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Planning to upgrade your iPhone this week? Hold off because Apple’s iPhone 16 event is just days away, which means you can buy the newest iPhone or score last year’s model at a cheaper price. The Apple event takes place on Monday, Sept. 9 at 1PM EST (10AM PST) at the Steve Jobs Theater at Apple Park in Cupertino. You can stream Apple’s It’s Glowtime event live on Youtube (which we’ve embedded here for your convenience), as well as on Apple’s site.
As far as new products go, expect the usual September upgrades – a new iPhone 16 lineup alongside new Apple Watch models (Series 10 or Series “X,” and maybe an Ultra 3). New AirPods in both entry- and Pro-level models could also be showcased at the Apple event.
As for the iPhone 16 models, not much is expected to change from last year’s model, which Engadget’s Billy Steele called the “most substantial update to the regular iPhone in years.” Look for the iPhone 16, 16 Plus, 16 Pro and 16 Pro Max, with a slight increase in size and a new camera button on the latter two compared to the 2023 models, per most of the rumors.
For anyone not planning to buy any new Apple devices this year, you’ll still have access to the latest iOS 18 update, likely later in September, as long as your device is eligible. Here’s everything coming with the iOS 18 update this year, including Apple Intelligence and more home screen customization options.
Engadget will also be liveblogging the September 9 iPhone event from the ground in Cupertino with real-time news and analysis.This article originally appeared on Engadget at https://www.engadget.com/general/how-to-watch-the-new-iphone-16-unveiling-at-the-september-apple-event-113044570.html?src=rss

Planning to upgrade your iPhone this week? Hold off because Apple’s iPhone 16 event is just days away, which means you can buy the newest iPhone or score last year’s model at a cheaper price. The Apple event takes place on Monday, Sept. 9 at 1PM EST (10AM PST) at the Steve Jobs Theater at Apple Park in Cupertino. You can stream Apple’s It’s Glowtime event live on Youtube (which we’ve embedded here for your convenience), as well as on Apple’s site.

As far as new products go, expect the usual September upgrades – a new iPhone 16 lineup alongside new Apple Watch models (Series 10 or Series “X,” and maybe an Ultra 3). New AirPods in both entry- and Pro-level models could also be showcased at the Apple event.

As for the iPhone 16 models, not much is expected to change from last year’s model, which Engadget’s Billy Steele called the “most substantial update to the regular iPhone in years.” Look for the iPhone 16, 16 Plus, 16 Pro and 16 Pro Max, with a slight increase in size and a new camera button on the latter two compared to the 2023 models, per most of the rumors.

For anyone not planning to buy any new Apple devices this year, you’ll still have access to the latest iOS 18 update, likely later in September, as long as your device is eligible. Here’s everything coming with the iOS 18 update this year, including Apple Intelligence and more home screen customization options.

Engadget will also be liveblogging the September 9 iPhone event from the ground in Cupertino with real-time news and analysis.

This article originally appeared on Engadget at https://www.engadget.com/general/how-to-watch-the-new-iphone-16-unveiling-at-the-september-apple-event-113044570.html?src=rss

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No stranger to heady prices, Bang & Olufsen is taking its high-end design (and price multiplier) to headphones with the Beoplay H100. Following the $999 Beoplay H95, the H100 is over 50 percent more expensive, at $1,549.
In B&O tradition, the Beoplay H100 is made of premium materials, with lambskin leather pads and a scratch-resistant glass touch interface on the outside of the ear cups. The company says it was inspired by fine jewelry for the black, sand and apricot color options. B&O says it doubled the active noise cancellation (ANC) performance of the H95 for this set, with 10 microphones to help offer an improved transparency mode.
The company says the H95 has been its “most successful headphones to date,” but it didn’t specify whether that was units sold or sheer insane profit margins. Still, I want to try a pair.
— Mat Smith

The biggest stories you might have missed

Starlink is refusing to comply with Brazil’s X ban
Resident Evil mobile ports now require an online check-in before you can play
Disney cuts DirecTV customers’ access to ABC, ESPN and more

​​You can get these reports delivered daily direct to your inbox. Subscribe right here!

NYT Connections bot uses AI to highlight the top wrong answers
You’ll get a daily skill score.

The New York Times’ daily word game isn’t exactly easy. The solve rate dips below 50 percent some days, apparently, so why not rub it in? I mean, highlight the most common mistakes? After winning or losing each day’s game, you can saunter to the Connections Bot. As with the bot for Wordle, you’ll see how well you did compared with other players and receive a skill score out of 99. This is primarily based on how few mistakes you make.
Continue reading.

The UK government is looking into Ticketmaster’s dynamic pricing model
It’s after maddening prices for Oasis’ reunion tour.

The UK government will look into the company’s dynamic pricing model after millions of Oasis fans scrambled over the weekend for tickets to the band’s reunion tour . Once fans got through hours-long queues to make their purchase, some found the price of a standing ticket was suddenly 2.5 times more expensive — in one case, going up from £135 to £337.50 ($177 to $444). Ticketmaster often gives customers just seconds to decide whether to complete a purchase once tickets are in their cart, so they don’t have much time to determine whether such a hefty price increase is worth it. It was also a great time to resurface a vintage Liam Gallagher tweet from 2017, complaining about ticket prices to see his brother’s band, which was touring the US.
Continue reading.

