Tag: latest tech innovations

  • Best wireless keyboards 2025: Top Bluetooth and USB models reviewed

    Best wireless keyboards 2025: Top Bluetooth and USB models reviewed



  • We stepped into IQM’s quantum lab to witness a new computing frontier

    We stepped into IQM’s quantum lab to witness a new computing frontier


    “The Future is Here,” declares a glowing neon sign at the entrance to IQM’s quantum data centre in Munich. It’s a bold claim — but one the Finland-based startup is determined to fulfil.

    To the right of the entrance sign stands a hefty, metal blue door. My host, physicist Frank Deppe, IQM’s head of quantum processing unit (QPU) technology, ushers me inside.

    Opened last year as part of IQM’s European expansion, the facility hosts six state-of-the-art superconducting quantum computers — used for the company’s own research and offered as a cloud-based service to scientists around the globe.

    IQM-data-centre-munich-sion-geschwindt-thenextweb
    IQM’s Munich quantum data centre. Credit: Siôn Geschwindt
    IQM-data-centre-munich-sion-geschwindt-thenextweb

    My initial impression is the sound — a low, steady purr punctuated by a bizarre rhythmic pumping noise. That, I would later discover, was the heartbeat of a quantum computer.  

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    The centrepiece of the data centre, though, is the cryostats — the golden chandelier-like structures that have become synonymous with quantum computing in the public imagination. 

    Cryostats are made up of an intricate system of gold-plated brass and copper wiring that channels microwave signals down to the QPU or “chip,” which sits right at the bottom of the chandelier. These microwave pulses allow scientists to control and manipulate the qubits on the chip, and, in turn, run algorithms to perform quantum calculations. 

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    Intricate wiring inside the cryostat channels microwave pulses down to the quantum chip. Credit: Siôn Geschwindt
    IQM-quantum-computer-thenextweb-sion-geschwindt

    For all this to work, however, superconducting quantum computers need to be cooled to close to absolute zero (or -273.15 degrees Celsius). That makes machines like these among the coldest places in the known universe.

    Qubits, which are the basic units of information in a quantum computer, are incredibly sensitive — to heat, vibration, stray particles, or electromagnetic signals. Even the slightest disturbance can cause errors or wipe out information entirely, says Frank, gesturing around us as if he can see the waves and particles flying around the room.   

    At ultra-cold temperatures, however, superconducting materials lose all electrical resistance, allowing qubits to maintain their delicate quantum properties. But ultra-cold isn’t enough — qubits also need near-perfect isolation from other particles in the air. That’s why cryostats are placed in a thick metal vacuum chamber, which helps to shield the qubits from interference.

    IQM-cyrostat-closed-quyantum-computer
    When operational, the cryostat is locked inside a super-cooled, vacuum chamber, which makes machines like this among the coldest places in the known universe. Credit: Siôn Geschwindt
    IQM-cyrostat-closed-quyantum-computer

    Each machine is supported by some serious industrial hardware. One of the largest pieces of equipment in the lab is the cryogenics system. Comprising a network of compressors, tanks, pumps, and pipes, its job is to transfer liquid helium to super-cool the cryostat. The helium compressor produces the distinctive rhythmic sound of a quantum computer — the cryostat itself is completely silent.

    Then there are the servers, placed beside each cryostat. They provide the precise control and support infrastructure that allows delicate quantum systems to operate effectively. They also produce the specific microwave pulses required to keep the qubits stable. 

    Yes, even the quantum computers of the future will need classical computers to function, Frank says. 

    An example of the classical electronics cabinet required run one of IQM's quantum computers. Credit: IQM
    An example of the classical electronics cabinet required run one of IQM’s quantum computers. Credit: IQM
    An example of the classical electronics cabinet required run one of IQM's quantum computers. Credit: IQM

    I was amazed by the extraordinary amount of infrastructure needed to power a quantum chip barely larger than my fingernail. But all that tech is essential — it protects the fragile qubits while still allowing for their manipulation. 

    “You need to isolate qubits from the environment — but still control them,” says Frank. “That’s the engineering paradox of quantum computing.” 

    Tapping into the subatomic world of quantum mechanics — with phenomena such as superposition and entanglement — to perform useful calculations is one of the toughest challenges in modern science. It’s baffled researchers for decades. But now, after years of steady progress, we’re closer than ever to potentially world-changing applications — and the payoffs could be huge.

    Towards quantum advantage

    The quantum computers of the future are expected to solve problems that are far beyond the reach of today’s most powerful supercomputers — a point known as “quantum advantage.” These machines could simulate complex molecules for drug discovery, design new materials from the atomic level up, and revolutionise logistics and finance by cracking massive optimisation problems. They could also break all internet encryption on what is known as Q-Day — so there are risks, too.

    However, most experts agree that we’ll need a 1 million-qubit system and beyond to make those sorts of calculations — and that’s still a long way off.

    We’re currently in what is known as the Noisy Intermediate-Scale Quantum (NISQ) era, where we have small quantum computers that can run real experiments but are still too “noisy” and error-prone to do anything truly groundbreaking.

    IQM’s quantum processors currently range from six to 50 qubits. Next year, it’s set to release a larger 54 to 150-qubit system called Radiance, which it says will “pave the way” to quantum advantage — when a quantum computer can solve a problem no classical computer can). The company hopes to produce a 1 million-qubit system by 2033. 

    One of IQM's quantum cryostats. Credit: IQM
    One of IQM’s open cryostats. The chip is housed behind the metal cylinder right at the bottom of the chandelier. Credit: IQM
    One of IQM's quantum cryostats. Credit: IQM

    Headquartered in Helsinki, IQM has built a business based on helping researchers train on and navigate smaller systems before larger ones become commercially available. Using these machines, scientists can already explore quantum algorithms, develop hardware, and prototype solutions for specific problems such as climate modelling or drug discovery. 

    Founded in 2018, IQM has raised $210mn to date, making it Europe’s second best-funded quantum computing company. According to Bloomberg, the startup is also in talks to raise over $200mn in fresh capital, which would bring its total to over $400mn. In June, the company’s co-founder and CEO, Jan Goetz, will share his vision of Europe’s quantum future at TNW Conference.

    Located in Finland’s thriving quantum startup ecosystem, IQM has built over 30 full-stack quantum computers to date at its facility in Espoo, west of the capital, Helsinki. This site also houses Europe’s only private quantum chip factory. 

    Inés De Vega, vice president of innovation at IQM, tells TNW that its quantum processors have “similar, if not better, performance in terms of fidelities” than IBM, often considered the world leader in quantum technology. Fidelity refers to the accuracy with which a quantum computer can perform operations on qubits without introducing errors — a critical metric for building reliable and scalable quantum systems. 

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    IQM’s headquarters in Espoo, Finland, is home to Europe’s only quantum chip fabrication facility. Credit: IQM
    IQM-Quantum-Fabrication-Facility-Finland-00

    While IQM is one of Europe’s most prominent quantum startups, it’s far from alone. There are currently 122 quantum computing companies on the continent, with a combined value of almost $13bn, according to Dealroom data.  

    UK-based Quantinuum is the best-funded, having raised $647 million at a $5bn valuation. Instead of using super-cooled superconducting circuits, Quantinuum develops trapped-ion quantum computers, which use electrically charged atoms controlled by lasers for qubits. Other European big shots include French startup Pasqal and the UK’s Oxford Quantum Circuits. 

    In the US, tech giants such as IBM, Google, Amazon, Microsoft, and Intel, plus well-funded startups like PsiQuantum, are all racing to scale up their own quantum computers and reduce error rates. 

    Globally, more than 30 governments have pledged over $40bn in public funding for quantum technologies, set to be deployed over the next decade.

    Both the private and public sectors are chasing the holy grail: a fault-tolerant quantum computer — one powerful and stable enough to run complex algorithms with minimal errors. IQM aims to get there by 2030, according to its publicly available roadmap.

    IQM’s estimate is on the optimistic side. In February, Google’s CEO Sundar Pichai said he believes “practically useful” quantum computers are five-to-10 years away. A month earlier, Nvidia’s Jensen Huang suggested we’re still at least 15 years out — a comment that sent quantum stocks tumbling.

    Truth is, no one knows exactly when we’ll get there. But one thing is clear: reaching the quantum finish line will demand years of experimentation, iteration, and engineering breakthroughs. That work is already underway in labs such as IQM’s, where the boundaries of physics are being pushed, one qubit at a time.

    At TNW Conference on June 19, IQM CEO and co-founder Jan Goetz will join Elvira Shishenina, senior director at Quantinuum, and Tom Henriksson, general partner at OpenOcean, for a panel discussion titled “Quantum Race: Can Europe Secure Leadership in Quantum?” Tickets for the event are now on sale. Use the code TNWXMEDIA2025 at the check-out to get 30% off the price tag.


  • NOV CIO fused AI and Zero Trust to slash threats by 35x

    NOV CIO fused AI and Zero Trust to slash threats by 35x


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    National Oilwell Varco (NOV) is undergoing a sweeping cybersecurity transformation under CIO Alex Philips, embracing a Zero Trust architecture, strengthening identity defenses and infusing AI into security operations. While the journey is not complete, the results, by all accounts, are dramatic – a 35-fold drop in security events, the elimination of malware-related PC reimaging and millions saved by scrapping legacy “appliance hell” hardware.

    VentureBeat recently sat down (virtually) for this in-depth interview where Philips details how NOV achieved these outcomes with Zscaler’s Zero Trust platform, aggressive identity protections and a generative AI “co-worker” for its security team.

    He also shares how he keeps NOV’s board engaged on cyber risk amid a global threat landscape where 79% of attacks to gain initial access are malware-free, and adversaries can move from breach to break out in as little as 51 seconds.

    Below are excerpts of Philips’ recent interview with VentureBeat:

    VentureBeat: Alex, NOV went “all in” on Zero Trust a number of years ago – what were the standout gains?

    Alex Philips: When we started, we were a traditional castle-and-moat model that wasn’t keeping up. We didn’t know what Zero Trust was, we just knew that we needed identity and conditional access at the core of everything. Our journey began by adopting an identity-driven architecture on Zscaler’s Zero Trust Exchange and it changed everything. Our visibility and protection coverage dramatically increased while simultaneously experiencing a 35x reduction in the number of security incidents. Before, our team was chasing thousands of malware incidents; now, it’s a tiny fraction of that. We also went from reimaging about 100 malware-infected machines each month to virtually zero now. That’s saved a considerable amount of time and money. And since the solution is cloud-based, Appliance hell is gone, as I like to say.

    The zero trust approach now gives 27,500 NOV users and third parties policy-based access to thousands of internal applications, all without exposing those apps directly to the internet.

    We were then able to take an interim step and re-architect our network to take advantage of internet-based connectivity vs. legacy expensive MPLS. “On average, we increased speed by 10–20x, reduced latency to critical SaaS apps, and slashed cost by over 4x… Annualized savings [from network changes] have already achieved over $6.5M,” Philips has noted of the project.

    VB: How did shifting to zero trust actually reduce the security noise by such an enormous factor?

    Philips: A big reason is that our internet traffic now goes through a Security Service Edge (SSE) with full SSL inspection, sandboxing, and data loss prevention. Zscaler peers directly with Microsoft, so Office 365 traffic got faster and safer – users stopped trying to bypass controls because performance improved. After being denied SSL inspection with on-prem equipment, we finally got legal approval to decrypt SSL traffic since the cloud proxy does not give NOV access to spy on the data itself. That means malware hiding in encrypted streams started getting caught before hitting endpoints. In short, we shrunk the attack surface and let good traffic flow freely. Fewer threats in meant fewer alerts overall.

    John McLeod, NOV’s CISO, concurred that the “old network perimeter model doesn’t work in a hybrid world” and that an identity-centric cloud security stack was needed. By routing all enterprise traffic through cloud security layers (and even isolating risky web sessions via tools like Zscaler’s Zero Trust Browser), NOV dramatically cut down intrusion attempts. This comprehensive inspection capability is what enabled NOV to spot and stop threats that previously slipped through, slashing incident volumes by 35x.

    VB: Were there any unforeseen benefits to adopting Zero Trust you didn’t initially expect?

    Alex Philips: Yes, our users actually preferred the cloud-based Zero Trust experience over legacy VPN clients, so adoption was simple and gave us unprecedented agility for mobility, acquisitions, and even what we like to call “Black Swan Events”. For example, when COVID-19 hit, NOV was already prepared! I told my leadership team if all 27,500 of our users needed to work remotely, our IT systems could handle it. My leadership was stunned and our company kept moving forward without missing a beat.

    VB: Identity-based attacks are on the rise – you’ve mentioned staggering stats about credential theft. How is NOV fortifying identity and access management?

    Philips: Attackers know it’s often easier to log in with stolen credentials than to drop malware. In fact, 79% of attacks to gain initial access in 2024 were malware-free, relying on stolen credentials, AI-driven phishing, and deepfake scams, according to recent threat reports. One in three cloud intrusions last year involved valid credentials. We’ve tightened identity policies to make those tactics harder.

    For example, we integrated our Zscaler platform with Okta for identity and conditional access checks. Our conditional access policies verify devices have our SentinelOne antivirus agent running before granting access, adding an extra posture check. We’ve also drastically limited who can perform password or MFA resets. No single admin should be able to bypass authentication controls alone. This separation of duties prevents an insider or compromised account from simply turning off our protections.

    VB: You mentioned finding a gap even after disabling a user’s account. Can you explain?

    Philips: We discovered that if you detect and disable a compromised user’s account, the attacker’s session tokens might still be active. It isn’t enough to reset passwords; you have to revoke session tokens to truly kick out an intruder. We’re partnering with a startup to create near real-time token invalidation solutions for our most commonly used resources. Essentially, we want to make a stolen token useless within seconds. A Zero Trust architecture helps because everything is re-authenticated through a proxy or identity provider, giving us a single choke point to cancel tokens globally. That way, even if an attacker grabs a VPN cookie or cloud session, they can’t move laterally because we’ll kill that token fast.

    VB: How else are you securing identities at NOV?

    Philips: We enforce multi-factor authentication (MFA) almost everywhere and monitor for abnormal access patterns. Okta, Zscaler, and SentinelOne together form an identity-driven security perimeter where each login and device posture is continuously verified. Even if someone steals a user password, they still face device checks, MFA challenges, conditional access rules, and the risk of instant session revocation if anything seems off. Resetting a password isn’t enough anymore — we must revoke session tokens instantly to stop lateral movement. That philosophy underpins NOV’s identity threat defense strategy.

