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12.05.2024 07:00 As rumors foretold, Apple has revamped the iPad Pro with an M4 chip, tandem OLED screen and a thinner case. There's also a new Magic Keyboard that should deliver a more MacBook-like typing experience! In this week's episode, Cherlynn and Devindra discuss how Apple is shining a new light on tablets and reworking its vision of mobile computing. Does anyone really need the iPad Pro today? And could it be more compelling if iPadOS improves its multitasking capabilities? Also, we discuss the launch of Google's new mid-range phone, the Pixel 8a. Listen below or subscribe on your podcast app of choice. If you've got suggestions or topics you'd like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcast, Engadget News! Topics New iPad Pro with OLED and M4 processor, iPad Air and Apple Pencil announced at ‘Let Loose’ event – 1:04 Google announces Pixel 8a with 120Hz OLED screen and AI capability – 20:50 What the heck happed with Helldivers 2? – 28:31 Microsoft shuts down Tango Gameworks and Arkane Austin – 34:10 Hades 2 early access is out now – 42:01 Around Engadget: Steve Dent reviews Fujifilm X100 VI – 45:39 Working on – 48:38 Pop culture picks – 52:08 Subscribe! iTunes Spotify Pocket Casts Stitcher Google Podcasts Livestream Credits Hosts: Cherlynn Low and Devindra HardawarProducer: Ben Ellman Music: Dale North and Terrence O'BrienThis article originally appeared on Engadget at https://www.engadget.com/engadget-podcast-ipad-pro-m4-113031564.html?src=rss

11.05.2024 21:30 The strongest geomagnetic storm in 20 years made the colorful northern lights, or aurora borealis, visible Friday night in areas of the US that are normally too far south to see them. And the show may not be over. Tonight may offer another chance to catch the aurora if you have clear skies, according to the NOAA, and Sunday could bring yet more displays reaching as far as Alabama. The extreme geomagnetic storm continues and will persist through at least Sunday... pic.twitter.com/GMDKikl7mA— NOAA Space Weather Prediction Center May 11, 2024 The NOAA’s Space Weather Prediction Center said on Saturday that the sun has continued to produce powerful solar flares. That’s on top of previously observed coronal mass ejections , or explosions of magnetized plasma, that won’t reach Earth until tomorrow. The agency has been monitoring a particularly active sunspot cluster since Wednesday, and confirmed yesterday that it had observed G5 conditions — the level designated “extreme” — which haven’t been seen since October 2003. In a press release on Friday, Clinton Wallace, Director, NOAA’s Space Weather Prediction Center, said the current storm is “an unusual and potentially historic event.” The Sun emitted two strong solar flares on May 10-11, 2024, peaking at 9:23 p.m. EDT on May 10, and 7:44 a.m. EDT on May 11. NASA’s Solar Dynamics Observatory captured images of the events, which were classified as X5.8 and X1.5-class flares. https://t.co/nLfnG1OvvE pic.twitter.com/LjmI0rk2Wm— NASA Sun Space May 11, 2024 Geomagnetic storms happen when outbursts from the sun interact with Earth’s magnetosphere. While it all has kind of a scary ring to it, people on the ground don’t really have anything to worry about. As NASA explained on X, “Harmful radiation from a flare cannot pass through Earth’s atmosphere” to physically affect us. These storms can mess with our technology, though, and have been known to disrupt communications, GPS, satellite operations and even the power grid.This article originally appeared on Engadget at https://www.engadget.com/extreme-geomagnetic-storm-may-bless-us-with-more-aurora-displays-tonight-and-tomorrow-192033210.html?src=rss

11.05.2024 21:30 Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now , but I can't blame them for not keeping people hanging even longer. 28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case. We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.This article originally appeared on Engadget at https://www.engadget.com/28-years-later-is-coming-to-theaters-next-summer-171831988.html?src=rss

11.05.2024 21:30 In this installment of What We're Listening To, Engadget writers and editors discuss some of the recent music releases we've had on repeat. It's safe to say there's some variety on this list. Sierra Ferrell - Trail of Flowers Sierra Ferrell seems almost like an anachronism in 2024, but in the best possible way. She has this effortless, old-timey country style that is at points reminiscent of the likes of The Carter Family or Flatt and Scruggs , and it’s just so refreshing. Trail of Flowers, Ferrell’s second studio album, toes a little further into a more modern sound, but it maintains this deeply Americana feel that just seems to roll off the West Virginia-born artist so naturally. Country music isn’t just one thing, and neither is Trail of Flowers. It meanders through different flavors — folk, bluegrass, hints of jazz — but it manages to do so in a way that feels cohesive when it’s all taken together. The wistful “American Dreaming” and “Wish You Well” are offset by sillier, whimsical numbers like “I Could Drive You Crazy” or the deep cut cover, “Chitlin' Cookin' Time in Cheatham County.” Tracks like “Money Train,” “I’ll Come Off the Mountain” and “Lighthouse” are instantly catchy. “Why Haven’t You Loved Me Yet” and “No Letter” feel like classics in the making. And then there’s the cheekily sinister, scorned-lover’s lament, “Rosemary.” It’s one of the songs that first got me hooked on Sierra Ferrell years ago, as I imagine is the case for a lot of fans who have followed Ferrell’s career since her busking days or her unforgettable GemsOnVHS performances. I was almost nervous to hear it on Trail of Flowers, with a full production, after loving the raw, stripped-down recording I’ve been replaying on YouTube for so long. But they’ve done a beautiful job of capturing that magic, and “Rosemary” may