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The National Recording Registry announced its 2025 inductees, and there are some geeky sounds that will be immortalized in the Library of Congress. The Microsoft Windows 95 reboot chime was selected to be a part of the registry, as was the Minecraft soundtrack.

"These are the sounds of America – our wide-ranging history and culture. The National Recording Registry is our evolving nation’s playlist," Librarian of Congress Carla Hayden said. "The Library of Congress is proud and honored to select these audio treasures worthy of preservation, including iconic music across a variety of genres, field recordings, sports history and even the sounds of our daily lives with technology."

The Windows 95 start-up audio was composed by ambient music pioneer Brian Eno. According to the blurb from the Library of Congress, the final sound clip was twice as long as Microsoft's engineers had requested of the composer. But they went ahead with the chime because they felt it "conveyed the sense of welcome, hopefulness and progress that they envisioned" for this era of personal computing.

The Volume Alpha soundtrack to Minecraft is only the second piece of gaming music to be added to the registry. It joins the iconic theme for Super Mario Bros, which was inducted in 2023. The launch audio for the popular sandbox game (which just got its own movie) was composed and performed by Daniel Rosenfeld under stage name C418.

The 2025 inductees include music from across the genre spectrum. Some of the other selections include the original Broadway cast recording of Hamilton, Miles Davis album Bitches Brew, and Celine Dion's single "My Heart Will Go On."

This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/the-windows-95-start-up-chime-has-been-added-to-the-library-of-congress-203909673.html?src=rss

President Donald Trump has announced a 90-day pause on the sweeping tariff plan that went into effect on Wednesday, April 9, and an increase to 125 percent on the tariff on imports from China. Even with the 90-day pause, there's still also a 10 percent tariff on all other imports to the US.

"Based on the lack of respect that China has shown to the World’s Markets, I am hereby raising the Tariff charged to China by the United States of America to 125 percent, effective immediately, " Trump posted on Truth Social. For not retaliating, and attempting to "negotiate a solution," the president says he also "authorized a 90 day PAUSE, and a substantially lowered Reciprocal Tariff during this period, of 10 percent" on trade with countries other than China.

China originally announced its own 50 percent tariff on US imports on April 8, The New York Times reports, before raising the tariff to 84 percent when Trump's plan went into effect. The European Union recently approved its own set of tariffs to go into effect on April 15.

Besides negatively impacting global trade, Trump's tariffs have already had an immediate effect on companies offering consumer products partially or completely manufactured outside of the US. Many companies can no longer afford to pay the tariff to get their products to US customers, or are considering raising prices to account for their losses.

For example, Nintendo attributed the pause on Switch 2 pre-orders in the US and Canada to the tariffs. The new import restrictions have also temporarily limited the sales of some products: Both Razer and Framework are no longer selling certain laptops in the US. Framework also delayed pre-orders on its new 2-in-1 convertible laptop and announced that it would be raising prices by 10 percent on the devices that remain for sale.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/trump-announces-90-day-pause-on-tariffs-excluding-china-195630212.html?src=rss

Google has used AI to revamp one of the most beloved films of all time for a 360-degree Sin City screen with the highest resolution in the world. The rerolled version of The Wizard of Oz will debut this August at The Sphere, the Las Vegas entertainment venue with a famously globular LED screen. Whether a technical marvel, dystopian nightmare fuel or some combination, the project will surely continue The Sphere's penchant for extravagant spectacles that persuade tourists to plunk down hundreds of dollars to sit for a few hours in one of its 17,600 seats.

Sphere Entertainment, the company behind the venue, worked on the project with Google, Magnopus and Warner Bros. Discovery, which owns The Wizard of Oz rights. Google describes it as an "epic undertaking of creativity and technology," humbly likening it to the cinematic boundaries broken by the acclaimed Technicolor original. "We're taking a beloved movie, but we are re-creating it," Google Cloud CEO Thomas Kurian told The Wall Street Journal. "The only other way you could do it is to go back [in time] and film it with the cameras that the Sphere uses."

The 1939 original.Warner Bros. Discovery

Google used generative AI models from its Gemini family on the project, most notably Veo 2 and Imagen 3. The company not only had to magnify the original 35mm film for a 160,000-square-foot screen composed of 16,000 LEDs but also had to account for camera cuts that removed characters from the frame. For example, in a Kansas scene between Dorothy, Auntie Em and Miss Gulch, Uncle Henry (who was also in the room but off-camera) will be visible on the much wider screen.

It did so primarily through an AI super-resolution tool (generating new pixels to fit the much higher-res screen), AI outpainting (generating new parts of a scene stretching beyond the original celluloid) and performance generation (incorporating composites of the actors into these expanded environments).

To help fine-tune the AI models, Google didn't limit the models' training to the original footage. It also fed them supplementary material like the shooting script, production illustrations, photographs, set plans and scores — teaching them about characters' and environmental details and production elements like camera focal lengths. The company also consulted with professional filmmakers for character actions, expressions and performance.

"Now, Dorothy's freckles snap into focus, and Toto can scamper more seamlessly through more scenes," Google claimed.

The companies behind the project (perhaps contradictorily) claim that, despite AI touching "over 90 percent of the movie," it "respects the original in every way." Google says no new dialogue lines were added, and there isn't a note of new music sung.

If the glimpse shown in the preview below (via tabGeeks) is any indication, Dorothy has all the overly smoothed-out hallmarks we've come to expect from AI-upscaled faces. But we'll leave final judgment for the sun-drenched Sin City tourists who spend their hard-earned (or hard-won) cash on following the Gemini-infused road beginning on August 28.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/google-used-ai-to-reconceptualize-the-wizard-of-oz-for-the-las-vegas-sphere-194504769.html?src=rss

Samsung has finally detailed the prices of the new TVs it announced at CES 2025. The company is selling updated version of The Frame TV, multiple ranges of OLED TVs with faster processors and The Frame Pro, a high-end version of its popular TV / digital picture frame.

The major upgrade The Frame Pro offers over the original The Frame is a 4K Neo QLED display and the Wireless One Connect Box. Samsung's Neo QLED displays use MiniLEDs to offer improved brightness and local dimming. To better sell the illusion that The Frame Pro is a picture frame, the Wireless One Connect Box lets you hide the cables you'd normally plug into your TV in a cabinet, and wirelessly transmit their inputs directly to your display. For those upgrades, plus the included NQ4 AI Gen3 Processor, The Frame Pro is $2,199 for a 65-inch model, $3,199 for a 75-inch model and $4,299 for the 85-inch model. Samsung says an 83-inch model will be available at a later date.

