It only seems right that cloud gaming should welcome virtual pilots, and that’s definitely now the case if GeForce Now is your streaming platform of choice. One of the most frequently requested features from its community according to NVIDIA, flight control support has now been added to its GeForce Now offering, meaning you can live your Top Gun fantasies without worrying about your rig buckling under the pressure.
The first compatible peripheral is the Thrustmaster T.Flight HOTAS One — which incidentally NVIDIA is giving away to five winners of a competition it’s currently running, along with a month of GeForce Now Ultimate — with more to be supported over time. A dedicated row in the GeForce Now app will highlight games that you can play with flight controls, one of which will be Team Jade’s Delta Force, which arrives on the service soon.
Last year NVIDIA started using RTX 5080 GPUs to power its $20-per-month GeForce Now Ultimate servers, allowing for 5K streaming up to 120fps. Engadget’s Devindra Hardawar called the update a "cloud gaming revelation" and was blown away by how sharp and smooth the experience was.
This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/geforce-now-adds-support-for-flight-controllers-171047006.html?src=rss
At CES earlier this month, AMD announced the Ryzen 7 9850X3D, a more wallet-friendly take on its $700 9950X3D. The company promised the new chip would be out sometime in the first three months of the year, and it's going to arrive a bit sooner than you might have expected. It can be all yours on January 29 for $499.
AMD says the 9850X3D builds on the 9800X3D with an 400MHz upgrade to the boost clock. It can reach boost speeds of 5.6GHz. The Ryzen 7 9850X3D is an 8-core CPU with 16 threads and 104MB of combined L2 and L3 cache. AMD is employing its 3D V-cache tech so it can vertically stack more cache memory onto the chip.
The 9850X3D also has a 120W TDP. AMD claims the CPU is able to deliver an average 27 percent faster gaming performance than the Intel Core Ultra 9 285k. We'll be able to assess that for ourselves very soon given that the 9850X3D will hit shelves in just a few days.
This article originally appeared on Engadget at https://www.engadget.com/computing/amds-ryzen-7-9850x3d-cpu-will-arrive-on-january-29-and-cost-499-165000446.html?src=rss
The nominees for the 2026 Academy Awards were just announced and Ryan Coogler's vampire-adjacent period drama Sinners received a record-breaking 16 nominations. That's the highest number of Oscar nominations for a single film in the history of the awards, followed by Titanic, La La Land and All About Eve with 14 noms each.
Sinners grabbed a nomination in nearly every major category, including Best Picture, Best Director and Best Original Screenplay. The same goes for the performances, as Michael B. Jordan captured the nomination for Best Actor. Even Delroy Lindo got nominated for Best Supporting Actor, which is his very first Oscar nomination after 50 years in the business.
Paul Thomas Anderson's One Battle After Another walked away with 13 nominations and Yorgos Lanthimos' Bugonia scored four. Apple's F1 actually got nominated for Best Picture, which is unusual for a popcorn-style blockbuster. Netflix scored Best Picture noms for both Frankenstein and Train Dreams.
Netflix also got its flowers for the international animated sensation KPop Demon Hunters. It got nominated for Best Animated Feature and, of course, Best Original Song.
The 98th annual Academy Awards will take place on March 15, with Conan O'Brien returning to host. It'll be broadcast live on ABC. The awards ceremony will be moving to YouTube in 2029.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/netflix-scores-oscar-nominations-for-frankenstein-and-kpop-demon-hunters-163521141.html?src=rss
Waymo’s fully autonomous robotaxis are now accepting passengers in Miami. The city was one of five named in expansion plans last year, and joins the likes of Phoenix, Los Angeles and the San Francisco Bay Area on Waymo’s existing network.
Waymo says that nearly 10,000 Miami residents have signed up so far, and that it will send out invites to new riders on a rolling basis" in the weeks and months to come. The autonomous ride-hailing service will initially cover a 60-square-mile area that includes neighborhoods like the Design District and Wynwood, with Waymo planning to expand to Miami International Airport soon.
Waymo started testing robotaxi rides in Miami in November, without passengers initially, which allows it to spot local potential issues and local quirks, and adjust the driving algorithm so things go smoothly once humans are involved. The company insists that autonomous vehicles are safe and reliable, claiming a "ten-fold reduction" in serious injuries caused by crashes compared to human drivers in its current areas of operation.
