Sahko’s cyberpunk-inspired DIY watch blends futuristic aesthetics with practical engineering, offering a unique take on wearable technology. Unveiled at the Open Sauce event in San Francisco, the watch features a flexible circuit board and wraparound high-brightness displays. Its compact design integrates key components like a microcontroller and charging circuitry, while salvaged materials such as disposable […]
One of the big surprises to come out of Sony’s recent State of Play showcase was the announcement of a sequel to 2021’s Kena Bridge of Spirits, the impressive debut from indie studio Ember Lab. If you missed the first game and want to catch up before its successor launches on PC and PS5 later this year, it’s coming to Switch 2 this spring.
The Switch 2 is very much in its port era, owing to publishers seizing the opportunity to take advantage of the new system’s popularity and improved graphical grunt. And while it’s hard to get too excited about a five-year-old game making its way to the latest Nintendo console, Kena’s gorgeous Pixar-lite aesthetic, cute critters and decidedly Zelda-y medley of combat, exploration and puzzle-solving make it a great fit for Switch 2.
If you missed it the first time around, Kena: Bridge of Spirits is a third-person action-adventure game that follows the eponymous Kena, a young spirit guide who helps wayward souls on their journey through to the afterlife. It has PS2 energy in the best possible way, and a deceptively deep combat system that will eventually catch you out if you don’t pay attention to enemy patterns.
While nothing about the game is particularly groundbreaking, Kena is a visual feast, which is unsurprising when you learn about Ember Lab’s roots in film animation. I’m quite looking forward to seeing how it looks running on the Switch 2’s big, bright handheld display.
The Switch 2 version comes with the Anniversary DLC, which features Charmstones, Spirit Guide Trials, new outfits, and various accessibility features. You also get a New Game+ mode with even trickier encounters. It arrives this spring, with Kena: Scars of Kosmora due to launch later in 2026 on PS5 and PC.
This article originally appeared on Engadget at https://www.engadget.com/gaming/kena-bridge-of-spirits-is-coming-to-nintendo-switch-2-this-spring-132839640.html?src=rss
Seven AI agents collaborating in a boardroom-style setting present a structured approach to addressing business challenges. This concept is central to Gobot, as examined by Goda Go, a platform that integrates with systems such as email, calendars and project management software to streamline decision-making. Among its agents are the Critic Agent, which evaluates potential weaknesses […]
Apple’s iOS 26.4 beta 3 introduces a series of updates aimed at refining your experience, enhancing performance and addressing existing issues. This release focuses on improving core apps, boosting usability, and making sure stable device performance. Whether you’re a casual user or a tech enthusiast, these updates are designed to make your interactions with your […]
For an electric car to survive in this incentive-free, tariff-laden, emissions-loving world, it has to be very, very good. It also helps if it's priced right, and looking great doesn't hurt either.
Unfortunately for BMW's latest EV, the i3 sedan, we still can't say much about those last two questions. BMW hasn't announced pricing yet, and thanks to some eye-crossing camouflage, it's impossible to know exactly what it looks like, either. But, after a day behind the wheel of a prototype machine sliding it through the Swedish wilds, I can at least confidently confirm that it's shaping up to be a very good indeed.
Deja Vu
If you're thinking to yourself, "Wait, didn't BMW already have an i3?" You are absolutely right. Back in 2013, BMW released its first mass-market electric car, a little five-door hatchback called the i3. I drove a few versions of it over the years. It was wonderful and novel and earned itself some ardent fans, but it never quite reshaped the motoring world the way that its creators surely hoped.
A decade later, BMW's got a new i3 that has the potential to be a far bigger success on the global scale, and it also resets that designation to slot in with the company's already well-established naming scheme. BMW's 3 Series is its iconic sedan, and "i" is the designation for its electric vehicles. The i3, then, should be an electric sedan, and so it is going forward.
BMW's i3 prototype on a course in Sweden
BMW
This new i3 is built on the Neue Klasse platform, BMW's "new class" architecture that also underpins the iX3 SUV. In developing Neue Klasse, BMW started almost from scratch, developing a whole new suite of technologies in pursuit of a better-driving, faster-charging and more-affordable next generation of EVs.