be my favorite track on the album. It’s hard to pick, though. Castle Rat - Into the Realm Sometime early last year, I discovered something I didn’t realize was missing from my life: medieval fantasy doom metal. I was at a show at the gloriously trippy Brooklyn Made watching an opener ahead of the band I’d gone there to see, and unexpectedly found myself witness to an on-stage choreographed sword fight between a woman in chainmail and someone wearing a hooded rat mask and lingerie. I’d already been enraptured by the band’s heavy, immersive riffs and the singer’s hypnotic 1970s-esque vocals, but in that moment, yeah, things really clicked into place. This was my introduction to Castle Rat, and it was a damn good one. I’ve been eagerly awaiting the release of their debut album ever since, and from the second it dropped last month — an LP called Into the Realm — I’ve pretty much been playing it on a nonstop loop. It would actually be embarrassing if you were to check the number of times I’ve listened to the album’s standout ballad, “Cry For Me.” It is a haunting, emotional song that really takes you on a journey and I’m a little obsessed with it. Into the Realm opens strong with the boppy “Dagger Dragger,” and some real heavy-hitters follow in tracks like “Feed the Dream,” “Fresh Fur” and “Nightblood.” “Red Sands” is a slow-building powerhouse, and I’ve even found myself loving the three roughly minute-long instrumental interludes that tie the whole album together. Doom bands love a good theme , and we tend to see a lot of weed, witchcraft, science fiction and fantasy pop up throughout the subgenres that fall under this umbrella. Castle Rat definitely isn’t the first to have a shtick, but there’s a certain freshness to the band’s even more specific, self-described medieval fantasy brand, perhaps because they commit to it so hard. Their ‘70s and ‘80s influences are obvious, yet everything they’ve put out so far still feels original. Some people might find the whole thing gimmicky, but I think it’s working. Especially since they have the chops to back it up. I’m excited to see where Castle Rat goes from here. Honorable Mentions: Girl with No Face, Allie X— Another song I’ve been listening to an embarrassing amount these days is Weird World, off Allie X’s latest album, Girl with No Face. I somehow haven’t tired myself of it yet, it makes me go absolutely feral. Girl with No Face is full of synth-pop gems, like “Off With Her Tits” — a dancey, angsty anthem sure to resonate with anyone who has experienced dysphoria around their body image — “John and Johnathan,” “Black Eye” and “Staying Power.” Club Shy, Shygirl — This is just a collection of straight-up bangers. It’s not even 16 minutes long, but it really hits. If you need an instant mood-elevator ahead of a night out, this album is it. Stampede: Volume 1, Orville Peck — Orville Peck’s first release in his fringeless era is a duets album, the first part of which was released on Friday and features artists including Willie Nelson, Noah Cyrus and Elton John. I haven’t had much time to spend with Stampede: Volume 1 yet, but I’m into it so far. “Conquer the Heart” ft. Nathaniel Rateliff and “How Far Will We Take It?” with Noah Cyrus feel like they combine the best elements of Pony and Bronco . Bronco came in two waves, so I expect we’ll see a Volume 2 for Stampede before long, too. — Cheyenne MacDonald, Weekend Editor Hannah Jadagu - Aperture Whenever I hear the words “banger” or “bop,” I don’t think about artists like Taylor Swift. I think about the nebulous musical genre known as bedroom pop. Bop, after all, is right there in the name. Hannah Jadagu is a bedroom pop wizard of the highest order. Her first EP was made entirely on an old iPhone and still slaps, though she has since graduated to real recording studios. Jadagu’s latest full-length on Sub Pop, Aperture, is filled with both bangers and bops, and my favorite is the lovelorn “Say It Now.” Listen to this thing. It just may be the perfect pop song and is absolutely crying out for some road trip singalongs. The shoegaze-adjacent “What You Did” is another classic and would be at home on any decent summer playlist. — Lawrence Bonk, Contributing Reporter Justice - Hyperdrama Justice’s first full-length release Cross from 2007 is one of my favorite albums of all time. Not only did it define the crunchy electronic sound of the blog house era in the late 2000s and early 2010s, it also felt like a new French duo had picked up where Daft Punk left off following 2005’s Human After All. Now Justice is back with its fourth album in Hyperdrama. But instead of being inspired by a specific genre of music like we heard in Audio, Video, Disco’s stadium rock tracks or Woman’s disco-fueled beats, this album feels more like the soundtrack to a moody sci-fi thriller, almost as if this is Justice’s alternate reality take on the Tron: Legacy soundtrack. “Generator” is a certified banger and probably the song that sounds the most like classic Justice. “Neverender” and “One Night/All Night” are also highlights, though I think Justice may have leaned a bit too heavily on Tame Impala to give this album personality. “Dear Alan” delivers super smooth vibes and Thundercat makes a delightful appearance and finishes things strong in “The End.” The one thing I really miss is at least one truly danceable track like we got on all of the band’s previous albums. I also have to admit that some of the songs in the middle blend together in a less-than-memorable way. So while Hyperdrama isn’t the top-to-bottom masterpiece that Cross was a decade and a half ago, more Justice isn’t a bad thing. — Sam Rutherford, Senior Reporter Utada Hikaru - Science Fiction Over the past few weeks, I've mostly been listening to songs from Science Fiction, the first greatest hits album by J-Pop artist Utada Hikaru. I've been a fan since they released their debut album First Love back in 1999, when people were far more likely