Samsung

The changes to The Frame are more modest. The TV now sports a refresh rate of up to 144Hz and also comes with the NQ4 AI Gen3 processor. The chip powers video upscaling on top of AI-powered features like "Click to Search," the ability to look up an actor's bio while watching something, and "Live Translate," the ability to generate real-time captions of whatever you're watching in another language. If you want The Frame, you'll pay $899 for the 43-inch model, $1,099 for the 50-inch model, $1,299 for the 55-inch model and $1,799 for the 65-inch model.

The updates to Samsung's more traditional OLED TVs vary depending on the series and size you purchase, but all of the new TVs support Samsung's AI-powered features. The S95F comes with the NQ4 AI Gen3, a new glare-free display, Samsung's "brightest-ever OLED screen" and the Motion Xcelerator 165Hz feature for smooth gameplay during demanding video games. The S90F gets the same chip and Motion Xcelerator 144Hz (for a slightly lower refresh rate) and the S85F uses the NQ4 AI Gen2 processor and Motion Xcelerator 120Hz. The S95F starts at $2,299, with sizes that range from 55 inches to 75 inches. The S90F starts at $1,299 for the 42-inch model and can go up to 83 inches. The S85F, meanwhile, starts at $1,499 for the 55-inch model and also goes up to 83 inches.

All of Samsung's new TVs are available to order today, and the company is guaranteeing seven years of software updates to the TVs' One UI Tizen operating system when you purchase.

This article originally appeared on Engadget at https://www.engadget.com/home/home-theater/samsung-is-not-selling-the-frame-pro-for-cheap-185607096.html?src=rss

Sony is beefing up the PlayStation Plus Game Catalog for Extra and Premium subscribers with a bevy of new additions for April. The headliner here is Hogwarts Legacy. This is one of the biggest blockbusters of the past couple of years, even in the face of J.K. Rowling doing her darndest to destroy her personal Hogwarts legacy with anti-trans nonsense.

For the uninitiated, it’s an open-world action RPG set at Harry Potter’s favorite wizarding school. However, the game takes place in the 1890s, over a hundred years before Potter and his buds careened around the campus. The game hits the service on April 15.

Also on the docket this month is the puzzler Blue Prince. This is actually a day-one launch for the platform. The reviews of this one have been particularly effusive, with most people praising the clever puzzles, the atmospheric game world and the addition of roguelike mechanics. It’ll be available for download on April 10.

The second installment of Don’t Nod’s Lost Records: Bloom & Rage will also be available on April 15 for subscribers as a day-one launch. This follow-up concludes the time-twisting narrative adventure that’s set in both 1995 and 2022. This is generally considered a spiritual successor to the iconic Life is Strange.

Other games dropping this month include EA Sports PGA Tour and the restaurant management sim PlateUp! PS4 players are also getting a little treat, as Battlefield 1 will be available from April 15.

This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/hogwarts-legacy-and-blue-prince-come-to-playstation-plus-game-catalog-in-april-175501864.html?src=rss

What kind of person would you be in the face of a disaster that’s beyond explanation? Would you help distressed neighbors and open your home even to sketchy-looking strangers in the hope that there’s strength in numbers, or go it alone regardless of how heavily the odds are stacked against you? Would you still brush your teeth every day?

The horror in Francis Coulombe’s RPG Look Outside is all encompassing. There is the cosmic element: something incomprehensible is happening beyond the walls of your apartment building and it’s in your best interest to not even look outside, let alone go there. And as you quickly learn, anyone who has looked or been outside is transformed in unimaginable ways, making for some extreme (and extraordinarily creative) body horror. But in much of the game leading up to its multiple climactic endings, the unease also stems from how it makes you look inside — at the choices you’ve made and the person you’ve become in order to survive.

Despite trying to take an empathetic approach, I still found myself in situations that left my character (and me) wracked with guilt. There is a gnawing sense of doubt that grows over the course of the game, repeatedly making me question whether I’d, say, made a bad call and been too quick to kill that neighbor whose entire head is teeth, or if my hand was really forced into making a very upsetting sacrifice.

After a while, the most unnerving thing is looking in the mirror. And you have to do that a lot in this game, because hygiene affects your stats.

Francis Coulombe/Devolver Digital

It all begins with your character, Sam (you can change the name, if you want), waking up after a strange dream with a strong urge to look outside. You are immediately given the choice between satisfying your curiosity and listening to your gut, and you’ll find yourself grappling with that dilemma time and time again.

At this point, you also meet Sybil, the mysterious next-door neighbor who only speaks to you through the wall, with one glaring eyeball peering out of a large crack. Sybil, whom it’s unclear if you should trust, tells you that everything will blow over in 15 days if you just wait it out. You need to scavenge for resources if you’re going to make it that long, though, and once you leave your apartment and get a chance to talk to some other neighbors, you may decide you want to take a more active role in getting to the bottom of the catastrophe.

Some neighbors, particularly a few robed amateur astronomers who appear to be in a cult, seem to know quite a bit about what’s going on, and it’s insinuated that doing tasks for them will help you figure out the how and why of the phenomena around you. Others are more focused on addressing their immediate needs and will try to rope you into their causes: locating missing people, picking up laundry, cleaning the messes left behind by eldritch horrors, etc. There’s a full on war happening somewhere in the building, which you can choose to play a part in if you’re so inclined. Your landlord will unsurprisingly still demand you pay him rent despite the circumstances.

If you choose to play in Normal mode, like I did, Sybil is your only save point, so you’ll have to return home regularly. Easy mode autosaves.

All interactions are turn-based, and as you explore the apartment building, you’ll run into tons of enemies and potential allies — but the line between the two isn’t always easy to distinguish. Sometimes you can only attack or try to escape, which answers the question for you, but other times, you have the opportunity to talk and ask questions. The turn-based nature allows you to take a moment and evaluate each new encounter, but there’s always an air of ambiguity about everyone’s trustworthiness. Even when you’re back at your apartment, where you can shower, rest, do some cooking and crafting, and play video games, people will come along and knock on your door, and you’ll have to make up your mind about whether you should let them in.

The thing is, surviving can be pretty difficult once you really get going if you’re on your own. Enemies will outnumber and overpower you. That’s where it becomes helpful to have a few allies. With as many as three other people in your party, the scale tips heavily in your favor. I took the trusting approach, for better or worse. This resulted in me having a pretty solid group of fighters on my side, but a pair of those same allies kicked me out of my own bedroom and complained about my cooking.

The creature designs come disgustingly, beautifully alive in the pixel art style. Body horror can be really hard to stomach, and something is often lost for me in the process of consuming it when it’s intended to seem realistic — either because I’m hiding behind my hands and only taking tiny peeks through my fingers, or because it ends up achieving the opposite effect and just looks ridiculous without meaning to. But Coulombe’s art equally embraces the horrifying and the absurd, and the effect of that balance is powerful.