There's a battery pack that's wholly new compared to the company's prior efforts, a cell-to-pack architecture that promises more capacity in a smaller, lighter enclosure. There's a whole new stack of electronics systems offering more power and capability than before. And, there's a completely new styling design language that not everyone will love.
The iX3 SUV was the first recipient of all that newness, and the i3 sedan will be the second. Again, we can't pass judgment on its styling just yet, but you can probably get a bit of an idea of what to expect by looking at 2023's Vision Neue Klasse concept.
Heart of Joy
That new electronics suite running throughout the Neue Klasse is a huge part of the appeal here. Typically, when buying a new car, you don't worry too much about who did the ABS or the traction control. Those are simply table stakes in modern motoring.
However, BMW decided to shake up these pedestrian safety features in the i3 by re-thinking everything from the brake actuators to the electric motor controllers and doing it all in-house. Now, fewer, more powerful chips from Qualcomm and others run all of the car's disparate systems like those together in a system that BMW evocatively calls "Heart of Joy." That makes for a far smoother and more seamless driving experience when the ABS can, for example, talk directly to the stability control.
BMW's i3 prototype on a course in Sweden
BMW
That's the theory, anyway, and in Sweden this week I got a chance to test that out. I got behind the wheel of what will be the first i3. Called the i3 50 xDrive, it's a dual-motor, all-wheel-drive sedan that produces 463 horsepower and 476 pound-feet of torque.
All-wheel drive helps with acceleration, but it's the braking where the Neue Klasse's technology really shines. Thanks to having more finesse over the control of its two electric motors, the Neue Klasse can rely far more on recuperative braking and far less on using the physical brakes. This makes for ultra-smooth, calm stopping, even when driving on glare ice.
Accelerating, though, is far more entertaining. Even on extremely low-grip, unpredictable surfaces like a frozen lake, I could just mash my foot to the accelerator and clumsily turn the wheel in the direction I wanted to go. Despite my lack of finesse, the system intelligently applied the brakes on the inside wheel to help get the car to rotate, and automatically cut the power to the electric motors front and rear based on how much grip was available.
BMW's i3 prototype on a course in Sweden
BMW
Even with my foot flat on the accelerator, I was able to navigate tight turns on glare surfaces without having to deploy any fancy ice driving techniques. However, as someone who enjoys deploying such techniques, I was also invited to turn off the car's stability systems and have a little fun.
Like this, the BMW turned into an absolute riot. Let loose, the i3 was a very willing drift partner, letting me slide through the corners with wild abandon. It still used just enough of its smarts and control systems to keep me from spinning out when I got a little too eager on the throttle, but it never ruined the fun.
Panoramic Vision
This prototype drive was also a chance to sample the i3's Panoramic Vision display in a new environment. As debuted formally at CES back in 2025, Panoramic Vision replaces the standard gauge cluster behind the steering wheel with a massive, windshield-spanning display. It's a little like an ultra-wide heads-up display in that it reflects up from a lengthy display embedded in the dashboard.
In pictures, this seems like it will be horribly distracting, since you have six customizable sections of information flashing at you in your line of sight. In practice, though, it's actually quite nice. You can customize those panels to show whatever information you like, from whatever track you're playing to the current vehicle speed to even a disembodied head representing the car's integrated voice assistant. Or, if that's all too much, you can simply disable most of the panels and keep it simple, relying only on the left-most pane to display your speed and other vehicle information.
I didn't get to see all of the i3's interior. Since it's still a prototype, BMW kept much of it covered in black fabric. Still, the Panoramic Vision display and the weird central touchscreen that's inclined to the left work together to create a great user experience. I will, though, miss the rotary iDrive knob, which is sadly no more.
Wrap-up
We have a little while yet to wait until BMW gives us all the details on the new i3 — its debut is set for March 18 — but from what I experienced in Sweden, it's shaping up extremely well. If BMW gets the pricing right, and if what's hiding under that vinyl camouflage isn't too offensive, this thing has all the makings of a hit.
This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/bmws-i3-prototype-conquers-the-ice-with-power-and-technology-130000610.html?src=rss
Anthropic is reportedly trying to reach a new deal with the US Defense Department, which could prevent the government from labeling it a supply chain risk. According to Financial Times and Bloomberg, Anthropic CEO Dario Amodei has resumed talks with the agency over the use of its AI models. In particular, the publications say that Amodel is having discussions with Emil Michael, the Under Secretary of Defense for Research and Engineering.