Thank Goodness You’re Here is a vibrant, funny, unashamedly silly game
It’s a very northern English edition of TMA.
Coal Supper
It’s called a ‘slap-former.’
Continue reading.
This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-bang–olufsens-new-headphones-cost-over-1500-111432298.html?src=rss

No stranger to heady prices, Bang & Olufsen is taking its high-end design (and price multiplier) to headphones with the Beoplay H100. Following the $999 Beoplay H95, the H100 is over 50 percent more expensive, at $1,549.

In B&O tradition, the Beoplay H100 is made of premium materials, with lambskin leather pads and a scratch-resistant glass touch interface on the outside of the ear cups. The company says it was inspired by fine jewelry for the black, sand and apricot color options. B&O says it doubled the active noise cancellation (ANC) performance of the H95 for this set, with 10 microphones to help offer an improved transparency mode.

The company says the H95 has been its “most successful headphones to date,” but it didn’t specify whether that was units sold or sheer insane profit margins. Still, I want to try a pair.

— Mat Smith

The biggest stories you might have missed

Starlink is refusing to comply with Brazil’s X ban

Resident Evil mobile ports now require an online check-in before you can play

Disney cuts DirecTV customers’ access to ABC, ESPN and more

​​You can get these reports delivered daily direct to your inbox. Subscribe right here!

NYT Connections bot uses AI to highlight the top wrong answers

You’ll get a daily skill score.

The New York Times’ daily word game isn’t exactly easy. The solve rate dips below 50 percent some days, apparently, so why not rub it in? I mean, highlight the most common mistakes? After winning or losing each day’s game, you can saunter to the Connections Bot. As with the bot for Wordle, you’ll see how well you did compared with other players and receive a skill score out of 99. This is primarily based on how few mistakes you make.

Continue reading.

The UK government is looking into Ticketmaster’s dynamic pricing model

It’s after maddening prices for Oasis’ reunion tour.

The UK government will look into the company’s dynamic pricing model after millions of Oasis fans scrambled over the weekend for tickets to the band’s reunion tour . Once fans got through hours-long queues to make their purchase, some found the price of a standing ticket was suddenly 2.5 times more expensive — in one case, going up from £135 to £337.50 ($177 to $444). Ticketmaster often gives customers just seconds to decide whether to complete a purchase once tickets are in their cart, so they don’t have much time to determine whether such a hefty price increase is worth it. It was also a great time to resurface a vintage Liam Gallagher tweet from 2017, complaining about ticket prices to see his brother’s band, which was touring the US.

Continue reading.

Thank Goodness You’re Here is a vibrant, funny, unashamedly silly game

It’s a very northern English edition of TMA.

It’s called a ‘slap-former.’

Continue reading.

This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-bang–olufsens-new-headphones-cost-over-1500-111432298.html?src=rss

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Luxury audio brand Bang & Olufsen is know for its high-end design and equally exorbitant prices. Typically the company’s earbuds and headphones are more expensive than most competitors, but not astronomically so. That’s changed with the company’s flagship noise-cancelling headphones though. Following the $999 Beoplay H95, B&O has announced the Beoplay H100 that will cost you $1,549. The company says the H95 have been its “most successful headphones to date,” and the H100 has a number of improvements over that model. 
Like most B&O headphones, the Beoplay H100 is crafted with premium materials, from the lambskin leather ear pads to the use of aluminum and knitted cloth. There’s even a scratch-resistant glass touch interface on the outside of the ear cups. The company says it was inspired by fine jewelry for the black, sand and apricot color options, all of which combine the “solid sheen of aluminum, softness of leather, and cold-to-the-touch glass” for what B&O describes as “design excellence.” The inner headband and ear pad are both detachable, so you can replace them if they become overly worn or dirty. 
Inspired by the company’s Beolab 90 speaker, the Beoplay H100 packs in 40mm drivers with “sound clarity and dynamic performance that you normally only hear on high-end loudspeakers.” High-resolution audio is in the mix, with support for 96 kHz/24-bits tunes. Dolby Atmos is also in play, with head tracking available if you’re into that. B&O says its adaptive audio tech, which it calls EarSense, monitors the fit of the headphones and adjusts the sound profile in real time. 

Bang & Olufsen

B&O says it doubled the active noise cancellation (ANC) performance of the H95 for this set, employing 10 microphones that also provide what the company describes as its best transparency mode yet. What’s more, a dial on the outside of the ear cups rotates to find your preferred level of so-called TrueTransparency. There’s also a Quick Listen mode when you need to pay attention to your surroundings at second’s notice, but don’t necessarily want to leave transparency enabled. Of course, there are also lofty claims of crystal clear calls “even in very demanding situations,” but that’s the expected refrain from any headphone company. 
The company has been designing its speakers and other audio gear for longevity for a while now. B&O says its building products to they can be updated for years before becoming obsolete. It’s also making them easier for technicians to service, and all of this applies to the H100. That’s definitely something you need to harp on when you’re asking over $1,000 for a set of cans. Aside from the aesthetic upgrades users can complete themselves, the company says the design of the headphones enables quick access for service to batteries, glass surfaces, drivers and circuit boards. Software “won’t be surpassed by new technology,” the company explains, with key features like wireless high-resolution audio and three-device multipoint Bluetooth among the future updates.
Similar to AirPods Max, the Beoplay H100 enters a low-power mode when it’s outside of the carrying case but not being worn. The company says the headphones can remain in this state for up to 90 days, ready to be used as soon as you put them on. If you store them in the case though, the headphones will fully power off. The H100 will last up to 34 hours on a charge with ANC on, which is four hours less than the more affordable H95. 
The Beoplay H100 is available today from B&O stores and the company’s website. 