    VB: You’ve also been an early adopter of AI in cybersecurity. How is NOV leveraging AI and generative models in the SOC?

    Philips: We have a relatively small security team for our global footprint, so we must work smarter. One approach is bringing AI “co-workers” into our security operations center (SOC). We partnered with SentinelOne and started using their AI security analyst tool—an AI that can write and run queries across our logs at machine speed. It’s been a game changer, allowing analysts to ask questions in plain English and get answers in seconds. Instead of manually crafting SQL queries, the AI suggests the next query or even auto-generates a report, which has dropped our mean time to respond.

    We’ve seen success stories where threat hunts are performed up to 80% faster using AI assistants. Microsoft’s own data shows that adding generative AI can reduce incident mean time to resolution by 30%. Beyond vendor tools, we’re also experimenting with internal AI bots for operational analytics, using OpenAI foundational AI models to help non-technical staff quickly query data. Of course, we have data protection guardrails in place so these AI solutions don’t leak sensitive information.

    VB: Cybersecurity is no longer just an IT issue. How do you engage NOV’s board and executives on cyber risk?

    Philips: I made it a priority to bring our board of directors along on our cyber journey. They don’t need the deep technical minutiae, but they do need to understand our risk posture. With generative AI exploding, for example, I briefed them on both the advantages and risks early on. That education helps when I propose controls to prevent data leaks—there’s already alignment on why it’s necessary.

    The board views cybersecurity as a core business risk now. They’re briefed on it at every meeting, not just once a year. We’ve even run tabletop exercises with them to show how an attack would play out, turning abstract threats into tangible decision points. That leads to stronger top-down support.

    I make it a point to constantly reinforce the reality of cyber risk. Even with millions invested in our cybersecurity program, the risk is never fully eliminated. It is not if we will have an incident, but when.

    VB: Any final advice, based on NOV’s journey, for other CIOs and CISOs out there?

    Philips: First, recognize that security transformation and digital transformation go hand in hand. We couldn’t have moved to the cloud or enabled remote work so effectively without Zero Trust, and the business cost savings helped fund security improvements. It truly was a “win, win, win.”

    Second, focus on the separation of duties in identity and access. No one person should be able to undermine your security controls—myself included. Small process changes like requiring two people to change MFA for an exec or highly privileged IT staff, can thwart malicious insiders, mistakes, and attackers.

    Lastly, embrace AI carefully but proactively. AI is already a reality on the attacker side. A well-implemented AI assistant can multiply your team’s defense, but you must manage the risks of data leakage or inaccurate models. Make sure to merge AI output with your team’s skill to create an AI-infused “brAIn”.

    We know the threats keep evolving, but with zero trust, strong identity security and now AI on our side, it helps give us a fighting chance.



  • AI has grown beyond human knowledge, says Google’s DeepMind unit

    AI has grown beyond human knowledge, says Google’s DeepMind unit


    abstract ai concept

    worawit chutrakunwanit/Getty Images

    The world of artificial intelligence (AI) has recently been preoccupied with advancing generative AI beyond simple tests that AI models easily pass. The famed Turing Test has been “beaten” in some sense, and controversy rages over whether the newest models are being built to game the benchmark tests that measure performance.

    The problem, say scholars at Google’s DeepMind unit, is not the tests themselves but the limited way AI models are developed. The data used to train AI is too restricted and static, and will never propel AI to new and better abilities. 

    In a paper posted by DeepMind last week, part of a forthcoming book by MIT Press, researchers propose that AI must be allowed to have “experiences” of a sort, interacting with the world to formulate goals based on signals from the environment.

    Also: With AI models clobbering every benchmark, it’s time for human evaluation

    “Incredible new capabilities will arise once the full potential of experiential learning is harnessed,” write DeepMind scholars David Silver and Richard Sutton in the paper, Welcome to the Era of Experience.

    The two scholars are legends in the field. Silver most famously led the research that resulted in AlphaZero, DeepMind’s AI model that beat humans in games of Chess and Go. Sutton is one of two Turing Award-winning developers of an AI approach called reinforcement learning that Silver and his team used to create AlphaZero. 

    The approach the two scholars advocate builds upon reinforcement learning and the lessons of AlphaZero. It’s called “streams” and is meant to remedy the shortcomings of today’s large language models (LLMs), which are developed solely to answer individual human questions.

    deepmind-2025-uses-of-reinforcement-learning

    Google DeepMind

    Silver and Sutton suggest that shortly after AlphaZero and its predecessor, AlphaGo, burst on the scene, generative AI tools, such as ChatGPT, took the stage and “discarded” reinforcement learning. That move had benefits and drawbacks. 

    Also: OpenAI’s Deep Research has more fact-finding stamina than you, but it’s still wrong half the time

    Gen AI was an important advance because AlphaZero’s use of reinforcement learning was restricted to limited applications. The technology couldn’t go beyond “full information” games, such as Chess, where all the rules are known. 

    Gen AI models, on the other hand, can handle spontaneous input from humans never before encountered, without explicit rules about how things are supposed to turn out. 

    However, discarding reinforcement learning meant, “something was lost in this transition: an agent’s ability to self-discover its own knowledge,” they write.

    Instead, they observe that LLMs “[rely] on human prejudgment”, or what the human wants at the prompt stage. That approach is too limited. They suggest that human judgment “imposes “an impenetrable ceiling on the agent’s performance: the agent cannot discover better strategies underappreciated by the human rater.

    Not only is human judgment an impediment, but the short, clipped nature of prompt interactions never allows the AI model to advance beyond question and answer. 

    “In the era of human data, language-based AI has largely focused on short interaction episodes: e.g., a user asks a question and (perhaps after a few thinking steps or tool-use actions) the agent responds,” the researchers write.

    “The agent aims exclusively for outcomes within the current episode, such as directly answering a user’s question.” 

    There’s no memory, there’s no continuity between snippets of interaction in prompting. “Typically, little or no information carries over from one episode to the next, precluding any adaptation over time,” write Silver and Sutton. 

    Also: The AI model race has suddenly gotten a lot closer, say Stanford scholars

    However, in their proposed Age of Experience, “Agents will inhabit streams of experience, rather than short snippets of interaction.”

    Silver and Sutton draw an analogy between streams and humans learning over a lifetime of accumulated experience, and how they act based on long-range goals, not just the immediate task.

    “Powerful agents should have their own stream of experience that progresses, like humans, over a long time-scale,” they write.

    Silver and Sutton argue that “today’s technology” is enough to start building streams. In fact, the initial steps along the way can be seen in developments such as web-browsing AI agents, including OpenAI’s Deep Research. 

    “Recently, a new wave of prototype agents have started to interact with computers in an even more general manner, by using the same interface that humans use to operate a computer,” they write.

    The browser agent marks “a transition from exclusively human-privileged communication, to much more autonomous interactions where the agent is able to act independently in the world.”

    Also: The Turing Test has a problem – and OpenAI’s GPT-4.5 just exposed it

    As AI agents move beyond just web browsing, they need a way to interact and learn from the world, Silver and Sutton suggest. 

    They propose that the AI agents in streams will learn via the same reinforcement learning principle as AlphaZero. The machine is given a model of the world in which it interacts, akin to a chessboard, and a set of rules. 

    As the AI agent explores and takes actions, it receives feedback as “rewards”. These rewards train the AI model on what is more or less valuable among possible actions in a given circumstance.

    The world is full of various “signals” providing those rewards, if the agent is allowed to look for them, Silver and Sutton suggest.

    “Where do rewards come from, if not from human data? Once agents become connected to the world through rich action and observation spaces, there will be no shortage of grounded signals to provide a basis for reward. In fact, the world abounds with quantities such as cost, error rates, hunger, productivity, health metrics, climate metrics, profit, sales, exam results, success, visits, yields, stocks, likes, income, pleasure/pain, economic indicators, accuracy, power, distance, speed, efficiency, or energy consumption. In addition, there are innumerable additional signals arising from the occurrence of specific events, or from features derived from raw sequences of observations and actions.”

    To start the AI agent from a foundation, AI developers might use a “world model” simulation. The world model lets an AI model make predictions, test those predictions in the real world, and then use the reward signals to make the model more realistic. 

    “As the agent continues to interact with the world throughout its stream of experience, its dynamics model is continually updated to correct any errors in its predictions,” they write.

    Also: AI isn’t hitting a wall, it’s just getting too smart for benchmarks, says Anthropic

    Silver and Sutton still expect humans to have a role in defining goals, for which the signals and rewards serve to steer the agent. For example, a user might specify a broad goal such as ‘improve my fitness’, and the reward function might return a function of the user’s heart rate, sleep duration, and steps taken. Or the user might specify a goal of ‘help me learn Spanish’, and the reward function could return the user’s Spanish exam results.

    The human feedback becomes “the top-level goal” that all else serves.

    The researchers write that AI agents with those long-range capabilities would be better as AI assistants. They could track a person’s sleep and diet over months or years, providing health advice not limited to recent trends. Such agents could also be educational assistants tracking students over a long timeframe.

    “A science agent could pursue ambitious goals, such as discovering a new material or reducing carbon dioxide,” they offer. “Such an agent could analyse real-world observations over an extended period, developing and running simulations, and suggesting real-world experiments or interventions.”

    Also: ‘Humanity’s Last Exam’ benchmark is stumping top AI models – can you do any better?

    The researchers suggest that the arrival of “thinking” or “reasoning” AI models, such as Gemini, DeepSeek’s R1, and OpenAI’s o1, may be surpassed by experience agents. The problem with reasoning agents is that they “imitate” human language when they produce verbose output about steps to an answer, and human thought can be limited by its embedded assumptions. 

    “For example, if an agent had been trained to reason using human thoughts and expert answers from 5,000 years ago, it may have reasoned about a physical problem in terms of animism,” they offer. “1,000 years ago, it may have reasoned in theistic terms; 300 years ago, it may have reasoned in terms of Newtonian mechanics; and 50 years ago, in terms of quantum mechanics.”

    The researchers write that such agents “will unlock unprecedented capabilities,” leading to “a future profoundly different from anything we have seen before.” 

    However, they suggest there are also many, many risks. These risks are not just focused on AI agents making human labor obsolete, although they note that job loss is a risk. Agents that “can autonomously interact with the world over extended periods of time to achieve long-term goals,” they write, raise the prospect of humans having fewer opportunities to “intervene and mediate the agent’s actions.” 

    On the positive side, they suggest, an agent that can adapt, as opposed to today’s fixed AI models, “could recognise when its behaviour is triggering human concern, dissatisfaction, or distress, and adaptively modify its behaviour to avoid these negative consequences.”

    Also: Google claims Gemma 3 reaches 98% of DeepSeek’s accuracy – using only one GPU

    Leaving aside the details, Silver and Sutton are confident the streams experience will generate so much more information about the world that it will dwarf all the Wikipedia and Reddit data used to train today’s AI. Stream-based agents may even move past human intelligence, alluding to the arrival of artificial general intelligence, or super-intelligence.

    “Experiential data will eclipse the scale and quality of human-generated data,” the researchers write. “This paradigm shift, accompanied by algorithmic advancements in RL [reinforcement learning], will unlock in many domains new capabilities that surpass those possessed by any human.”

    Silver also explored the subject in a DeepMind podcast this month.




  • Resist, eggheads! Universities are not as weak as they have chosen to be.

    Resist, eggheads! Universities are not as weak as they have chosen to be.



    The wholesale American cannibalism of one of its own crucial appendages—the world-famous university system—has begun in earnest. The campaign is predictably Trumpian, built on a flagrantly pretextual basis and executed with the sort of vicious but chaotic idiocy that has always been a hallmark of the authoritarian mind.

    At a moment when the administration is systematically waging war on diversity initiatives of every kind, it has simultaneously discovered that it is really concerned about both “viewpoint diversity” and “antisemitism” on college campuses—and it is using the two issues as a club to beat on the US university system until it either dies or conforms to MAGA ideology.

    Reaching this conclusion does not require reading any tea leaves or consulting any oracles; one need only listen to people like Vice President JD Vance, who in 2021 gave a speech called “The Universities are the Enemy” to signal that, like every authoritarian revolutionary, he intended to go after the educated.

    “If any of us want to do the things that we want to do for our country,” Vance said, “and for the people who live in it, we have to honestly and aggressively attack the universities in this country.” Or, as conservative activist Christopher Rufo put it in a New York Times piece exploring the attack campaign, “We want to set them back a generation or two.”

    The goal is capitulation or destruction. And “destruction” is not a hyperbolic term; some Trump aides have, according to the same piece, “spoken privately of toppling a high-profile university to signal their seriousness.”

    Consider, in just a few months, how many battles have been launched:

    • The Trump administration is now snatching non-citizen university students, even those in the country legally, off the streets using plainclothes units and attempting to deport them based on their speech or beliefs.
    • It has opened investigations of more than 50 universities.
    • It has threatened grants and contracts at, among others, Brown ($510 million), Columbia ($400 million), Cornell ($1 billion), Harvard ($9 billion), Penn ($175 million), and Princeton ($210 million).
    • It has reached a widely criticized deal with Columbia that would force Columbia to change protest and security policies but would also single out one academic department (Middle Eastern, South Asian, and African Studies) for enhanced scrutiny. This deal didn’t even get Columbia its $400 million back; it only paved the way for future “negotiations” about the money. And the Trump administration is potentially considering a consent decree with Columbia, giving it leverage over the school for years to come.
    • It has demanded that Harvard audit every department for “viewpoint diversity,” hiring faculty who meet the administration’s undefined standards.
    • Trump himself has explicitly threatened to revoke Harvard’s tax-exempt nonprofit status after it refused to bow to his demands. And the IRS looks ready to do it.
    • The government has warned that it could choke off all international students—an important diplomatic asset but also a key source of revenue—at any school it likes.
    • Ed Martin—the extremely Trumpy interim US Attorney for Washington, DC—has already notified Georgetown that his office will not hire any of that school’s graduates if the school “continues to teach and utilize DEI.”