The two of them were trying to work out the contract over the use of Anthropic’s models before negotiations broke down and the government soured on the company. The Times reports that they couldn’t agree on language that the AI company wanted to see to ensure that its technology will not be used for mass surveillance.
In a memo sent to Anthropic staff, Amodei reportedly said that the department offered to accept the company’s terms if it deleted a specific phrase about “analysis of bulk acquired data.” He continued that it “was the single line in the contract that exactly matched” the scenario it was “most worried about.” Anthropic, which first signed a $200 million deal with the department in 2025, refused to comply with the Pentagon’s demands. The agency then threatened to cancel its existing contract and to label it a “supply chain risk,” a designation typically reserved for Chinese companies. President Trump ordered government agencies to stop using Anthropic’s technology afterward. However, there’s a “six-month phase-out period” that reportedly allowed the government to use Anthropic’s AI tools to stage an air attack on Iran.
Amodei also said in the memo that the messaging OpenAI has been trying to convey is “just straight up lies,” the Times reports. He hinted, as well, that one of the reasons his company is now on the outs with the government is because he hasn’t “given dictator-style praise to Trump” like OpenAI’s Sam Altman has.
If you’ll recall, OpenAI announced that it reached an agreement shortly after it came out that Anthropic was having issues with the agency. Its CEO, Sam Altman, said on Twitter that he told the government Anthropic shouldn’t be designated as a supply chain risk. He said during an AMA on the social media website that he didn’t know the details of Anthropic’s contract, but if it had been the same with the one OpenAI had signed, he thought Anthropic should have agreed to it. Anthropic’s Claude chatbot rose to the top of Apple’s Top Free Apps leaderboard after OpenAI announced its Defense Department contract, beating out ChatGPT.
Altman later posted on X that OpenAI will amend its deal with language that explicitly prohibits the use of its AI system on mass surveillance against Americans. When it comes to the military’s use of its technology, though, CNBC says that Altman told staffers that the company doesn’t “get to make operational decisions.” In an all-hands meeting, Altman reportedly said: “So maybe you think the Iran strike was good and the Venezuela invasion was bad. You don't get to weigh in on that.”
This article originally appeared on Engadget at https://www.engadget.com/ai/anthropic-is-reportedly-back-in-talks-with-the-defense-department-125045017.html?src=rss
Japanese kitchenware operates on a different frequency than most Western cooking tools. Where mass-market brands chase multifunctionality and feature bloat, Japanese design strips everything back to the single gesture that matters: the cut, the strain, the flip, the pour. The result is objects that feel less like gadgets and more like quiet collaborators in your cooking process, each one shaped by decades of manufacturing precision in regions like Tsubame and Niigata, where metalworkers have been refining their craft since the Edo period.
We have curated seven of the most thoughtfully designed Japanese kitchen tools that deserve a permanent place in your cooking routine. These are not flashy unitaskers destined for a drawer. They are carefully considered pieces of functional design that treat the act of cooking with the same seriousness as the meal itself, and each one brings something to your kitchen that no Western equivalent has managed to replicate with the same level of care.
1. Iron Frying Plate
This piece of cookware collapses the distance between the stove and the table in a way that feels both radical and sensible. Made from 1.6mm-thick mill scale steel, the plate arrives rust-resistant, stick-resistant, and ready for immediate use without the lengthy seasoning ritual most iron cookware demands. The wooden handle attaches and detaches with one hand, transforming the object from cooking tool to serving vessel in a single motion. Mill scale steel is an unusual choice for consumer cookware because most manufacturers sand it off during production, but leaving it intact creates a natural non-stick surface that improves with use.
The heat distribution across that thin steel body brings out caramelization and texture in ways that thicker cast iron struggles to match, and the visual warmth of iron against a wooden table turns an ordinary weeknight dinner into something more composed. For a kitchen where counter space is limited, and dishes pile up fast, eliminating one entire step of the cooking-to-eating chain is not a gimmick. It is a rethinking of how we interact with food once it leaves the heat, and the pan-to-plate logic makes cleanup faster than any two-vessel alternative.
The one-hand detachable wooden handle makes the transition from stove to table seamless and eliminates the need for separate serving dishes.