Nothing was ever so disturbing that I couldn’t look straight at it, but there were certainly moments that gave me a genuine scare or made my skin crawl. Even the characters that aren’t being transformed, like the protagonist, look a little grotesque, which adds to how unsettling everything feels. But just when the dread would reach a fever pitch, something overtly silly would be thrown in almost as if to splash some cold water on the whole thing and say, yes this is the apocalypse but we’re still human, we still have a sense of humor.

Francis Coulombe/Devolver Digital

So much of the joy of playing this game is discovering all the tricks it has up its sleeve, so I won’t get into any descriptions of bosses, puzzles or the building itself, other than to say that the latter has a whole House of Leaves thing going on that is unbelievably frustrating at times, but in a way that only adds to the brilliance of it all. There is no map to guide you, either. The soundtrack, composed by Eric Shumaker, keeps in perfect step with every emotion the environment evokes, and I could probably write an entire separate review about how good it is.

All of this builds up to an absolute cosmic gut-punch of an ending (or endings, there are several) that completely changed the way I felt about the game up until that point. In the end, it becomes something much, much bigger than it once seemed, and the feelings were almost overwhelming. I can’t stop thinking about it.

By now I’ve played Look Outside many hours beyond what a typical run would be, just picking apart every detail and turning over every stone to try and figure out all the secrets, reach all the conclusions. I have died in all sorts of strange ways, and lived to see wildly different fates pan out.

I went into this only with the expectation of cool art and a relatively unique approach to survival horror, and came away shook from what turned out to be one of the best cosmic horror games I’ve played in a while, maybe ever. Look Outside, published by Devolver Digital, is only available on Steam for now, but I sure hope it makes its way to other platforms soon so more people can experience it.

This article originally appeared on Engadget at https://www.engadget.com/gaming/look-outside-is-an-unexpected-cosmic-horror-masterpiece-that-shook-me-to-the-core-171542211.html?src=rss

Anthropic is joining the ranks of OpenAI in offering a more expensive tier of its flagship chatbot. On Wednesday, the company announced Max Plan. Starting today, you can either pay $100 or $200 per month to use Claude up to 5x or 20x more than you can with Anthropic's existing Pro plan. The company told Engadget it's introducing the Max tier in response to the popularity of Claude 3.7 Sonnet. The new hybrid reasoning model, which excels at coding tasks, has been so popular with users, many are asking to use it as much as they want.

With tokens for Claude 3.7 Sonnet costing significantly more than what Google and others charge for access to their lightweight models, Anthropic isn't quite ready to offer unlimited usage of the new model. However, you'll find even OpenAI's $200 per month Pro plan has its own set of restrictions, with monthly limits imposed on "very compute intensive" features like Deep Research.

Part of the reason Anthropic is offering two different price points at the Max tier is so that it can give flexibility to customers as their needs change. Additionally, those same users will gain priority access to new models and capabilities as Anthropic releases them.

This article originally appeared on Engadget at https://www.engadget.com/ai/anthropics-max-plan-offers-nearly-unlimited-claude-usage-for-200-per-month-170032710.html?src=rss

Heart Machine knows how to make a stylish game, so it’s no surprise that the studio’s latest project, Possessor(s), is sexy as hell. I mean, just look at Rhem, the cosmic demon with a chiseled jawline, aquamarine horns and a fine-cut suit unbuttoned down to his navel, who alternately encourages and negs you throughout the game. Stupid sexy Rhem.

“It's just fun to have hot characters at the end of the day,” Heart Machine founder Alx Preston said at GDC 2025. Preston and three other Heart Machine developers — producer Myriame Lachapelle, narrative director Tyler Hutchison and writer Laura Michet — played through Possessor(s) while we chatted about the game and the studio.

Hutchison continued the hot-characters conversation by praising Heart Machine concept artist Sophie Medvedeva and adding, “Since we were kind of building out this visual novel, I was trying to leverage the expertise I brought from Dream Daddy to be like, well, let's make sure these characters are very hot.”

Sometimes, it’s as simple as that.

Possessor(s) is a sidescrolling sci-fi action game set in the ruins of Sanzu, a corporate megalopolis that's been ripped apart by interdimensional horrors. Sanzu was once a company town controlled by the tech firm Agradyne, but three years ago, a flood of demons escaped the city’s underground laboratories, possessing its citizens and transforming most of them into vicious, mutated creatures. The game spans desolate skyscrapers and abandoned aquariums, and it looks like a daydream of a 1990s anime, splattered in neon and shimmering with a sickly green VHS aura.

It stars Luca, a possessed-but-lucid 16-year-old who’s searching the urban wasteland for any signs of her mother and best friend. The “hot” descriptor in this game is reserved for the demons, but Luca is stylish, with an iridescent coat, slender metal legs and two horns of her own. Luca is bursting with teenage angst and she has an uneasy relationship with Rhem, the demon who’s invaded her consciousness. He’s the only thing keeping her alive, and he needs her in order to finally return home.

“Luca is missing her mom and her best friend, who both got lost when the demons escaped to destroy the city,” Michet said. “So she's resentful Rhem won't let her take some time off to find all the people important to her.”

Heart Machine

Together, Luca and Rhem explore Sanzu, investigate the true nature of Agradyne and search for Luca’s loved ones. Levels are littered with evil creatures to battle and puzzles to solve, and throughout the game, Luca masters an arsenal of improvised weapons like kitchen knives, a guitar, a hockey stick and a corded computer mouse. Her whip, a power provided by Rhem, allows her to swing across gaps, rapidly reposition and pull in heavy objects and enemies.

Combat in the demo seemed to flow smoothly; it was heavy on visual flourishes, leaping airborne attacks and satisfying slashing moves, with Luca bounding seamlessly across floors, walls and platforms. A few frames of line-drawn placeholder art flashed across the screen at one point, but these were the only indication that Possessor(s) isn’t actually complete yet. It’s due to hit PC and PS5 this year.

“The original premise was something more like Smash Bros., where you can do directional inputs and kind of build out your loadout to feel more like a different character,” Preston said. “Where we've ended up is still a bit Smash Bros.-y, in that there's juggling and bouncing enemies on surfaces and things like that. But we've found the spirit of Luca and her character, and what she wants to do.”

Heart Machine

Possessor(s) is eye-catching and combat-focused, and it also has a narrative that’s supremely relevant for our times. Boiled down, the premise is that capitalistic megacorporations with an iron grip on society are bad, and young people fighting the system are rad. Interdimensional beings with chiseled pecs and a devastating smoking habit are the hot twist that makes the story uniquely Heart Machine’s.

“I mean, it sucks to live in a hierarchical corporate society where your value is determined by your value to the business,” Michet said. “And Luca will discover this from her teenager perspective.”