This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/bang-and-olufsen-debuts-beoplay-h100-headphones-that-cost-1549-070041891.html?src=rss

Luxury audio brand Bang & Olufsen is know for its high-end design and equally exorbitant prices. Typically the company’s earbuds and headphones are more expensive than most competitors, but not astronomically so. That’s changed with the company’s flagship noise-cancelling headphones though. Following the $999 Beoplay H95, B&O has announced the Beoplay H100 that will cost you $1,549. The company says the H95 have been its “most successful headphones to date,” and the H100 has a number of improvements over that model. 

Like most B&O headphones, the Beoplay H100 is crafted with premium materials, from the lambskin leather ear pads to the use of aluminum and knitted cloth. There’s even a scratch-resistant glass touch interface on the outside of the ear cups. The company says it was inspired by fine jewelry for the black, sand and apricot color options, all of which combine the “solid sheen of aluminum, softness of leather, and cold-to-the-touch glass” for what B&O describes as “design excellence.” The inner headband and ear pad are both detachable, so you can replace them if they become overly worn or dirty. 

Inspired by the company’s Beolab 90 speaker, the Beoplay H100 packs in 40mm drivers with “sound clarity and dynamic performance that you normally only hear on high-end loudspeakers.” High-resolution audio is in the mix, with support for 96 kHz/24-bits tunes. Dolby Atmos is also in play, with head tracking available if you’re into that. B&O says its adaptive audio tech, which it calls EarSense, monitors the fit of the headphones and adjusts the sound profile in real time. 

B&O says it doubled the active noise cancellation (ANC) performance of the H95 for this set, employing 10 microphones that also provide what the company describes as its best transparency mode yet. What’s more, a dial on the outside of the ear cups rotates to find your preferred level of so-called TrueTransparency. There’s also a Quick Listen mode when you need to pay attention to your surroundings at second’s notice, but don’t necessarily want to leave transparency enabled. Of course, there are also lofty claims of crystal clear calls “even in very demanding situations,” but that’s the expected refrain from any headphone company. 

The company has been designing its speakers and other audio gear for longevity for a while now. B&O says its building products to they can be updated for years before becoming obsolete. It’s also making them easier for technicians to service, and all of this applies to the H100. That’s definitely something you need to harp on when you’re asking over $1,000 for a set of cans. Aside from the aesthetic upgrades users can complete themselves, the company says the design of the headphones enables quick access for service to batteries, glass surfaces, drivers and circuit boards. Software “won’t be surpassed by new technology,” the company explains, with key features like wireless high-resolution audio and three-device multipoint Bluetooth among the future updates.

Similar to AirPods Max, the Beoplay H100 enters a low-power mode when it’s outside of the carrying case but not being worn. The company says the headphones can remain in this state for up to 90 days, ready to be used as soon as you put them on. If you store them in the case though, the headphones will fully power off. The H100 will last up to 34 hours on a charge with ANC on, which is four hours less than the more affordable H95. 

The Beoplay H100 is available today from B&O stores and the company’s website. 

This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/bang-and-olufsen-debuts-beoplay-h100-headphones-that-cost-1549-070041891.html?src=rss

Read More 

A federal judge has ruled that social media companies can’t be required to block certain types of content from teens. The ruling will prevent some aspects of a controversial social media law in Texas from going into effect.
The ruling came as the result of tech industry groups’ challenge to the Securing Children Online Through Parental Empowerment (SCOPE) Act, a Texas law that imposes age verification requirements and other policies for how social media companies treat teenage users. But, as The Verge points out, the measure also requires companies to “prevent the known minor’s exposure to harmful material,” including content that “glorifies” self-harm and substance abuse.
It’s that latter requirement that was struck down, with the judge saying that “a state cannot pick and choose which categories of protected speech it wishes to block teenagers from discussing online.” The judge also criticized the language used in the law, writing in his decision that terms like “glorifying” and “promoting” are “politically charged” and “undefined.”
At the same time, the judge left other aspects of the law, including age verification requirements and bans on targeted advertising to minors, in place. NetChoice, the tech industry group that challenged the law, has argued that measures like the Scope Act require major tech companies to increase the amount of data collected from minors.
The Texas law, originally passed last year, is one of many across the country attempting to change how social media platforms deal with underage users. New York recently passed two laws restricting social media companies’ ability to collect data on teenage users, and requiring parental consent for younger users to access “addictive” features like algorithmic feeds. California lawmakers also recently passed a measure, which has yet to be signed into law by the governor, that requires social media companies to limit notifications to minors and restrict them from “addictive” algorithms.This article originally appeared on Engadget at https://www.engadget.com/big-tech/social-media-companies-cant-be-forced-to-block-teens-from-seeing-harmful-content-judge-rules-221321184.html?src=rss

A federal judge has ruled that social media companies can’t be required to block certain types of content from teens. The ruling will prevent some aspects of a controversial social media law in Texas from going into effect.

The ruling came as the result of tech industry groups’ challenge to the Securing Children Online Through Parental Empowerment (SCOPE) Act, a Texas law that imposes age verification requirements and other policies for how social media companies treat teenage users. But, as The Verge points out, the measure also requires companies to “prevent the known minor’s exposure to harmful material,” including content that “glorifies” self-harm and substance abuse.