Waymo’s Florida expansion will move to Orlando next, with the Texas cities of San Antonio, Houston and Dallas also on the agenda for 2026.
This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/waymo-is-now-available-in-miami-162515070.html?src=rss
Walking under a pergola or slatted canopy, sunlight breaks into stripes, and the structure feels more like a drawing in space than a solid roof. That rhythm of beams and shadows is both architectural and strangely calming, turning overhead shelter into something closer to a pattern you move through. Foln takes that outdoor language and shrinks it down into objects you can live with indoors.
Jiyun Lee’s Foln series is a family of three stainless-steel pieces: the Linear Chair, a floor lamp, and a wall lamp, all built from folded metal lines. Each element is made entirely of stainless steel, with dimensions that keep it slender and vertical. The project is less about adding another chair or lamp to the world and more about importing a structural idea into a domestic scale, treating furniture and lighting as small frameworks you inhabit or move around.
Encountering the Linear Chair, you see a small framework first, a set of repeated uprights and crossbars that read like a fragment of pergola. Only when you get closer does the seat reveal itself as a crossing of beams, with the back continuing the same rhythm upward. It is clearly functional, but it also feels like sitting inside a drawing, surrounded by lines and the shadows they cast on the floor and wall behind you.
The floor and wall lamps extend the same language into light. The floor lamp becomes a vertical corridor where illumination travels up and down between nested frames, while the wall lamp compresses that idea into a compact cluster that hovers off the surface. In both cases, lighting is less about a glowing bulb and more about how brightness slips between the metal and onto nearby surfaces, treating the surrounding wall as part of the composition.
Foln changes as you move around it. From one angle, the lines stack and the pieces look dense, almost solid; from another, they open up and nearly disappear. The designer’s statement that shadows become architectural elements in their own right comes through when you realize the real composition includes the dark stripes on the floor and wall as much as the polished steel itself, rewriting the room with every shift in daylight.
Stainless steel, sharp geometry, and unpadded surfaces mean Foln is not chasing ergonomic softness or maximum light output. The chair will feel firm, and the lamps will behave more like ambient or accent pieces than task lights. That trade-off is intentional, prioritizing a contemplative, spatial experience over conventional comfort and placing the series closer to collectible design than everyday contract furniture you buy in bulk.
Foln reframes interiors as places where structure, light, and emptiness can be as present as color or texture. By borrowing the pergola’s rhythm and translating it into folded metal, the series turns a familiar outdoor gesture into a quiet indoor ritual. Rhythm is not only seen in the lines of steel but felt in the way light and shadow keep rewriting the room around them, turning simple objects into small, inhabitable frameworks that change how you read the space they sit in.
Xbox is set to hold the fourth installment of its now-annual Developer Direct showcase on January 22. You’ll be able to watch the 2026 edition at 1PM ET on YouTube (including versions with audio descriptions and ASL), Twitch, Facebook and Steam. Xbox will stream the Developer Direct on its regional channels simultaneously, and it’ll be available on Bilibili on Friday.
The YouTube stream might be the way to go, since that one will be available in 4K and 60 fps. Because we’re so nice, we’ve embedded that stream above, so all you have to do is click the play button when the time is right.
Microsoft has confirmed that it will feature three titles at the Developer Showcase: Fableand Forza Horizon 6 from Playground Games, and Beast of Reincarnation from Game Freak, which is best known for its work on Pokémon games. We should get developer interviews, gameplay footage and (for at least one of those) a release date.
There is a chance that there will be some surprises, of course. The three previous editions of Developer Direct all featured five games — the first one showcased Hi-Fi Rush, which was released on the same day.
This article originally appeared on Engadget at https://www.engadget.com/gaming/xbox/xbox-developer-direct-2026-how-to-watch-and-what-we-expect-to-see-from-fable-forza-horizon-6-and-beast-of-reincarnation-161000242.html?src=rss
Audi has officially entered the Formula 1 arena, unveiling its Audi Revolut F1 Team alongside the highly anticipated Audi R26 car. The launch event, held at Berlin’s iconic Kraftwerk venue, marked a significant milestone in Audi’s motorsport journey. This bold move aligns with the brand’s unwavering commitment to innovative technology, sustainability, and competitive excellence. With […]
After adding Personal Intelligence to Gemini as an opt-in experience, Google has announced that it’s also integrating the feature into AI Mode in Search. What Personal Intelligence does is pull information from your Google apps to tailor its responses based on your history and interests. For Search, in particular, you can allow Personal Intelligence to look for information in your Gmail accounts and Google Photos libraries.