to be weirded out by the fact that yes, you can enjoy music with lyrics in a language you don't understand. Utada has been in and out of the J-Pop scene since then, and there were long stretches of time when I wouldn't hear anything about them. Every new music drop is a gift, especially this album, since it's tied to an upcoming concert tour, which they only do once in a blue moon. Utada experienced a resurgence in 2022 when their songs “First Love” and “Hatsukoi” — which also translates to “first love” — were featured in a hit Japanese drama series on Netflix called First Love. Those tracks are, of course, in Science Fiction, which also includes songs from various points in Utada's career. The album will take you on a journey from when they mostly wrote R&B-inspired pop to an era when their music became more experimental, and it will introduce you to their current sound, which is both mainstream and unique. While some of the re-recorded versions of their older songs like “Traveling” don't quite hit the mark, it's still a good representation of who Utada is as a musician. As a long-time fan, though, this album isn't just a collection of songs to me, but a collection of memories from different stages of my life. — Mariella Moon, Contributing Reporter Caroline Polachek - “Starburned and Unkissed” There are a few reasons that “Starburned and Unkissed” stands out against the I Saw the TV Glow soundtrack, which is replete with not only beloved mainstays like Broken Social Scene's “Anthems For A Seventeen-Year Old Girl” as well as other original songs from luminaries like Phoebe Bridgers and Hop Along's Frances Quinlan. If cornered, I would say the most brilliant thing about “Starburned and Unkissed,” its greatest strength, is that it's just a little too slow. Every note stretches and yearns with the impatience of adolescence, verges on running out of air, of snapping in two. Much like the scene of the utterly and equally brilliant I Saw the TV Glow it was written for, it captures the sleepy anxiety of a too-warm high school, overcrowded and isolating. The heaviness of its crushing guitars ebbs and flows unsteadily, mimicking the experimentation of callow hands. It's unstable, hopeful. Caroline's voice — gently mangled by intentional autotune pitch shifts — falls out of key in the song's last few refrains, threatening to derail the dreamy beauty of the past three minutes. It ends abruptly, begging for another listen, another return to a time that can't be recaptured. Honorable mentions: “Lover's Spit Plays in the Background,” Claire Rousay — Rousay's sentiment is a perfect album for reading outside on an overcast day. I'm not sure I can pick a standout track, as the experience is really in letting the whole thing wash over you, but this one's close enough. “Stickers of Brian,” Hot Mulligan — Classic pop punk subject matter but my god what an earworm. “On Brand,” Ekko Astral — Levels of snottiness previously considered unachievable. Hard not to love what a beautiful mess these folks make. “Cometh the Storm,” High on Fire — Most of High on Fire's 20+ years of output sounds like — and lyrically is probably about — an axe-wielding barbarian ripping a bong, or whatever other D&D nonsense they're up to. The title track off the new one is… unusually dirge-like? At first it felt very “old band showing their age” but it's grown on me as an intentional and welcome change. They're not off the hook for using AI for the “Burning Down” music video though. C'mon guys. — Avery Ellis, Deputy Editor, ReportsThis article originally appeared on Engadget at https://www.engadget.com/what-were-listening-to-trail-of-flowers-hyperdrama-science-fiction-and-more-143052023.html?src=rss

11.05.2024 16:33 If you've been seeing more Waymo robotaxis recently in Phoenix, San Francisco and Los Angeles, that's because more and more people are hailing one for a ride. The Alphabet-owned company has announced on Twitter/X that it's now serving more than 50,000 paid trips every week across three cities. Waymo One operates 24/7 in parts of those cities. If the company is getting 50,000 rides a week, that means it receives an average of 300 bookings every hour or five bookings every minute. Waymo has revealed, as well, that it's had over one million rider-only trips across four cities, including Austin, where it's currently offering limited rides to select members of the public. In its announcement, Waymo credited its "safe and deliberate approach" to scaling its program for reaching the milestone. "We see people from all walks of life use our service to travel carefree, gain independence, reclaim their commute and more. Fully autonomous ride-hailing is a reality and a preferred mobility option for people navigating their cities every day," it added. While Waymo certainly seems to be doing better than Cruise, which only recently re-deployed some of its autonomous vehicles following a much-needed hiatus, it's had its share of controversies. In April, six Waymo robotaxis blocked traffic in a San Francisco freeway, and it was just one of the instances wherein the company's vehicles caused traffic blockage. Earlier this year, two Waymo vehicles crashed into the same pickup truck one after the other, because their software had incorrectly predicted the future movements of the truck. The company issued a software recall after the incident to fix the issue and prevent similar incidents from happening. Our safe and deliberate approach to scaling the Waymo Driver is gaining traction, as we’re now serving more than 50,000 paid trips every week across three major cities. Thank you to our riders for trusting us to get you to your destinations safely and reliably. pic.twitter.com/g0ws4QnV7v— Waymo May 9, 2024 This article originally appeared on Engadget at https://www.engadget.com/waymo-says-its-robotaxis-are-now-making-50000-paid-trips-every-week-130005096.html?src=rss