The story in Possessor(s) is branching, with multiple paths to follow and a quarantined city of characters to meet. This is a new mechanic for Heart Machine — in fact, the entire game is composed of firsts for the studio, and Possessor(s) is purposefully different from its previous games, Hyper Light Drifter, Solar Ash and Hyper Light Breaker. Hyper Light Drifter's moody, 16-bit-inspired isometric action put Heart Machine on the map even before its release in 2016. Solar Ash followed in 2022 and it was a third-person, 3D platformer. Hyper Light Breaker hit the market this January as a third-person, online roguelite with stylized 3D graphics. Meanwhile, Possessor(s) is a hand-drawn, 2.D side-scroller with touches of horror and visual-novel mechanics.

Heart Machine

This progression aligns with a mentality of curiosity that Preston outlined to Engadget in 2021. At the time, Heart Machine had fewer than 30 developers and they were still building Solar Ash, unsure of how the switch to 3D would be received. Back then, Preston said the following:

“Hyper Light was a way for me to get started, it was a way for me to be more grounded and put together a crew and understand, can I do this? Can I actually make games? And so having answered that question, then the natural next step for me was something in 3D. Can I put something out there that really opens up the world and makes you feel like you can truly escape into something, a creation that is otherworldly, that you otherwise wouldn't have the experience of?”

Since 2021, Heart Machine has endured layoffs and launched a Patreon, and today it has 58 people on staff. Preston remains at the studio's core, still testing new concepts.

At GDC 2025, he said, “We've done overhead stuff with Drifter back in the day, and then fully 3D was a big jump. I wanted to do something sidescrolling, because there's a lot of different, unique challenges there that are fun to tackle. That perspective for how we do art, and mixing our 3D stuff with a 2D plane, there's a lot of cool opportunities there. Something like Inside was a good point of inspiration, seeing what a smaller team can do with atmospheric chops. And we're pretty good on those fronts.”

Possessor(s) is due to hit PC and PS5 in 2025, published by Devolver Digital.

This article originally appeared on Engadget at https://www.engadget.com/gaming/possessors-is-a-game-about-hot-demons-and-other-things-170016014.html?src=rss

Fret not, Fireflies, The Last of Us will continue on HBO beyond its second season. Just before the hit adaptation of Naughty Dog's games returns to the network and Max for its next batch of episodes, HBO has officially greenlit a third season of the show.

It would have been a major shock if TLOU wasn't going to return beyond this latest seven-episode stint. Season two doesn't cover all of the shocking events of The Last of Us Part 2. The show's creators and showrunners, Neil Druckmann of Naughty Dog and Craig Mazin, have long been adamant that it would take at least two seasons to adapt that overly long misery simulator (still a very good game, though). Plus, the first season was a huge success, as tens of millions of people watched Joel and Ellie fend off infected and other enemies as they trekked across the remnants of America.

"We approached season two with the goal of creating something we could be proud of," Mazin said in a statement. "The end results have exceeded even our most ambitious goals, thanks to our continued collaboration with HBO and the impeccable work of our unparalleled cast and crew. We look forward to continuing the story of The Last of Us with season three!"

HBO hasn't given a timeline for when we can expect the third season, but there should hopefully be a smaller gap between seasons this time around. Season two was delayed by the Hollywood writers' and actors' strikes in 2023. Plus, it's hard to imagine that viewers will be willing to wait so long to find out what happens after [redacted].

Speaking of which, season two of TLOU premieres on HBO and Max this Sunday, April 13. Engadget's Nathan Ingraham reviewed the season, and found it did an admirable job of adapting (at least some of) the non-linear source material while resolving certain issues from the first season.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-last-of-us-will-return-for-a-third-season-163801196.html?src=rss

Instagram is testing a feature that locks Reels behind a secret code and a provided hint, according to a report by TechCrunch. This looks like a novel way for creators to interact with fans, as they can share exclusive reels with people who are more likely to know the answer to these clues.

As an example, a creator could lock a Reel with a hint like “my favorite food” and rabid fans would, of course, know the answer. The Meta-owned social network has been testing the feature on its Design account. It shared a locked Reel that prompts viewers to enter a secret code based on a hint that read “1st # in the caption.”

Meta / Screenshot from Engadget

The first hashtag mentioned in the caption was “Threads.” Upon entering the correct code, viewers access a Reel that announces that the Design account is launching a profile on Threads. 

This could be used by brands to advertise new products or by creators trying to amp up engagement. Personally, I could see it as a place to hide in-jokes with friends, but maybe that’s just me.

Engadget has reached out to Instagram for more information regarding this feature. We’ll update this post if we find out anything regarding availability. This could be just a test, with no actual plans for a general rollout.

This is also quite similar to another Instagram tool called Reveal. This feature lets creators post a hidden Story for followers to uncover by sending a DM.

This article originally appeared on Engadget at https://www.engadget.com/social-media/instagram-is-testing-reels-that-are-locked-behind-a-secret-code-162142807.html?src=rss

Last year, Sony rebranded its portable speaker lineup under the ULT umbrella with new models classified as either Field or Tower. The former are the more "traditional" Bluetooth options while the latter are the party box, karaoke machine sort of devices. Just like 2024, the company has three new entries in the ULT lineup this time around with the ULT Field 3, ULT Field 5 and ULT Tower 9. Those first two fill the mid-range gap between the current ULT Field 7 and ULT Field 1 while the last item is a smaller alternative to the ULT Tower 10.

The ULT Field 3 will replace the SRS-XE300. As the name suggests, Sony's ULT button is among the updates, a control that adds instant access to ULT1 mode for bass boost. The company also expanded the customizable EQ and added its Sound Field Optimization. Inside, a single woofer and a tweeter are angled slightly in the center while two passive radiators are positioned at the ends of the speaker. The ULT Field 3 works in both vertical and horizontal orientations where the XE300 was only vertical.

There's a new Party Connect button to easily sync with other Sony speakers and you can charge your devices via the USB-C port. The company kept the 24-hour battery life the same as the XE300 but improved the quick-charge feature to give you two hours of use in 10 mins. The ULT Field 3 remains IP67 waterproof, dust proof and shock proof like its predecessor, however this new speaker is also rust proof. A removable shoulder strap is among the additions too, but there's one major item Sony retained. The ULT Field 3 is the same price at the XE300 at $200. 

ULT Field 3 Sony

The ULT Field 5 isn't quite at large as the ULT Field 7, but it's still hefty. This speaker will replace the SRS-XG300 in Sony's arsenal, clocking in at $330 — $20 less than that predecessor. Here you'll get a single woofer and two tweeters angled in the middle of the unit with passive radiators at either end. You'll also be able to use a second ULT mode, ULT2, that "emphasizes powerful sound" in addition to the ULT1 bass boost. A 10-band EQ and Sound Field Optimization help maintain sound quality and that new Party Connect button is on this larger speaker too. Like the ULT Field 3, you can use the ULT Field 5 in either vertical or horizontal positions, and similarly there's a removable shoulder strap. 

