verge-rss

Illustration by Nick Barclay / The Verge

Apple reportedly has “a team of several hundred people” working on a new product that attaches an iPad-style display to a robotic arm that uses actuators to tilt up and down as well as spin 360 degrees, according to a report from Bloomberg’s Mark Gurman.
The tabletop device could reportedly serve multiple purposes, letting you control your smart home, attend video conferences, monitor home security, and more.

Gurman has reported rumors of the company exploring home robotics more than once over the last several months and now says the project is proceeding with Kevin Lynch, Apple’s vice president of technology, at the helm. Sources tell Bloomberg the company is aiming for a launch in 2026 or 2027 and that it may cost around $1,000.

The device will reportedly be capable of responding to commands using Siri or features inside Apple Intelligence, like “look at me,” which could tilt the screen to face a user during a video call. Apple is currently testing models that run a “customized version” of iPadOS, according to Bloomberg.
This push would come after the cancellation of its rumored car project and the launch of the pricey Vision Pro earlier this year and make Apple the latest tech giant to dive into home robotics — remember Samsung’s Ballie? Meanwhile, Amazon recently discontinued the business version of its Astro bot following rumors of a big generative AI upgrade on the way.

Illustration by Nick Barclay / The Verge

Apple reportedly has “a team of several hundred people” working on a new product that attaches an iPad-style display to a robotic arm that uses actuators to tilt up and down as well as spin 360 degrees, according to a report from Bloomberg’s Mark Gurman.

The tabletop device could reportedly serve multiple purposes, letting you control your smart home, attend video conferences, monitor home security, and more.

Gurman has reported rumors of the company exploring home robotics more than once over the last several months and now says the project is proceeding with Kevin Lynch, Apple’s vice president of technology, at the helm. Sources tell Bloomberg the company is aiming for a launch in 2026 or 2027 and that it may cost around $1,000.

The device will reportedly be capable of responding to commands using Siri or features inside Apple Intelligence, like “look at me,” which could tilt the screen to face a user during a video call. Apple is currently testing models that run a “customized version” of iPadOS, according to Bloomberg.

This push would come after the cancellation of its rumored car project and the launch of the pricey Vision Pro earlier this year and make Apple the latest tech giant to dive into home robotics — remember Samsung’s Ballie? Meanwhile, Amazon recently discontinued the business version of its Astro bot following rumors of a big generative AI upgrade on the way.

Read More 

Illustration by Alex Castro / The Verge

Disney wants a Florida court to dismiss a wrongful death lawsuit at a Disney-affiliated restaurant based on terms of service for the entertainment giant’s website and streaming video services. The company argues that a couple agreed to an arbitration clause when one of them bought tickets to Disney World — and in an even more distant connection, when signing up for Disney Plus years before.
The lawsuit, filed in February, concerns a 42-year-old woman named Kanokporn Tangsuan, who died due to an allergic reaction that occurred after eating at one of the restaurants at Walt Disney World Resort’s Disney Springs area in October 2023. As noted in the suit, Tangsuan and her husband, Jeffrey Piccolo, allegedly chose the restaurant because it advertises “the accommodation of persons with food allergies” as a “top priority.” Tangsuan was “highly allergic” to nuts and dairy.
Piccolo, who represents Tangsuan’s estate, is suing Disney for damages of more than $50,000. However, in a motion filed in May, Disney alleged that Piccolo accepted a forced arbitration agreement when signing up for Disney Plus in 2019. The streaming video service’s terms of use state that “any dispute between You and Us, Except for Small Claims, is subject to a class action waiver and must be resolved by individual binding arbitration.” And the agreement folds in another agreement to Disney’s broader terms of use, including a similar waiver covering “all disputes” involving Disney and its affiliates.
Arbitration is a private legal process that involves settling a dispute outside of court. While it’s a suitable option in some cases, it’s risky in others, as the National Association of Consumer Advocates says “arbitrators aren’t required to take the law and legal precedent into account,” and you can’t appeal their decision.
The response argues that Piccolo’s clicking of a box to create an account shouldn’t bind his wife to the same agreement
Disney argues Piccolo agreed to the arbitration clause outside of Disney Plus as well. The motion says he accepted the “My Disney Experience Terms and Conditions” when purchasing tickets to Epcot in September 2023, and that agreement includes Disney’s terms of use. But in a response to Disney’s motion filed earlier this month, Piccolo’s legal team argues the overarching Disney terms were made effectively invisible. He “would have had no notice” when signing up for Disney Plus, it says, because Disney put the link to its terms of use within another link on the agreement page. And when he was accepting the “My Disney Experience” terms, the filing claims he wouldn’t have seen them either since Disney assumed he’d already seen them four years ago.
Either way, the response argues that Piccolo’s clicking of a box to create an account shouldn’t bind his wife to the same agreement. And neither of these agreements were necessary to eat at the restaurant because you don’t need to buy tickets for Disney Springs.
“There is simply no reading of the Disney+ Subscriber Agreement, the only Agreement Mr. Piccolo allegedly assented to in creating his Disney+ account, which would support the notion that he was agreeing on behalf of his wife or her estate, to arbitrate injuries sustained by his wife,” the lawsuit reads. “Frankly, any such suggestion borders on the absurd.”
Unfortunately, mandatory arbitration agreements like the one in Disney’s terms have become increasingly common and even come into play when purchasing physical products. To make matters worse, most people don’t read the lengthy terms they’re agreeing to, as a 2023 study found that 99 percent of people aren’t aware they’re subject to forced arbitration when using services like Netflix, Hulu, or Cash App. That means they’re unknowingly waiving their right to a trial in court. When sprawling companies like Disney set these terms, it becomes even harder to tell what you’re signing up for when you click a box marked “I agree.”

Illustration by Alex Castro / The Verge

Disney wants a Florida court to dismiss a wrongful death lawsuit at a Disney-affiliated restaurant based on terms of service for the entertainment giant’s website and streaming video services. The company argues that a couple agreed to an arbitration clause when one of them bought tickets to Disney World — and in an even more distant connection, when signing up for Disney Plus years before.