11.05.2024 06:31 The following includes spoilers for “The Devil’s Chord.” For a show about time travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing. This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. James Pardon/Bad Wolf/BBC Studios But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV. Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil. James Pardon/Bad Wolf/BBC Studios We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro , the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano. When the titles end it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor. James Pardon/Bad Wolf/BBC Studios The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs. Next door, Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement. James Pardon/Bad Wolf/BBC Studios The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano. The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky. Natalie Seery/Bad Wolf/BBC Studios But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures. Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up. Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background. Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below. James Pardon/Bad Wolf/BBC Studios There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself. It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up. The problem of Susan Twist As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan. When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies and stay here while I go off running around the universe.” Yes, it is a bit yikes. This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail. Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for. Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.This article originally appeared on Engadget at https://www.engadget.com/doctor-who-the-devils-chord-review-is-this-madness-010056449.html?src=rss

11.05.2024 06:31 The following includes spoilers for “Space Babies.” You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this. We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday , entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe. To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when. Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be. James Pardon/Bad Wolf/BBC Studios For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying. The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids. Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E. On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe. James Pardon/Bad Wolf/BBC Studios But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us? Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation. The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings. This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.” James Pardon/Bad Wolf/BBC Studios The grown ups can’t mull their problems for long as Eric, one of the babies heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved. Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template. Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life. The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke. Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein. James Pardon/Bad Wolf/BBC Studios I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint. During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama. But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.This article originally appeared on Engadget at https://www.engadget.com/doctor-who-space-babies-review-bet-you-didnt-expect-that-000030277.html?src=rss

11.05.2024 01:30 Apple will reportedly focus its first round of generative AI enhancements on beefing up Siri’s conversational chops. Sources speaking with The New York Times say company executives realized early last year that ChatGPT made Siri look antiquated. The company allegedly decided that the large language model principles behind OpenAI’s chatbot could give the iPhone’s virtual assistant a much-needed shot in the arm. So Apple will reportedly roll out a new version of Siri powered by generative AI at its WWDC keynote on June 10. Apple Senior Vice Presidents Craig Federighi and John Giannandrea reportedly tested ChatGPT for weeks before the company realized that Siri looked outdated. What followed was what The NYT describes as Apple’s “most significant reorganization in more than a decade.” The company sees generative AI as a once-in-a-decade tentpole area worth shifting heaps of resources to address. You may recall the company canceled its $10 billion “Apple Car” project earlier this year. Apple reportedly reassigned many of those engineers to work on generative AI. Apple executives allegedly fear AI models could eventually replace established software like iOS, turning the iPhone into “a dumb brick” by comparison. The clunky, awkward and overall unconvincing first wave of dedicated AI gadgets we’ve reviewed, like the Human AI Pin and Rabbit R1, aren’t good enough to pose a threat. But that could change as software evolves, other smartphone makers incorporate more AI into their operating systems and other hardware makers have a chance to innovate. So, at least for now, it appears Apple isn’t launching direct competitors to generative AI stalwarts like ChatGPT , Midjourney or ElevenLabs . Instead, it will start with a new Siri and updated iPhone models with expanded memory to better handle local processing. In addition, the company will reportedly add a text-summarizing feature to the Messages app. Apple’s M4 chip could help process local Siri requests.Apple Apple’s first foray into generative AI, if The NYT’s sources are correct, sounds like less of an immediate threat to creators than some had imagined. At its May iPad event, the company ran a video plugging the new iPad Pro that showed various creative tools crushed by a hydraulic press. The clip accidentally served as the perfect metaphor for the fears of artists, musicians and other creators, whose work AI models have trained on — and who