It’s that latter requirement that was struck down, with the judge saying that “a state cannot pick and choose which categories of protected speech it wishes to block teenagers from discussing online.” The judge also criticized the language used in the law, writing in his decision that terms like “glorifying” and “promoting” are “politically charged” and “undefined.”

At the same time, the judge left other aspects of the law, including age verification requirements and bans on targeted advertising to minors, in place. NetChoice, the tech industry group that challenged the law, has argued that measures like the Scope Act require major tech companies to increase the amount of data collected from minors.

The Texas law, originally passed last year, is one of many across the country attempting to change how social media platforms deal with underage users. New York recently passed two laws restricting social media companies’ ability to collect data on teenage users, and requiring parental consent for younger users to access “addictive” features like algorithmic feeds. California lawmakers also recently passed a measure, which has yet to be signed into law by the governor, that requires social media companies to limit notifications to minors and restrict them from “addictive” algorithms.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/social-media-companies-cant-be-forced-to-block-teens-from-seeing-harmful-content-judge-rules-221321184.html?src=rss

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It’s not only Taylor Swift fans and the US government who aren’t happy about Ticketmaster. The UK government is set to look into the company’s dynamic pricing model after millions of Oasis fans scrambled for tickets to the band’s reunion tour over the weekend.
Once fans got through hours-long queues to make their purchase, some found that the price of a standing ticket was suddenly 2.5 times more expensive — in one case, going up from £135 to £337.50 ($177 to $444). Ticketmaster often gives customers just seconds to decide whether to complete a purchase once tickets are in their cart, so they don’t have much time to determine whether such a hefty price increase is worth it.
Many fans didn’t manage to buy Oasis tickets before they sold out on Ticketmaster. So, if they really want to see Liam and Noel Gallagher on stage together for the first time in 16 years, they may have to resort to resale sites where some touts are trying to sell tickets for nearly $8,000 each.
The chaos and complaints about the dynamic pricing model caught the attention of Lisa Nandy, the UK’s culture secretary. Nandy said it was “depressing to see vastly inflated prices excluding ordinary fans from having a chance of enjoying their favorite band live,” according to The Guardian.
“This government is committed to putting fans back at the heart of music. So we will include issues around the transparency and use of dynamic pricing, including the technology around queueing systems which incentivise it, in our forthcoming consultation on consumer protections for ticket resales,” Nandy said. “Working with artists, industry and fans, we can create a fairer system that ends the scourge of touts, rip-off resales and ensures tickets at fair prices.”
Before the Labour Party won July’s general election, leader Sir Keir Starmer vowed to cap resale ticket prices for music and sports events. The government announced it would hold a consultation into the secondary-ticket market this fall and the issue of dynamic pricing will now be factored in.
Ticketmaster doesn’t set prices itself. The company said that’s a decision for event organizers. In other words, the promoters. But artists have a say as well. Swift, Ed Sheeran and The Cure are among the big names who have opted not to use dynamic pricing on recent tours. However, Bruce Springsteen caused a stir in 2022 when he said he’d use the model.
Meanwhile, Ticketmaster is in hot water Stateside. In May, the Justice Department and dozens of state and district attorneys general filed an antitrust suit in an attempt to break up Ticketmaster owner Live Nation, claiming it held an unlawful monopoly over the live entertainment industry.This article originally appeared on Engadget at https://www.engadget.com/big-tech/the-uk-government-will-investigate-ticketmasters-dynamic-pricing-model-after-oasis-chaos-195446622.html?src=rss

It’s not only Taylor Swift fans and the US government who aren’t happy about Ticketmaster. The UK government is set to look into the company’s dynamic pricing model after millions of Oasis fans scrambled for tickets to the band’s reunion tour over the weekend.

Once fans got through hours-long queues to make their purchase, some found that the price of a standing ticket was suddenly 2.5 times more expensive — in one case, going up from £135 to £337.50 ($177 to $444). Ticketmaster often gives customers just seconds to decide whether to complete a purchase once tickets are in their cart, so they don’t have much time to determine whether such a hefty price increase is worth it.

Many fans didn’t manage to buy Oasis tickets before they sold out on Ticketmaster. So, if they really want to see Liam and Noel Gallagher on stage together for the first time in 16 years, they may have to resort to resale sites where some touts are trying to sell tickets for nearly $8,000 each.

The chaos and complaints about the dynamic pricing model caught the attention of Lisa Nandy, the UK’s culture secretary. Nandy said it was “depressing to see vastly inflated prices excluding ordinary fans from having a chance of enjoying their favorite band live,” according to The Guardian.

“This government is committed to putting fans back at the heart of music. So we will include issues around the transparency and use of dynamic pricing, including the technology around queueing systems which incentivise it, in our forthcoming consultation on consumer protections for ticket resales,” Nandy said. “Working with artists, industry and fans, we can create a fairer system that ends the scourge of touts, rip-off resales and ensures tickets at fair prices.”

Before the Labour Party won July’s general election, leader Sir Keir Starmer vowed to cap resale ticket prices for music and sports events. The government announced it would hold a consultation into the secondary-ticket market this fall and the issue of dynamic pricing will now be factored in.