Battery life remains up to 25 hours on the ULT Field 5, just like the XG300. Once again, Sony improved quick charging to give you 30 more minutes of use in a 10-minute session. This speaker has lights at the ends though, which can impact longevity. Sony says you'll reach that 25-hour mark using ULT modes with the lights off, but using both will drop that figure to 10 hours. There are three different light modes though, so there are options available. On the back of the ULT Field 5, there's a panel with aux input, USB-C charging in/out, a battery care button and a switch for the lights. That's protected by a sealed flap, which helps the speaker achieve its IP67 rating. 

That brings us to the ULT Tower 9. The party box joins the ULT Tower 10 on Sony's current roster, replacing the SRS-XV900. Expanded EQ, Sound Field Optimization and two ULT modes are among the additions here, as are a redesigned handle and wheels for better portability. Sony improved the lighting for 360-degree projection as well as making the top control panel splash proof. Besides the Party Connect button from the new ULT Field speakers, the ULT Tower 9 has a dedicated option for a stereo pair. The top panel also houses controls for lighting, volume, power and two inputs for microphones (one of which can be used for a guitar). 

ULT Tower 9 Sony

Like the XV900, you can use Sony's TV Sound Booster feature to enhance living room audio on the ULT Tower 9. The speaker has that ULT button, which gives you two modes for either bass boost or "powerful sound." The driver arrangement inside includes four tweeters, two of which are pointing out the back of the speaker, along with two mid-range units and a single woofer. The wireless version of the ULT Tower 9 is the same price as its predecessor at $900, but Sony is also offering a wired option that must remain plugged into an outlet for $750. If you opt for wireless, battery life is the same on that Tower 9 as the ULT Field 5: up to 25 hours with only ULT mode and up to 10 hours with both ULT mode and lighting active. 

Lastly, Sony revealed the ULT Mic, which is a $150 set of two wireless microphones and a transmitter that are designed to be used with the company's party speakers. This new accessory pack works with both the newer ULT Tower speakers in addition to the ULT Field 7. You can also use it with any older Sony speakers that support a microphone jack and receiver (like the XV900, XV800, XV500, XP700 and XP500). The mics are rechargeable with up to 20 hours of battery life and they feature a shock proof design. What's more, the company equipped these devices with noise reduction for hands, breath and wind, plus there's a Duet Assist tool to compensate for uneven vocal volumes. 

The ULT Field 3, ULT Field 5, ULT Tower 9 and ULT Mic are all available now.

This article originally appeared on Engadget at https://www.engadget.com/audio/speakers/sony-adds-three-more-speakers-to-its-ult-lineup-bass-boost-button-included-160008038.html?src=rss

There’s a big Xbox showcase event scheduled June 8 at 1PM ET. This is happening the same weekend as Summer Game Fest, which begins on June 6. Xbox has typically held these kinds of live presentations alongside Summer Game Fest ever since E3 was sent to a farm upstate to live with other discontinued industry conferences.

We don’t know what will be shown at the annual Xbox Games Showcase. The company says it will bring us a "look at upcoming titles from across our first-party studios, in addition to incredible new titles from our third-party partners." It’s a digital-only event, so there will be no crowd to hoot and holler at reveals.

As a guess, I’d expect some new info on that new Fable entry, which was recently delayed until 2026. We could also get new trailers for the Perfect Dark reboot and Ninja Gaiden 4. Other possibilities include Gears of War: E-Day and Hideo Kojima’s OD. The sky truly is the limit. Xbox owns a lot of studios and, of course, has numerous partnerships with third-party devs.

One game that won’t be at the official presser is The Outer Worlds 2. That’s because it’s getting its very own livestream that follows the showcase. This game was originally teased all the way back in 2021, so it’s high time for a release date. Xbox promises a look inside developer Obsidian and trailers that reveal "new gameplay, details and developer insights." Interestingly, The Outer Worlds 2 is no longer an Xbox exclusive, as it’s also coming to PS5.

This article originally appeared on Engadget at https://www.engadget.com/gaming/xbox/xboxs-big-summer-showcase-is-set-for-june-8-at-1pm-et-152001789.html?src=rss

If Claude Plays Pokémon is supposed to offer a glimpse of AI's future, it's not a very convincing showcase. For the past month and counting, Twitch has watched Anthropic's chatbot struggle to play Pokémon Red. Across multiple runs, Claude has failed to beat the nearly 30 year old game. And yet for David Hershey, the project's lead developer, the showcase has been a success.

"I wanted some place where I could understand how Claude handles situations where it needs to work over a very long period of time," Hershey explains to me over a video call. As part of his day job at Anthropic, Hershey works on the go-to-market team where he helps the company's clients create their own agents (more on those in a moment). He first began working on Claude Plays Pokémon as a side project around the time Anthropic released 3.5 Sonnet last June.

As you can probably guess from the name, the project was partly inspired by Twitch Plays Pokémon, which debuted in 2014 and saw 1.16 million participate in a crowdsourced attempt to beat Pokémon Red using only the inputs viewers typed into the stream's chatbox. Hershey wasn't the first Anthropic employee to try to mold Claude into a Pokémon League Champion, but the project took on a life of its own right around the time he got involved.

In the early days of the project, it was a big deal when Claude managed to leave Red's home and find Professor Oak. "I spent some ungodly number of hours tinkering to get it to make that kind of progress," Hershey tells me. He would update his co-workers on Claude's progress in an internal Slack channel. At that point, most of the company wasn't paying attention, and it wasn't something Anthropic planned to share with the world.

However, Hershey has made it a habit to revisit the project with each new major model release from Anthropic, starting with the upgraded version of Claude 3.5 Sonnet last fall and again more recently with 3.7 Sonnet. "It's the way I go to see 'What is this new model?' 'How does it work?' 'What can I learn about it?'" Hershey explains. And with Claude 3.7 Sonnet, the version of Claude playing the game right now, it was the first time "you could squint and see signs of life."

Inside Anthropic the hope was that Claude would become better at trying different strategies and adjusting its approach when things didn't go according to plan. With Pokémon Red, the company saw Claude do those things in real-time. "[Claude 3.7 Sonnet] spends less time stuck on assumptions," says Hershey. "You'll still see it make a guess and then spend some number of hours believing that's true and making dumb decisions in the meanwhile, but previous models would kind of go on doing that forever."

Antrhopic

And you can, quite literally, see Claude develop and run with those assumptions. Each ploddingly slow move in the game is preceded by a paragraph of text output from the AI — "I've encountered a wild ZUBAT while trying to navigate to (24,24). As per my strategy, I should flee from this battle to conserve resources" — followed by one single button press. Then it reassess the game state and does that all over again.