The lawsuit, filed in February, concerns a 42-year-old woman named Kanokporn Tangsuan, who died due to an allergic reaction that occurred after eating at one of the restaurants at Walt Disney World Resort’s Disney Springs area in October 2023. As noted in the suit, Tangsuan and her husband, Jeffrey Piccolo, allegedly chose the restaurant because it advertises “the accommodation of persons with food allergies” as a “top priority.” Tangsuan was “highly allergic” to nuts and dairy.

Piccolo, who represents Tangsuan’s estate, is suing Disney for damages of more than $50,000. However, in a motion filed in May, Disney alleged that Piccolo accepted a forced arbitration agreement when signing up for Disney Plus in 2019. The streaming video service’s terms of use state that “any dispute between You and Us, Except for Small Claims, is subject to a class action waiver and must be resolved by individual binding arbitration.” And the agreement folds in another agreement to Disney’s broader terms of use, including a similar waiver covering “all disputes” involving Disney and its affiliates.

Arbitration is a private legal process that involves settling a dispute outside of court. While it’s a suitable option in some cases, it’s risky in others, as the National Association of Consumer Advocates says “arbitrators aren’t required to take the law and legal precedent into account,” and you can’t appeal their decision.

Disney argues Piccolo agreed to the arbitration clause outside of Disney Plus as well. The motion says he accepted the “My Disney Experience Terms and Conditions” when purchasing tickets to Epcot in September 2023, and that agreement includes Disney’s terms of use. But in a response to Disney’s motion filed earlier this month, Piccolo’s legal team argues the overarching Disney terms were made effectively invisible. He “would have had no notice” when signing up for Disney Plus, it says, because Disney put the link to its terms of use within another link on the agreement page. And when he was accepting the “My Disney Experience” terms, the filing claims he wouldn’t have seen them either since Disney assumed he’d already seen them four years ago.

Either way, the response argues that Piccolo’s clicking of a box to create an account shouldn’t bind his wife to the same agreement. And neither of these agreements were necessary to eat at the restaurant because you don’t need to buy tickets for Disney Springs.

“There is simply no reading of the Disney+ Subscriber Agreement, the only Agreement Mr. Piccolo allegedly assented to in creating his Disney+ account, which would support the notion that he was agreeing on behalf of his wife or her estate, to arbitrate injuries sustained by his wife,” the lawsuit reads. “Frankly, any such suggestion borders on the absurd.”

Unfortunately, mandatory arbitration agreements like the one in Disney’s terms have become increasingly common and even come into play when purchasing physical products. To make matters worse, most people don’t read the lengthy terms they’re agreeing to, as a 2023 study found that 99 percent of people aren’t aware they’re subject to forced arbitration when using services like Netflix, Hulu, or Cash App. That means they’re unknowingly waiving their right to a trial in court. When sprawling companies like Disney set these terms, it becomes even harder to tell what you’re signing up for when you click a box marked “I agree.”

Read More 

Photo by Chris Welch / The Verge

Sonos has explored the possibility of rereleasing its previous mobile app for Android and iOS — a clear sign of what an ordeal the company’s hurried redesign has become. The Verge can report that there have been discussions high up within Sonos about bringing back the prior version of the app, known as S2, as the company continues toiling away at improving the performance and addressing bugs with the overhauled design that rolled out in May to a flood of negative feedback. (The new Sonos app currently has a 1.3-star review average on Google Play.)
Letting customers fall back to the older software could ease their frustrations and reduce at least some of the pressure on Sonos to rectify every issue with the new app. At least for now, the redesigned version is all that’s available, which makes it impossible for some customers to avoid its flaws. The situation has gotten substantially better with recent updates and the app has turned a corner for many, but there’s still plenty of work to be done.
CEO Patrick Spence has remained insistent that rebuilding the Sonos app from the ground up was the right choice and will make it possible for the company to innovate more frequently and expand into new product categories.

But he has also readily acknowledged that Sonos severely let down its customers. “While the redesign of the app was and remains the right thing to do, our execution — my execution — fell short of the mark,” he said during last week’s earnings call. He went on to say:
The app situation has become a headwind to existing product sales, and we believe our focus needs to be addressing the app ahead of everything else. This means delaying the two major new product releases we had planned for Q4 until our app experience meets the level of quality that we, our customers and our partners expect from Sonos.
One of those two delayed products is the successor to the Sonos Arc soundbar — codenamed Lasso — and sources tell The Verge that Sonos still hopes to release that product sometime in October. (Sonos’ fiscal year ends in late September, so October would bring the company into fiscal year 2025 and line up with Spence’s statement.)
Last week, Spence estimated that righting the ship is likely to cost between $20 and $30 million in the near term as Sonos works to assuage current customers and keep them from abandoning the company’s whole-home audio platform. The new app is being updated every two weeks with improvements, and Spence has said that cadence will continue through the fall. S2’s potential return would not change this. Restoring the old app could prove to be a technical headache since Sonos’ new software shifts a lot of core functionality to the cloud.
This has unquestionably become one of the most turbulent times in Sonos’ history. In the span of just a few months, the company has gone from a well-regarded consumer tech brand to a painful example of what can happen when leadership pushes on new projects too aggressively. Spence himself admitted that the app controversy has completely overshadowed the release of Sonos’ first-ever headphones, the Sonos Ace. Just today, Sonos laid off around 100 employees as the fallout from its rushed app makeover continues.

Photo by Chris Welch / The Verge

Sonos has explored the possibility of rereleasing its previous mobile app for Android and iOS — a clear sign of what an ordeal the company’s hurried redesign has become. The Verge can report that there have been discussions high up within Sonos about bringing back the prior version of the app, known as S2, as the company continues toiling away at improving the performance and addressing bugs with the overhauled design that rolled out in May to a flood of negative feedback. (The new Sonos app currently has a 1.3-star review average on Google Play.)

Letting customers fall back to the older software could ease their frustrations and reduce at least some of the pressure on Sonos to rectify every issue with the new app. At least for now, the redesigned version is all that’s available, which makes it impossible for some customers to avoid its flaws. The situation has gotten substantially better with recent updates and the app has turned a corner for many, but there’s still plenty of work to be done.

CEO Patrick Spence has remained insistent that rebuilding the Sonos app from the ground up was the right choice and will make it possible for the company to innovate more frequently and expand into new product categories.