    What’s next? Project 2025 lays it out for us, envisioning the federal government getting heavily involved in accreditation—thus giving the government another way to bully schools—and privatizing many student loans. Right-wing wonks have already begun to push for “a never-ending compliance review” of elite schools’ admissions practices, one that would see the Harvard admissions office filled with federal monitors scrutinizing every single admissions decision. Trump has also called for “patriotic education” in K–12 schools; expect similar demands of universities, though probably under the rubrics of “viewpoint discrimination” and “diversity.”

    Universities may tell themselves that they would never comply with such demands, but a school without accreditation and without access to federal funds, international students, and student loan dollars could have trouble surviving for long.

    Some of the top leaders in academia are ringing the alarm bells. Princeton’s president, Christopher Eisgruber, wrote a piece in The Atlantic warning that the Trump administration has already become “the greatest threat to American universities since the Red Scare of the 1950s. Every American should be concerned.”

    Lee Bollinger, who served as president of both the University of Michigan and Columbia University, gave a fiery interview to the Chronicle of Higher Education in which he said, “We’re in the midst of an authoritarian takeover of the US government… We cannot get ourselves to see how this is going to unfold in its most frightening versions. You neutralize the branches of government; you neutralize the media; you neutralize universities, and you’re on your way. We’re beginning to see the effects on universities. It’s very, very frightening.”

    But for the most part, even though faculty members have complained and even sued, administrators have stayed quiet. They are generally willing to fight for their cash in court—but not so much in the court of public opinion. The thinking is apparently that there is little to be gained by antagonizing a ruthless but also chaotic administration that just might flip the money spigot back on as quickly as it was shut off. (See also: tariff policy.)

    This academic silence also comes after many universities course-corrected following years of administrators weighing in on global and political events outside a school’s basic mission. When that practice finally caused problems for institutions, as it did following the Gaza/Israel fighting, numerous schools adopted a posture of “institutional neutrality” and stopped offering statements except on core university concerns. This may be wise policy, but unfortunately, schools are clinging to it even though the current moment could not be more central to their mission.

    To critics, the public silence looks a lot like “appeasement”—a word used by our sister publication The New Yorker to describe how “universities have cut previously unthinkable ‘deals’ with the Administration which threaten academic freedom.” As one critic put it recently, “still there is no sign of organized resistance on the part of universities. There is not even a joint statement in defense of academic freedom or an assertion of universities’ value to society.”

    Even Michael Roth, the president of Wesleyan University, has said that universities’ current “infatuation with institutional neutrality is just making cowardice into a policy.”

    Appeasing narcissistic strongmen bent on “dominance” is a fool’s errand, as is entering a purely defensive crouch. Weakness in such moments is only an invitation to the strongman to dominate you further. You aren’t going to outlast your opponent when the intended goal appears to be not momentary “wins” but the weakening of all cultural forces that might resist the strongman. (See also: Trump’s brazen attacks on major law firms and the courts.)

    As an Atlantic article put it recently, “Since taking office, the Trump administration has been working to dismantle the global order and the nation’s core institutions, including its cultural ones, to strip them of their power. The future of the nation’s universities is very much at stake. This is not a challenge that can be met with purely defensive tactics.”

    The temperamental caution of university administrators means that some can be poor public advocates for their universities in an age of anger and distrust, and they may have trouble finding a clear voice to speak with when they come under thundering public attacks from a government they are more used to thinking of as a funding source.

    But the moment demands nothing less. This is not a breeze; this is the whirlwind. And it will leave a state-dependent, nationalist university system in its wake unless academia arises, feels its own power, and non-violently resists.

    Fighting back

    Finally, on April 14, something happened: Harvard decided to resist in far more public fashion. The Trump administration had demanded, as a condition of receiving $9 billion in grants over multiple years, that Harvard reduce the power of student and faculty leaders, vet every academic department for undefined “viewpoint diversity,” run plagiarism checks on all faculty, share hiring information with the administration, shut down any program related to diversity or inclusion, and audit particular departments for antisemitism, including the Divinity School. (Numerous Jewish groups want nothing to do with the campaign, writing in an open letter that “our safety as Jews has always been tied to the rule of law, to the safety of others, to the strength of civil society, and to the protection of rights and liberties for all.”)

    If you think this sounds a lot like government control, giving the Trump administration the power to dictate hiring and teaching practices, you’re not alone; Harvard president Alan Garber rejected the demands in a letter, saying, “The university will not surrender its independence or relinquish its constitutional rights. Neither Harvard nor any other private university can allow itself to be taken over by the federal government.”

    The Trump administration immediately responded by cutting billions in Harvard funding, threatening the university’s tax-exempt status, and claiming it might block international students from attending Harvard.

    Perhaps Harvard’s example will provide cover for other universities to make hard choices. And these are hard choices. But Columbia and Harvard have already shown that the only way you have a chance at getting the money back is to sell whatever soul your institution has left.

    Given that, why not fight? If you have to suffer, suffer for your deepest values.

    Fare forward

    “Resistance” does not mean a refusal to change, a digging in, a doubling down. No matter what part of the political spectrum you inhabit, universities—like most human institutions—are “target-rich environments” for complaints. To see this, one has only to read about recent battles over affirmative action, the Western canon, “legacy” admissions, the rise and fall of “theory” in the humanities, Gaza/Palestine protests, the “Varsity Blues” scandal, critiques of “meritocracy,” mandatory faculty “diversity statements,” the staggering rise in tuition costs over the last few decades, student deplatforming of invited speakers, or the fact that so many students from elite institutions cannot imagine a higher calling than management consulting. Even top university officials acknowledge there are problems.

    Famed Swiss theologian Karl Barth lost his professorship and was forced to leave Germany in 1935 because he would not bend the knee to Adolf Hitler. He knew something about standing up for one’s academic and spiritual values—and about the importance of not letting any approach to the world ossify into a reactionary, bureaucratic conservatism that punishes all attempts at change or dissent. The struggle for knowledge, truth, and justice requires forward movement even as the world changes, as ideas and policies are tested, and as cultures develop. Barth’s phrase for this was “Ecclesia semper reformanda est”—the church must always be reformed—and it applies just as well to the universities where he spent much of his career.

    As universities today face their own watershed moment of resistance, they must still find ways to remain intellectually curious and open to the world. They must continue to change, always imperfectly but without fear. It is important that their resistance not be partisan. Universities can only benefit from broad-based social support, and the idea that they are fighting “against conservatives” or “for Democrats” will be deeply unhelpful. (Just as it would be if universities capitulated to government oversight of their faculty hires or gave in to “patriotic education.”)

    This is difficult when one is under attack, as the natural reaction is to defend what currently exists. But the assault on the universities is about deeper issues than admissions policies or the role of elite institutions in American life. It is about the rule of law, freedom of speech, scientific research, and the very independence of the university—things that should be able to attract broad social and judicial support if schools do not retreat into ideology.

    Why it matters

    Ars Technica was founded by grad students and began with a “faculty model” drawn from universities: find subject matter experts and turn them loose to find interesting stories in their domains of expertise, with minimal oversight and no constant meetings.

    From Minnesota Bible colleges to the halls of Harvard, from philosophy majors to chemistry PhDs, from undergrads to post-docs, Ars has employed people from a wide range of schools and disciplines. We’ve been shaped by the university system, and we cover it regularly as a source of scientific research and computer science breakthroughs. While we differ in many ways, we recognize the value of a strong, independent, mission-focused university system that, despite current flaws, remains one of America’s storied achievements. And we hope that universities can collectively find the strength to defend themselves, just as we in the media must learn to do.

    The assault on universities and on the knowledge they produce has been disorienting in its swiftness, animus, and savagery. But universities are not starfish, flopping about helplessly on a beach while a cruel child slices off their arms one by one. They can do far more than hope to survive another day, regrowing missing limbs in some remote future. They have real power, here and now. But they need to move quickly, they need to move in solidarity, and they need to use the resources that they have, collectively, assembled.

    Because, if they aren’t going to use those resources when their very mission comes under assault, what was the point of gathering them in the first place?

    Here are a few of those resources.

    Money

    Cash is not always the most important force in human affairs, but it doesn’t hurt to have a pile of it when facing off against a feral US government. When the government threatened Harvard with multiyear cuts of $9 billion, for instance, it was certainly easier for the university to resist while sitting on a staggering $53 billion endowment. In 2024, the National Association of College and University Business Officers reported that higher ed institutions in the US collectively have over $800 billion in endowment money.

    It’s true that many endowment funds are donor-restricted and often invested in non-liquid assets, making them unavailable for immediate use or to bail out university programs whose funding has been cut. But it’s also true that $800 billion is a lot of money—it’s more than the individual GDP of all but two dozen countries.

    No trustee of this sort of legacy wants to squander an institution’s future by spending money recklessly, but what point is there in having a massive endowment if it requires your school to become some sort of state-approved adjunct?

    Besides, one might choose not to spend that money now only to find that it is soon requisitioned regardless. People in Trump’s orbit have talked for years about placing big new taxes on endowment revenue as a way of bringing universities to heel. Trump himself recently wrote on social media that Harvard “perhaps” should “lose its Tax Exempt Status and be Taxed as a Political Entity if it keeps pushing political, ideological, and terrorist inspired/supporting “Sickness?” Remember, Tax Exempt Status is totally contingent on acting in the PUBLIC INTEREST!”

    So spend wisely, but do spend. This is the kind of moment such resources were accumulated to weather.

    Students

    Fifteen million students are currently enrolled in higher education across the country. The total US population is 341 million people. That means students comprise over 4 percent of the total population; when you add in faculty and staff, higher education’s total share of the population is even greater.

    So what? Political science research over the last three decades looked at nonviolent protest movements and found that they need only 3.5 percent of the population to actively participate. Most movements that hit that threshold succeed, even in authoritarian states. Higher ed alone has those kinds of numbers.

    Students are not a monolith, of course, and many would not participate—nor should universities look at their students merely as potential protesters who might serve university interests. But students have been well-known for a willingness to protest, and one of the odd features of the current moment has been that so many students protested the Gaza/Israel conflict even though so few have protested the current government assault on the very schools where they have chosen to spend their time and money. It is hard to say whether both schools and their students are burned out from recent, bruising protests, or whether the will to resist remains.

    But if it does, the government assault on higher education could provoke an interesting realignment of forces: students, faculty, and administrators working together for once in resistance and protest, upending the normal dynamics of campus movements. And the numbers exist to make a real national difference if higher ed can rally its own full range of resources.

    Institutions

    Depending on how you count, the US has around 4,000 colleges and universities. The sheer number and diversity of these institutions is a strength—but only if they can do a better job working together on communications, lobbying, and legal defenses.

    Schools are being attacked individually, through targeted threats rather than broad laws targeting all higher education. And because schools are in many ways competitors rather than collaborators, it can be difficult to think in terms of sharing resources or speaking with one voice. But joint action will be essential, given that many smaller schools are already under economic pressure and will have a hard time resisting government demands, losing their nonprofit status, or finding their students blocked from the country or cut off from loan money.

    Plenty of trade associations and professional societies exist within the world of higher education, of course, but they are often dedicated to specific tasks and lack the public standing and authority to make powerful public statements.

    Faculty/alumni

    The old stereotype of the out-of-touch, tweed-wearing egghead, spending their life lecturing on the lesser plays of Ben Jonson, is itself out of touch. The modern university is stuffed with lawyers, data scientists, computer scientists, cryptographers, marketing researchers, writers, media professionals, and tech policy mavens. They are a serious asset, though universities sometimes leave faculty members to operate so autonomously that group action is difficult or, at least, institutionally unusual. At a time of crisis, that may need to change.

    Faculty are an incredible resource because of what they know, of course. Historians and political scientists can offer context and theory for understanding populist movements and authoritarian regimes. Those specializing in dialogue across difference, or in truth and reconciliation movements, or in peace and conflict studies, can offer larger visions for how even deep social conflicts might be transcended. Communications professors can help universities think more carefully about articulating what they do in the public marketplace of ideas. And when you are on the receiving end of vindictive and pretextual legal activity, it doesn’t hurt to have a law school stuffed with top legal minds.

    But faculty power extends beyond facts. Relationships with students, across many years, are a hallmark of the best faculty members. When generations of those students have spread out into government, law, and business, they make a formidable network.

    Universities that realize the need to fight back already know this. Ed Martin, the interim US Attorney for the District of Columbia, attacked Georgetown in February and asked if it had “eliminated all DEI from your school and its curriculum?” He ended his “clarification” letter by claiming that “no applicant for our fellows program, our summer internship, or employment in our office who is a student or affiliated with a law school or university that continues to teach and utilize DEI will be considered.”

    When Georgetown Dean Bill Treanor replied to Martin, he did not back down, noting Martin’s threat to “deny our students and graduates government employment opportunities until you, as Interim United States Attorney for the District of Columbia, approve of our curriculum.” (Martin himself had managed to omit the “interim” part of his title.) Such a threat would violate “the First Amendment’s protection of a university’s freedom to determine its own curriculum and how to deliver it.”

    There was no “negotiating” here, no attempt to placate a bully. Treanor barely addressed Martin’s questions. Instead, he politely but firmly noted that the inquiry itself was illegitimate, even under recent Supreme Court jurisprudent and Trump Department of Education policy. And he tied everything in his response to the university’s mission as a Jesuit school committed to “intellectual, ethical, and spiritual understanding.”

    The letter’s final paragraph, in which Treanor told Martin that he expected him to back down from his threats, opened with a discussion of Georgetown’s faculty.

    Georgetown Law has one of the preeminent faculties in the country, fostering groundbreaking scholarship, educating students in a wide variety of perspectives, and thriving on the robust exchange of ideas. Georgetown Law faculty have educated world leaders, members of Congress, and Justice Department officials, from diverse backgrounds and perspectives.

    Implicit in these remarks are two reminders:

    1. Georgetown is home to many top legal minds who aren’t about to be steamrolled by a January 6 defender whose actions in DC have already been so comically outrageous that Sen. Adam Schiff has placed a hold on his nomination to get the job permanently.
    2. Georgetown faculty have good relationships with many powerful people across the globe who are unlikely to sympathize with some legal hack trying to bully their alma mater.

    The letter serves as a good reminder: Resist with firmness and rely on your faculty. Incentivize their work, providing the time and resources to write more popular-level distillations of their research or to educate alumni groups about the threats campuses are facing. Get them into the media and onto lecture hall stages. Tap their expertise for internal working groups. Don’t give in to the caricatures but present a better vision of how faculty contribute to students, to research, and to society.