stand to be replaced by those same tools as they become more normalized for content creation. On Thursday, Apple apologized for the ad and said it canceled plans to run it on TV. Samsung and Google have already loaded their flagship phones with various generative AI features that go far beyond improving their virtual assistants. These include tools for editing photos, generating text and enhancing transcription . These features typically rely on cloud-based servers for processing, whereas Apple’s approach will allegedly prioritize privacy and handle requests locally. So Apple will apparently start with a more streamlined approach that sticks to improving what’s already there, as well as keeping most or all processing on-device. The New York Times’ sources add that Apple’s culture of internal secrecy and privacy-focused marketing have stunted its AI progress. Former Siri engineer John Burkey told the paper that the company’s tendency to silo off the information various divisions share with each other has been another primary culprit in Siri’s inability to evolve far past where the assistant was when it launched a day before Steve Jobs died in 2011.This article originally appeared on Engadget at https://www.engadget.com/apples-big-ai-rollout-at-wwdc-will-reportedly-focus-on-making-siri-suck-less-203035673.html?src=rss

10.05.2024 21:01 Samsung’s HW-Q990C was the best overall soundbar I tested last year, mostly due to its stellar audio and the fact that a subwoofer and rear speakers came with it. The company didn’t change much for the 2024 version, the HW-Q990D, but one tweak delivers a feature last year’s model should’ve had: HDMI 2.1. There are some new audio modes too, but you can find those on other Samsung soundbars. The Q990D is as powerful as ever, but it’s still pricey at $2,000. If you already bought a Q990C, the company hasn’t given you a reason to upgrade just yet. What’s new on the Samsung Q990D? The biggest addition on the Q990D is HDMI 2.1. With this, Samsung addressed my main criticism of the Q990C, which debuted last year at a time when much of the competition had already adopted the standard. HDMI 2.1 delivers 4K passthrough at 120 frames per second, which will improve the visuals if you connect your PlayStation 5 or Xbox Series X directly to the soundbar. The Q990D also arrives with new audio modes. Private Listening turns off all of the front-firing drivers and uses only the rear satellite speakers. It’s basically an expanded version of the night mode a lot of companies offer on soundbars, aimed at reducing boomy bass when family or roommates might be asleep. My house has an open floor plan and my TV faces towards the hallway to the bedrooms, which means any soundbar will beam noise in that direction. Private Listening sends the audio the opposite way, and while you have to sacrifice some overall quality, it’s good enough for all the times you need to be quieter. There’s also a new Party Play mode that provides more balanced sound between the soundbar and rear speakers for a better experience when you’re hosting a rager. When this is active, you get the full audio range rather than just the channels specifically programmed for the speakers behind you. I actually turned the speakers around and faced them out of the living room to project the re-tuned audio into other communal spaces. This makes a bigger difference for movies and TV because music already plays from the rear speakers with more balanced levels. These two modes aren’t unique to the Q990D; the rest of the 2024 Q-series lineup will be able to use them too. This is the first time I’ve tested them though, and it’s notable that they actually work well on Samsung’s most expensive soundbar. What’s good Billy Steele for Engadget The combination of a driver-packed soundbar, large subwoofer and more-robust rear speakers produces immersive sound that envelops my living room. Whether you’re listening to music or the soundscape of Dune, the Q990D retains the sonic prowess of its predecessor. Dolby Atmos content from Disney+ is as immersive as ever. I could hear the finer details of Knowhere in the opening scenes of Guardians of the Galaxy Vol. 3, including the life-like reverb of Radiohead’s “Creep” playing over a loudspeaker. The directional sounds of the town, including the hustle and bustle of people moving around, make it seem like you’re standing right there. For music, there’s deep, boomy bass when a track calls for it, and that crisp detail that I heard in movies is here too. Justice’s Hyperdrama shows off the Q990D’s range, with driving low-end tone on songs like “Neverender” accompanied by textured synths. Quieter genres like jazz are a blanket of sound too, with albums like Miles Davis’ Kind of Blue offering subtleties that make you feel like you’re in the studio. The thing I like most about the Q990D is that everything you need for a complete surround sound setup is included in the box. The subwoofer and rear speakers come with the soundbar and don’t require an additional purchase. Those satellite speakers also house up-firing and side-firing drivers, which isn’t always the case on comparable accessories from the competition. And the setup is as easy as plugging everything in because pairing with the rest of the system happens automatically. What’s bad Billy Steele for Engadget An all-in-one setup is great, but that also means the Q990D is expensive. At $2,000, this is a considerable investment even if you’re getting everything you need in the package. The Q990D is currently on sale for $1,750, but we don’t know how long that discount will last. For comparison, Sony’s upcoming Bravia Bar 9 is $1,400. The cheapest subwoofer and rear speakers you can get for it are $400 and $350 respectively, which puts your total cost at $2,150. Of course, with Sony you have two options for subs and rears, and you don’t have to buy all of them. LG offers some respite if you want to go that route, with its