Mill scale steel requires no initial seasoning, so it is usable straight out of the box, unlike most raw iron cookware on the market.
What we dislike
The thin 1.6mm steel will not retain heat as long as heavier cast iron, which means food cools faster once removed from the burner.
Eating directly from a frying surface takes some adjustment, and the flat profile does not contain sauces or runny dishes well.
2. Akebono Square Sandwich Cutter & Sealer
Sandwich-making in most kitchens involves a knife, a cutting board, and the quiet disappointment of fillings oozing out the sides. The Akebono cutter and sealer replaces that entire sequence with a single press that cuts and crimps simultaneously, producing sealed pockets that hold their shape through a commute, a school day, or a few hours in a lunchbox. Made in Japan with durable, food-safe materials, the tool is dishwasher-safe and simple enough for children to operate without supervision.
What makes it more than a novelty is how it changes the approach to sandwich construction entirely. Instead of spreading fillings thin to prevent spillage, the sealed edges allow for generous, layered interiors: curries, egg salad, fruit, and cream combinations that would be impossible with open-edge bread. Japanese convenience stores have perfected the sealed sandwich format for decades, and this tool brings that same logic to a home kitchen for a fraction of the cost, turning a five-minute task into a two-minute one.
What we like
The simultaneous cut-and-seal action locks fillings inside, making it ideal for runny or layered ingredients that would fall apart in a regular sandwich.
Dishwasher-safe construction and a straightforward press mechanism mean there is almost no learning curve and minimal cleanup.
What we dislike
The square format limits bread choices, as it works best with standard sliced bread and does not accommodate artisan loaves or thicker cuts.
Sealed sandwiches can trap steam when made with warm fillings, resulting in soggy bread if not cooled before sealing.
3. Three Snow Stainless Steel Round Mesh Oil Skimmer
Most oil skimmers sold outside Japan are clunky perforated ladles that catch large debris and let everything else through. The Three Snow skimmer operates on a different principle. Manufactured in Tsubame, Niigata, this tool uses 18-8 stainless steel mesh available in fine (40 mesh, 0.4mm) and coarse (16 mesh, 1.2mm) options, giving it the ability to filter particles most skimmers ignore completely. The fine mesh variant catches even the smallest frying residue, which means cleaner oil that lasts longer between changes.
Beyond deep-frying, the tool doubles as a scum remover for stocks and soups and works as a miso strainer, making it one of the more versatile single-form tools in a Japanese kitchen. Available in 12cm, 15cm, and 18cm diameters, the sizing accommodates everything from a small saucepan to a full-sized fryer. At roughly 90 to 140 grams, depending on size, the weight is negligible during long frying sessions. Tsubame stainless steel has earned its reputation: the corrosion resistance and structural integrity of these skimmers outlast most competitors by years.
What we like
The fine 40-mesh option catches debris as small as 0.4mm, which keeps frying oil cleaner far longer than standard perforated skimmers allow.
Multi-use functionality as a miso strainer, scum skimmer, and oil filter means it earns its space in a drawer more than most single-purpose tools.
What we dislike
Fine mesh requires more careful cleaning than a simple perforated ladle, as particles can embed in the weave and are difficult to dislodge without a brush.
The shallow depth (25mm to 35mm, depending on size) limits the volume of debris it can collect in a single pass during heavy frying sessions.
4. Playful Palm Grater
Conventional box graters are bulky, awkward to store, and dangerous to clean. The Playful Palm grater is none of those things. Cut from a single aluminum alloy plate and curled into a form that sits naturally in the palm, this tool reimagines what a grater can physically be. The curve creates a natural channel that directs grated cheese, ginger, garlic, or zest toward the dish below, and the ergonomic fit means the grating hand stays protected behind the plate rather than hovering over exposed blades.
Available in multiple colors, the grater looks more like a piece of desktop sculpture than a kitchen tool, which is part of the design intent. Japanese kitchen philosophy often resists the idea that tools should be hidden in drawers between uses, and a grater this visually appealing can sit on a counter without disrupting the space. The compact size makes it ideal for tableside use: grating Parmesan directly over pasta, adding fresh wasabi at the last second, finishing a salad with lemon zest. The palm grater treats garnishing not as an afterthought but as a distinct step worth its own dedicated instrument.