    Real estate

    Universities collectively possess a real estate portfolio of land and buildings—including lecture halls, stages, dining facilities, stadiums, and dormitories—that would make even a developer like Donald Trump salivate. It’s an incredible resource that is already well-used but might be put toward purposes that meet the moment even more clearly.

    Host more talks, not just on narrow specialty topics, but on the kinds of broad-based political debates that a healthy society needs. Make the universities essential places for debate, discussion, and civic organizing. Encourage more campus conferences in summer, with vastly reduced rates for groups that effectively aid civic engagement, depolarization, and dialogue across political differences. Provide the physical infrastructure for fruitful cross-party political encounters and anti-authoritarian organizing. Use campuses to house regional and national hubs that develop best practices in messaging, legal tactics, local outreach, and community service from students, faculty, and administrators.

    Universities do these things, of course; many are filled with “dialogue centers” and civic engagement offices. But many of these resources exist primarily for students; to survive and thrive, universities will need to rebuild broader social confidence. The other main criticism is that they can be siloed off from the other doings of the university. If “dialogue” is taken care of at the “dialogue center,” then other departments and administrative units may not need to worry about it. But with something as broad and important as “resistance,” the work cannot be confined to particular units.

    With so many different resources, from university presses to libraries to lecture halls, academia can do a better job at making its campuses useful both to students and to the surrounding community—so long as the universities know their own missions and make sure their actions align with them.

    Athletics

    During times of external stress, universities need to operate more than ever out of their core, mission-driven values. While educating the whole person, mentally and physically, is a worthy goal, it is not one that requires universities to submit to a Two Minutes Hate while simultaneously providing mass entertainment and betting material for the gambling-industrial complex.

    When up against a state that seeks “leverage” of every kind over the university sector, realize that academia itself controls some of the most popular sports competitions in America. That, too, is leverage, if one knows how to use it.

    Such leverage could, of course, be Trumpian in its own bluntness—no March Madness tournament, for instance, so long as thousands of researchers are losing their jobs and health care networks are decimated and the government is insisting on ideological control over hiring and department makeup. (That would certainly be interesting—though quite possibly counterproductive.)

    But universities might use their control of NCAA sporting events to better market themselves and their impact—and to highlight what’s really happening to them. Instead, we continue to get the worst kinds of anodyne spots during football and basketball games: frisbee on the quad, inspiring shots of domes and flags, a professor lecturing in front of a chalkboard.

    Be creative! But do something. Saying and doing nothing—letting the games go on without comment as the boot heel comes down on the whole sector, is a complete abdication of mission and responsibility.

    DOD and cyber research

    The Trump administration seems to believe that it has the only thing people want: grant funding. It seems not even to care if broader science funding in the US simply evaporates, if labs close down, or if the US loses its world-beating research edge.

    But even if “science” is currently expendable, the US government itself relies heavily on university researchers to produce innovations required by the Department of Defense and the intelligence community. Cryptography, cybersecurity tools, the AI that could power battlefield drone swarms—much of it is produced by universities under contract with the feds. And there’s no simple, short-term way for the government to replace this system.

    Even other countries believe that US universities do valuable cyber work for the federal government; China just accused the University of California and Virginia Tech of aiding in an alleged cyberattack by the NSA, for instance.

    That gives the larger universities—the one who often have these contracts—additional leverage. They should find a way to use it.

    Medical facilities

    Many of the larger universities run sprawling and sophisticated health networks that serve whole communities and regions; indeed, much of the $9 billion in federal money at issue in the Harvard case was going to Harvard’s medical system of labs and hospitals.

    If it seems unthinkable to you that the US government would treat the health of its own people as collateral damage in a war to become the Thought Police, remember that this is the same administration that has already tried to stop funds to the state of Maine—funds used to “feed children and disabled adults in schools and care settings across the state”—just because Maine allowed a couple of transgender kids to play on sports teams. What does the one have to do with the other? Nothing—except that the money provides leverage.

    But health systems are not simply weapons for the Trump administration to use by refusing or delaying contracts, grants, and reimbursements. Health systems can improve people’s lives in the most tangible of ways. And that means they ought to be shining examples of community support and backing, providing a perfect opportunity to highlight the many good things that universities do for society.

    Now, to the extent that these health care systems in the US have suffered from the general flaws of all US health care—lack of universal coverage leading to medical debt and the overuse of emergency rooms by the indigent, huge salaries commanded by doctors, etc.—the Trump war on these systems and on the universities behind them might provide a useful wake-up call from “business as usual.” Universities might use this time to double down on mission-driven values, using these incredible facilities even more to extend care, to lower barriers, and to promote truly public and community health. What better chance to show one’s city, region, and state the value of a university than massively boosting free and easy access to mental and physical health resources? Science research can be esoteric; saving someone’s body or mind is not.

    Conclusion

    This moment calls out for moral clarity and resolve. It asks universities to take their mission in society seriously and to resist being co-opted by government forces.

    But it asks something of all of us, too. University leaders will make their choices, but to stand strong, they need the assistance of students, faculty, and alumni. In an age of polarization, parts of society have grown skeptical about the value of higher education. Some of these people are your friends, family, and neighbors. Universities must continue to make changes as they seek to build knowledge and justice and community, but those of us no longer within their halls and quads also have a part to play in sharing a more nuanced story about the value of the university system, both to our own lives and to the country.

    If we don’t, our own degrees may be from institutions that have become almost unrecognizable.


  • Lost Records: Bloom and Rage review: punk rock never dies

    Lost Records: Bloom and Rage review: punk rock never dies


    Lost Records: Bloom and Rage

    MSRP $40.00

    DT Recommended Product

    “Lost Records: Bloom and Rage pays tribute to 90s angst and the riot grrrl rock in a deeply moving coming of age story.”

    Pros

    • Natural dialogue flow
    • Authentic camcorder hook
    • Killer soundtrack
    • Fantastic coming of age story

    Cons

    • Takes a bit to get going
    • Supernatural mystery falls flat

    When you grow up in a small town, punk rock isn’t just music: It’s a lifeline. Fuzzed out guitars blaring out of garages become the soundtrack of rebellion. It’s the music that the cops tell you to turn down, that your parents can’t stand, that your politicians try to demonize. It is loud. It is antagonistic. And in Lost Records: Bloom and Rage, it is freedom.

    Set against the backdrop of 90s angst, the latest game from the creators of Life is Strange pays its respects to a riot grrrl movement that saved a generation. The narrative adventure tells a coming of age story about four teenage girls struggling find themselves in the confines of a suffocating town. It’s a jail cell where greasy locals play the role of guards, and the wailing guitars of Bratmobile’s Love Thing are enough to inspire a prison break.

    You can’t lock us in here forever. The bars won’t hold us. We’ll chew through them. And then eat you alive.

    Lost Records: Bloom and Rage is a mature reinvention of the Life is Strange formula with an impressive dynamic range of emotions. It’s a slow burn, one that struggles to find the right balance between grounded realism and supernatural intrigue, but its heart thumps like a bass drum in the dead of night.

    The dream of the 90s

    Lost Records tells its mysterious story across two generations. In the present day, Swann returns to her hometown to reunite with a group of childhood friends that she hasn’t seen in decades. We begin to uncover why that is in a series of flashbacks to their days as rebellious kids in the 90s. In that story, Swann moves to town and connects with Nora, Kat, and Autumn. The quartet spend a formative summer bonding with one another over punk rock and transforming an abandoned shack into a safe hideaway from the dull town they can’t wait to break free from. It’s a sincere coming of age story about self discovery, queer identity, and learning what’s worth fighting back against. All of that happens in the shadow of a simmering supernatural mystery radiating from a glowing abyss in the woods.

    To tell that story, Don’t Nod employs the signature narrative hooks that defined Life is Strange. It’s a narrative filled with tough choices that lead to branching paths that shape where everything goes in both the past and present. There are several new tweaks to that formula, though, which go a long way. Choices, for instance, feel more natural here. They aren’t big, signposted moments that make it clear that players are facing a defining moment of the playthrough. I only realized how much my decisions had changed the story once I was finished and saw how many permutations of the story were possible. Lost Records feels more natural for it. Our lives and relationships are shaped just as much by the unassuming moments as they are the big choices.

    Lost Records creates plenty of quiet moments that make all the noise feel worthwhile.

    That idea is baked into the dialogue system, which isn’t just about choosing what to say next from a list of options. Don’t Nod encourages players to actually listen to the people they are talking to rather than focus solely on their responses. I’m often given a set of two or three dialogue options during conversations. If I’m impatient, I can choose one to butt into a conversation before my friends are done talking. But in some cases, a different dialogue option will pop up the longer I let the other person talk. That’s counterbalanced by the fact that I only get a short amount of time to say some respondes, otherwise my silence might be misinterpreted. That creates a great tension, as I need to balance being an active listener and saying what I really mean without hesitation. It better encapsulates the tricky nuances of communication, especially for a teenager trying to find her voice while not trying to embarrass herself in front of the cool girls.

    That natural touch is present in Lost Records’ best idea: its camcorder. Swann isn’t a musician like her friends, but rather a budding videographer who is always carrying a camera with her. While exploring between dialogue sequences, I can break out my camera and film everything from birds to scenic landscapes. It’s a clever stand-in for traditional collectibles that reinforce Swann’s desire to document the world around her.

    Recording a video in Lost Records: Bloom & Rage.
    Don’t Nod

    As someone who used to film on mini DV camcorders all the time as a kid, it’s a remarkably authentic recreation. My footage gets a grainy filter pulled straight from the era and I can use my DualSense’s gyroscope on PS5 to add natural handheld shake to it. The camera even continues filming for a half a second or so after I hit record, leading to shots that end in a quick pan down to my feet before the cut, just as so many of my real life shots used to.

    Small touches like that create a more tangible vision of the 90s rather than one that panders to hollow nostalgia. It wasn’t all just Furbys and Moon Shoes. It was a time defined by angst, leading to a counter-culture revolution that birthed fierce bands like Sleater-Kinney. I can feel the unrest of the era as songs by riot grrrl legends like Babes in Toyland soundtrack Swann’s development. That punk spirit is balanced out by moments of peace and tenderness, as I spend summer lounging in the woods with my friends. The evocative visuals so effectively capture the warmth that I can practically hear the mosquitos buzzing in my ears and feel the sun on my skin. Rebellion is motivated by the belief that the world can be better; Lost Records creates plenty of quiet moments that make all the noise feel worthwhile.

    Growth through rebellion

    Those gameplay systems create a backbone for Lost Records’ fantastic story, though it’s one that requires a lot of patience and trust. The narrative is split into two “tapes,” dubbed Bloom and Rage respectively. That episodic split is a bit misleading, as it creates the sense that the story is going to be filled with cliffhangers and twists like Life is Strange before it. That’s not the case, and it makes the first half hard to totally grapple with initially. In actuality, Lost Records is a slow-burn coming of age story that’s just as comfortable watching its cast lounge in the woods as it is teasing out a supernatural mystery.

    The two parts should be taken less as TV episodes and more as one complete arc divided by a key emotional turn. The nuance is in the naming. Bloom is a fitting title for Tape 1 as it’s largely focused on the girls growing alongside one another. Swann begins the chapter as a shy kid who struggles with body image issues, but she slowly starts to find herself through days spent documenting her friends’ messy garage jams. Player choice helps make that feel more authentic. In my playthrough, I wanted to start a romance with Nora, but I was intimidated. Nora is the definition of 90s cool, a spitting image of Kathleen Hanna. I felt too shy to pursue obvious flirts initially. It took time for me to test the waters through the story, eventually gaining the confidence to make a move after lots of careful prodding. The moment where it all came together didn’t feel mechanical, achieved through an optimized dialogue path; it felt like Swann landed exactly where she belonged on her terms.

    Tragedy does not invalidate all the love and joy we experience.

    Just as important as the girls’ relationships to one another is their relationship to rebellion. In Bloom, it’s an act of play. A garage becomes a secret base where they can shout their lungs out in peace. Their hideout in the woods almost feels like an imaginary place. Punk rock is a dress up game. The more they embrace the riot grrrl ethos, the more they accept that it’s not something they have to keep a secret. It all culminates in Bloom’s climax, a pop-up punk show meant to cause a visible disruption in their small town.

    Then comes Rage.

    Reality sets in as Tape 2 begins, taking the story in an unexpected, sobering direction. It’s easy to rage against the machine by shredding, but a revelation about a character’s health puts the girls in a fight that they can’t win as easily. Their frustration begins to boil over as they scream at a monster with no ears. The innocence and joy of the first half gives way to vandalism and arson as the quartet tries to push back against the forces of life and death in any way they can. It’s a powerful expression of raw anger, which makes it all the more disruptive when the story detours into a supernatural, neon-soaked climax that needlessly teases a sequel. Those otherworldly elements are more effective when they’re used as backburner metaphors for the girls’ angst, which deepens like a never ending abyss.

    It’s only once we emerge from Tape 2’s big revelation that Lost Records really pays off its slow build. That’s when the girls, now fully formed adults who have gone their separate ways, can reflect on what that period in their life really meant to them. It wasn’t just the moments of bliss that were formative, but the anger and sorrow too. Tragedy does not invalidate all the love and joy we experience; it sharpens those feelings and makes the people who help us get through it all the more precious.

    First person gameplay in Lost Records: Bloom & Rage.
    Don’t Nod

    I think back to my own days as a punk rocker in a small town. Late in my high school years, I was a bassist for a band called Aguasaurus. What began as a bunch of unskilled musicians covering Creep to a crowd of our friends soon became an outlet for pushing our town out of its comfort zone. We showed up to an acoustic coffee house show with a fully electric setup and thrashed. We played a set at our town’s summer student music festival where we played the same song seven times. During one set, we simply got on stage, played a recording of a DMX song, and then left. We thought it was a rebellion against our boring classmates and teachers, but it was about pushing ourselves more than anything. It helped us understand our relationship with authority. We became bolder, more creative, less scared of confrontation. It was liberating, as if we were caged animals smashing through the bars. The few sets we played shaped me into who I am today, something I couldn’t fully understand at the time.