S95TR coming in at $1,500 and including the subwoofer and rear speakers with up-firing drivers. The overall size of the soundbar is something else you’ll need to consider. The Q990D houses 11 front-facing speakers, two up-firing drivers and a subwoofer. All of those components need space, and accommodating them means this soundbar ends up being quite large at 48.5 inches wide. While that’s not a deal-breaker per se, it does require some planning, so just know you’ll need ample room. Like soundbars from other companies, the Q990D has some handy features that are reserved for Samsung TVs. For example, Q-Symphony, which uses your TV speakers in addition to the soundbar to expand the audio capabilities, requires a compatible 2020-2024 Samsung TV. The Q990D sounds great without this, but just know you’re not getting the full bag of tricks unless you also have a supported TV. Wrap-up Unless you care for the latest HDMI standards, the Q990D doesn’t offer a huge upgrade over last year’s model. Their design and features lists are nearly identical, except for two new sound modes and 4K/120 passthrough. And some of those additions are available on more-affordable Samsung soundbars. So if you already sprang for last year’s Q990C, there’s probably not enough reason to make another sizable investment. If you don’t already own a Samsung flagship soundbar, the Q990D offers boomy, immersive sound in an all-in-one package that now has all the modern conveniences it should.This article originally appeared on Engadget at https://www.engadget.com/samsung-hw-q990d-soundbar-review-a-small-but-significant-update-180022782.html?src=rss

10.05.2024 21:01 Climate protestors in Germany broke through police barricades on Friday, amid clashes between activists and law enforcement. The protestors either made it onto or near the grounds of a Tesla gigafactory in Grünheide, Germany, near Berlin. It’s part of a planned five-day demonstration ahead of a local government vote next week to determine whether Tesla’s plant can expand. Wired flagged social media videos showing activists, many of whom have been camping out in treehouses in nearby forest encampments, running toward a Tesla building on the site. In addition, the German newspaper Welt said at least one person participating was injured. Police reportedly police used pepper spray and batons to try to thwart the crowd, and there were at least some arrests. A spokesperson for one of the groups participating in the protests told Wired that they broke the police barriers and stormed the Tesla grounds. “Eight hundred people have entered the premises of the gigafactory,” Lucia Mende of Disrupt Tesla said. However, local police posted on X that the activists only reached a field facing the site. “We have been able to prevent them from entering so far,” they posted. Axel Schmidt via Getty Images At least at first glance, it’s easy to wonder why activists are pouring so much energy into fighting Tesla. After all, despite Musk’s increasingly unhinged right-wing conspiracy-mongering and Nazi-catering on X, other automakers pushing gas-guzzling cars seem like more appropriate targets . However, several factors make the issues at the heart of the protests less simplistic. A vote in February showed Grünheide residents opposed the expansion by almost a two-to-one ratio. If for no other reason, the local government having a chance to brush aside the overwhelming will of the voters in the name of capitalism is enough to raise the eyebrows of anyone who balks at minority rule. Wired notes the area is also one of the most water-scarce in Germany, and residents worry the gigafactory will drain the resource, leaving much less for the humans who live there. The plant could also pollute local water supplies. Those fears appear to have merit: The plant is licensed to use 1.4 million cubic meters of water annually, and a separate Wired report from Tuesday noted that’s enough to supply for a large town. As for the contamination fears, Tesla was fined in 2019 by the EPA for several hazardous waste violations at a California factory. The company paid a grand total of $31,000 to settle. But some of the groups protesting have concerns that go much farther than those more immediate issues affecting the locals, instead taking issue with the entire electric vehicle movement. “Companies like Tesla are there to save the car industry, they’re not there to save the climate,” Esther Kamm, spokesperson for Turn Off the Tap on Tesla told Wired. Another activist, who only gave Wired the name Mara, described the factory as the result of “green capitalism.” She views the EV movement as little more than a theatrical performance in the name of profit. “This has been completely thought up by such companies to have more growth, even in times of an environmental crisis,” she said. I wouldn’t exactly say flipping the bird to the EV movement is a “workable” solution to the very real and pressing climate crisis. Regardless of your thoughts on the matter, the world needs to move quickly to fend off climate change’s most ravaging effects, and the scientific consensus is that the planned shift to EVs will need to play a central role. Tesla reportedly told its employees at the factory to work from home on Friday, shutting down the plants for the planned protests. As for Friday’s protests, Welt reports that the situation had calmed by afternoon — at least for now.This article originally appeared on Engadget at https://www.engadget.com/climate-protestors-clash-with-police-outside-teslas-german-gigafactory-175726961.html?src=rss