If you use AI Mode to shop for clothes with the new feature enabled, for instance, Google could recommend items or models from a brand you previously purchased from. If it sees plane tickets or other reservations in Gmail, Google could also recommend specific items based on your destination and the season if you’re clothes shopping for that trip.
Personal Intelligence is powered by Google’s Gemini 3 AI model. The company says it doesn’t train its models using information from your Gmail inbox or Google Photos library, but it does use your prompts and AI Mode’s responses. Google also warned that sometimes, the feature’s recommendations could feel inaccurate because it could not fully comprehend the context or could make incorrect connections between separate topics.
At the moment, Personal Intelligence is an experimental feature that’s rolling out in Labs starting today. Google AI Pro and Ultra subscribers in the US, who use the service in English, will automatically have access to it and be able to connect AI Mode to Gmail and Google Photos. It will only be available to personal Google accounts, however, and not for Workspace accounts just yet.
This article originally appeared on Engadget at https://www.engadget.com/ai/ai-mode-in-google-search-can-now-pull-context-from-your-other-apps-160000103.html?src=rss
With video features like RAW now the norm on midrange mirrorless cameras, Canon decided not to mess around with its latest model, the 33-megapixel EOS R6 III. It’s a veritable cinematic beast, allowing up to 7K RAW video capture internally with fast and reliable autofocus and rock solid stabilization.
At the same time, it's a solid photo camera with high burst speeds and warm, accurate image quality. The R6 III has stiff competition with Sony’s 33MP A7 V, though, as the latter delivers higher dynamic range. The price could also be an issue for buyers, as the R6 III costs $300 more than its predecessor. Whether it’s worth that extra money depends on what you’re planning to do with it.
Handling and design
Canon EOS R6 III
Steve Dent for Engadget
The EOS R6 III is quintessentially Canon in terms of design. It strongly resembles the R6 II and EOS R5 II, with the same button and dial layout at the rear. In terms of functionality, this is a good thing as everything falls perfectly to hand, letting you control it by feel once you’re used to it. However, the R6 III’s design is a bit bland, so if you’re looking for a stylish camera a la Fujifilm, this is not the one.
Holding the R6 III is also a pleasure thanks to the grippy, soft rubber exterior, though at 1.5 pounds it’s a bit heavier than the A7 V. It’s comfortable to hold and use all day, unlike Sony’s A7 V which felt uncomfortable after prolonged usage because of the harder material and sharp crease around the fingertip area.
The R6 III’s 3.69-million dot, 120 fps electronic viewfinder (EVF) worked fine for me to check color and focus, but falls short of the one on the much cheaper Nikon Z6 III. The flip-out 3-inch 1.65-million-dot rear touch display is on par for this category and does the job well. For storage, the R6 III supports CFexpress Type B cards for capturing RAW video, along with SD UHS II for MP4 video and photos.
Other key features include headphone and microphone ports, a full-sized HDMI input (instead of microHDMI as before, thankfully) and a USB-C port for charging and transfers. Battery life is decent for this category with a maximum 510 shots per charge or 620 shots if you engage the power saving mode or about 90 minutes of continuous 4K capture. However, you can roughly double those figures with Canon's optional $150 BG-R20 battery grip.
Performance
Canon's EOS R6 III offers fast burst speeds and skin-tone friendly colors
Steve Dent for Engadget
The R6 III offers a boost in shooting speeds over its predecessor thanks to an all-new 33MP sensor. It has a faster readout speed than the R6 II as well, allowing for faster bursts and lower rolling shutter skew. In comparison, Sony’s A7 V also has a 33MP sensor but it’s partially stacked, so it delivers less distortion when shooting fast-moving subjects.
With that new sensor and a 34 percent faster Digic X processor, the R6 III can shoot bursts at up to 40 fps in electronic and 12 fps in mechanical shutter modes (with continuous AF and AE enabled). That’s second only to the Panasonic S1 II (70 fps) in this price range. You can fill the buffer in about 3.7 seconds at that speed (150 RAW frames), which is a decent amount for a midrange camera.
You usually want to avoid the electronic shutter with fast-moving action due to rolling shutter distortion, but the R6 III’s faster sensor can handle objects that are moving reasonably quickly. I also caught a few photos of babies, bikes and dogs I might have otherwise missed by using the new pre-capture mode that records up to 15 photos before fully declencing the shutter.