But he has also readily acknowledged that Sonos severely let down its customers. “While the redesign of the app was and remains the right thing to do, our execution — my execution — fell short of the mark,” he said during last week’s earnings call. He went on to say:

The app situation has become a headwind to existing product sales, and we believe our focus needs to be addressing the app ahead of everything else. This means delaying the two major new product releases we had planned for Q4 until our app experience meets the level of quality that we, our customers and our partners expect from Sonos.

One of those two delayed products is the successor to the Sonos Arc soundbar — codenamed Lasso — and sources tell The Verge that Sonos still hopes to release that product sometime in October. (Sonos’ fiscal year ends in late September, so October would bring the company into fiscal year 2025 and line up with Spence’s statement.)

Last week, Spence estimated that righting the ship is likely to cost between $20 and $30 million in the near term as Sonos works to assuage current customers and keep them from abandoning the company’s whole-home audio platform. The new app is being updated every two weeks with improvements, and Spence has said that cadence will continue through the fall. S2’s potential return would not change this. Restoring the old app could prove to be a technical headache since Sonos’ new software shifts a lot of core functionality to the cloud.

This has unquestionably become one of the most turbulent times in Sonos’ history. In the span of just a few months, the company has gone from a well-regarded consumer tech brand to a painful example of what can happen when leadership pushes on new projects too aggressively. Spence himself admitted that the app controversy has completely overshadowed the release of Sonos’ first-ever headphones, the Sonos Ace. Just today, Sonos laid off around 100 employees as the fallout from its rushed app makeover continues.

Read More 

Image: 20th Century Studios

Though Fede Álvarez’s new Alien film is gorgeous, its questionable optics leave much to be desired. It’s mind-boggling that Alien: Romulus almost wound up debuting on Hulu instead of theaters. The film’s intricate set design alone makes it one of the series’ most visually impressive chapters, and its practical effects are a welcome change of pace in a summer blockbuster season that has been dominated by uninspired CGI spectacle.
Director Fede Álvarez’s new standalone entry in the long-running sci-fi / horror franchise feels especially primed to speak to a new generation of fans. But as fun as Romulus is to look at, its story plays more like a compilation of the Alien series’ greatest hits than a movie that’s trying to sing its own tune. And the few new ideas Romulus does bring to the table are undercut by its insistence on leaning into some very questionable optics.
Set sometime between the first two Alien entries, Romulus is another horrific tale of how a group of unsuspecting people’s lives are ruined (and, in some cases, ended) by the Weyland-Yutani Corporation’s fixation on profits and biological weapons. On Jackson’s Star, the Wey-Yu-owned mining colony, desperate workers like Rain Carradine (Cailee Spaeny) are forced to spend decades laboring to earn their freedom to leave. There are plenty of monsters — bureaucratic ones — prioritizing the company’s interests. It’s not uncommon for people to die down in the mines, and life up on the colony’s grimy, sunless surface isn’t much better.

Even when it seems as if freedom is within reach, there’s never any guarantee that Weyland-Yutani will actually do right by its all-but-enslaved employees. Rain learns that the company’s newly calculated quotes will keep her on the colony years longer than she anticipated, and she knows deep down that her faceless corporate overlords have no real intentions of ever letting her or her synthetic adoptive brother Andy (David Jonsson) escape.
Romulus’ focus on younger characters sets it apart from previous Alien installments, and though the story doesn’t directly connect to any of the older films, it’s inferred that people’s hopeless lives of toil and struggle on colonies like Jackson’s Star are part of what makes voyages like the Nostromo’s possible. Rain, Andy, and all of the film’s other space-born twentysomethings (Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu) know they’ll die before they see a penny of the money they generate for their corporate overlords. That bleak reality makes it all too easy for the youths to come up with a convoluted plan to fly up to a decommissioned space station named Renaissance in hopes of finding a way to zoom off to a better future. But things, of course, do not go as planned.
From its striking opening scene up in orbit, Alien: Romulus’ space horror atmosphere is exquisite thanks in no small part to its massive, intricately designed practical sets. They give the film’s various locations a sense of actual place and a sense of lived-in-ness. Every shot of Jackson’s Star makes it feel like a smoggy, apocalyptic wasteland where the air itself might kill you. In contrast to the colony’s sludge and filth, there’s a retrofuturistic sheen to places within the Renaissance, the film’s abandoned space station. But beneath the thick layers of dust, slimy nightmares await Rain and her friends. And, as tends to be the case with Alien films, Romulus’ humans quickly realize why it’s never really a good idea to mess around with Wey-Yu property.
Because so many of Romulus’ beats echo iconic moments from past Alien movies, very few of the new film’s twists and turns will take longtime fans by surprise as the Renaissance is transformed into a nest teeming with Xenomorphs. Unlike many of Aliens’ previous protagonists, Rain’s crew is so green that they’re essentially helpless to fend off swarms of facehuggers awakened by the kids’ fumbling around. It all makes for a structurally solid enough origin for a new Ripley-esque hero, but the substance of Romulus’ story — which is meant to keep you invested in these people’s lives — falls a bit flat.

Image: 20th Century Studios

Both Spaeny and Jonsson bring compelling energies to their performances as Rain, a steely audience insert, and Andy, a peculiar synth whose outdated hardware leaves him prone to seizures and bouts of social awkwardness that read almost like a kind of neurodivergence. But as many times as Rain refers to Andy as her “brother,” Romulus does a piss poor job of ever presenting the characters’ relationship in a way that makes it feel like one built on believable, reciprocal love. Andy is programmed to follow Rain around and tell knock-knock jokes to lift her spirits; Rain is usually there to reboot him when he glitches out. But she is slow to defend the synth from her fellow humans who delight in poking, prodding, and zapping her brother as a way of raging at the unfairness of their lives. Their relationship is often unconvincing and sometimes completely off-putting.
With Andy, Romulus attempts to riff on the way that past Alien films have framed synths like Ian Holm’s Ash and Michael Fassbender’s David as humanoid avatars of Weyland-Yutani’s nefariousness. Here, that idea is reflected in the way that everyone around Andy treats him like a simple-minded child, programmed solely to keep his sister happy. Executed differently, this dynamic might have worked to make Rain and Andy feel like a duo who keep each other safe. But the abuse Romulus heaps on its sole Black character in service of iffy worldbuilding and plot advancement is its most glaring weakness.
Strangely, Romulus winds up spending so much time showing you how much humans hate synths like Andy that the movie’s left with almost no space to properly develop its other characters enough to make their battles with Xenomorphs particularly memorable. The practical aliens themselves are magnificent, and Álvarez finds several inventive ways to showcase how terrifying the creatures can still be even 50 years after they first appeared on-screen. As the movie rushes to a classic Alien final battle, though, Romulus becomes so comfortable whipping those old tricks out that it feels as if it’s trying to coast on nostalgia rather than flying under its own steam.
That might turn off longtime fans hoping to see something new after years of watching ovomorphs bloom open and chestbursters claw their way out of people’s bodies. But for folks really just looking for a few solid jump scares and a big, artful celebration of the impact Ridley Scott’s imagination has had on the sci-fi / horror genre, Alien: Romulus is enough.