The single-plate aluminum construction eliminates crevices and joints, making it far easier to clean than traditional multi-sided graters.
The palm-fit ergonomic design keeps fingers behind the grating surface, reducing the risk of nicked knuckles that plague box grater users.
What we dislike
The compact grating surface is not suited for large-volume tasks like shredding an entire block of cheese for a casserole.
Aluminum alloy, while lightweight, is softer than stainless steel and will dull faster with frequent use on hard ingredients like nutmeg or frozen ginger.
5. Conte Drip-Free Oil Pot with Fine Mesh Filter
Reusing frying oil is standard practice in Japanese home cooking, and the Conte oil pot is the tool that makes it effortless. A fine black stainless steel mesh catches food particles left behind from tempura, tonkatsu, or karaage, and the non-reflective black finish serves a practical purpose: it allows a clear view of the oil level from above, something shiny stainless steel interiors make nearly impossible. The precisely curved rim eliminates drips during pouring, a detail that sounds minor until considering how many oil pots leave trails across the stovetop.
Angled knobs on the lid and strainer allow one-handed operation, so pouring oil back into a pan while holding an ingredient in the other hand becomes routine rather than a balancing act. Available in small (300ml) and large (700ml) sizes, the pot scales to different cooking habits. The small version is suited for seasoning cast iron or saving oil after pan-frying dumplings, while the large handles full frying sessions comfortably. Both sizes sit compactly beside a stove without crowding the workspace, making oil reuse clean, dignified, and free of the greasy mess that discourages most home cooks from attempting it.
What we like
The drip-free rim design eliminates oil trails on the stovetop, solving a problem that nearly every other oil storage container ignores.
The black stainless steel mesh filter makes oil clarity visible from above, so determining when to discard rather than reuse becomes a visual check instead of a guessing game.
What we dislike
The small 300ml version fills up rapidly and is too limited for anyone who deep-fries regularly or cooks for more than two people.
Stainless steel retains oil odors over time, and thorough degreasing between uses requires more effort than a quick soap-and-water rinse.
6. Oku Knife
Scottish artist and metalworker Kathleen Reilly designed the Oku knife as a direct response to a problem most Western cutlery ignores: where does the knife go between bites? Informed by the Japanese tradition of chopstick rests (hashioki), which lift eating utensils off the table surface to prevent contamination, the Oku features a handle folded 90 degrees from the blade. This fold allows the knife to rest with its handle on the table while the blade sits perpendicularly in the air, touching nothing.
The result is a tool that solves a cleanliness issue most diners have accepted as unsolvable: the dirty knife laid flat against a tablecloth or balanced on the edge of a plate. Hooking the blade along the edge of a cutting board or plate creates what Reilly describes as an intimacy between the two objects, and the angular geometry locks the knife in position rather than allowing it to slide. For a kitchen where multiple cutting tasks happen in sequence, the Oku provides a resting solution that no flat-handled knife can match. It is a rare case of form and function arriving at the same conclusion through a single geometric decision.
What we like
The 90-degree fold solves the dirty-knife-on-table problem that flat cutlery has ignored for centuries, keeping the blade cleanly suspended between uses.
The hookable design creates stability on plate rims and cutting board edges, eliminating the wobble and sliding common with standard knives at rest.
What we dislike
The unconventional handle angle requires a different grip than traditional knives, which may feel awkward during extended cutting or food prep sessions.
As a handcrafted piece by an independent metalworker, availability and pricing are limited compared to mass-produced alternatives.
7. Obsidian Black Salad & Serve Tongs
Salad tongs tend to be one of two things: flimsy spring-loaded mechanisms that lose grip on the third toss, or heavy stainless steel clamps better suited to a barbecue than a dinner table. The Obsidian Black tongs occupy neither category. Made from SUS821L1 stainless steel (a variant twice as strong as the standard SUS304 used in most kitchen tools), they achieve a thinner, lighter profile without sacrificing structural integrity. One head is shaped as a spoon, the other as a spork, and this asymmetry is the design’s smartest move.
That mismatched pairing allows the tongs to clamp down on leafy greens with the same confidence as slippery pasta or bite-sized grain bowls, because each head approaches the food from a different angle. At 20cm in length, the reach is sufficient for deep salad bowls without compromising control. The black finish creates visual contrast against greens, fruits, and light-colored dishes, which makes plating feel more considered, and the high corrosion resistance of SUS821L1 steel means the finish holds up through years of use. For a kitchen that treats presentation as part of the cooking process, these tongs turn the final step of assembling a dish into something deliberate.