    Decades later, I attended a funeral for our guitarist. It was the most painful experience of my life and I still carry the scars from seeing his body lying in an open casket to this day. After the viewing, my childhood friends and I all got together to reminisce. We spent the rest of the evening telling stories about all the stuff we managed to get away with in high school. Aguasaurus inevitably came up and the surviving bandmates and I told tall tales of our messy practices and even messier live shows. For a brief moment, I was no longer focused on the fact that my friend had been tragically taken from us too soon. I was grateful that we got to share the stage together so many times and use our music as weapons. His off-tempo guitar riffs still echo through my body. There’s electricity in my blood. I carry the spirit of punk rock with me every day, just as I feel that Nora still must even after trading in her guitar for a subdued adult life.

    You can’t stamp out a rebellion once the sparks have been lit. It is a fire that will always burn within me, only glowing brighter to honor each fallen comrade. Punk rock never dies.

    Lost Records: Bloom and Rage was tested on PS5 Pro.







  • Panasonic S1R II review: An excellent hybrid camera that’s cheaper than rivals

    Panasonic S1R II review: An excellent hybrid camera that’s cheaper than rivals


    With the A1, Sony was the first to introduce a high-resolution hybrid camera that was equally adept at stills and video — but boy was it expensive. Nikon and Canon followed that template with the R5 II and Z8 models that offered similar capabilities for less money, but those were still well north of $4,000.

    Enter the S1R II. It’s Panasonic’s first camera that can not only shoot up to 8K video at the company’s usual high standards, but also capture 44-megapixel (MP) photos in rapid bursts. And unlike its rivals, the new model is available at a more reasonable $3,300 — half the price of Sony’s A1 II. At the same time, it’s a massive upgrade over the original S1R.

    The main catch is the lack of a high-speed stacked sensor found in the other models, which can cause some skewing in both images and video. As I discovered, though, that tradeoff is well worth it for the lower price and picture quality that matches its competition. All of that makes the S1R II Panasonic’s best camera yet and a very tempting option in the high-resolution mirrorless category.

    The S1R II is similar to other recent Panasonic models like the GH7 in terms of the design and control layout. It’s much lighter than the original S1R at 1.75 pounds compared to 2.24 pounds, so it’s less tiresome to carry around all day. As for handling, the massive grip has a ridge where your fingertips sit, making it nearly impossible to drop. The rubberized exterior is easy on the hands, though not quite as nice as the R5 II’s softer material.

    I’ve always liked Panasonic’s controls and in that regard the S1R II may be the company’s best model yet. Along with a joystick and dials on the top front, top back and rear, it has lockable mode and burst shooting dials on top. You also get a dedicated button for photos, video and slow and quick (S&Q) modes, each with separate settings. There’s a dedicated autofocus switch, video record buttons both on top and front, a tally light and multiple programmable buttons.

    The menu system is equally good, with logical color-coded menus and submenus. You can also rapidly find your most-used functions in the quick menu. All of that allowed me to shoot photos and video without fumbling for settings. You can also fully program buttons, dials and the quick menu to your own preferences.

    The Panasonic S1R II's versatile tilting and folding display
    Steve Dent for Engadget

    The rear display is great for content creators and photographers alike. It tilts up and down to allow for easy overhead or shoot-from-the hip photography and also swivels out to the side so vloggers can conveniently film themselves. It’s very sharp and bright enough to use on sunny days. The electronic viewfinder is also excellent with 5.76 million dots of resolution and 100 percent magnification, matching Canon’s R5 II and beating the Nikon Z8.

    Battery life isn’t a strong point, though, with 350 shots on a charge or just 280 when using the electronic viewfinder — far below the 640 shots allowed by the R5 II. It also only allows just over an hour of start-and-stop video shooting. However, Panasonic’s optional DMW-BG2 battery grip doubles endurance and also allows for battery hot-swapping.

    The S1R II supports both SDXC UHS II and much faster CFexpress Type B cards, while also supporting SSD capture via the USB-C port like the S5 IIX and GH7. The latter two storage methods enable shooting in high-bandwidth RAW and ProRes to maximize quality.

    Panasonic also included a full-sized HDMI port along with microphone and headphone jacks. For the best possible sound quality, the optional XLR2 accessory lets you capture four channels at up to 32-bit float quality to reduce the possibility of clipped audio. And finally, the S1R II is Panasonic’s first mirrorless model with a protective carbon fiber curtain that comes down to protect the sensor, just like recent Canon and Sony models.

    The Panasonic S1R II offers burst shooting speeds up to 40 fps in electronic shutter mode.
    Steve Dent for Engadget

    Although the original S1R could only manage an anemic 6 fps burst speeds, its successor can hit 40 RAW images per second in silent electronic mode, beating all its rivals — though shooting at that speed limits quality to 12-bit RAW. To get 14-bit quality, you need to use the mechanical shutter for burst shooting which tops out at 9 fps.

    However, the Panasonic S1R II doesn’t have a fast stacked sensor like rivals. The result is rolling shutter that can be a problem in some circumstances, like shooting race cars, propellers or golf swings. However, it does outperform many other non-stacked high-resolution cameras like Sony’s A7R V and Panasonic’s own S5 IIX in that area.

    Pre-burst capture is now available and starts when you half-press the shutter. That lets you save up to 1.5 seconds of photos you might have otherwise missed once you fully press the shutter button.

    With an overhauled phase-detect autofocus system and a new, faster processor, the S1R II features Panasonic’s fastest and smartest AF system yet. It can now lock onto a subject’s face and eyes quicker and follow their movements more smoothly, while also detecting and automatically switching between humans, animals, cars, motorcycles, bikes, trains and airplanes. I found it to be fast and generally reliable, but it’s still not quite up to Sony’s and Canon’s standards for speed and accuracy.

    Panasonic boosted in-body stabilization to 8 stops. That’s nearly on par with rivals, though Canon leads the way with 8.5 stops on the R5 II. Still, it lets you freeze action at shutter speeds as low as a quarter second in case you want to blur waterfalls or moving cars when shooting handheld.

    Photo quality is outstanding with detail as good as rivals, though understandably short of Sony’s 61-megapixel A7R V. Colors are as accurate as I’ve seen on any recent camera, matching or even beating Canon’s excellent R5 II. My pro photographer friends took a number of shots with the S1R II and found it slightly superior to their Sony A1, noting that they rarely needed to white balance in post.

    Thanks to the dual-ISO backside-illuminated sensor, low-light capability is excellent for a high-resolution camera, with noise well controlled up to ISO 12,800. Beyond that, grain becomes more problematic and shadows can take on a green cast. JPEG noise reduction does a good job retaining detail while suppressing noise, but gets overly aggressive above ISO 6,400.

    If 44MP isn’t enough, the S1R II offers a high-resolution mode that captures eight images with a slightly offset sensor position and composes them into a single 177 megapixel file (either RAW or JPEG). It can supposedly be used without a tripod, though I found I had to remain very still to get decent images when doing so.

    The S1R II is Panasonic’s best mirrorless camera yet for video, albeit with some caveats I’ll discuss soon. You can capture up to 8K 30p 10-bit video at a reasonably high 300 Mbps, close to what Sony’s far more expensive A1 can do. Better still, it supports oversampled 5.8K ProRes RAW video internally with no crop for maximum dynamic range, or 4K video at up to 120 fps. Finally, the S1R II is capable of “open gate” 3:2 capture of the full sensor at up to 6.4K (and 8K down the road via a firmware update), making it easy to shoot all types of formats at once, including vertical video for social media.

    The Panasonic S1R II is an excellent vlogging camera thanks to the innovative stabilization system.
    Steve Dent for Engadget

    Some of these resolutions, particularly the 5.9K 60 fps and 4K 120 fps modes come with a slight crop of about 1.1x and 1.04x, respectively. 4K 120 fps also uses pixel binning, which introduces a loss of resolution and other artifacts like rainbow-colored moire.

    That takes us to the main downside: rolling shutter. The S1R II is actually a bit better than the S5 II in that regard, with a total readout speed of about 1/40th of a second, or about 25 milliseconds at any of the full sensor readout resolutions (8K or 5.8K). That can result in wobble or skew if you whip the camera around or film fast-moving objects. However, it’s acceptable for regular handheld shooting.

    One complication is Panasonic’s dynamic range expansion (DRE) that boosts video dynamic range by a stop, mostly in an image’s highlights. Enabling that feature makes rolling shutter worse.

    Should you need to reduce rolling shutter, you can simply disable DRE without a big hit in quality. And shooting 4K at 60p minimizes rolling shutter so that it’s nearly on par with stacked sensor cameras, while still offering high-quality footage with just a slight crop.

    As for video quality, it’s razor sharp and color rendition is accurate and pleasing. Dynamic range is on the high end of cameras I’ve tested at close to 14 stops when shooting with Panasonic’s V-log, allowing excellent shadow and highlight recovery, especially in DRE mode. It’s still very good without DRE though, particularly if you’re not shooting in bright and sunny conditions.

    Video still from the Panasonic S1R II
    Frame grab from Panasonic S1R II 8K video
    Steve Dent for Engadget

    Video AF is also strong, keeping even quick-moving subjects in focus. Face, eye, animal and vehicle detection work well, though again, the system isn’t quite as reliable as what I saw on Sony and Canon’s latest models.

    The S1R II offers more stabilization options than its rivals, though. Optical stabilization provides good results for handheld video, while electronic stabilization (EIS) smooths things further . Cranking that up to the most aggressive high EIS setting provides gimbal-like smoothness but introduces a significant 1.5x crop.

    Along with those, Panasonic introduced something called “cropless” EIS. That setting takes advantage of unused areas of the sensor to correct corner distortion typical with wide angle lenses while also fixing skew. I found it worked very well to reduce rolling shutter even for quick pans and walking, which may help alleviate such concerns for some creators.

    So yes, rolling shutter wobble is worse on this camera than rivals like the R5 II. However, there are ways to work around it. If minimal skewing is a critical feature then don’t buy the S1R II, but it shouldn’t be an issue for most users, particularly at this price.

    The Panasonic S1R II is one of the nicest handling cameras out there.
    Steve Dent for Engadget

    The S1R II is Panasonic’s best hybrid mirrorless camera to date, offering a great balance of photography and video powers. It’s also the cheapest new camera in the high-resolution hybrid full-frame category, undercutting rivals like Canon’s R5 II and the Nikon Z8.

    The main downside is rolling shutter that primarily affects video. As I mentioned, though, it won’t pose a problem for many content creators and there are workarounds. Aside from that, it delivers outstanding photo and video quality while offering innovative features like cropless electronic stabilization.

    If you need even more resolution, Sony’s 61MP A7R V offers slightly better image quality. And if rolling shutter is really an issue then I’d recommend Canon’s R5 II (though that model does cost $1,000 more) or the Nikon Z8. Should you want to spend considerably less, the Canon R6 II or even Panasonic’s S5 II or S5 IIx are solid picks. For other hybrid shooters, though, Panasonic’s S1R II is a great choice.

    This article originally appeared on Engadget at https://www.engadget.com/cameras/panasonic-s1r-ii-review-an-excellent-hybrid-camera-thats-cheaper-than-rivals-163013065.html?src=rss


  • Bionic Bay Review: A speedrunners delight

    Bionic Bay Review: A speedrunners delight



    Let’s get this out of the way: Bionic Bay is going to be compared to Limbo and Inside. A lot. It’s inevitable. Psychoflow Studios, in collaboration with Mureena Oy, has delivered what feels like a sci-fi reimagining of Playdead’s moody 2010 classic. The visual storytelling, the shadowy menace, the precisely brutal puzzles — it’s all here, reassembled with a slick, biomechanical sheen.

    But don’t mistake Bionic Bay for a copycat. Beneath the familiar silhouette lies a wildly inventive and occasionally maddening precision platformer that plays like a love letter to physics. This isn’t just puzzle-solving; it’s gravity-bending, object-swapping, mid-air improvisation that can make you feel like a time-warping parkour demigod when it all clicks.

    Clocking in at around 8–10 hours (depending on how reckless or masochistic you are), it’s tightly paced — though not always evenly. I played on PlayStation 5, and somewhere in the middle of its surreal, flesh-and-metal dreamscape, I found myself wondering: How the hell are they going to top this?

    Welcome to the Otherworld

    Character floats midair in a chaotic mechanical environment glowing with orange light.


    Credit: Psychoflow Studios / Mureena Oy / Kepler Interactive

    Bionic Bay technically has a story, but don’t expect much of a narrative to latch onto. Most of it unfolds through cryptic text logs that pop up as you stumble across the corpses of long-dead scientists, scattered like breadcrumbs across this eerie, decaying world.

    From what my very smooth, very confused brain could piece together, you’re the unfortunate scientist who has survived an experiment gone sideways — catapulted into the guts of an ancient, hyper-advanced alien civilization. That’s…pretty much it. And honestly, that’s fine. The “plot” is more ambient than essential — it’s just vibes, bro. Really, it’s just an excuse to hurl yourself over chasms wider than your rent bill.

    Thankfully, you’re not doing it alone, or entirely as a human. Early on, the game zaps you with a genetic upgrade called “elasticity,” essentially turning your character from discount Gordon Freeman into a wall-bouncing, momentum-bending physics god.

    As you progress, Bionic Bay hands you a trio of reality-breaking tools that would make any physics professor sweat. First up: a transporter that lets you swap places with nearby objects. Then there’s the Chronolag, a pair of sunglasses that slows time in a tight radius around you. Finally, the gravitational backpack, a piece of high-tech wizardry that lets you rotate the direction of gravity with a flick of the right stick.

    Naturally, these gadgets come with caveats. The swap tool only works with objects currently on screen (no teleporting cheese here). The Chronolag is limited to a tense 30 seconds and cuts off the second you take damage or go full ragdoll. The gravity backpack allows for two midair uses — after that, you’re out of tricks and headed straight for a hard landing.

    But despite the limitations, or even because of them, each tool is essential to cracking Bionic Bay’s brutally tight puzzle platforming. And I mean tight. These puzzles don’t just flirt with precision; they demand pixel-perfect timing and surgical object placement. Especially in the later levels, success hinges on mastering momentum, nailing swaps mid-fall, and contorting through gaps designed to mock your sense of space and rhythm.