Ticketmaster doesn’t set prices itself. The company said that’s a decision for event organizers. In other words, the promoters. But artists have a say as well. Swift, Ed Sheeran and The Cure are among the big names who have opted not to use dynamic pricing on recent tours. However, Bruce Springsteen caused a stir in 2022 when he said he’d use the model.

Meanwhile, Ticketmaster is in hot water Stateside. In May, the Justice Department and dozens of state and district attorneys general filed an antitrust suit in an attempt to break up Ticketmaster owner Live Nation, claiming it held an unlawful monopoly over the live entertainment industry.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/the-uk-government-will-investigate-ticketmasters-dynamic-pricing-model-after-oasis-chaos-195446622.html?src=rss

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After the country’s Supreme Court ordered internet service providers to block access to X, the platform was largely unavailable in the country by Sunday night. The only ways to access X since then have been through VPNs (for those willing to risk huge fines) and Starlink, the satellite internet service that’s also run by X owner Elon Musk.
The president of Brazil’s telecom agency, Anatel, said that Starlink refused to comply with the court order until officials released its frozen assets, The New York Times reports. Alexandre de Moraes, the Supreme Court justice who has been on the warpath against X, also blocked the local bank accounts of Starlink, which is a SpaceX subsidiary. Moraes, who has accused X of disseminating hate speech and disinformation, is said to have done so with the aim of collecting $3 million in fines levied against X for ignoring his orders to block certain accounts.
Starlink petitioned the court to unblock its assets but the court dismissed the request. Musk called the Starlink account freeze “illegal,” arguing that SpaceX and X are separate entities while claiming he owns 40 percent of the former.
There are around 250,000 Starlink customers in Brazil. The service has proven popular there in rural areas and among Indigenous tribes in the Amazon. Starlink pledged to provide free internet access to its Brazilian customers while its accounts in the country remain blocked.
If Starlink maintains its stance on X, Brazil could revoke the internet service’s license. If it continues to operate after that, officials could seize equipment from 23 ground stations. The gear helps Starlink improve the quality of its satellite connections.
Meanwhile, a majority of a Supreme Court panel upheld the X ban, which Moraes issued after Musk defied several of his orders, at a trial on Monday. X will have the right to appeal the decision. The panel also approved an order by Moraes to fine anyone caught using a VPN to access X in Brazil a daily fine of 50,000 Brazilian Real (around $8,900).This article originally appeared on Engadget at https://www.engadget.com/big-tech/starlink-is-refusing-to-comply-with-brazils-x-ban-181144912.html?src=rss

After the country’s Supreme Court ordered internet service providers to block access to X, the platform was largely unavailable in the country by Sunday night. The only ways to access X since then have been through VPNs (for those willing to risk huge fines) and Starlink, the satellite internet service that’s also run by X owner Elon Musk.

The president of Brazil’s telecom agency, Anatel, said that Starlink refused to comply with the court order until officials released its frozen assets, The New York Times reports. Alexandre de Moraes, the Supreme Court justice who has been on the warpath against X, also blocked the local bank accounts of Starlink, which is a SpaceX subsidiary. Moraes, who has accused X of disseminating hate speech and disinformation, is said to have done so with the aim of collecting $3 million in fines levied against X for ignoring his orders to block certain accounts.

Starlink petitioned the court to unblock its assets but the court dismissed the request. Musk called the Starlink account freeze “illegal,” arguing that SpaceX and X are separate entities while claiming he owns 40 percent of the former.

There are around 250,000 Starlink customers in Brazil. The service has proven popular there in rural areas and among Indigenous tribes in the Amazon. Starlink pledged to provide free internet access to its Brazilian customers while its accounts in the country remain blocked.

If Starlink maintains its stance on X, Brazil could revoke the internet service’s license. If it continues to operate after that, officials could seize equipment from 23 ground stations. The gear helps Starlink improve the quality of its satellite connections.

Meanwhile, a majority of a Supreme Court panel upheld the X ban, which Moraes issued after Musk defied several of his orders, at a trial on Monday. X will have the right to appeal the decision. The panel also approved an order by Moraes to fine anyone caught using a VPN to access X in Brazil a daily fine of 50,000 Brazilian Real (around $8,900).

This article originally appeared on Engadget at https://www.engadget.com/big-tech/starlink-is-refusing-to-comply-with-brazils-x-ban-181144912.html?src=rss

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Capcom has updated the mobile ports of several Resident Evil games to now require an internet connection when the apps are opened. As noted by Eurogamer, patch notes for the latest Resident Evil 7, Resident Evil 4 and Resident Evil Village updates read, “Due to changes to the startup process, an internet connection is now required when starting this app.”
It’s unclear why Capcom added this requirement, but it stinks. It prevents anyone taking a flight without Wi-Fi or those hoping to sneak in a little game time while camping in the middle of nowhere from playing any of these games on their phone or tablet. It mitigates the notion that mobile games can be played anywhere, but you can avoid the issue if you already have the games you want to play on your device and automatic updates are off.
Several commenters on a Reddit thread that flagged the change said they’d be asking for a refund. However, Capcom may not have to be too worried about having to pay back a ton of players. There are reports that the mobile versions of the three games haven’t been very successful. For instance, data suggests that just 2,000 people had paid for the iOS port of Resident Evil 7 in its first two weeks.This article originally appeared on Engadget at https://www.engadget.com/gaming/resident-evil-mobile-ports-now-require-an-online-check-in-before-you-can-play-161156065.html?src=rss

Capcom has updated the mobile ports of several Resident Evil games to now require an internet connection when the apps are opened. As noted by Eurogamer, patch notes for the latest Resident Evil 7, Resident Evil 4 and Resident Evil Village updates read, “Due to changes to the startup process, an internet connection is now required when starting this app.”