Image: 20th Century Studios

Though Fede Álvarez’s new Alien film is gorgeous, its questionable optics leave much to be desired.

It’s mind-boggling that Alien: Romulus almost wound up debuting on Hulu instead of theaters. The film’s intricate set design alone makes it one of the series’ most visually impressive chapters, and its practical effects are a welcome change of pace in a summer blockbuster season that has been dominated by uninspired CGI spectacle.

Director Fede Álvarez’s new standalone entry in the long-running sci-fi / horror franchise feels especially primed to speak to a new generation of fans. But as fun as Romulus is to look at, its story plays more like a compilation of the Alien series’ greatest hits than a movie that’s trying to sing its own tune. And the few new ideas Romulus does bring to the table are undercut by its insistence on leaning into some very questionable optics.

Set sometime between the first two Alien entries, Romulus is another horrific tale of how a group of unsuspecting people’s lives are ruined (and, in some cases, ended) by the Weyland-Yutani Corporation’s fixation on profits and biological weapons. On Jackson’s Star, the Wey-Yu-owned mining colony, desperate workers like Rain Carradine (Cailee Spaeny) are forced to spend decades laboring to earn their freedom to leave. There are plenty of monsters — bureaucratic ones — prioritizing the company’s interests. It’s not uncommon for people to die down in the mines, and life up on the colony’s grimy, sunless surface isn’t much better.

Even when it seems as if freedom is within reach, there’s never any guarantee that Weyland-Yutani will actually do right by its all-but-enslaved employees. Rain learns that the company’s newly calculated quotes will keep her on the colony years longer than she anticipated, and she knows deep down that her faceless corporate overlords have no real intentions of ever letting her or her synthetic adoptive brother Andy (David Jonsson) escape.

Romulus’ focus on younger characters sets it apart from previous Alien installments, and though the story doesn’t directly connect to any of the older films, it’s inferred that people’s hopeless lives of toil and struggle on colonies like Jackson’s Star are part of what makes voyages like the Nostromo’s possible. Rain, Andy, and all of the film’s other space-born twentysomethings (Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu) know they’ll die before they see a penny of the money they generate for their corporate overlords. That bleak reality makes it all too easy for the youths to come up with a convoluted plan to fly up to a decommissioned space station named Renaissance in hopes of finding a way to zoom off to a better future. But things, of course, do not go as planned.

From its striking opening scene up in orbit, Alien: Romulus’ space horror atmosphere is exquisite thanks in no small part to its massive, intricately designed practical sets. They give the film’s various locations a sense of actual place and a sense of lived-in-ness. Every shot of Jackson’s Star makes it feel like a smoggy, apocalyptic wasteland where the air itself might kill you. In contrast to the colony’s sludge and filth, there’s a retrofuturistic sheen to places within the Renaissance, the film’s abandoned space station. But beneath the thick layers of dust, slimy nightmares await Rain and her friends. And, as tends to be the case with Alien films, Romulus’ humans quickly realize why it’s never really a good idea to mess around with Wey-Yu property.

Because so many of Romulus’ beats echo iconic moments from past Alien movies, very few of the new film’s twists and turns will take longtime fans by surprise as the Renaissance is transformed into a nest teeming with Xenomorphs. Unlike many of Aliens’ previous protagonists, Rain’s crew is so green that they’re essentially helpless to fend off swarms of facehuggers awakened by the kids’ fumbling around. It all makes for a structurally solid enough origin for a new Ripley-esque hero, but the substance of Romulus’ story — which is meant to keep you invested in these people’s lives — falls a bit flat.

Both Spaeny and Jonsson bring compelling energies to their performances as Rain, a steely audience insert, and Andy, a peculiar synth whose outdated hardware leaves him prone to seizures and bouts of social awkwardness that read almost like a kind of neurodivergence. But as many times as Rain refers to Andy as her “brother,” Romulus does a piss poor job of ever presenting the characters’ relationship in a way that makes it feel like one built on believable, reciprocal love. Andy is programmed to follow Rain around and tell knock-knock jokes to lift her spirits; Rain is usually there to reboot him when he glitches out. But she is slow to defend the synth from her fellow humans who delight in poking, prodding, and zapping her brother as a way of raging at the unfairness of their lives. Their relationship is often unconvincing and sometimes completely off-putting.

With Andy, Romulus attempts to riff on the way that past Alien films have framed synths like Ian Holm’s Ash and Michael Fassbender’s David as humanoid avatars of Weyland-Yutani’s nefariousness. Here, that idea is reflected in the way that everyone around Andy treats him like a simple-minded child, programmed solely to keep his sister happy. Executed differently, this dynamic might have worked to make Rain and Andy feel like a duo who keep each other safe. But the abuse Romulus heaps on its sole Black character in service of iffy worldbuilding and plot advancement is its most glaring weakness.

Strangely, Romulus winds up spending so much time showing you how much humans hate synths like Andy that the movie’s left with almost no space to properly develop its other characters enough to make their battles with Xenomorphs particularly memorable. The practical aliens themselves are magnificent, and Álvarez finds several inventive ways to showcase how terrifying the creatures can still be even 50 years after they first appeared on-screen. As the movie rushes to a classic Alien final battle, though, Romulus becomes so comfortable whipping those old tricks out that it feels as if it’s trying to coast on nostalgia rather than flying under its own steam.