10.05.2024 21:01 Swiss start-up Climeworks has done it again. The company just opened the world’s largest carbon capture plant in Iceland, dwarfing its own record of how much CO2 it can pull from the air. The company’s previous record-holding carbon capture plant, Orca, sucks around 4,000 tons of CO2 from the atmosphere per year, but the new plant can handle nearly ten times that, as reported by The Washington Post. The plant’s called Mammoth and boasts 72 industrial fans that can pull 36,000 tons of CO2 from the air each year. Just like with Orca, the CO2 isn’t recycled. It’s stored underground and eventually trapped in stone, permanently removing it from the environment. The plant’s actually located on a dormant volcano, so it’ll make a great hideout for a James Bond villain should it ever cease operations. The location was chosen for its proximity to the Hellisheidi geothermal energy plant, which is used to power the facility's fans and heat chemical filters to extract CO2 with water vapor. After extraction, the CO2 is separated from the steam, compressed and dissolved in water. Finally, it’s pumped 2,300 feet underground into volcanic basalt. This compound reacts with the magnesium, calcium and iron in the rock to form crystals, which become solid reservoirs of CO2. It’s pretty nifty technology. However, it’s not the end-all solution to climate change. It’s barely a blip. For the world to achieve "carbon neutrality" by 2050, "we should be removing something like six to 16 billion tons of CO2 per year from the air," said Climeworks founder Jan Wurzbacher, according to reporting by CBS News. Therein lies the problem. This facility, the largest of its kind by a wide margin, can capture up to 36,000 tons of CO2 from the air each year, but that’s just 0.0006 percent of what’s needed to meet the minimum annual removal threshold as indicated by Wurzbacher. There are other plants, of course, but all of them combined don’t make a serious dent in what’s required to pull us from the brink. To that end, Wurzbacher has pleaded with other companies to take up the cause. He says that Climeworks has a goal of surpassing millions of tons captured per year by 2030 and a billion by 2050. The company’s chief technology officer, Carlos Haertel, told 60 Minutes that scaling up the process globally is possible, but requires political will to rally behind the initiative. The Biden administration recently committed $4 billion to jumpstart the industry here in the states and earmarked $1.2 billion for a pair of large-scale projects. The US Department of Energy also started a program called Carbon Negative Shot, with a goal of fostering the development of budget-friendly carbon capture technology. Today, we're officially launching a new portfolio offering to expand our carbon removal service beyond direct air capture and fast-track the industry's scale-up. We're thrilled to finally reveal Climeworks Solutions! https://t.co/0CDAQLObEU pic.twitter.com/f8ojbF3ZLo— Climeworks April 17, 2024 The method of carbon capture deployed by Climeworks is just one of many approaches. These processes range from stacks of limestone blocks that absorb CO2 like a sponge to giant hot air balloons that freeze and trap the chemical compound. Restoring forests is another option, which is something companies like Apple and Goldman Sachs have experimented with. Which one is best? All of them together deployed at global scale. Whatever it takes. Climate change isn’t fooling around.This article originally appeared on Engadget at https://www.engadget.com/the-worlds-largest-direct-carbon-capture-plant-just-went-online-172447811.html?src=rss

10.05.2024 21:01 The new iPad Pro and iPad Air — and the internet's reaction to how they've been advertised — may have been the big Apple news of the week, but we're turning our attention to AirPods for our latest deals roundup. More specifically, all four models in Apple's wireless headphone lineup are currently on sale. The noise-canceling AirPods Pro and third-gen AirPods back down to lows of $180 and $140, respectively, while the entry-level earbuds and top-end AirPods Max are both cheaper than usual at $80 and $450. Beyond that, we've also found noteworthy discounts on Amazon's Kindle, LG's C3 OLED TV, Keychron's budget-friendly C3 Pro keyboard and annual Paramount+ with Showtime subscriptions, among others. Here are the best tech deals from this week that you can still get today. Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice. This article originally appeared on Engadget at https://www.engadget.com/apples-entire-airpods-lineup-is-discounted-plus-the-rest-of-the-weeks-best-tech-deals-164320939.html?src=rss

10.05.2024 21:01 Not all connected speakers have a voice assistant built in. The Sonos One SL, for instance, doesn't have a microphone. So, if you want to use your voice to control such devices, you may need to pick up a secondary smart speaker, such as Amazon's Echo Dot. As luck would have it, that little Alexa-enabled device is on sale for $28. That's 44 percent off and just $5 more than the record-low price. That's not to say the Echo Dot isn't a decent speaker in its own right. In fact, we think it's the best smart speaker under $50. Amazon has been steadily improving the Dot's audio quality over the years and the most recent version from 2022 pumps out far louder and clearer audio than could be reasonably expected from a sub-$50 speaker. The globe-shaped speaker has some physical buttons, including ones for volume control and another that mutes/unmutes the microphone if you don't want Alexa to remain alert for voice commands at all times. If you'd prefer to save a few extra bucks, you could instead opt for the Echo Pop. That Alexa-enabled speaker is currently half off at $20. The colorful speaker also has a mic mute switch. It could prove to be a handy bedside speaker for listening to podcasts or a sleep story when it's time to nod off. Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.This article originally appeared on Engadget at https://www.engadget.com/amazons-echo-dot-drops-to-just-28-162815137.html?src=rss