    Even with all the high-tech tools at your disposal, mastering your own movement is essential to solving Bionic Bay’s intricate puzzles. One of the most versatile mechanics is the dash, triggered with the Circle button. It sends your character hurtling forward in a curled, high-speed motion — part movement boost, part crouch — perfect for slipping through tight gaps or gaining momentum.

    The dash can also be chained with jumps for extended traversal. Combining it with the X button allows for long, arcing leaps that feel like controlled bursts of flight. In practice, it’s a rhythmic sequence: dash, jump, dash again. The Circle button also functions as a dive midair, letting you fine-tune your trajectory or squeeze through narrow environmental windows with just the right amount of force.

    A solution for everyone

    Underwater scene with a character being hoisted by a mechanical figure.


    Credit: Psychoflow Studios / Mureena Oy / Kepler Interactive

    The environments in Bionic Bay aren’t just backdrops — they’re fully interactive playgrounds where the rules are loose, and experimentation is everything. Most puzzles don’t lock you into a single solution; instead, they hand you a toolbox and let your grasp of the game’s intricate physics system guide the way. Getting from point A to point B is less about following a path and more about inventing one, usually while avoiding hazards like vaporizing lasers, insta-freeze traps, and an absurd number of explosive land mines.

    Take one scenario: I needed to reach a high cliff from ground level. One option was to roll a barrel into place, launch myself off it, swap positions mid-air, race over to climb the object, jump off it, and grab the ledge. Another route? Use the land mines — delicately timed detonation included — to catapult me skyward using the previously mentioned object as a shield. The game doesn’t just allow for creativity; it thrives on it, practically begging players to break it in the most stylish ways possible. It’s built for the kind of player who sees every mechanic as a potential exploit, and Bionic Bay rewards that mentality at every turn.

    Bionic Bay drips with atmosphere — equal parts decaying alien architecture and rusted industrial labyrinth. In one moment, you’re dwarfed by writhing, root-like structures lit by an amber glow that feels almost biblical in its intensity. In the next, you’re navigating a colossal tangle of mechanical guts like massive gears, broken scaffolding, and planet-sized orbs suspended in shafts of scorching light. It’s biomechanical horror meets cosmic wonder, with every frame soaked in grime, heat, and a strange, almost sacred silence. It’s haunting, oppressive, and stunningly beautiful all at once.

    Bionic Bay walks a fine line visually. Despite the protagonist being mostly a black silhouette, the environments are detailed enough that you never lose track of him, even in the most chaotic moments. And — maybe this dates me — but the contrast between the character and the background instantly brought Vector to mind, that sleek parkour side-scroller from the iOS glory days of 2012. It’s as if Psychoflow took that minimalist, kinetic style and mashed it together with moody pixel art, otherworldly concept design, and the eerie tone of Limbo.

    The result is something familiar yet fresh, a visual identity that feels both nostalgic and completely alien.

    Is Bionic Bay worth it?

    Red-lit hexagonal chamber with a glowing central orb and silhouetted figure observing it.


    Credit: Psychoflow Studios / Mureena Oy / Kepler Interactive

    Performance-wise, there’s not much to complain about. Bionic Bay runs smoothly on PS5, with just a single framerate dip cropping up late in the game. I’m curious to see how the online mode holds up, but since I was playing on a pre-release build, the multiplayer was a ghost town even after I unlocked it by finishing the main campaign.

    As for sound design, I was fully locked in. The soundtrack rarely takes center stage, but when it does, it hits — pulsing synths that creep in and swell at just the right moments, adding a heavy, unnerving layer to the game’s far-future horror vibe. It looks great, it sounds great, and while the single-player campaign does drag a bit in the middle, it’s a gorgeous slog. A stylish, ambient descent into mechanical madness that knows how to hold your attention, even when it’s testing your patience.

    Bionic Bay is absolutely worth your time, especially if you’re the kind of player who thrives on challenge, experimentation, and atmospheric immersion. It doesn’t reinvent the puzzle platformer but pushes the genre in a clever direction with its physics-driven mechanics and open-ended puzzle design. It’s a game that respects your intelligence and rewards your curiosity while looking like a fever dream built from scrap metal and alien roots.

    It’s not perfect — the pacing stumbles in the middle, and the story barely registers — but the overall experience is too striking to ignore. For fans of Limbo, Inside, or even old-school Vector, Bionic Bay is a beautifully harsh evolution of the genre. Just be prepared to die. A lot.

    For more Mashable game reviews, check out our OpenCritic page.


  • The 45 Best Shows on Max (aka HBO Max) Right Now (April 2025)

    The 45 Best Shows on Max (aka HBO Max) Right Now (April 2025)


    It may not have the shine it once did, but Max (previously HBO Max) is still home to some of the best TV shows of the past 25 years, from The Sopranos and The Wire to Game of Thrones and The Leftovers.

    Whether you’re a longtime fan of the “it’s not TV” cable network or a Max newbie trying to figure out where to start, the shows below should give you plenty upon which to feast your eyes.

    Looking for more recommendations? Head to WIRED’s guide to the best TV shows on Netflix, the best TV shows on Amazon Prime, the best TV shows on Disney+, and the best TV shows on Hulu.

    If you buy something using links in our stories, we may earn a commission. This helps support our journalism. Learn more.

    The Last of Us

    The Last of Us managed to succeed where Netflix’s Resident Evil (which was canceled after one season) and other live-action TV shows based on video games failed—by being really, really good. Craig Mazin (Chernobyl) and the video game’s original director, Neil Druckmann, cocreated the postapocalyptic drama, in which one grizzled survivor (Pedro Pascal) is tasked with smuggling a smart-mouthed teenager (Bella Ramsey) who could be the key to finding a cure for the fungal infection-fueled pandemic that has turned most of America into zombie-like creatures. Props to everyone for generating so much interest in the (very real and parasitic) Cordyceps fungus—because fungi nerds like TV too. After a near two-year wait, the show’s second season kicked off on April 13. It’s now five years after the events of the first season and Joel (Pascal) and Ellie (Ramsey) have seemingly found a permanent community, despite discord in their own relationship—and zombies that are getting smarter.

    Hacks

    Jean Smart has always been a legend, so it’s only appropriate that she plays a legend in Hacks. The Max series debuted in 2021—not long after the streaming platform itself dropped—and became one of its first major hits. Four seasons in, the show follows the evolution of the relationship between world-renowned Las Vegas entertainer Deborah Vance (Smart) and Ava Daniels (Hannah Einbinder, daughter of SNL legend Laraine Newman), a cynical young writer who is on the outs with Hollywood following a bad-take tweet that went viral. What begins as a reluctant “mentorship” slowly transforms into a loving and respectful friendship in which both women realize they have something to learn from the other. The show has won a slew of awards, including nine Emmys (three of them for Smart), with Season 4 having just arrived on April 10.

    The Rehearsal

    Good luck trying to explain what The Rehearsal is to anyone who isn’t familiar with Nathan Fielder’s mastery of uncomfortable comedy. What begins as a series in which the awkward star/comedian attempts to help people prepare for big moments in life by rehearsing them until they get it right quickly turns into a bizarre social experiment in which Fielder himself becomes one of the key players. The less you know about it ahead of time, the better. Just be aware that you’ll be encountering people who responded to a Craigslist ad to take part in season 1, and that the second season—which premieres on April 20—sees Fielder stepping in to create a wild role-playing environment to improve communication between pilots, with the hope of preventing plane crashes. For more of Fielder’s weird brilliance, all four seasons of Nathan for You—another kind of meta-comedy that will force you to repeatedly cover your eyes in vicarious embarrassment—are also streaming on Max.

    When No One Sees Us

    Max’s first Spanish-produced series, adapted from Sergio Sarria’s novel of the same name, is a smart, slow-burning crime drama. US Army special agent Magaly Castillo (Mariela Garriga) is sent to a base in Morón de la Frontera, Spain, to look into the strange disappearance of a soldier. Not far away, Civil Guard sergeant Lucía Gutiérrez (Maribel Verdú) is investigating a suicide that has ritualistic elements of harakiri. Eventually, their investigations begin to overlap, and the two work together—despite protocol and politics—to understand what is happening around them.

    Celtics City

    In 2024, the Boston Celtics did their city proud when they ended the team’s 16-year drought by nabbing the NBA Championship. It was a reminder to sports fans, and the world at large, why the winningest team in NBA history is also the most storied, going back more than 70 years. This nine-episode docuseries, executive produced by Bill Simmons, traces the history of the franchise and the challenges players have faced both on and off the court. Most specifically: How Boston’s reputation as a racist city has impacted the team, including a reluctance on the part of Black players to want to sign on with the Celts. While it’s a series made for sports fans, it’s just as much a historical docuseries that will resonate with the state of the world in 2025.

    The White Lotus

    While it was originally imagined as a one-off limited series from the brilliantly screwed-up mind (in a good way) of Mike White—who cocreated the sadly overlooked Enlightenment with Laura Dern, another HBO show you should check out—The White Lotus has since morphed into a full-on, five-star franchise that just wrapped up its wild third season. The series dives below the surface of the seemingly fabulous lives of deep-pocketed guests who can afford to stay at one of the ultra-luxe resorts of the title’s locations (first Hawaii, then Sicily, followed by Thailand), and the people who trip over themselves to serve their every need. Somewhere in between, murder always seems to end up on the menu. The newest season proved to be deliciously addictive, with Walton Goggins, Carrie Coon, Parker Posey, Patrick Schwarzenegger, Michelle Monaghan, Leslie Bibb, and Aimee Lou Wood among the delightfully dysfunctional guests—plus a surprise cameo from Sam Rockwell in a scene that won’t soon be forgotten. While fans of the series lamented the loss of Jennifer Coolidge as a recurring cast member, writer/actor Natasha Rothwell did her former would-be business partner proud (and Coolidge’s lying husband dirty) by reprising her role as Belinda Lindsey, the spa manager fans met (and rooted for) in Season 1. A fourth season has already been greenlit, but production won’t begin until 2026—meaning it could be 2027 before viewers see the next season of The White Lotus, wherever in the world the show goes.

    The Pitt

    First things first: Yes, The Pitt is a medical drama that reunites ER star Noah Wyle with executive producer John Wells. But that’s really where the similarities to that iconic NBC series end. Really, The Pitt has more in common with 24. Set in an underfunded hospital in Pittsburgh, the series plays out over 15 hours in real time as patients come and go (in some cases, shuffling off this mortal coil); medical students and interns learn the truth about their chosen profession; and seasoned doctors and hospital administrators butt heads over the nature of the US health care system. It’s an engaging watch that moves at a breakneck speed while offering a somber reality about medicine in a post-pandemic world. Season 1 was a near-perfect season of television, and a second season—which will follow the same real-time format and take place over Fourth of July weekend—is already in production, with a planned January 2026 premiere.

    The Righteous Gemstones

    The Righteous Gemstones is Danny McBride’s latest effort to put forth a group of highly unlikeable people and find a way to make you like them even less but still want to keep watching. In this case, it’s a family of televangelists whose real god is greed and power. McBride assembled an all-star cast that includes John Goodman as the family’s patriarch, Adam DeVine and Edi Patterson as his fellow Gemstone children, and national treasure Walton Goggins as Uncle Baby Billy Freeman—a child-star-turned-grifter who has given the series some of its most memorable quotes and moments. (Can you say Baby Billy’s Bible Bonkers?) The series’ fourth and final season, which added Megan Mullally and Seann William Scott to the mix, is airing now. The series finale will air on May 4.

    Somebody Somewhere

    Sam (the amazing Bridget Everett) is a forty-something woman who has lost her way. After returning to her hometown of Manhattan, Kansas, to care for her dying sister, she is left broken and floundering following her sister’s death. Unsure of who she is, what she is doing, or where she fits in, she slowly starts to find her place thanks to Joel (Jeff Hiller), a coworker and former classmate. With his friendship and support, and reconnecting with her love of singing, Sam starts to learn that we don’t need to have the answers to know when something feels “right.” The Peabody Award–winning series, which just concluded its third and final season, is one of the best things to happen to TV audiences in a long time—and a reminder that “acceptance” is in the mind of the beholder.

    Dune: Prophecy

    Max is going all in on Frank Herbert’s Dune. In addition to Denis Villeneuve’s two recent Dune movies—which are both streaming here—there’s now Dune: Prophecy. Based on Brian Herbert (son of Frank) and Kevin J. Anderson’s prequel trilogy novels, the series is set 10,000 years before the events witnessed in the Dune films. In this world, it’s the women who rule as two sisters (Emily Watson and Olivia Williams) work to establish the secretive Bene Gesserit sisterhood, who have developed the power to ensure that all future members will be built to stand as powerful leaders. Comparisons to The Handmaid’s Tale are inevitable. There’s more to come: The series was renewed for a second season just days before its season 1 finale.

    Like Water for Chocolate

    Foodies and romance lovers alike will enjoy this latest adaptation of Laura Esquivel’s seminal 1989 novel. Set during the Mexican Revolution, it tells the story of Tita de la Garza (Azul Guaita) and Pedro Múzquiz (Andres Baida)—a young couple in love. Tita’s cruel mother, Mamá Elena (Irene Azuela), insists that her daughter will take care of her until her death, and thus refuses to consent when Pedro asks for Tita’s hand. Instead, he ends up marrying Tita’s sister Gertrudis (Andrea Chaparro) in an attempt to remain a part of Tita’s life, which only makes life more agonizing. Tita’s love does not exactly go unrequited: She expresses it in the food she cooks, which is felt by everyone who tastes it. (This is much less silly than it sounds.) A second, and final, season is currently in production.

    The Sex Lives of College Girls

    Mindy Kaling cocreated this Max series, which puts a new spin on the teenage sex comedy—one in which the women are fully in charge. Nerdy Kimberly (Pauline Chalamet, yes, Timothée’s sister), aspiring professional funny person Bela (Amrit Kaur), snotty Upper East Sider Leighton (Reneé Rapp), and soccer star/senator’s daughter Whitney (Alyah Chanelle Scott) are four college freshmen randomly thrown together as suitemates. But as they get to know each other, and themselves, their forced cohabitation develops into a true bond—one in which there’s no such thing as TMI and a “naked party” is just one way to unwind after a long week. Season 3—which saw Rapp depart the series and new roomie Kacey (Gracie Lawrence) take over her space in the quad—wrapped in January. On March 18, it was announced that the series has been canceled.