That might turn off longtime fans hoping to see something new after years of watching ovomorphs bloom open and chestbursters claw their way out of people’s bodies. But for folks really just looking for a few solid jump scares and a big, artful celebration of the impact Ridley Scott’s imagination has had on the sci-fi / horror genre, Alien: Romulus is enough.

Read More 

Illustration by Alex Castro / The Verge

Google recently introduced a new table formatting feature in Sheets that made it far easier to create self-contained, sortable blocks of cells inside a spreadsheet. But the company didn’t stop there and seems to be rapidly updating the software with features that make it faster to set up, configure, and view data within a table.
The latest update, which is rolling out in stages now, builds on its earlier addition of table formatting by adding “intelligent suggestions” that show a “+” button when you select data that could be turned into a table. Clicking the button then formats the data with things like alternating colors and sortable, filterable headers. The change expands on Google’s table formatting feature from May, which made it easy to quickly add tables to a spreadsheet — making people like me very happy.

GIF: Google Sheets
Now you don’t have to go through a menu to create a table.

Earlier this month, Google made an update that let you quickly add rows by hovering your mouse on the left edge of a table and clicking a “+” button there and add columns by hovering on the right. At the same time, the company introduced automatic column categories; so when you convert data to a table, Sheets determines what format the data in each column should take — currency columns may be formatted so numbers always have a dollar sign, or date columns might always have two-digit years at the end, for instance.
It’s great to see Google making so many improvements to Sheets. Before all of this, you’d have to manually format data to turn it into a table, a slow-going process. But now, selecting a block of data and converting it does things for you, like setting alternating colors and converting column headers so that you can sort and filter by the data beneath them. I like spreadsheets as much as the next guy, but even I found all of this stuff tedious before.

Illustration by Alex Castro / The Verge

Google recently introduced a new table formatting feature in Sheets that made it far easier to create self-contained, sortable blocks of cells inside a spreadsheet. But the company didn’t stop there and seems to be rapidly updating the software with features that make it faster to set up, configure, and view data within a table.

The latest update, which is rolling out in stages now, builds on its earlier addition of table formatting by adding “intelligent suggestions” that show a “+” button when you select data that could be turned into a table. Clicking the button then formats the data with things like alternating colors and sortable, filterable headers. The change expands on Google’s table formatting feature from May, which made it easy to quickly add tables to a spreadsheet — making people like me very happy.

GIF: Google Sheets
Now you don’t have to go through a menu to create a table.

Earlier this month, Google made an update that let you quickly add rows by hovering your mouse on the left edge of a table and clicking a “+” button there and add columns by hovering on the right. At the same time, the company introduced automatic column categories; so when you convert data to a table, Sheets determines what format the data in each column should take — currency columns may be formatted so numbers always have a dollar sign, or date columns might always have two-digit years at the end, for instance.

It’s great to see Google making so many improvements to Sheets. Before all of this, you’d have to manually format data to turn it into a table, a slow-going process. But now, selecting a block of data and converting it does things for you, like setting alternating colors and converting column headers so that you can sort and filter by the data beneath them. I like spreadsheets as much as the next guy, but even I found all of this stuff tedious before.

Read More 

Photo by Alex Broadway / Getty Images

A team of computer scientists found that wireless gear-shifting systems in high-end bikes are vulnerable to cybersecurity attacks that could undermine popular races like the Tour de France.
Wireless gear-shift systems are meant to give riders better control of their bikes, according to the University of California San Diego, whose researchers collaborated with those from Northeastern University on the study. But the modernization also introduces a new set of problems in the form of hacking vulnerabilities. Those weak points could be exploited “to gain an unfair advantage, potentially causing crashes or injuries by manipulating gear shifts or jamming the shifting operation,” the researchers wrote.
The group specifically looked into bikes with Shimano Di2 wireless gear-shifting technology, which it called the “market leader.” According to UC San Diego, the system works “by deploying wireless links between the gear shifters controlled by the riders and the device that moves chains between gears on the bike, called a derailleur.” By recording and then retransmitting those commands, researchers found they were able to perform an attack from up to 10 meters away with “off the shelf devices.” They also found it’s possible to disable gear shifting for one particular bike with a targeted jamming attack, rather than impacting all surrounding ones.
The researchers are now working with Shimano to patch the vulnerabilities, UC San Diego says, and the company has already started using some of their suggested countermeasures. Shimano did not immediately respond to a request for comment.
“The history of professional cycling’s struggles with illegal performance-enhancing drugs underscores the appeal of such undetectable attacks, which could similarly compromise the sport’s integrity,” the researchers say. “Given these risks, it is essential to adopt an adversary’s viewpoint and ensure that this technology can withstand motivated attackers in the highly competitive environment of professional cycling.”

Photo by Alex Broadway / Getty Images

A team of computer scientists found that wireless gear-shifting systems in high-end bikes are vulnerable to cybersecurity attacks that could undermine popular races like the Tour de France.

Wireless gear-shift systems are meant to give riders better control of their bikes, according to the University of California San Diego, whose researchers collaborated with those from Northeastern University on the study. But the modernization also introduces a new set of problems in the form of hacking vulnerabilities. Those weak points could be exploited “to gain an unfair advantage, potentially causing crashes or injuries by manipulating gear shifts or jamming the shifting operation,” the researchers wrote.

The group specifically looked into bikes with Shimano Di2 wireless gear-shifting technology, which it called the “market leader.” According to UC San Diego, the system works “by deploying wireless links between the gear shifters controlled by the riders and the device that moves chains between gears on the bike, called a derailleur.” By recording and then retransmitting those commands, researchers found they were able to perform an attack from up to 10 meters away with “off the shelf devices.” They also found it’s possible to disable gear shifting for one particular bike with a targeted jamming attack, rather than impacting all surrounding ones.

The researchers are now working with Shimano to patch the vulnerabilities, UC San Diego says, and the company has already started using some of their suggested countermeasures. Shimano did not immediately respond to a request for comment.

“The history of professional cycling’s struggles with illegal performance-enhancing drugs underscores the appeal of such undetectable attacks, which could similarly compromise the sport’s integrity,” the researchers say. “Given these risks, it is essential to adopt an adversary’s viewpoint and ensure that this technology can withstand motivated attackers in the highly competitive environment of professional cycling.”