If you've been watching Claude fumble through Pokémon Red as a fan of the game, a model that spends "less time stuck on assumptions" appears minor, especially when the chatbot will frequently get stuck in areas like Viridian Forest, sometimes for days, due to the maze-like level design. Nonetheless, it is a milestone for the type of AI system that Claude 3.7 represents.

Like a lot of recent frontier AI systems, Claude 3.7 Sonnet is a reasoning model, meaning it's designed to tackle problems by breaking them down into smaller pieces. "A lot of our customers care about how effective Claude is an agent," explains Hershey. For the uninitiated, agents or agentic AIs are systems that are designed to plan and carry out complicated tasks without human supervision. Right now, most people think of AI as a blank chat box waiting to answer a question, but chatbots are only the consumer face of the industry; agentic systems represent an incremental but important step towards the promise of artificial general intelligence.

From that perspective, there are a couple of things that make Claude Plays Pokémon interesting. First, there's the surprising fact Hershey delegated a lot of the programming that made the project possible to Anthropic's coding agent including an overlay that allows Claude to make sense of Pokémon Red's game world.

Second, and more importantly, Claude was not pretrained to play Pokémon Red. The chatbot knows some fundamentals about the game, such as the name of each gym leader and the order the player must beat them in, but it doesn't have hundreds of years worth of game knowledge like some specialized AI systems. "You can throw a model at a game with no preparation, no guidance and it can learn everything itself," he says. "I aim to be as close to that side as possible."

Hershey had to give Claude some help. I already mentioned the overlay that allows it to interpret Pokémon Red's interface. Pixel art is something all AI systems struggle with, and 3.7 Sonnet is no expectation. As humans, our imagination does a great job of filling in the details suggested by just a few pixels. What’s more, Claude doesn't "see" the way we do.

If you watch it closely, you'll notice each time it moves the player character, it will make a few inputs before reevaluating its position. Between those frames, Claude doesn’t have any sensory input. It can't see Red walking, nor does it "hear" when its inputs cause him to crash into a tree or some other obstacle. Claude's "poor vision" is one of the primary reasons it struggles with the game; in fact, Hershey had to give the chatbot a way to read the game's memory so it was less likely to get confused if it misinterpreted the screen.

If the goal of the project was for Claude to beat Pokémon Red, that would have been easy. Hershey could have programmed a route through the game for the chatbot to follow, but at that point all he would have been testing is how well Claude follows a rigid set of instructions. "Claude is pretty good at that," Hershey says. "I knew that. We all knew that."

Instead, in leaving Claude to its own devices, the new model has shown it's better at planning, coming up with new strategies and ultimately trying something different when its assumptions prove to be wrong. One of the more novel solutions Claude developed during its third run through the game was to intentionally cause all of its Pokémon to faint so that it could escape from Mt. Moon.

Still, Claude could be a lot better at both short- and long-term planning. In the same example I just mentioned, Claude deleted all of its notes on Mt. Moon after respawning at a nearby Pokémon Center, incorrectly believing it had successfully navigated the cave. One of its more promising runs ended after Claude failed to recognize it needed to talk to Bill to progress the game. It got stuck in an endless loop of bad decision making.

"Moving forward, I don't know how useful this will be internally as a benchmark. It's possible that with a small, tiny set of skills, Claude gets a little bit better and beats the game, and then the benchmark is not that interesting," Hershey admits. "It could also be the case that there are things I don't quite understand yet about what's going to make our next model good, and then we'll still be learning a lot more incremental things along the way."

As for what happens next, Hershey says he doesn't have a long-term strategy for Claude Plays Pokémon. "I've just spent so much time — my wife would say too much time — staring at this thing," he says, laughing. I also get the sense Hershey's not quite ready to close the book on the project. "I would imagine whenever a new model comes out, I'll be playing Pokémon with it, and I will probably show the world that too."

Until then, Anthropic, following a recent reset, continues to stream Claude Plays Pokémon on Twitch. The project has been successful enough to inspire an independent developer to program a Gemini Plays Pokémon stream, and if I had to guess, we'll see more imitators before long.

This article originally appeared on Engadget at https://www.engadget.com/ai/claude-isnt-a-great-pokemon-player-and-thats-okay-151522448.html?src=rss

HBO’s The Last of Us took a riveting action game bolstered by intimate human moments and made a richly human drama supported by terrifying action. In returning for season two, and now using the sequel game as source material, showrunners Craig Mazin and Neil Druckmann had quite a bit more work cut out for them. The first season greatly expanded the emotional depth and breadth of Joel and Ellie’s cross-country journey while also fleshing out the stories of many others they meet along the way, and the cast (led by Pedro Pascal and Bella Ramsey) was outstanding. But some fans felt the balance of action and drama was off, and I had a few issues with the pacing — though the final product was still outstanding in my eyes.

That was over two years ago, and now it’s encore time. Season two premieres on HBO this Sunday, April 13 (you can stream it on Max), and I am once again happy to report that the show does a faithful job of capturing the first part of a complex story while also fixing a few of the minor complaints I had about the first season.

[Editor's note: this story discusses season two broadly but avoids specific plot details and spoilers. There are spoilers for season one.]

The show picks up exactly where season one (and the first game) concluded. Joel and Ellie return to the settlement of Jackson, Wyoming, where Joel’s brother Tommy is part of a peaceful, well-fortified commune — a rare oasis of relative safety in a destroyed world. This comes about a year after the Fireflies — a militia group searching for a cure for the zombie infection — tasked Joel with smuggling Ellie across the country. Over the ensuing journey, Joel bonds with Ellie and comes to treat her as a surrogate daughter, replacing the one he lost at the beginning of the outbreak 20 years prior.

Ellie’s immunity to the infection gave the Fireflies hopes she holds the key to finding a cure — but when Joel learns it would kill her, he wipes out a whole platoon of soldiers and the doctor who was trying to carry out the procedure, before fleeing with Ellie back to Jackson. As far as she knows, there was no way to make a cure and Joel rescued her when raiders descended on the Firefly complex.

Kaitlyn Dever in HBO's The Last of Us season twoPhotograph by Liane Hentscher/HBO

We immediately learn that Joel’s rampage against the Fireflies is going to have major repercussions right from the jump, as we meet Abby (played with furious intensity by Kaitlyn Dever) and her small crew of young Fireflies in Salt Lake City in the days following the massacre. Things then jump forward five years; Ellie and Joel are well-integrated into the Jackson community and living a relatively normal life — though Joel’s therapy sessions with Gail (the wonderful Catherine O’Hara) show that he and Ellie have had some degree of falling out. Whether it’s just her being a 19-year-old or something deeper remains to be seen.