    The Franchise

    Armando Iannucci has never met a world he didn’t want to skewer (see: In the Thick of It, Veep, Avenue 5). In the case of The Franchise, which Iannucci co-created with Sam Mendes and Jon Brown, it’s the ridiculousness of superhero movies—and, more specifically, superhero cinematic universes—that is ripe for mockery. Daniel Kumar (Himesh Patel) is the first assistant director on an upcoming movie, Tecto: Eye of the Storm, that’s being made in the shadow of one of its franchise’s team-up movies, Centurios 2, so getting short shrift. Though his name will be buried in the credits, Kumar—who might have the production’s most thankless job—is determined to make a movie that rises above its material. And budget. And actors. And crew. Think of it as a satirical potshot at the MCU. Sadly, one season is all we’re going to get of Iannucci’s latest; HBO canceled the series in early January.

    It’s Florida, Man

    “What you’re about to see may be dangerous, petty, misguided, and most definitely stupid,” warns the voiceover in the trailer. “But it’s also all true. Sort of.” Danny McBride strikes again (as one of the executive producers) on this new late-night series that brings the unbelievable, infamous “Florida Man” headlines to life. Each episode recreates these Floridians’ stories with an A-list lineup of comedic actors, including Anna Faris, Jake Johnson, Randall Park, Juliette Lewis, Sam Richardson, and Ego Nwodim. Get ready for feral bunnies, mermaids being harassed by witches, and so much more. Max has already given the green light to a second season, which is expected later this year.

    The Penguin

    While superhero/villain TV shows typically tend to be the domain of Disney+, The Penguin is different—in so many ways. Spun off from Matt Reeves’ The Batman (2022) and based on the characters famously created by Bill Finger and Bob Kane, The Penguin takes a very prestige TV approach to its comic book origins. Which is likely partly why you’ve heard so many comparisons between The Penguin and The Sopranos—a likening that is somewhat overblown. (Though Colin Farrell’s Oswald “Oz” Cobb does bear a passing resemblance to James Gandolfini’s legendary mob boss.) Still, The Penguin is its own beast; it’s an origin story that documents Oz’s violent rise to power following the death of Gotham crime boss Carmine Falcone. While Farrell’s Penguin was one of the most compelling parts of Reeves’ The Batman, here it’s Cristin Milioti—who manages to be utterly charming despite playing a brutal psychopath—who steals the show as Carmen’s daughter Sofia Falcone, a mastermind battling Oz for control of Gotham’s underworld. While conversations are reportedly being had, there’s no word yet on whether a second season will be coming. (Reeves has stated that The Batman 2 is their current priority.)

    Chimp Crazy

    “You can’t tame wild things.” That’s Alan Cumming’s very simple summation of why it’s not a great idea to have a 250-pound chimp living in your home as if it were another family member. Chimp Crazy takes that notion to the extreme. Ostensibly, the four-part docuseries—which comes to Max from the same people who brought us Tiger King—is about the lengths to which Tonia Haddix, a tanning-salon-loving exotic animal broker, will go to ensure she cannot be separated from her beloved chimp Tonka (despite what PETA believes is best for the primate). Ultimately, however, it’s an examination of the “chimp mom” community and the disturbing reality of what can happen when a human being puts their own needs above those of these highly intelligent primates, who need more than living in the suburbs can afford them.

    City of God: The Fight Rages On

    In City of God (2002), Fernando Meirelles’ Oscar-nominated feature, Wilson “Rocket” Rodrigues (Alexandre Rodrigues) is an aspiring photojournalist who uses his art to help make sense of—and bring attention to—the dangers of the favelas of Rio de Janeiro. In this new sequel series, it’s a full two decades after the events of the original film. Rocket has achieved his dream of becoming a successful photojournalist, but the dangers that residents of the favela face on a daily basis are still present. So he uses his camera once again to capture the corruption that happens when the drug trade, police, and militia collide.

    Industry

    You may not have had an “investment banking drama” on your bingo card as your next obsessive binge-watch, but Industry has got a lot more to offer than financial jargon. The British-American series is set in and around Pierpoint & Co., one of London’s most prestigious investment banks and the place that any up-and-comer wants to land a job at. The problem is, Pierpont is picky—and has a very limited number of full-time positions up for grabs. So what you get instead is an inside peek at a cutthroat industry coupled with an ensemble dramedy about the lives of the young professionals competing to make it to the top. Game of Thrones star Kit Harington joined the show—which many have deemed “the new Succession”—for its third season (with a fourth season already confirmed).

    House of the Dragon

    While it would be silly to think any series could replicate the cultural behemoth that was Game of Thrones, House of the Dragon does a pretty admirable job (even if George R.R. Martin doesn’t necessarily agree with all of the creative choices that make it different from the book). Especially if you wished its predecessor had more dragon action. This prequel series, which is set approximately 200 years before Game of Thrones, is all about discord within House Targaryen and the beginning of the end of that ruling family’s dynasty. Just like GoT, there’s enough sex, violence, backstabbing, family dysfunction, and dragons to fill that void—and even the occasional darkly lit scene to get audiences all riled up.

    The Sopranos

    It has been more than 25 years since audiences were introduced to Tony Soprano and his family—both the blood kind and the other kind. Whether you’ve never seen the series that still tops many people’s lists as the greatest television show ever created, or it’s just been a while, it’s time to give it a rewatch. By now the basic premise is well known: Tony Soprano (James Gandolfini) is a New Jersey mob boss who struggles with depression and panic attacks. So he starts seeing a psychiatrist (Lorraine Bracco), which is a no-no in Tony’s line of work. Over the next six seasons, audiences are invited to experience the life of a mob boss—both the violent side and the mundanities it can bring. A quarter-century later, the series still holds up. For an extra dose of Sopranos content, be sure to check out the 2021 prequel movie, The Many Saints of Newark, or Alex Gibney’s two-part docuseries, Wise Guy: David Chase and The Sopranos, both of which are streaming now.

    Ren Faire

    What would happen if Logan Roy were in charge of a Renaissance fair? It might look a lot like Ren Faire. This surprisingly engaging three-part docuseries follows the drama that ensues when George Coulam, founder of the Texas Renaissance Festival (America’s largest Renaissance fair) announces his retirement. While it would seem that the festival’s general manager would be first in line to take over, a kettle corn kingpin and former elephant trainer rise up to challenge that notion of succession. Who knew the Ren faire business was so cutthroat?

    Fantasmas

    Calling all Los Espookys fans: Julio Torres has a new series. And yes, it’s just as absurd and silly and funny as its horror-comedy predecessor. In this case, Torres plays a fictionalized version of himself who ends up wandering New York City looking for a lost earring. Along the way, he encounters all sorts of bizarre characters, with guest appearances from the likes of Steve Buscemi, Emma Stone, Ziwe, Paul Dano, Bowen Yang, and Aidy Bryant.

    The Jinx

    The Jinx is as unnerving as it is fascinating. Director Andrew Jarecki’s first brush with the history of Robert Durst came in the form of All Good Things, the 2010 feature starring Ryan Gosling and Kirsten Dunst that fictionalized the life of Durst. But when Durst saw what Jarecki had done with that project, he requested they sit down for an interview, which spawned this true-crime docuseries that initially premiered in 2015—and eventually led to new charges being filed against Durst. We won’t give away too much, but suffice to say the words “killed them all, of course” will forever live in your mind. The Jinx Part Two picks up the story after Durst uttered that haunting phrase.

    The Sympathizer

    Viewers still lamenting the end of The Americans will find much to love about The Sympathizer, which was co-created by acclaimed filmmakers Park Chan-wook and Don McKellar. Based on Viet Thanh Nguyen’s Pulitzer Prize–winning novel, this limited series follows the exploits of the Captain (Hoa Xuande), a police captain in the Vietnamese capital then known as Saigon, who also happens to be a communist spy. Eventually, he makes his way to America, where he continues gathering intelligence for the Viet Cong. While it may not sound like the premise of a black comedy, that’s indeed what it is—especially whenever Robert Downey Jr. is around. The Iron Man star makes for a formidable villain who viewers love to hate in each one of the four characters he plays.

    Conan O’Brien Must Go

    Conan O’Brien is at his zaniest in this offshoot of his popular podcast, Conan O’Brien Needs a Friend. Whereas the popular audio series features O’Brien chatting with his fellow celebrities, this globe-trotting series sees the former late-night host surprising everyday people he has featured on said podcast. But it doubles as a kind of travel series, as he uses the time in these far-off places (including Norway, Thailand, Argentina, and Ireland) to immerse himself in the food, traditions, and culture of his chosen destinations. Season 2—which will see O’Brien visit New Zealand, Austria, and Spain over three episodes—will arrive in May, with a third season already confirmed.

    Jerrod Carmichael Reality Show

    One has to imagine that putting “Reality Show” in the title was somewhat tongue-in-cheek, as this docuseries—in which comedian Jerrod Carmichael claims he’s attempting to “self-Truman Show” himself—is much more intimate and authentic than that label would imply. Carmichael’s goal is to be as honest as he can be about his life and struggles while the cameras are rolling. And if one were to judge his success based on how uncomfortable some viewers might be bearing witness to it all, the show is an absolute triumph.

    Tokyo Vice

    In 1993, American journalist Jake Adelstein landed a job at the Tokyo-based Yomiuri Shimbun as the newspaper’s first non-Japanese staff writer—a position he held for a dozen years. Nearly 30 years later, in 2022, Max turned Adelstein’s life into a slick crime drama that sees the young journalist (played by Ansel Elgort) forge a deep connection with high-ranking members of the Tokyo Metropolitan Police Department, who allow him to get dangerously close to the violence and corruption that exist within the city. In June, Max announced that the show’s explosive second season (all of which you can stream right now) would be its last. But Tokyo Vice producers are still holding out hope that a third season will be greenlit elsewhere.

    True Detective: Night Country

    Did you take our advice and watch Deadloch and now you want more of that, but far darker and more creepy? We have just the solution: True Detective: Night Country. Truth be told, this anthology series has had a rough go. Following a wildly successful first season that crashed Max’s predecessor, HBO Go, and had everyone talking about how time is a flat circle, the series’ second and third installments failed to capture the same momentum. Night Country is a return to form, as evidenced by its 19 Emmy nominations (the most of any HBO series in 2024). It stars Jodie Foster, who just won her first Emmy for the role, and Kali Reis as a pair of investigators trying to uncover a conspiracy and solve a series of bizarre murders. Mysterious symbols are also involved. Yes, that’s pretty much the plot of every season of True Detective, but this season has corpsicles. As with all of those previous iterations, the less you know at the start, the better. Speaking of the less you know: A fifth season has been commissioned, with Night Country creator Issa López returning as showrunner. No details have been revealed in terms of the storyline, cast, or possible release date.

    Curb Your Enthusiasm

    “I really did the best under the circumstances of a person who hates people and yet had to be amongst them,” Larry David says in the trailer for the 12th—and final (yes, really)—season of Curb Your Enthusiasm. David—both the real-life comedian and the semi-fictionalized version of himself he plays on TV—has been dipping in and out of our lives for more than 20 years now. And he continually exceeded audience expectations with each new season of Curb. Even though he cocreated Seinfeld, one of the most game-changing TV series of all time, it’s Curb Your Enthusiasm to which he’ll always be more closely linked. Pretty good for a social assassin. Pretty, pretty good.

    Rap Sh!t

    Insecure impresario Issa Rae is the brains behind this laugh-out-loud comedy, which follows Mia Knight (KaMillion) and Shawna Clark (Aida Osman), two former high school friends and struggling rappers trying to make it on the Miami music scene. Ultimately, they decide to join forces to form a group, double their chances of success, and use social media as their launching pad—all with mixed results. As much as the series is about music, at its heart it’s really about the unending possibilities of youthdom and the beauty of women supporting women.

    The Gilded Age

    While it hasn’t made quite the splash that Downton Abbey did, Julian Fellowes’ latest period piece is just as decadent—and really came into its own with its second season. In this case, the drama moves stateside to document the struggle between New York City’s old-money aristocrats and the vulgar new-money types attempting to infiltrate their social circles. There’s also plenty of the Upstairs, Downstairs–type drama that Fellowes is known for, with the servants who cater to Manhattan’s elite playing a big part of the story too. Somewhere in the middle of it all is Marian Brook (Louisa Jacobson), a young woman attempting to navigate a world she only belongs to by proxy. Christine Baranski, Carrie Coon, and Cynthia Nixon lead a stellar cast.

    Starstruck

    Jessie (Rose Matafeo) is a twentysomething New Zealander attempting to make ends meet as a nanny in London. One New Year’s Eve, she has a drunken one-night stand, only to sober up and realize she just slept with Tom Kapoor (Nikesh Patel), a major movie star. But what was presumably a one-off encounter turns into much more over time in this charming romcom series, which is a little bit like Notting Hill—only drunker.

    Our Flag Means Death

    Rhys Darby and Taika Waititi do what Rhys Darby and Taika Waititi do best as two very different kinds of pirates who cross paths in the 1700s. Darby plays Stede Bonnet, a fictionalized version of a very real member of the landed gentry whose version of a midlife crisis sees him abandon his family and hit the high seas for a swashbuckling adventure. Waititi, meanwhile, plays the infamous Blackbeard, who learns of Bonnet and seeks him out. What begins as a kind of mentorship eventually becomes the gay pirate action-comedy series you never knew you needed.

    How to With John Wilson

    If Steven Wright and Nathan Fielder decided to create a YouTube channel of how-to tutorials on topics like putting up scaffolding and covering furniture in plastic, it might look a lot like How to With John Wilson. So it probably comes as no surprise that Fielder is an executive producer of the series, which follows Wilson as he attempts to uncover the secrets of such universal dilemmas as how to make small talk. Wilson’s surprising mix of earnestness and deadpan delivery make the series surprising, enlightening, and extremely strange.

    Project Greenlight: A New Generation

    In 2001, just three years after Good Will Hunting made them bona fide Oscar winners, Matt Damon and Ben Affleck launched Project Greenlight, a competition that gave aspiring filmmakers the chance to make a real, live movie—which begat Project Greenlight, a reality series that chronicled the ups and downs (mostly downs) of that experience. While the competition was better known for the TV series it spawned versus the movies that it produced, it’s now more than 20 years later. And, as new mentors Issa Rae, Kumail Nanjiani, and Gina Prince-Bythewood quickly realize, it’s all still a bit of a nightmare. Gray Matter, the movie that was created from the competition’s rebirth, is also streaming on Max, so you can judge for yourself whether things are different this time around.