SUS821L1 stainless steel is twice as strong as the standard SUS304, allowing a thinner profile that feels lighter in the hand without bending or flexing under load.
The asymmetric spoon-and-spork head design grips a wider range of textures and food types than matching heads would, from arugula to penne.
What we dislike
The 20cm length may feel short for tossing salads in oversized serving bowls or deep mixing containers.
The dark finish, while visually striking, can show water spots and fingerprints more readily than brushed or polished stainless steel.
Where This Leaves Your Kitchen
Japanese kitchen tools share an unspoken philosophy that the best gadgets do not announce themselves. They integrate. They become invisible extensions of the hand, the stove, the table, dissolving the seams between preparation, cooking, and eating until the whole sequence feels like a single continuous act. The seven tools on this list operate exactly within that logic, each one addressing a friction point that most cooks have simply accepted as normal.
Investing in these pieces is not about filling a kitchen with more objects. It is about replacing thoughtless tools with considered ones, swapping volume for precision, and treating the daily act of making food with the same intentionality that Japanese design applies to everything it touches. A kitchen built around tools like these does not feel cluttered. It feels ready.
Nothing has announced its latest premium midrange device, the Phone 4a Pro. The company says it's the thinnest full-metal phone on the market, measuring in at 7.95mm. It also looks notably different from the prior A-series phones – and pretty much any of the company's phones to date.
It features an aluminum unibody while retaining Nothing’s retro-clear hardware design touches, with a clear, redesigned camera unit. Yes, the aggressively protruding circular camera unit of the Phone 3a Pro is gone, replaced with an oblong housing that houses the triple-camera array and a tweaked Glyph Matrix, similar to what debuted on last year’s Nothing Phone 3. It also feels incredibly premium – more so than even the company’s flagship phones.
Despite that, Nothing seems to be strikeinga balance between affordability and wow factor with the Phone 4a Pro. It has a slightly higher price tag ($499) than the 4a and alongside a major hardware redesign, a lot of the improvements here make this phone feel “pro” compared to its smaller sibling. This new premium vibe comes at a cost of design excitement, though.
It also looks a little like another certain smartphone or two. Don’t call it a camera plateau.
Image by Mat Smith for Engadget
The Phone 4a Pro has its own take on the Glyph Matrix, composed of 137 mini-LEDs. That’s fewer LEDs than the Nothing Phone 3, but they are 100 percent brighter at around 3000 nits. It supports pretty much all the Glyph toys we enjoyed on last year’s Nothing flagship, although the 4a Pro lacks a dedicated Glyph Button, which is a shame. This means in order to hop between toys and modes, you’ll have to dig into Glyph settings inside the settings menu – not the existing Glyph menu – in order to flit between them. Honestly, may make me less likely to play around with the Glyph, but I’ll have to see after further testing. It’s a little odd when there’s a circular metal detail on the lower left corner that looks like it could have been a Glyph button. Ah well.
The Phone 4a Pro will land in three different colors: silver, black and pink. The pink hue is tastefully subtle. So subtle, in fact, that you'd think it was the silver option. I like the black version.
The gigantic camera unit seen on the Phone 3a Pro is no more.
Image by Mat Smith for Engadget
The Phone 4a Pro has a slightly bigger screen than both its predecessor and the 4a, but the real news isn’t just the extra fraction of an inch. The 6.83-inch display can now reach 144Hz refresh rates, while it can also top out at 5,000 nits of brightness with HDR content. That makes it up to 66 percent brighter than its predecessor, and it was noticeably easier to read in Nothing’s harsh spotlights and daylight.
Nothing has further refined the cameras, and the 4a Pro uses the same telephoto sensor as the flagship Phone 3. That’s paired with a new 50-megapixel Sony LYT-700C camera sensor that’s 24 percent bigger than the 50MP sensor inside the 3a Pro. It’s also faster at auto-focus than its predecessor, and seems to more easily lock onto subjects without having to tap on what you want in focus.
