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TV pioneer Taylor Sheridan has courted backlash and gained infamy for his unusual creative process, especially in the world of long-form storytelling. Sheridan often eschews traditional writers' rooms and takes sole credit on many of his projects. He also works from his own base and dislikes Hollywood with a vengeance. Over the years, Sheridan has developed a reputation for being a lone wolf who rejects studio notes and doesn't take kindly to criticism. He touched on all these subjects in a recent appearance on The Bill Simmons Podcast (via Deadline) as he slammed both professional critics and studio executives. Sheridan, who spent the better part of a decade at Paramount , evoked the studio's legendary former boss, Robert Evans , as he looked back on the New Hollywood movement.

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Another month of books, another month of book covers. This month was all about the art choices—and a couple clever tricks, too. My favorite book covers of June are below; as always, feel free to add on to my list in the comments.

Maggie O’Farrell, Land ; cover design by Holly Ovenden (Knopf, June 2)

A tactile inversion of a topological map that pulls you in.

Morgan Thomas, Mad Eden ; cover design by Charlotte Grimm (MCD, June 2)

I love everything about this daring cover: the matte black space, the dragons, but especially the integrated-but-functional asterisks.

Deborah Levy, My Year in Paris with Gertrude Stein ; cover design by Na Kim; art by Leonora Carrington (FSG, June 2)

A cover that would be perfect to line the walls of any Parisian salon, with a perfectly weird Carrington select to boot.

P. C. Verrone, Rabbit, Fox, Tar ; cover design by Emily Mahon (Catapult, June 2)

An effective and unusual relief print.

Deb Olin Unferth, Earth 7 ; cover design by Vivian Lopez Rowe; art by Elizabeth Haidle (Graywolf, June 9)

I love the effect of the hand-painted text here: not too warm, not too cold.

Ben Fountain, Rasputin Swims the Potomac ; cover design by Phil Pascuzzo (Flatiron, June 9)

Silly in the best way.

Mary H.K. Choi, Pool House ; cover design by Laywan Kwan; art by Virginie Schroeder (Flatiron, June 9)

Very elegant composition and choice of art.

Simon Pare-Poupart, tr. Pablo Strauss, Trash!: A Garbageman’s Story ; cover design by Beste Miray Doğan (Melville House, June 16)

Maybe it’s obvious, but the torn cardboard effect really does it for me.

Heather Abel, The Emilys ; cover design by Elena Giavaldi (Random House, June 16)

This feels so satisfyingly of another time. Did you notice the girl the first time you looked?

Krista Diamond, Close Relationships with Strangers ; cover design by Matt Roeser (Simon & Schuster, June 23)

Featuring a perspective not often seen on book covers, and the perfect balance of image and text.

Danny McBride, Thrilling Tales of Modern Men ; cover design by Chris Allen (Random House, June 23)

Fun vintage paperback vibes.

Teddy Wayne, The Au Pair ; cover design by Robin Bilardello (Harper, June 30)

Another very effective composition.

Prudence Bussey-Chamberlain, Bone Horn ; cover design by Victoria Maxfield (Soft Skull, June 30)

I mean, come on.

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TL;DR

Gemini can now create complete Google Slides presentations using your Google Drive files.

Gemini can even dig up relevant emails, documents, and Google Chat conversations to help flesh out your presentation.

You can review and refine the presentation outline before Gemini generates the slides.

More and more Google services are picking up Gemini-powered features , making the AI feel increasingly central to how you get work done. The latest example is Google Slides, which is now getting AI-powered presentation creation that handles much of the tedious work involved in building a slide deck.

All you need to do is tell Gemini what kind of presentation you’re looking for. It can pull information from documents already saved in your Google Drive to create a fully editable slide deck, while matching the design and layout of another presentation if you want everything to follow the same style.

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Production of the limited-run W16 Mistral recently finished, with 99 built.

Hand-drawn black lines trace the hypercar’s hidden digital surface layout.

The gas cap, engine cover, oil cap, and others are made from porcelain.

Bugatti has pulled the covers off another heavily customized W16 Mistral, and this one is particularly special. The monstrous droptop hypercar wears bodywork trimmed in the finest-quality porcelain, a material you associate with a dinner service far sooner than a hypercar capable of doing 261 mph (420 km/h), and the effect is genuinely wild.

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This isn’t the first time Bugatti has experimented with porcelain on one of its cars. In 2011, it did the same with the Veyron Grand Sport Vitesse, unveiling the L’Or Blanc , a machine trimmed in the material and accented with white- and blue-painted parts. That original took inspiration from a white porcelain vase created for KPM by Italian designer Enzo Mari, whose flowing blue brushstrokes became the basis for the Veyron’s hand-painted graphics.

Read: When You’re That Rich, You Can Afford To Paint The World’s Fastest Convertible Like A Latte

This new Mistral, officially known as Blanc Éternel, was created with the help of German ceramic manufacturer Königliche Porzellan-Manufaktur Berlin (KPM).

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Where The Porcelain Actually Goes

In case you’re wondering, no, the entire body of the W16 Mistral is not made from porcelain. Instead, most of it is painted in a relatively simple shade of white. However, real porcelain has been used for inlays on the engine cover, the oil cap, the gas cap, and the EB badges.

The two porcelain engine-cover inlays also carry KPM Berlin’s royal scepter logo. Producing these pieces demanded careful engineering, since porcelain shrinks by about 17 percent during firing, meaning each component had to be oversized before kiln-curing so it would fit perfectly once finished.

After Bugatti laid down the white paint, dozens of intricate black lines were hand-applied. Rather than recreating the Veyron’s reflection-line design, Blanc Éternel uses those fine lines to trace the Mistral’s underlying NURBS (Non-Uniform Rational B-Splines) digital surface layout, revealing the geometric structure normally hidden beneath the finished bodywork.

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The result is extraordinary, although we must say we prefer the blue accents that were found on the old Veyron L’Or Blanc. Admittedly, Bugatti dealers have people who are far more stylish than ourselves, so who are we to critique what it’s done?

Bugatti

The porcelain componentry extends into the cabin. Inside, you’ll find it on the shift lever, the speaker cover plates, the center console armrest, the kneepads, and the window switches. The black line motif also continues onto the white leather upholstery, using a newly developed process in which each leather section is masked by hand before the graphics are painted directly onto the surface.

Bugatti and KPM also marked their renewed partnership with a limited-edition Blanc Éternel porcelain collection that includes the To-Drive Cup and KPM’s Aviator Cup in two sizes, with production limited to 1,000 handmade pieces.

Mistral Production Ends

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Total production of the Bugatti W16 Mistral was capped at just 99 units, and production of it ended in recent weeks. To celebrate the car riding off into the sunset, Bugatti has showcased some of the most distinctive examples that it built, including one ordered by an Argentine businessman with a copper-colored finish , one bound for America finished in blue and black , and another painted in a shade of Lavender with several flowery accents .

Bugatti