10.05.2024 21:01 They say "Twitter isn't real life," but Black Twitter proved otherwise. For years, that phrase has been a way to ignore the real-world impact of social media conversations, especially when they spark radically new ideas. But that's clearly not true when you look at Black Twitter, an unofficial community made up of the site's black users, which inspired culturally significant movements with hashtags like #BlackLivesMatter and #OscarsSoWhite. Hulu's new documentary, "Black Lives Matter: A People's History," adapted from Jason Parham's Wired article, explores the rise and global influence of the community. Over the course of three engaging and often hilarious episodes, the series cements itself as an essential cultural document. "The way I would define Black Twitter is a space where Black culture specifically was hanging out in a digital way," said Prentice Penny, the series director and former show-runner of HBO's Insecure, in an interview on the Engadget Podcast. "And even though it was a public space — clearly, it's Twitter, anybody can get on it — it still felt like you were having conversations with your friends that are like on the back of the bus. Or like on the stoop, or in the lunchroom. I mean, that's the energy of it." In particular, Penny says that Twitter felt special because there was no real hierarchy, especially in the early days. That meant that even celebrities weren't immune to being mocked, or acting out on their own social media profiles . Twitter in its heyday felt like a place where money or class didn't really matter. "This was kind of an equalization of a lot of things, that somebody in Kentucky who nobody knows could have the same strong opinion as someone who you revere, right?" Penny said. "And I think that's what made the space so fresh, because we don't really have spaces that are kind of a level playing ground in this country." Twitter also felt genuinely different from the other social networks in the late 2000s. At the time, Facebook was mostly focused on connecting you with schoolmates and family members — it wasn't really a place for simply hanging out and joking around. Prentice notes that the forced brevity on Twitter also made it unique, since you had to really focus on what you were trying to say in 140 characters. "Each of the creators had a different idea of what Twitter should be," Penny added. "Some thought it should be a town square, some people thought it should be a news information thing... I think like with Black culture, the one thing we do really well is, because we're often given the scraps of things, we have to repurpose something, like taking the worst of the pig and making soul food... I think we are really good at taking things that could kind of be different things and make it be pliable for us." The documentary recounts the many ways Black Twitter leveraged the platform, both for fun and for kicking off serious social movements. The community helped make live-tweeting TV shows a common occurrence, and it's one reason Scandal became a hit TV show. But Black users also helped raise the profile around Trayvon Martin's killing by George Zimmerman. His eventual acquittal led to the creation of the #BlackLivesMatter hashtag, a movement which sparked national protests in 2020 following the killing of George Floyd and other Black Americans. If you've been online and following the Black Twitter community for years, the Hulu documentary may not seem particularly revelatory. But there's value in charting the impact of cultural movements, especially given how quickly social media and the tech world moves. This article originally appeared on Engadget at https://www.engadget.com/hulus-black-twitter-documentary-is-a-vital-cultural-chronicle-161557720.html?src=rss

10.05.2024 21:01 Google has released a security update for the Chrome browser to fix a zero-day vulnerability exploit that has been used by threat actors. This is the fifth time this year the company has had to issue a patch for one of these vulnerabilities, as reported by Bleeping Computer. "Google is aware that an exploit for CVE-2024-4671 exists in the wild," the company said in a short advisory. It did not issue any specifics as to the nature of the real-world attack or the identity of the threat actors. This is common for Google, as it likes to wait until a majority of users have updated the software before announcing specific details. We do know some stuff about the exploit. It’s being classified as a “high-severity issue” and as a “user after free” vulnerability. These bugs arise when a program references a memory location after it has been deallocated, leading to any number of serious consequences from a crash to a random execution of code. It looks like the CVE-2024-4671 vulnerability is attached to the visuals component that handles rendering and the display of content on the browser. The exploit was discovered and reported to Google by an anonymous researcher. The fix is available for Mac, Windows and Linux and updates will continue to roll out to users over the coming days and weeks. Chrome updates automatically with security fixes, so users can confirm they are running the latest version of the browser by going to Settings and About Chrome. Users of Chromium-based browsers like Microsoft Edge, Brave, Opera and Vivaldi should also update to a new version as soon as they are available. As stated, this is the fifth of this type of flaw addressed by Google this year. I don’t mean “within the last calendar year.” I mean in 2024. Three were discovered back in March at the Pwn2Own hacking contest in Vancouver. This isn’t a record or anything. Google found and fixed five in one month back in 2020. Zero-day exploits have been a constant thorn in Google’s side. These are a type of cyberattack that take advantage of an unknown or unaddressed security flaw in computer software, hardware or firmware. The company typically pays out big money for bug discoveries, as part of its Vulnerability Rewards Program.This article originally appeared on Engadget at https://www.engadget.com/google-just-patched-the-fifth-zero-day-exploit-for-chrome-this-year-153723334.html?src=rss