Read More 

Illustration: Beatrice Sala

National Public Data, a company that collects personal data to resell and process background checks, is the target of a proposed class action lawsuit alleging it is the source of a massive data leak that includes information like Social Security numbers and more on reportedly “3 billion people,” according to Bloomberg Law.
As reported by BleepingComputer, the alleged stolen database was offered for sale on the dark web in April by a hacker group known as USDoD for $3.5 million. It advertised the haul as 2.9 billion rows of data originating from National Public Data (NPD) — a reported DBA name of Jerico Pictures, Inc. NPD has not commented publicly on the alleged leak or responded to questions.
BleepingComputer reports multiple sources have released partial copies and that each record contains a name, mailing addresses, and social security number, as well as possible aliases in some cases for people in the US, Canada, and UK. Many of the records are duplicates, so how many people that may impact is a much smaller number. The hacker and malware tracker @vxunderground on X also looked at the data and noted it didn’t contain records for people who use data opt-out services, supporting the idea that it came from a data aggregator.
If you’ve received an alert that your information is included in the data leak, other than keeping an eye out for any suspicious activity on your credit report, BleepingComputer also warns people to be vigilant of scams and phishing attacks using leaked information that might try to get you to reveal more private info.

This story got way more attention than the data itself warranted, and I’m still seeing hyperbolic headlines on it today. Going through it in sufficient detail to write long blog posts like this is massively time consuming, but this one warranted it. https://t.co/BsO3UXfRHA— Troy Hunt (@troyhunt) August 13, 2024

Have I Been Pwned operator Troy Hunt has experience looking at similar data leaks. He tracks and sorts their information for his site to alert people if their information has been compromised, and he says there are some weird things about this set of data that make the whole thing “…informational only, an intriguing story that doesn’t require any further action.”
On Hunt’s blog, he writes there’s “no concise way to explain the nuances” of the breach since the alleged source of the breach is a company with personal data that was not given to it directly, making it hard to trace back.
Hunt looked at the data and found one set with Social Security numbers but no email addresses, while another one has 100 million unique email addresses, but the rest of the data is “pretty random in appearance.” He found his email in the list but confirmed the information next to it was inaccurate. Hunt adds:
Lastly, I want to re-emphasise a point I made earlier on: there were no email addresses in the social security number files. If you find yourself in this data breach via HIBP, there’s no evidence your SSN was leaked, and if you’re in the same boat as me, the data next to your record may not even be correct.

Illustration: Beatrice Sala

National Public Data, a company that collects personal data to resell and process background checks, is the target of a proposed class action lawsuit alleging it is the source of a massive data leak that includes information like Social Security numbers and more on reportedly “3 billion people,” according to Bloomberg Law.

As reported by BleepingComputer, the alleged stolen database was offered for sale on the dark web in April by a hacker group known as USDoD for $3.5 million. It advertised the haul as 2.9 billion rows of data originating from National Public Data (NPD) — a reported DBA name of Jerico Pictures, Inc. NPD has not commented publicly on the alleged leak or responded to questions.

BleepingComputer reports multiple sources have released partial copies and that each record contains a name, mailing addresses, and social security number, as well as possible aliases in some cases for people in the US, Canada, and UK. Many of the records are duplicates, so how many people that may impact is a much smaller number. The hacker and malware tracker @vxunderground on X also looked at the data and noted it didn’t contain records for people who use data opt-out services, supporting the idea that it came from a data aggregator.

If you’ve received an alert that your information is included in the data leak, other than keeping an eye out for any suspicious activity on your credit report, BleepingComputer also warns people to be vigilant of scams and phishing attacks using leaked information that might try to get you to reveal more private info.

Have I Been Pwned operator Troy Hunt has experience looking at similar data leaks. He tracks and sorts their information for his site to alert people if their information has been compromised, and he says there are some weird things about this set of data that make the whole thing “…informational only, an intriguing story that doesn’t require any further action.”

On Hunt’s blog, he writes there’s “no concise way to explain the nuances” of the breach since the alleged source of the breach is a company with personal data that was not given to it directly, making it hard to trace back.

Hunt looked at the data and found one set with Social Security numbers but no email addresses, while another one has 100 million unique email addresses, but the rest of the data is “pretty random in appearance.” He found his email in the list but confirmed the information next to it was inaccurate. Hunt adds:

Lastly, I want to re-emphasise a point I made earlier on: there were no email addresses in the social security number files. If you find yourself in this data breach via HIBP, there’s no evidence your SSN was leaked, and if you’re in the same boat as me, the data next to your record may not even be correct.

Read More 

Illustration: The Verge

Sonos laid off approximately 100 employees this morning, a source familiar with the situation tells The Verge. Those affected — I’m told the marketing division took a significant hit — abruptly lost access to the company’s internal network. Sonos is also in the process of winding down some of its customer support offices, including one in Amsterdam that will close later this year.
Sonos reported a headcount of over 1,800 employees in October 2022. The company laid off 7 percent of workers the next year, in June 2023.
These latest cuts come as Sonos continues to grapple with the fallout from its disastrous mobile app redesign. On Sonos’ earnings call last week, CEO Patrick Spence stressed that fixing the app is the company’s number one priority — so much so that two hardware launches planned for later this year have now been delayed to keep all focus on the app.
“I will not rest until we’re in a position where we’ve addressed the issues and have customers raving about Sonos again,” Spence said. “We believe our focus needs to be addressing the app ahead of everything else.” You’d think that reducing the company’s workforce would be antithetical to that goal, but that’s just what Sonos has done. The Verge has reached out to Sonos for comment.
The app predicament has become so dire that Sonos has put board member Thomas Conrad in charge of overseeing improvements and ensuring that the effort remains on track. Spence also said that chief innovation officer Nick Millington, who architected the original Sonos system experience, has been asked “to do whatever it takes to address the issues with our new app.”
Spence, who became CEO of Sonos in 2017, has increasingly faced calls from frustrated customers to step down for having steered the company into this mess — despite the fact that he has guided Sonos through a long line of successful product releases. “With the app, my push for speed backfired,” he acknowledged during the August 7th call.