Without spoiling anything, the sequel game, The Last of Us Part II, is a far less linear affair than its predecessor. Events are shown out of order through multiple flashbacks. Perspectives shift. The playable character changes at various points. I’ve spent much of the last year wondering exactly how Mazin and Druckmann would translate that structure to TV — what events would be shown in what order, and what things might get cut or expanded on?

But surprisingly, the show closely mirrors the game’s chronology. The core of the season remains Joel and Ellie, the fallout from season one and how it affects everyone around them. A handful of events, including an infamous town festival in Jackson and the reveal of Abby’s motivations throughout the season, are moved up sooner in the series to give viewers more context for why things are happening. It’s a change the creators said was made to compensate for the change between the interactivity of playing characters like Abby and Ellie versus watching them.

Pedro Pascal and Catherine O'Hara in HBO's The Last of Us season twoPhotograph by Liane Hentscher/HBO

The season’s structure worked — the multi-pronged plot didn’t ever feel hard to stick with, and I think the show did a better job this season at balancing out action and drama. As the cast and creators have alluded to, Ramsey and Pascal don’t get as much time together as they did in season one, which is a shame given their absolutely fantastic chemistry. But both actors make the most of Joel and Ellie’s fracturing relationship, and they also do wonderful work with other scene partners. Both Joel and Ellie spend significant time with Dina (Isabela Merced), who ends up being something of another daughter to Joel and a best friend / love interest for Ellie. She brings a completely different attitude to these scenes — like anyone in the world of The Last of Us, you know she’s seen her fair share of horrible things, but she combines a cool confidence with vulnerability in a way that keeps Ellie delightfully off balance.

One of the key new events in the show that didn’t take place in the game is a massive siege of Infected attacking the town of Jackson (something you see in the show’s various trailers). At first, it felt like an on-the-nose response to complaints that the Infected didn’t feel like much of a threat in season one, but the way the large-scale battle is juxtaposed with a much more intimate threat in the same episode plays out perfectly. That episode was followed by one that was far more peaceful and character-driven, a cadence I appreciated after the siege’s intensity. Naturally, things ramp up as the season draws to a close, but the balance feels measured and thoughtful.

Isabela Merced and Bella Ramsey in HBO's The Last of Us season twoPhotograph by Liane Hentscher/HBO

Overall, the Infected are more present in this season than the last, and they’re as deadly and terrifying as ever. In the game, the player might think nothing of taking on five or six in one go, but in the show even a one-on-one encounter feels fraught with danger. Of course, as in season one, the humans are the more unpredictable and threatening part of the world.

Other new characters and events, like the fate of Gail and her husband Eugene (played by Joe Pantoliano), once again serve to enrich and enhance the world of The Last of Us. And beyond individual characters, the show also delves deeply into bigger warring factions, similar to the Kansas City “liberators” in season one. We get multiple views of how groups band together and try to survive against the Infected, and each other, and the show does a good job of not portraying any one way as right or wrong.

Ellie makes her own judgments as the story progresses, and she starts to lose herself in a cycle that she can’t seem to get out of, even as her friends distance herself from her actions. Ramsey plays this extremely well — though they have a slight and small frame, they play Ellie’s ferocity in a way that’s convincing and frightening. That side of her is flipped on its head in more vulnerable moments when the weight of Elle’s choices start piling up, and it’s fascinating and disturbing to watch. Mazin said that the reasoning behind Ellie’s quiet fascination with violence and being protected would play out in season two, and a lot of small moments definitely start paying off here.

Pedro Pascal in HBO's The Last of Us season twoPhotograph by Liane Hentscher/HBO

Unlike season one, which is a self-contained affair, season two leaves much up in the air. Again, that’s something the creators have told us already; Mazin said that telling the story of the second game would take at least two seasons. There’s a lot of story still to be told here, and thus things end on a very different vibe than season one. I’m hoping that Mazin, Druckmann and the cast can get back to doing season three a little quicker than last time, as another two-plus years will feel like an exceedingly long wait for some resolution.

With only seven episodes, season two has a shorter run time than season one, which already felt a bit rushed to me. The finale in particular blew through some of its script in rapid-fire fashion that felt almost sloppy. It could have easily done with an extra 10 minutes without losing any momentum. And given that Mazin has already said the next season will be “significantly larger,” my hopes for a quick turn-around are probably not realistic.

Bella Ramsey in HBO's The Last of Us season twoPhotograph by Liane Hentscher/HBO

In the end, that might not be a bad thing for most viewers. The Last of Us can be a grueling and emotional watch, season two even more so than the first. There are some moments of extreme violence that are hard to watch. The show does strike a thoughtful balance between implied and graphic violence,, but it can still be harrowing, and a few moments made me feel almost ill (an appropriate emotion, but not the most pleasant one).

It’s a little hard to evaluate season two in a vacuum, given it’s only the first half of some fairly messy, non-linear source material. That’s not a major knock; plenty of shows don’t wrap everything up every year in a tidy package. And given the quality infused in every episode of this show, from the acting to the script to the set design and VFX, I’m confident in saying that anyone who enjoyed season one should get on board for what’s to come here, even if it takes a long time to get any resolution. Just as with the game that it’s based on, the journey of The Last of Us season two is intense and asks a lot from viewers, but it’s still a journey worth taking.

Update, April 9 2025, 11:12AM ET: This review was updated with a modified headline and more details in the introduction.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-last-of-us-season-two-review-more-zombies-and-more-heartbreak-160007479.html?src=rss

We finally have the trailer for Murderbot, the Apple TV+ show based on Martha Wells' seven book series, The Murderbot Diaries. It features Alexander Skarsgård as a security unit that is less interested in protecting humans and more excited about catching up on its favorite soap operas.  

As Skarsgård says in the trailer, "I was built to protect and obey humans. And humans are idiots. But now that I've hacked my programming, I can do whatever I want. As long as they don't find out." But, things take a turn when it gets chosen for a dangerous assignment. The security unit privately refers to itself as Murderbot, a fact that becomes more than awkward once the humans learn about the name.

Apple first announced the sci-fi adaptation, from About a Boy creators Chris and Paul Weitz, in late 2023. The first two of ten Murderbot episodes will come to Apple TV+ on May 16. The next eight episodes will debut every Friday. 

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-murderbot-tv-show-trailer-is-here-150017588.html?src=rss

In an incredibly shocking turn of events, more generative AI features are coming to the Google Workspace suite of productivity apps by way of Gemini. Docs, Sheets, Chat, Meet and newcomer Vids are among the tools that are getting new AI capabilities that perhaps some folks will find useful.

Google is taking a cue from audio overviews in NotebookLM to bring new Gemini-powered audio features to Docs. You'll soon have the option of listening to full audio versions of your documents or just the highlights in what Google calls a podcast-style overview. Those enrolled in the Workspace alpha testing program can start trying out these audio features in the coming weeks.