The new sensor and processor also make the R6 III’s autofocus system faster and more accurate than before. When shooting bursts for fast moving action like dogs running or biking, less than five percent of my shots were out of focus. And the EOS R6 III can now track animals, birds and vehicles, on top of the faces, eyes and bodies of people.
This camera also has a couple of new autofocus tricks, including one called Register People Priority. That lets you save up to 10 individuals on camera that it can identify and automatically switch to. I found it handy in a large gathering, helping me focus on my niece enjoying her second Christmas. However, the R6 III lacks a few autofocus features found on the R5 II like “action priority” for sports, eye control AF and AI upscaling.
In-body stabilization is also excellent, keeping the sensor rock-steady for handheld shooting with 8.5 stops of shake reduction. With that enabled, I was able to nicely blur action on the streets while keeping the background sharply in focus at shutter speeds down to a full second.
Image quality
With a 33MP sensor instead of a 24MP sensor, the R6 III offers quite a bit more sharpness and a touch more dynamic range than its predecessor. When shooting RAW, I was able to coax a lot of detail out of high contrast shots on sunny days with dark shadows. However, Sony’s A7 V soundly beats the R6 III in terms of dynamic range, thanks to its innovative new sensor.
The R6 III’s high ISO performance isn’t too bad for a higher-resolution camera either, with noise staying under control up to ISO 12,800. As is typical with Canon models, skin tones are warmer and more flattering than on Sony and Nikon cameras, due to the slightly more yellow-biased pink tones. Those pleasing colors were consistent, even at high ISOs, when I shot kids and adults at a couple of indoor gatherings. If you don’t want the hassle of RAW, JPEG rendering is excellent straight out of the camera, with well balanced sharpening and noise reduction.
Note that switching to electronic shutter mode drops the sensor to a 12-bit readout, which helps burst speeds but hurts image quality. This is a pretty big downside compared to the A7 V, which maintains 14-bit quality even when shooting at the camera’s maximum rate at 30 fps. So while on paper the R6 III wins the speed race, the 10 extra fps won’t be worth the drop in quality for many photographers.
Video
Canon’s EOS R6 III
Steve Dent for Engadget
Canon has improved video on the R6 III in every way, putting it nearly on par with the more expensive R5 II. Though it can’t shoot 8K, it can handle 7K RAW video at up to 60 fps (on CFexpress only) and 4K at 120p, with less rolling shutter than the R6 II. It also supports 3:2 “open gate” video that uses the full sensor area so you can output high-res vertical video and other formats.
The R6 III supports 4K 10-bit MP4 shooting at high data rates too if you’d rather save storage space or shoot on SD cards. You also get CLog 2 on top of CLog 3 capability for improved dynamic range. Oddly though, Canon made it a bit of a pain to switch to log modes compared to past models, forcing you to slog through a bunch of menus to do so.
Video autofocus is excellent across all resolutions, with rapid subject acquisition and reliable tracking. Face and eye detection work very well, and I only occasionally noticed slight autofocus lag with fast-moving subjects, particularly when they were moving toward the camera.
As for stabilization, I could smoothly shoot handheld with no crop, provided I didn’t move the camera too aggressively. Digital stabilization allowed even more movement and the enhanced setting let me shoot smoothly while walking (7K doesn’t work in the digital stabilization modes, though). Panasonic’s S5 II is still the best in this regard with slightly smoother stabilization, but the R6 III isn’t far behind.
Video on the EOS R6 III is extremely sharp in RAW and the HQ modes, particularly with supersampled 4K HQ. Other 4K modes are subsampled, but nearly as sharp. Rolling shutter is better managed than before, but you’ll still want to avoid things like whip pans, sudden jolts or rapid subjects like propellers or golf swings.
In a variety of shooting scenarios in bright and dark conditions, Canon’s excellent color science delivered warm skin tones and accurate colors. Shooting RAW video allowed me to widely adjust shots in post, while the CLog 2 mode drastically improved dynamic range while I was shooting in contrasty conditions. For instance, I shot the famous Paris department store windows and was able to extract detail from the very bright and dark parts of the video.
Overheating has been an issue in the past on Canon’s R6 models, but the R6 III never shut down for me, even during a few tests of over 15 minutes. Overall, it reliably delivered outstanding video quality and I actually preferred it to the R5 II due to the smaller RAW file sizes.