Illustration: The Verge

Sonos laid off approximately 100 employees this morning, a source familiar with the situation tells The Verge. Those affected — I’m told the marketing division took a significant hit — abruptly lost access to the company’s internal network. Sonos is also in the process of winding down some of its customer support offices, including one in Amsterdam that will close later this year.

Sonos reported a headcount of over 1,800 employees in October 2022. The company laid off 7 percent of workers the next year, in June 2023.

These latest cuts come as Sonos continues to grapple with the fallout from its disastrous mobile app redesign. On Sonos’ earnings call last week, CEO Patrick Spence stressed that fixing the app is the company’s number one priority — so much so that two hardware launches planned for later this year have now been delayed to keep all focus on the app.

“I will not rest until we’re in a position where we’ve addressed the issues and have customers raving about Sonos again,” Spence said. “We believe our focus needs to be addressing the app ahead of everything else.” You’d think that reducing the company’s workforce would be antithetical to that goal, but that’s just what Sonos has done. The Verge has reached out to Sonos for comment.

The app predicament has become so dire that Sonos has put board member Thomas Conrad in charge of overseeing improvements and ensuring that the effort remains on track. Spence also said that chief innovation officer Nick Millington, who architected the original Sonos system experience, has been asked “to do whatever it takes to address the issues with our new app.”

Spence, who became CEO of Sonos in 2017, has increasingly faced calls from frustrated customers to step down for having steered the company into this mess — despite the fact that he has guided Sonos through a long line of successful product releases. “With the app, my push for speed backfired,” he acknowledged during the August 7th call.

Read More 

Halide lets you pick the image processing you want, including no processing at all. | Image: Lux Optics

It’s trickier than ever to know what a photo really is — and when AI and processing turn a photo into something else entirely. Google, Samsung, Apple, and others are making it easier than ever to tweak photos to your liking, combine several mediocre shots into one great one, or add or remove things — including yourself — in your photos. Many of these features are cool, but is the resulting file really even a photo?
One of the iPhone’s best camera apps is going completely the other way. Halide is getting an update today with a new feature called “Process Zero,” which takes all of the AI and processing out of photography and tries to turn your captures back into something like what you’d get out of a digital camera from a decade ago.
Halide has, for a while, offered the ability to pick which processing pipeline you want to use, whether it’s the standard iPhone image processor or the higher-end ProRAW system. It even offers a “Reduced” mode, which is similar to Apple’s system but a little less… intense. (And in my experience, often much better.) Process Zero is, yes, another pipeline, but it’s the no-pipeline pipeline.
Lux Optics, which makes Halide and the video app Kino, says that when you hit the shutter button with Process Zero enabled, the app will capture a single 12-megapixel image with a RAW DNG file you can use for editing later. (You can also open the new Image Lab in the app and reprocess an old RAW shot with Process Zero.) Since it’s doing so much less processing, it should also capture much faster, which could be useful for quick-moving subjects.

Lux Optics compares the Process Zero output to shooting on film: you might get color aberration or sensor grain, but you’ll also get shots that look more natural. The company’s examples are a useful reminder of exactly how much processing your phone is doing every time you snap a photo — and how useful it can be. A shot of a New Mexico butte looks sharper and brighter but somehow unnatural when fully processed, but Apple’s processing also takes low-light images from noisy and dull to actually looking pretty good. Most of the time, which you like better is a matter of taste.

Halide doesn’t want to stick a fork in the eye of image processing but, rather, to give you more choice. The default image pipelines are getting more and more aggressive, AI-powered, and obsessive about capturing a certain kind of image. Process Zero does away with all of that and captures the scene as naturally as possible. What you do with it, well, that’s up to you. But you’re starting with the photo as it really is — or at least much closer to it.

Halide lets you pick the image processing you want, including no processing at all. | Image: Lux Optics

It’s trickier than ever to know what a photo really is — and when AI and processing turn a photo into something else entirely. Google, Samsung, Apple, and others are making it easier than ever to tweak photos to your liking, combine several mediocre shots into one great one, or add or remove things — including yourself — in your photos. Many of these features are cool, but is the resulting file really even a photo?

One of the iPhone’s best camera apps is going completely the other way. Halide is getting an update today with a new feature called “Process Zero,” which takes all of the AI and processing out of photography and tries to turn your captures back into something like what you’d get out of a digital camera from a decade ago.

Halide has, for a while, offered the ability to pick which processing pipeline you want to use, whether it’s the standard iPhone image processor or the higher-end ProRAW system. It even offers a “Reduced” mode, which is similar to Apple’s system but a little less… intense. (And in my experience, often much better.) Process Zero is, yes, another pipeline, but it’s the no-pipeline pipeline.

Lux Optics, which makes Halide and the video app Kino, says that when you hit the shutter button with Process Zero enabled, the app will capture a single 12-megapixel image with a RAW DNG file you can use for editing later. (You can also open the new Image Lab in the app and reprocess an old RAW shot with Process Zero.) Since it’s doing so much less processing, it should also capture much faster, which could be useful for quick-moving subjects.

Lux Optics compares the Process Zero output to shooting on film: you might get color aberration or sensor grain, but you’ll also get shots that look more natural. The company’s examples are a useful reminder of exactly how much processing your phone is doing every time you snap a photo — and how useful it can be. A shot of a New Mexico butte looks sharper and brighter but somehow unnatural when fully processed, but Apple’s processing also takes low-light images from noisy and dull to actually looking pretty good. Most of the time, which you like better is a matter of taste.

Halide doesn’t want to stick a fork in the eye of image processing but, rather, to give you more choice. The default image pipelines are getting more and more aggressive, AI-powered, and obsessive about capturing a certain kind of image. Process Zero does away with all of that and captures the scene as naturally as possible. What you do with it, well, that’s up to you. But you’re starting with the photo as it really is — or at least much closer to it.