It’s unclear why Capcom added this requirement, but it stinks. It prevents anyone taking a flight without Wi-Fi or those hoping to sneak in a little game time while camping in the middle of nowhere from playing any of these games on their phone or tablet. It mitigates the notion that mobile games can be played anywhere, but you can avoid the issue if you already have the games you want to play on your device and automatic updates are off.

Several commenters on a Reddit thread that flagged the change said they’d be asking for a refund. However, Capcom may not have to be too worried about having to pay back a ton of players. There are reports that the mobile versions of the three games haven’t been very successful. For instance, data suggests that just 2,000 people had paid for the iOS port of Resident Evil 7 in its first two weeks.

This article originally appeared on Engadget at https://www.engadget.com/gaming/resident-evil-mobile-ports-now-require-an-online-check-in-before-you-can-play-161156065.html?src=rss

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Connections, the daily word game from The New York Times, isn’t exactly easy. In fact, the solve rate dips below 50 percent some days. To help highlight where players are going wrong, a new bot is employing AI to guess the thought process they’re using for the most common mistakes every day.
For the uninitiated, Connections is a word/logic game that the paper of record debuted last year. Every day, you’re presented with a grid of 16 words that you have to split into four categories. There’s only one solution and after four mistakes, the game is over. However, there’s some trickiness afoot. There are often red herrings galore and frequently at least five viable answers for a group.
I’m hooked and I’ve played every day since last July. It’s one of our favorite games of 2023 overall (though it’s perhaps not entirely original).
After you win or lose each day’s game, you can saunter over to the Connections Bot. As with the bot for Wordle, you’ll see how well you did compared with other players and receive a skill score out of 99. This is primarily based on how few mistakes you make, but you’ll get extra credit for solving the more difficult purple and blue categories first.
After you see the skill score and other details (such as whether a red herring caught you out), the AI feature comes into play. This will highlight the most common incorrect guesses from that day. It will also try to guess a description for the group that players had in mind. So, for a failed guess of gutter, bowl, alley and lane, the bot might believe you were looking for a list of bowling-related terms. This is a real example from a recent game in which I made that exact mistake. Alley and lane were actually types of streets.
New York Times
Your own failed guesses might not show up in the bot, though. That’s because there are around 2.6 million different ways to group each grid together. Bear in mind that while you don’t need a Times account to play Connections, you’ll need to be logged into one to use the bot and track your scores.
One other interesting thing about the bot is that it marks the first time that the Times’ newsroom will regularly publish AI-generated English text. Before publication, the paper’s editors will review all AI-generated responses and may edit them for style and clarity. That said, the Times notes that “there’s no way to use math or even artificial intelligence to reliably solve the game,” so you can’t really use the likes of ChatGPT to cheat at it quite yet.This article originally appeared on Engadget at https://www.engadget.com/gaming/nyt-connections-bot-uses-ai-to-highlight-each-days-top-mistakes-145242525.html?src=rss

Connections, the daily word game from The New York Times, isn’t exactly easy. In fact, the solve rate dips below 50 percent some days. To help highlight where players are going wrong, a new bot is employing AI to guess the thought process they’re using for the most common mistakes every day.

For the uninitiated, Connections is a word/logic game that the paper of record debuted last year. Every day, you’re presented with a grid of 16 words that you have to split into four categories. There’s only one solution and after four mistakes, the game is over. However, there’s some trickiness afoot. There are often red herrings galore and frequently at least five viable answers for a group.

I’m hooked and I’ve played every day since last July. It’s one of our favorite games of 2023 overall (though it’s perhaps not entirely original).

After you win or lose each day’s game, you can saunter over to the Connections Bot. As with the bot for Wordle, you’ll see how well you did compared with other players and receive a skill score out of 99. This is primarily based on how few mistakes you make, but you’ll get extra credit for solving the more difficult purple and blue categories first.

After you see the skill score and other details (such as whether a red herring caught you out), the AI feature comes into play. This will highlight the most common incorrect guesses from that day. It will also try to guess a description for the group that players had in mind. So, for a failed guess of gutter, bowl, alley and lane, the bot might believe you were looking for a list of bowling-related terms. This is a real example from a recent game in which I made that exact mistake. Alley and lane were actually types of streets.

Your own failed guesses might not show up in the bot, though. That’s because there are around 2.6 million different ways to group each grid together. Bear in mind that while you don’t need a Times account to play Connections, you’ll need to be logged into one to use the bot and track your scores.

One other interesting thing about the bot is that it marks the first time that the Times’ newsroom will regularly publish AI-generated English text. Before publication, the paper’s editors will review all AI-generated responses and may edit them for style and clarity. That said, the Times notes that “there’s no way to use math or even artificial intelligence to reliably solve the game,” so you can’t really use the likes of ChatGPT to cheat at it quite yet.

