that Spider-Man’s name is inaccurate. The character — in the films, if not always in the comics and multiverse guest visits — is never really a man, exactly, with all the assorted baggage a fully grown male character carries. Parker is perpetually just on the verge of manhood — youthful, optimistic, with a somewhat innocent boyish sense of romance. It’s an inherently lovable combination — not cloyingly childish, but not spoiled by the heaviness of adulthood. The films are set in modern times, but the character is stealthily nostalgic. Peter Parker is what we remember about ourselves. %!s()