Read More 

The Pixel Buds Pro 2 are more expensive than their predecessor, but they continue to deliver a lot of impressive features (and colors). | Photo by Chris Welch / The Verge

Earlier this week, we highlighted preorder details on the Pixel Watch 3 and Google’s entire Pixel 9 lineup. However, if you’ve got your eyes on Google’s forthcoming earbuds, rest assured there are also deals to be had on the Pixel Buds Pro 2. In fact, you can already preorder the $229 pair of earbuds at Amazon and Best Buy, both of which are offering them with a $30 gift card ahead of their launch on September 26th. Google is offering a similar deal, only in the form of store credit.

We’re still in the process of testing the wireless earbuds, but so far, they seem like a more capable version of the original Pixel Buds Pro. That’s saying a lot, given the last-gen model remains our top choice for Pixel phone owners thanks to their comfortable fit, impressive noise cancellation, and support for several Pixel-exclusive features (including head tracking spatial audio and native controls).
The Pixel Buds Pro 2 builds upon the first-gen model with Google’s Tensor A1 chip and 11-millimeter drivers, which should allow for better sound. Google says the new chip provides the buds with ultra-low-latency audio processing, resulting in noise cancellation that’s twice as powerful. The earbuds are also 27 percent smaller and 24 percent lighter than the last-gen pair, with wing fins that should provide for a more secure, comfortable fit. The included charging case even packs a built-in speaker, so you can easily find the earbuds should you lose them via Google’s recently improved Find My Device network.
As for software enhancements, the Pixel Buds Pro 2 feature updated Clear Calling algorithms and conversation detection. They’re also the first earbuds to let you access Google’s Gemini AI assisant directly. That grants you access to a lot of helpful hands-free capabilities, so you can ask for directions or even practice for an upcoming interview with the help of its new voice chat mode, Gemini Live.

A few more deals to help you get over the midweek slump

For the first time, both the black and white versions of Logitech’s new G309 Lightspeed are on sale at Amazon for $71.99 ($8 off). The dual-mode wireless gaming mouse offers a lot for the price, including compatibility with Logitech’s Powerplay mousepad and Bluetooth, as well as the same Hero 25K sensor and hybrid optomechanical switches found in the pricier G502 X. It also features a battery-like supercapacitor, which, when used with a Powerplay pad, allows you to skip the AA batteries entirely.
You can buy iFixit’s Moray Precision 32 Bit Driver Kit for an all-time low of around $16.96 ($3 off) from Amazon, iFixit, and Best Buy. The 32-bit toolkit offers an array of standard and security bits — including Phillips, hex, and pentalobe bits — so you can make simple repairs and adjustments to small appliances and various electronics (laptops, phones, etc.). As a bonus, it’s also small enough that you can take it with you while traveling.
Now until August 27th, you can save on refurbished smart bulbs, light strips, and lamps as part of Woot’s latest Philips Hue sale. The sale includes a Philips Hue Smart Light Starter Kit for $134.99, which is $64 less than buying it new. The bundle contains four 1,100-lumen color bulbs, all of which support Amazon Alexa, Google Home, and other smart home platforms via the newer Matter protocol. The kit also comes with a 90-day warranty and a Philips Hue Bridge, which allows you to easily create automations and control up to 50 lights even outside of Bluetooth range.

The Pixel Buds Pro 2 are more expensive than their predecessor, but they continue to deliver a lot of impressive features (and colors). | Photo by Chris Welch / The Verge

Earlier this week, we highlighted preorder details on the Pixel Watch 3 and Google’s entire Pixel 9 lineup. However, if you’ve got your eyes on Google’s forthcoming earbuds, rest assured there are also deals to be had on the Pixel Buds Pro 2. In fact, you can already preorder the $229 pair of earbuds at Amazon and Best Buy, both of which are offering them with a $30 gift card ahead of their launch on September 26th. Google is offering a similar deal, only in the form of store credit.

We’re still in the process of testing the wireless earbuds, but so far, they seem like a more capable version of the original Pixel Buds Pro. That’s saying a lot, given the last-gen model remains our top choice for Pixel phone owners thanks to their comfortable fit, impressive noise cancellation, and support for several Pixel-exclusive features (including head tracking spatial audio and native controls).

The Pixel Buds Pro 2 builds upon the first-gen model with Google’s Tensor A1 chip and 11-millimeter drivers, which should allow for better sound. Google says the new chip provides the buds with ultra-low-latency audio processing, resulting in noise cancellation that’s twice as powerful. The earbuds are also 27 percent smaller and 24 percent lighter than the last-gen pair, with wing fins that should provide for a more secure, comfortable fit. The included charging case even packs a built-in speaker, so you can easily find the earbuds should you lose them via Google’s recently improved Find My Device network.

As for software enhancements, the Pixel Buds Pro 2 feature updated Clear Calling algorithms and conversation detection. They’re also the first earbuds to let you access Google’s Gemini AI assisant directly. That grants you access to a lot of helpful hands-free capabilities, so you can ask for directions or even practice for an upcoming interview with the help of its new voice chat mode, Gemini Live.

A few more deals to help you get over the midweek slump

For the first time, both the black and white versions of Logitech’s new G309 Lightspeed are on sale at Amazon for $71.99 ($8 off). The dual-mode wireless gaming mouse offers a lot for the price, including compatibility with Logitech’s Powerplay mousepad and Bluetooth, as well as the same Hero 25K sensor and hybrid optomechanical switches found in the pricier G502 X. It also features a battery-like supercapacitor, which, when used with a Powerplay pad, allows you to skip the AA batteries entirely.
You can buy iFixit’s Moray Precision 32 Bit Driver Kit for an all-time low of around $16.96 ($3 off) from Amazon, iFixit, and Best Buy. The 32-bit toolkit offers an array of standard and security bits — including Phillips, hex, and pentalobe bits — so you can make simple repairs and adjustments to small appliances and various electronics (laptops, phones, etc.). As a bonus, it’s also small enough that you can take it with you while traveling.
Now until August 27th, you can save on refurbished smart bulbs, light strips, and lamps as part of Woot’s latest Philips Hue sale. The sale includes a Philips Hue Smart Light Starter Kit for $134.99, which is $64 less than buying it new. The bundle contains four 1,100-lumen color bulbs, all of which support Amazon Alexa, Google Home, and other smart home platforms via the newer Matter protocol. The kit also comes with a 90-day warranty and a Philips Hue Bridge, which allows you to easily create automations and control up to 50 lights even outside of Bluetooth range.

Read More