    Last Call: When a Serial Killer Stalked Queer New York

    This four-part docuseries, based on Elon Green’s book Last Call: A True Story of Love, Lust and Murder in Queer New York, looks at the murders of several gay men in the early 1990s. Set against the backdrop of rising homophobia during the AIDS crisis, director Anthony Coronna’s doc talks to the family members of those killed and the LGBTQ+ community advocates who pushed law enforcement to investigate the deaths happening in their community.

    The Other Two

    Chasedreams (Case Walker) is a 13-year-old internet icon whose overnight rise to global stardom has become the sole focus of his mom (Molly Shannon). Chase’s older siblings, however, are having a much harder time finding success. Brother Cary (Drew Tarver) is an aspiring actor who can’t even land the part of “Man at Party Who Smells Fart,” while sister Brooke (Heléne Yorke) is just trying to figure out who and what she wants to be. All three seasons of the series, which was cocreated by former SNL head writers Chris Kelly and Sarah Schneider, are available to binge.

    Barry

    No one seemed particularly wowed when HBO announced that Bill Hader and Alec Berg were cocreating a series in which Hader would play a hitman with a conscience who attempts to go straight. But what might sound like a played-out trope has taken on new dimensions of humor, darkness, humanity, and plain old weirdness, with its recently concluded final season serving as a brilliant crescendo of all of that dark weirdness mixed in with a little time jump. Barry Berkman (Hader) is a traumatized marine whose newfound apathy toward the world and the very act of living makes him perfectly suited to work as a gun for hire. When a job takes him to Los Angeles, Barry stumbles upon an acting class led by Gene Cousineau (Henry Winkler, in what may be the role that finally supplants Fonzie as his most memorable), a failed but charismatic mentor. But transitioning back into the real world isn’t without consequences for Barry, who can spend an entire episode being hunted by a pint-sized martial arts master. All four seasons of the Emmy-winning series, each one better than the next, are available to stream in full.

    Love & Death

    Elizabeth Olsen seamlessly transitions from part-time superhero to cold-blooded seductress in this retelling of the story of Candy Montgomery—a churchgoing wife and mother who turns murderous after having an affair with a fellow parishioner (the always excellent Jesse Plemons). If the plot sounds familiar, that might be because it’s based on the true story of a murder that took place in Texas in 1980. Or perhaps it’s because Hulu got there first with its own limited series, Candy, starring Jessica Biel as the femme fatale.

    Succession

    Media empires run by dysfunctional families may rise and fall, but we’ll always have Succession. The Emmy-winning series concluded its four-season run in early 2023, but its legacy as one of the most surprising pieces of prestige TV will be felt for decades to come (especially after what happened at Shiv’s wedding … then “Connor’s Wedding,” not to mention on the balcony or in the hand-hold seen ’round the world). At a time when TV shows about rich people, real or imagined, are in ample supply, Succession manages to stand out by being as bitingly funny as it is painfully tragic. The jet-black family dramedy chronicles the Roy family and the people/cronies/tall men who orbit them, all of whom seem to be angling for control of Waystar Royco, the family-run global media conglomerate—whether by succession (get it?) or more hostile means. Think of it as King Lear meets Rupert Murdoch’s News Corp., only funny. (Unless you’re invited to play a game of Boar on the Floor.)

    A Black Lady Sketch Show

    In 2015, Robin Thede made television history when she was named head writer for The Nightly Show with Larry Wilmore—making her the first Black woman to hold the head writer position on a late-night talk show. Four years later, she revolutionized the TV landscape once again when she gathered up a group of her funniest friends—including Ashley Nicole Black, (future Abbott Elementary creator) Quinta Brunson, Gabrielle Dennis, and Skye Townsend—and created A Black Lady Sketch Show, the first sketch comedy written, produced, and starring Black women. The four-season series has brought such A-list names as Angela Bassett out as guest stars with its no-holds-barred humor, and the entire series is available to stream now.

    Rain Dogs

    Costello Jones (Daisy May Cooper) is an aspiring novelist and working-class mom who isn’t always successful at making ends meet for herself and her wise-beyond-her-years daughter, Iris (Fleur Tashjian). So Costello is regularly forced to call upon her violence-prone—but wealthy—gay best friend, Selby (Jack Farthing), to unstick them from whatever jams they’ve managed to get caught in. The series is billed as a black comedy, which it definitely is, although the moments between the levity are sometimes so dark and raw that even the frothiest bits carry weight. This darkly nuanced and sometimes surreal meditation on class, sex, dysfunction, and the varying definitions of “family” makes for a compulsively watchable series. Sadly, the BBC-HBO coproduction was canceled after one season, so the eight existing episodes are all you get.

    Abbott Elementary

    Abbott Elementary creator/star Quinta Brunson (A Black Lady Sketch Show) has garnered all sorts of accolades with this ABC series and even managed to create streaming deals with both Max and Hulu. The surprise hit follows the lives of a group of teachers who are working at one of the most woefully underfunded public schools in America while doing their best to inspire students. Yes, it all sounds very earnest—and it is—but it’s also the kind of funny we don’t see much of on network TV anymore. The series—which is currently airing its fourth season and has just scored a fifth season renewal—has racked up enough awards (Emmys, Critics Choice, Indie Spirit, and beyond) to fill a school trophy case.

    I May Destroy You

    Michaela Coel is a creative force of nature who delivered on what she promised with the title of this limited series, which she created, wrote, directed, and stars in. Arabella (Coel) is a Londoner living the millennial dream with a thriving writing career, thanks in part to her celebrity as a social media influencer. But Arabella’s Insta-perfect life begins to unravel when, after a night out with friends, she begins to recall—in fragments—being sexually assaulted. Eventually, the need to piece together exactly what happened to her, and who did it, consumes her completely and the past comes knocking at her door. In August, Coel announced she was working jointly with HBO and BBC on a new series, First Day on Earth, that will be equally personal.

    Avenue 5

    Bad timing may have led to the unfortunately early demise of Avenue 5, which had filming on its second season delayed, and delayed again, due to Covid-19. But the space-set comedy from the brilliant mind of Armando Iannucci, creator of Veep (another classic streaming on HBO Max), and its even swearier predecessor, The Thick of It, is well worth your time, if only to see what could happen when space travel inevitably goes wrong. Hugh Laurie stars as the “captain” of an interplanetary cruise ship, with Josh Gad playing the role of eccentric tech billionaire/huge baby Herman Judd, whose planned eight-week tour of the galaxy turns dire when a gravitational disaster steers the ship off course. The series gets more bonkers as it goes along, and poop plays a massive part in saving thousands of passengers and crew members. Consider yourselves warned—and feel free to laugh at the inanity of it all. Loudly.


  • 5 games I used to think were 10/10 masterpieces but was wrong about

    5 games I used to think were 10/10 masterpieces but was wrong about


    I’ve been playing video games since the age of two, with the yellow Beetle from Midtown Madness 2 being my first companion in the digital world. Now, 24 years later, I’ve racked up countless gaming experiences — some good, some bad, and some unforgettable. As a teen growing up during a time when gaming rapidly evolved, my benchmarks for a “perfect” game kept shifting. Sure, some of those games have aged like fine wine. But others? Not so much.

    There was a time when a hack-and-slash like Daemon Vector would’ve cracked my top ten, but today it’s barely relevant. Just like that, there were times I went gaga over certain games, calling them masterpieces and handing them a mental 10/10, G.O.A.T. badge without hesitation. But with age and experience, I’ve come to accept that some of those so-called “perfect” games… weren’t really that perfect.

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    5

    Cyberpunk 2077

    A brilliant foundation, but the house is missing rooms

    Cyberpunk 2077 scratched a very specific itch for me — one I hadn’t felt since the golden days of Deus Ex. The prologue alone had me raving to my non-gamer friends. It was that cool. The gameplay is slick, the traversal is fun, and the premise is flat-out bonkers in the best way. But after finishing Elden Ring — arguably a flawless open-world experience — it became impossible to ignore the cracks in Cyberpunk’s design.

    The side quests are insanely fleshed out, but the main story rings emotionally hollow and leaves very little impact. A great story is supposed to have an impact above all, and that’s what I believe Cyberpunk 2077’s central narrative feels like. Worse yet, the “life path” you choose, which defines V’s entire backstory, barely changes anything in the story outside a handful of dialogue options during quests.

    Why couldn’t I have remained a Corpo, playing double agent from within Arasaka? Why did Johnny’s takeover boil down to a binary choice at the very end instead of a steady emotional decline? For someone who stole Arasaka’s most prized tech, the lack of serious consequences throughout the campaign was baffling. The excellent expansion, Phantom Liberty, proves that Cyberpunk 2077 can tell a gripping, focused story, which only makes the base campaign feel more hollow in comparison.

    Cyberpunk 2077 is still an 8/10 for me, and I fully intend to start over the game in the near future. However, it’s just not the 10/10 banger I once believed it to be.

    Cyberpunk 2077

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    4

    Batman: Arkham Knight

    The definitive Batman experience buried beneath a Batmobile obsession

    I loved Batman: Arkham Knight as a teenager. The gritty visuals, the brutal combat, and the rain-drenched city — it was all so Gotham. The story was emotionally impactful, the ending beautiful, and it all came together to make Arkham Knight a solid 10/10 for me. In retrospect, however, I can’t shake off just how over-reliant the game is on the Batmobile, so much so that they left a bad taste in my mouth upon a revisit.

    I spent a major chunk of the game maneuvering the Batmobile, and throughout those moments, I was a mech on wheels, not the world’s greatest detective or the terrifying shadow who stalked evil. When the Batmobile is practically shoehorned into puzzles, combat, boss fights, and stealth segments, it becomes less of a cool tool and more of an overbearing requirement.

    Worse, the true ending is locked behind Riddler trophies that made online guides almost required reading. It’s like buying a box set and being told the finale is in a separate box you don’t have. Today, Arkham Knight is still a solid, highly recommended game for me, but definitely not the flawless superhero sim I used to champion. That mantle has been taken by 2018’s Marvel’s Spider-Man.

    Batman: Arkham Knight

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    3

    Assassin’s Creed IV: Black Flag

    Gorgeous but structurally dated

    Assassin’s Creed IV: Black Flag was the first game ever that made me go “holy cow, this is next-gen.” I played it on my brand-new GTX 760 back in 2013, and it was breathtaking. Naval combat finally clicked for me, despite having paid no mind to it in AC III. In Edward, I once again had a handsome, roguish, and charming protagonist after Ezio, and he became my third-favorite protagonist in the entire Assassin’s Creed series, behind Altaïr and Ezio.

    But on a recent revisit, I couldn’t ignore just how much the game leans on repetitive tailing and eavesdropping missions. The world hinted at the open-world RPGs Ubisoft would eventually lean into, but back when it felt expansive yet digestible. I still want that rumored remake — I’d play it day one — but in hindsight, the repetition and lack of real mission variety bring it down from masterpiece territory. My nostalgic glasses may be strong, but they don’t make me blind.

    Assassin’s Creed IV: Black Flag

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    2

    Forza Horizon 4

    A love letter that forgets to include the reader

    After having played Driveclub on my base PS4, and then mourning the shutdown of its studio, Forza Horizon 4 was the game that reignited my love of racing. My friend and I spent weeks on it, skipping weeks’ worth of lectures to get that H badge. It was everything I wanted—visually stunning, lightning-fast, and packed with content.

    But recently, while introducing my partner to gaming, I noticed how punishing the game can be for newcomers, not to the Horizon series, but to racing in general. The narrow roads in Edinburgh? Brutal. Watching her bounce off walls more than asphalt was heartbreaking. I myself had taken a while to master the game, but the fun factor gets buried when your first impression is so discouraging. Worse still, the beautiful map feels small and likely sacrificed in favor of showcasing seasonal shifts. But not being able to manually change seasons? That was a buzzkill. We started in winter, and it was so cold and unforgiving that I had to literally change my PC’s system date just so she could experience spring evenings in Edinburgh.

    I still love Forza Horizon 4, but it’s not quite the masterpiece I once made it out to be.

    Forza Horizon 4 is now delisted from all online storefronts.

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    Micro Machines in real life.

    1

    The Last of Us Part II

    An emotionally complex narrative that stumbles in its delivery

    At one point, I believed The Last of Us Part II was the boldest and most powerful narrative ever delivered in a video game. And in many ways, I still admire its raw ambition. It subverted expectations, shattered comfort zones, and forced me to confront the uncomfortable. But on replay — and with the benefit of hindsight — the cracks in its pacing and structure began to show. The early game’s jarring time jumps and tonal imbalance between the prologue and Act 1 feels unrefined, almost unsure of themselves. And then, just as the story regains momentum, it slams the brakes and resets halfway through.

    Yes, the structure serves a purpose — to humanize, challenge bias, make you lose your sense of self, and question the act of revenge. But a day-by-day switching narrative could’ve preserved that emotional duality without draining the impact. The problem isn’t the story it tells — it’s how it tells it. The shifts in gameplay and tone can feel like a grind, with emotional peaks dulled by repetition and uneven pacing. And in a game so dependent on narrative to drive home its weight, that’s a real problem.

    A lot of moments while playing The Last of Us Part II reminded me of the problems I had with seasons seven and eight of Game of Thrones, where everybody and their dog were practically teleporting all across the country, while the first game was all about taking almost a whole year to go across the country. Make no mistake, The Last of Us Part II is still one of the boldest AAA games ever made. But perfect? I used to think so. Now, I think it’s a beautifully flawed experience that aims for greatness and lands just short.

    The Last of Us Part II

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    Growing up means looking back

    It’s strange, really. We often think of the games we loved as timeless, untouchable classics — as if our memories of them somehow froze their perfection in place. But just as we grow, so do our expectations. And sometimes, with a bit of distance and a new perspective, we see the cracks in what once felt like masterpieces.

    That’s not to say these games are bad — far from it. I still cherish each of them for what they gave me at the moment. The rush, the wonder, the hours lost to obsession. But a 10/10 game? That’s a rare thing. And the older I get, the more I realize it’s okay to admit that some of my former “perfect” games weren’t really perfect after all. They were just perfect for me at the time.