Wrap-up
Canon EOS R6 III mirrorless camera
Steve Dent for Engadget
Canon’s EOS R6 III is now the best midrange camera for creators thanks to the RAW video, rapid and accurate autofocus and excellent handling. At the same time, it’s a solid camera for photography with high burst speeds, extra resolution and, again, reliable AF. If it’s mainly photography you’re interested in, though, Sony’s $2,900 A7 V is a better choice. It matches the R6 III’s resolution, price and autofocus but offers superior dynamic range and lower rolling shutter distortion.
Other video-centric options may be more attractive for other reasons — including budget. Nikon’s 24MP Z6 III offers similar capabilities, has a partially stacked sensor and retails for $2,400, but can often be found on sale for less. Panasonic’s S1 II is also a good pick due to its RAW video and creator-centric features, though it costs more at $3,200.
Which one to buy, then, depends on your budget, usage (video or photography) and whether you already have lenses in one system or another. With that said, if it’s a Canon camera you’re after and you lean toward content creation, the EOS R6 III is your best choice.
This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-eos-r6-iii-review-a-video-powerhouse-thats-also-great-for-photography-153000494.html?src=rss
There’s something deeply satisfying about furniture that surprises you. The Turno side table from Leyma Design looks like a solid maple block perched on a colorful steel base, which already makes it visually interesting. But here’s where it gets good: you can adjust its height by simply turning the wooden body. No levers, no buttons, just a smooth twist that raises or lowers the table to exactly where you need it.
This isn’t just a clever party trick. It’s genuinely useful. Need your side table higher when you’re working from the couch? Give it a turn. Want it lower as a bedside companion? Twist it back down. The mechanism is built into the design so elegantly that you’d never guess it was there until someone shows you.
The Turno marries two materials that shouldn’t work together but absolutely do. The solid maple top brings warmth and natural texture, with each piece showing off its unique grain pattern. The powder-coated steel base provides industrial edge and pops of color. It’s the kind of contrast that makes a piece feel considered rather than safe, like the designer actually thought about how these elements would interact in a real living space.
What makes Turno stand out in the oversaturated world of side tables is its refusal to overcomplicate things. The geometric form is clean and minimal, but not cold. The proportions feel just right, whether you’re looking at the compact version tucked beside an armchair or the larger size anchoring a seating area. This is furniture that works hard without looking like it’s trying too hard.
The color options deserve special attention. You can go bold with coral, sunny yellow, or deep navy bases that turn the table into a statement piece. Or you can choose more subdued finishes that let the maple do the talking. The ability to shift the mood of the entire piece through color choice gives Turno surprising versatility. The same table can feel playful in one finish and sophisticated in another.
Let’s talk about the checkerboard pattern on top. Made from alternating grain directions in the maple, it adds visual interest without being busy. It’s the kind of detail that rewards closer inspection, the thing you notice the third or fourth time you look at the piece rather than immediately. That restraint is rare and refreshing.
From a practical standpoint, side tables are often afterthoughts in furniture shopping. You need something to hold your coffee cup or book, so you grab whatever fits. Turno makes a case for being more intentional. Because it adjusts to different heights, it can serve multiple purposes across different rooms. That flexibility is particularly valuable for people in smaller spaces or those who like to rearrange frequently.
The design also works whether you’re using one table or clustering several together. Multiple Turno tables at varying heights create a modular coffee table situation that’s both sculptural and functional. You can separate them when needed or group them for impact. This kind of flexibility used to mean sacrificing aesthetics, but Leyma Design proves that’s a false choice. What’s particularly smart about this piece is how it bridges different design sensibilities. If your space leans Scandinavian minimal, the maple and clean lines fit perfectly. If you’re more into industrial vibes, that steel base speaks your language. Contemporary spaces benefit from the geometric form, while the natural wood keeps it from feeling too stark for warmer interiors.
The fact that Turno is still a concept on Behance rather than something you can buy tomorrow is almost frustrating. It represents the kind of thoughtful, adaptable furniture design that actually addresses how people live now. We move furniture around. We use rooms for multiple purposes. We want pieces that look good but also solve problems.
Leyma Design has created something that feels both fresh and timeless with Turno. The adjustable mechanism gives it tech appeal without requiring batteries or apps. The material choice and craftsmanship satisfy design purists. The color options and modularity speak to people who see furniture as self-expression. It’s a side table that manages to be several things at once without being confused about what it is.