By the end of June, alpha testers will have access to an AI writing coach of sorts. The "help me refine" feature is said to offer suggestions on bolstering an argument, ensuring consistent formatting, enhancing the structure of the text and clarifying key points.

A similar feature is coming to Sheets later this year. The "help me analyze" tool will seemingly point out trends you might have overlooked, offer pointers on where to dig deeper for more insights and whip up charts to visualize the data.

In Meet, you'll soon be able to ask Gemini to recap parts of a meeting you missed because you were running late, clarify certain decisions or topics, generate a recap in the format of your choice and help refine a point before you raise a virtual arm to join the conversation. This so-called "personal in-meeting advisor" will be generally available in Meet before the end of June.

As for Chat, Google will soon offer the option to mention @gemini in a conversation to receive a summary that includes open questions, important decisions that were made and lays out next steps. It could be a useful way to distill everything that happened in a bustling group chat. This capability will be available through the Labs early-access program in the coming weeks.

In Vids, you'll soon be able to generate what Google says are "high-quality, original" clips using the Veo 2 model (perhaps ignoring the fact that generative video AI models mash together footage that they were trained on and arguably don't create anything truly original at all). Workspace alpha can get their hands on this in the coming weeks.

Elsewhere, there's another new feature called Google Workspace Flows. Google bills this as "a brand-new way to automate and orchestrate work across your apps, powered by AI." It employs Gems, customizable AI agents that can be created with Gemini, to take care of specialized tasks, such as researching, analyzing and generating content.

The company says that Workspace Flows can, for instance, address a customer support ticket by analyzing the issue, researching a solution and drafting a reply that the support team can review before sending. Gems can mine your Google Drive files for context. Google's also working with third-party partners to integrate Workspace Flows into their apps and tools. Google is now rolling out Workspace Flows in the alpha program.

Lastly, as of today, Google will allow Workspace users to choose where Gemini processes their data. So if you're in the European Union and don't want your data to travel to the US (or vice versa), that's now an option. Google makes it clear that this is to help comply with regulations such as the EU's GDPR.

This article originally appeared on Engadget at https://www.engadget.com/ai/surprise-google-workspace-is-adding-more-ai-tools-to-docs-sheets-chat-and-other-apps-143644125.html?src=rss

Today Sony is adding a bunch of new features to the PlayStation Portal's Cloud Streaming option. The beta platform is getting updates such as the ability to sort games by recently added, name in standard or reverse alphabetical order or release date. 

Then there's the pause feature, which will stop the game if you open the PS Portal quick menu. Gameplay will also pause if you click the power button. Be warned, you will get disconnected from the cloud streaming session if more than 15 seconds go by without you unpausing it (clicking the power button again). Plus, you'll be paused if there's a system error message on your screen. However, these features don't work, as of yet, in multiplayer mode. 

You're also going to have a clearer idea of when it's your turn to play. You will get an estimated wait time if the streamer server is full and then be put right into the game when you're up. Then there's the new create button, which takes a screenshot (when held down) or records a video of the game (when clicked twice). This media will stay in the PlayStation App library under captures for 14 days.

There's two more, minor, updates to Cloud Streaming. You'll now receive an inactivity notification after 10 minutes of no action, just letting you know that the session is about to end. Plus, there's a user feedback screen that will pop up at the end in case there's anything you want PlayStation to know.

Sony first announced the Cloud Streaming trial late last year and its available to all PlayStation Plus Premium members in beta. The experimental system lets you stream select games from PlayStation's servers, regardless of if you own a PS5. 

This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/ps-portals-cloud-streaming-beta-gets-automatic-pauses-and-screen-captures-141945431.html?src=rss

Samsung's Ballie will go on sale in the US and South Korea this summer, the company announced today. What's more, through a partnership with Google Cloud, the diminutive robot will ship with a Gemini AI model. 

Samsung didn't state the specific system that powers Ballie, but in combination with the company's own proprietary language models, it says the robot has multimodal capabilities, meaning Ballie can process voice, audio and visual data from its sensors. According to Samsung, Ballie can also manage your smart home devices and even offer health and styling recommendations, if you're inclined to seek that type of advice from a robot.    

Samsung has yet to announce pricing for Ballie, though with the uncertainty around the Trump administration's recently announced tariffs, you can't blame Samsung, can you? The company first demoed Ballie in 2020. The robot has gone through a few iterations since the then, with the version you see above first demoed at CES 2024. Samsung said then Ballie would arrive sometime in 2024, but last year came and went without the robot hitting store shelves.

This article originally appeared on Engadget at https://www.engadget.com/ai/samsungs-cute-ballie-robot-arrives-this-summer-with-google-gemini-in-tow-133658886.html?src=rss

It's almost time for The Triple-i Initiative, a gaming showcase for indie publishers and developers. You can watch the stream on The Triple-i Initiative's YouTube channel at 9AM PT / 12PM PT on April 10. It's also available on Twitch, Bilibili and Steam. This presentation is the second annual edition and, based on the teaser video, it looks like we will see an interesting range of games. 

The 45-minute or so showcase should include looks at Enshrouded, V Rising and Deep Rock Galactic. Poncle, the studio behind Vampire Survivors is also set to reveal something, alongside other developers like Sloclap. All in all, the stream should include everything from demo drops to release dates for over 30 games. 

The team at Engadget is very excited that Balatro publisher Playstack is also planning something for the event. "We had been saving our big announcement for a special showcase," said Marta Matyjewicz, marketing manager at Playstack, in a statement. "We were amazed by the quality of last year’s Triple-i, so when the opportunity came to be a part of it, we knew we had to take it."

This article originally appeared on Engadget at https://www.engadget.com/gaming/how-to-watch-the-triple-i-initiative-indie-showcase-on-april-10-133037464.html?src=rss

The warm weather is here, which means saying goodbye to gym memberships and hello to exercising in the fresh air. Without machines measuring your progress, a fitness tracker can ensure you're staying on top of your workout. Now is a great time to pick on up, with the Fitbit Charge 6 down to $120 from $160. 

This 25 percent discount brings our favorite fitness tracker down to its lowest price of 2025. We've given the Charge 6 this accolade thanks to features like a more accurate heart rate monitor and it's use of Bluetooth to pair with exercise machines (if you do miss the indoors). It also offers 20 different workout modes for tracking your exercises. Plus, Google, which owns Fitbit, allows for anyone with a YouTube Music premium subscription to skip and control music playback. 

Other perks of the Fitbit Charge 6 include using Fitbit Pay or Google Wallet for contactless payments and a great built-in GPS. The Fitbit 6 also offers seven days of battery life, much longer than the day or two you get with an Apple Watch (a much more complex device, but still).  

Follow @EngadgetDeals on X for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/deals/the-fitbit-charge-6-is-25-percent-off-right-now-131620961.html?src=rss