This article originally appeared on Engadget at https://www.engadget.com/gaming/nyt-connections-bot-uses-ai-to-highlight-each-days-top-mistakes-145242525.html?src=rss

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Thank Goodness You’re Here is here; a gravy-flavored palate cleanser from all the action-adventures, Souls-likes and Metroidvanias I’ve played the last few months.
Published by Panic Inc., the same company that unleashed Untitled Goose Game into the world, there’s a certain throughline, even if the aesthetic and tone is very different. Presented in cartoon style somewhere between Cartoon Network and educational ‘toons for preschoolers, it’s an aggressively English, charmingly northern “slap-former”, where you play as an unnamed tiny man, who’s come for a job interview at town hall. After being fobbed off by the receptionist, he has to kill time in the fictional northern-England town called Barnsworth, which is definitely 80 percent Barnsley, 20 percent plausible deniability.
Thank Goodness You’re Here is almost the opposite of the anarchy introduced by Untitled Goose Game: you’re trying to help. Despite having no connection to Barnsworth, our little hero — in varying degrees of tininess — is inadvertently pulled into plumbing tasks, fetch quests and surreal dream-sequence meat-mangling, without ever being asked if he can help.
Coal Supper
While it is a video game, it’s more like a loosely connected bunch of set pieces and vignettes. Controls are simple: you steer the little guy around the town, able only to punch (well, slap) and jump. There are a few low-stakes platforming sections, but he isn’t attempting to be Mario. A lot of the joy comes from Barnsworth itself, with its nodding in-jokes, posters and signage running the comedy gamut from buttock slapping and visual gags, through to Yorkshire dialect gags and even a few digs at gaming – ludonarrative be damned!
There’s a running joke about wheelie-bins (in the UK, most of our garbage cans are on wheels) that made me laugh on a Sunday evening – the most dour part of my week.
It’s all actually funny. The writing and voicing help enrich this surreal little town as you explore, with Matt Berry (What We Do in the Shadows) headlining and a lot of UK comedy talent including The Delightful Sausage’s Chris Cantrill, currently co-creator of BBC’s Icklewick FM, which shares a similar surreal “northern” kind humor. (Cantrill was also just nominated for Best Show at this year’s Edinburgh Fringe.)
The only drawback, one that comes from the on–the-rails style of play, is that it’s tragically short. But it’s dense with jokes and knowing nods I’m on my second playthrough, taking in all the details, like the horny elderly couple who are never involved with any of your tasks, but always on the sidelines; the cheesy dad-jokery if you linger in a scene and let the characters to talk (“I’m eating for two now… Plus I’m pregnant”); the lightly barbed references to economic decline in the north, and the unashamed exaggeration of northern or working-class stereotypes, many of which will go over American (and south-of-England) players’ heads.
A great example is when you launch the game, and it’ll ask a question in a heavy Yorkshire dialect. Answer ‘wrong’, and the game will play out with standard english text, answer right and all the menus will be loaded with northern slang. There’s nowt to panic ’bout, mind: you can flip between ’em in t’ menu at any time.
It’s a short but rich experience. It’s worth playing for the sheet lunacy of the final set piece, possibly my favorite gaming moment of the year.

Thank Goodness You’re Here is out now on Mac, PC, PS5 and Switch.This article originally appeared on Engadget at https://www.engadget.com/gaming/thank-goodness-youre-here-is-a-vibrant-funny-unashamedly-silly-game-133030648.html?src=rss

Thank Goodness You’re Here is here; a gravy-flavored palate cleanser from all the action-adventures, Souls-likes and Metroidvanias I’ve played the last few months.

Published by Panic Inc., the same company that unleashed Untitled Goose Game into the world, there’s a certain throughline, even if the aesthetic and tone is very different. Presented in cartoon style somewhere between Cartoon Network and educational ‘toons for preschoolers, it’s an aggressively English, charmingly northern “slap-former”, where you play as an unnamed tiny man, who’s come for a job interview at town hall. After being fobbed off by the receptionist, he has to kill time in the fictional northern-England town called Barnsworth, which is definitely 80 percent Barnsley, 20 percent plausible deniability.

Thank Goodness You’re Here is almost the opposite of the anarchy introduced by Untitled Goose Game: you’re trying to help. Despite having no connection to Barnsworth, our little hero — in varying degrees of tininess — is inadvertently pulled into plumbing tasks, fetch quests and surreal dream-sequence meat-mangling, without ever being asked if he can help.

While it is a video game, it’s more like a loosely connected bunch of set pieces and vignettes. Controls are simple: you steer the little guy around the town, able only to punch (well, slap) and jump. There are a few low-stakes platforming sections, but he isn’t attempting to be Mario. A lot of the joy comes from Barnsworth itself, with its nodding in-jokes, posters and signage running the comedy gamut from buttock slapping and visual gags, through to Yorkshire dialect gags and even a few digs at gaming – ludonarrative be damned!

There’s a running joke about wheelie-bins (in the UK, most of our garbage cans are on wheels) that made me laugh on a Sunday evening – the most dour part of my week.

It’s all actually funny. The writing and voicing help enrich this surreal little town as you explore, with Matt Berry (What We Do in the Shadows) headlining and a lot of UK comedy talent including The Delightful Sausage’s Chris Cantrill, currently co-creator of BBC’s Icklewick FM, which shares a similar surreal “northern” kind humor. (Cantrill was also just nominated for Best Show at this year’s Edinburgh Fringe.)

The only drawback, one that comes from the on–the-rails style of play, is that it’s tragically short. But it’s dense with jokes and knowing nods I’m on my second playthrough, taking in all the details, like the horny elderly couple who are never involved with any of your tasks, but always on the sidelines; the cheesy dad-jokery if you linger in a scene and let the characters to talk (“I’m eating for two now… Plus I’m pregnant”); the lightly barbed references to economic decline in the north, and the unashamed exaggeration of northern or working-class stereotypes, many of which will go over American (and south-of-England) players’ heads.