There’s also a new triple 12-bit Image Signal Processor (ISP), which enables up to 140x ultra zoom, like we’ve seen on Galaxy phones for the last few years. Don’t expect to be blown away by those zoom extremes: it seems to work well on the easy-to-guess structures of buildings and patterns, but a 70x zoom range and higher aren't settings I'm going to lean into much.
I haven’t had time yet to fully scrutinize the 4a Pro’s camera, but there’s a lot of feature parity with pricier phones. It can capture super-slow 120fps video at full HD, while Action Mode is built directly into the camera app to shoot up to 30 Ultra XDR images in a row. Codeveloped with Google, Ultra XDR images are high-dynamic-range images that capture 13 RAW frames at different exposures and combine them into a single image. In practice, this should offer another way to pull usable shots from challenging low-light or harsh-light environments.
Power users may also like new presets, alongside Nothing’s own collection of camera filters. There are seven new editing options, letting you tweak (and save) contrast levels or even apply a vignette effect. I’m a fan of the built-in presets, but it’s nice to have access to the same camera settings to make and save my own B&W filter.
Nothing says you can expect 30 percent improved graphics performance and 27 percent faster CPU speeds, with “flagship” LPDDR5X memory, which makes it 100 percent faster than last year’s 3a Pro. Improvements to the chipset and memory speed weren’t immediately noticeable during my time seeing the device.
Image by Mat Smith for Engadget
Nothing continues to refine its own OS skin, but it’s still a refreshing, different take on the Android interface you’re used to. And if you’re not a fan, you can turn it back to a more stock look. Based on user feedback, there are new size options for the home screen widgets and a new custom lock screen. It may be due to the more powerful processor, but both the 4a Pro and the base 4a seem to have smoother animation flourishes when opening and switching between apps or swiping across content.
New AI software includes a formal launch of Essential Search, able to scour the entire device for information, images, documents, apps and more. The 4a series include the first Nothing devices to include cloud access for the still useful Essential Space app, housing your voice notes, screengrabs, text notes, and more. This means, hopefully, I can transition everything across from my Nothing Phone 3. (Or even between the Phone 4a and 4a Pro.)
Image by Mat Smith for Engadget
It’s a different look for Nothing, and the 4a Pro’s price (and timing) will pit it against both the Pixel 10a (priced the same) and base flagship devices from Samsung. The Phone 4a series pre-orders are open now at nothing.tech and other retailers, with sales of the Phone 4a Pro starting March 27. Expect our full review in the coming weeks.
This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/nothing-phone-4a-pro-hands-on-price-launch-date-123053485.html?src=rss
The iPad’s Today View offers a unique way to streamline your daily tasks by centralizing widgets and real-time updates in one customizable space. By simply swiping right from your home screen, you can access a hub that displays everything from calendar events to weather updates, all tailored to your specific needs. Dan’s Tutorials explores how […]
While music streaming apps like Bandcamp, Spotify and Deezer have taken steps to inform users about AI-generated content, we haven't heard much out of Apple Music in that regard. However, Apple Music has now introduced "Transparency Tags" designed to show listeners if any elements were generated in whole or part by AI. The catch is that Apple is leaving it up to labels and distributors to create those tags, according to an Apple newsletter to industry partners seen by Music Business Worldwide..
"Proper tagging of content is the first step in giving the music industry the data and tools needed to develop thoughtful policies around AI, and we believe labels and distributors must take an active role in reporting when the content they deliver is created using AI," Apple wrote, calling it a concrete first step toward transparency around artificial intelligence.
Streaming platforms already use metadata tags for things like song and album titles, genre and the name of the artist. The new tags will now identify any artwork, tracks, compositions and music videos created in whole or in part by AI.
However, Apple's new system requires labels and distributors to opt in and manually flag their use of AI, a system that's similar to what Spotify is doing. On top of that, Apple has no apparent enforcement mechanism for AI content.
By contrast, other music platforms including Deezer and Bandcamp are using in-house AI-detection tools to flag content whether the distributor opts in or not. Deezer disclosed in January 2026 that it receives over 60,000 fully AI-generated tracks every day, double the number it saw in September 2025. Synthetic content, also called "AI slop," has accounted for 13.4 million tracks on its platform, Deezer added.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/apple-music-can-now-flag-ai-content-but-only-if-distributors-elect-to-label-it-121521873.html?src=rss