A great example is when you launch the game, and it’ll ask a question in a heavy Yorkshire dialect. Answer ‘wrong’, and the game will play out with standard english text, answer right and all the menus will be loaded with northern slang. There’s nowt to panic ’bout, mind: you can flip between ’em in t’ menu at any time.

It’s a short but rich experience. It’s worth playing for the sheet lunacy of the final set piece, possibly my favorite gaming moment of the year.

Thank Goodness You’re Here is out now on Mac, PC, PS5 and Switch.

This article originally appeared on Engadget at https://www.engadget.com/gaming/thank-goodness-youre-here-is-a-vibrant-funny-unashamedly-silly-game-133030648.html?src=rss

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ESPN’s broadcast of the US Open was cut short for DirecTV users on Sunday after Disney issued a blackout midway through on all of its networks. It occurred after a 2019 deal expired without a new agreement for a licensing deal between the two companies.
Unsurprisingly, DirecTV and Disney disagree on which company is to blame. “The Walt Disney Co. is once again refusing any accountability to consumers, distribution partners, and now the American judicial system,” Rob Thun, chief content officer at DIRECTV, said in a statement. “They want to continue to chase maximum profits and dominant control at the expense of consumers — making it harder for them to select the shows and sports they want at a reasonable price.”
DirecTV’s release also claimed that Disney mandated at the last minute that it “must agree to waive all claims that Disney’s behavior is anti-competitive” to proceed with a deal. The provider further called out Disney for being unpopular with many of DirecTV’s customers. It also took issue with Disney putting its “best programming,” like The Bear and Only Murders In The Building, directly on streaming services while filling ABC with “cheap-to-produce primetime gameshows, unscripted spinoffs, old former ABC hits, or simulcast content.”
In contrast, Disney claimed that DirecTV “chose” to deny their subscribers access to content. “While we’re open to offering DirecTV flexibility and terms which we’ve extended to other distributors, we will not enter into an agreement that undervalues our portfolio of television channels and programs,” stated Dana Walden and Alan Bergman, co-chairmen of Disney Entertainment, and Jimmy Pitaro, chairman of ESPN. “We invest significantly to deliver the No. 1 brands in entertainment, news and sports because that’s what our viewers expect and deserve. We urge DirecTV to do what’s in the best interest of their customers and finalize a deal that would immediately restore our programming.”
A similar disagreement occurred at the same time last year. In that instance, Disney pulled its networks from Spectrum for 12 days until making a new deal with Charter, Spectrum’s parent company. The agreement brought back channels like ABC and ESPN, and Spectrum TV Select and Select Plus subscribers also got access to the Disney+ basic tier and ESPN+ (only Select Plus users). In its release, DirecTV called out this pattern, claiming that “Disney is again taking an anti-consumer approach.”This article originally appeared on Engadget at https://www.engadget.com/entertainment/disney-cuts-directv-customers-access-to-abc-espn-and-more-123047594.html?src=rss

ESPN’s broadcast of the US Open was cut short for DirecTV users on Sunday after Disney issued a blackout midway through on all of its networks. It occurred after a 2019 deal expired without a new agreement for a licensing deal between the two companies.

Unsurprisingly, DirecTV and Disney disagree on which company is to blame. “The Walt Disney Co. is once again refusing any accountability to consumers, distribution partners, and now the American judicial system,” Rob Thun, chief content officer at DIRECTV, said in a statement. “They want to continue to chase maximum profits and dominant control at the expense of consumers — making it harder for them to select the shows and sports they want at a reasonable price.”

DirecTV’s release also claimed that Disney mandated at the last minute that it “must agree to waive all claims that Disney’s behavior is anti-competitive” to proceed with a deal. The provider further called out Disney for being unpopular with many of DirecTV’s customers. It also took issue with Disney putting its “best programming,” like The Bear and Only Murders In The Building, directly on streaming services while filling ABC with “cheap-to-produce primetime gameshows, unscripted spinoffs, old former ABC hits, or simulcast content.”

In contrast, Disney claimed that DirecTV “chose” to deny their subscribers access to content. “While we’re open to offering DirecTV flexibility and terms which we’ve extended to other distributors, we will not enter into an agreement that undervalues our portfolio of television channels and programs,” stated Dana Walden and Alan Bergman, co-chairmen of Disney Entertainment, and Jimmy Pitaro, chairman of ESPN. “We invest significantly to deliver the No. 1 brands in entertainment, news and sports because that’s what our viewers expect and deserve. We urge DirecTV to do what’s in the best interest of their customers and finalize a deal that would immediately restore our programming.”

A similar disagreement occurred at the same time last year. In that instance, Disney pulled its networks from Spectrum for 12 days until making a new deal with Charter, Spectrum’s parent company. The agreement brought back channels like ABC and ESPN, and Spectrum TV Select and Select Plus subscribers also got access to the Disney+ basic tier and ESPN+ (only Select Plus users). In its release, DirecTV called out this pattern, claiming that “Disney is again taking an anti-consumer approach.”

This article originally appeared on Engadget at https://www.engadget.com/entertainment/disney-cuts-directv-customers-access-to-abc-espn-and-more-123047594.html?src=rss

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