The stretch of the Thames running between Tate Modern and St Paul’s is one of those London views that never quite loses its effect — and London studio Cake Architecture made that exact backdrop the entire design brief for WatchHouse’s newest café, a 60-seat riverside space that absorbs some of the city’s most iconic architecture and folds it into something intimate and grounded.
The project sits directly beside the Thames, though it never leans on the view as a crutch. The design operates at a more atmospheric level, rooted in the tension between the monumental permanence of London’s skyline and the restless, shifting energy of the river running past it. It’s a conceptual starting point that could easily stay theoretical. Here, it doesn’t.
That thinking earns its keep through specific, well-resolved gestures. The most arresting is a dramatic circular void carved into the ceiling, a spatial echo of St Paul’s dome, translated from the sacred to the everyday. Below it, a monolithic espresso counter holds the room together, its weight and material language borrowed from Tate Modern’s industrial character and the infrastructural logic of the riverbanks themselves. Neither move is decorative. Both shift the room into territory that most café designs never reach.
The palette is handled with the same restraint. Colour is drawn from the immediate surroundings: the tonal range of the river at different hours, the bleached stone of the embankment walls, the open and often overcast London sky. Back-painted finishes introduce a soft iridescence to the surfaces, so the room doesn’t read as a fixed thing. It responds to the time of day, softening in morning light and warming as the afternoon settles in.
WatchHouse has always been deliberate about place; each of its London locations takes its visual cues from the neighbourhood it occupies, but this Thames-side outpost feels like one of the most fully resolved in the portfolio. The 60-seat space will serve rare and special coffees alongside breakfast, viennoiserie, and bakery options, giving the room both the footfall and the menu to justify the ambition behind its design. For Cake Architecture, it’s another assured project from a studio building a reputation for spaces that think carefully about where they are. Here, the scale is modest, and the mood is quiet, and it’s all the stronger for it.
Ubisoft shared its upcoming plans for the Assassin's Creed franchise today. Along with the news of a remake for its piratical entry, the game company also announced that a visual upgrade is coming for a title from way back in 2014. Assassin's Creed Unity will receive a free patch tomorrow to offer 60 fps performance on the PlayStation 5 and the Xbox Series X/S.
The company bringing a performance upgrade more than a decade after launch feels like a fitting close to Unity's development. The game suffered from bugs and performance issues from the jump, and while most of those did get addressed, no amount of big fixes or free DLC could fix this howler of a story or make Arno any more compelling as a protagonist. But every fan has their own passionately argued take on which titles are the worst, so just because I found Unity to be a particularly low point in the series doesn't mean it's not going to be a fave for somebody else. So if you are someone who, as Ubisoft put it, has been waiting a long time for a chance to dive into Unity on modern hardware, then tomorrow is your lucky day. Amuse-toi bien.
This article originally appeared on Engadget at https://www.engadget.com/gaming/assassins-creed-unity-is-getting-a-free-60-fps-patch-tomorrow-210109721.html?src=rss
Now for the news you've been waiting with bated breath for: LG's 2026 TVs from CES finally have prices. (Well, some of them do, anyway.) Surprisingly, the evo G6 and C6 series OLED TVs aren't increasing in cost from last year's models. But the bad news is, they’re still expensive as all get-out.
The flagship LG evo G6 series ranges in price from $2,499 to $24,999. (Cue spit take.) Fortunately, that five-figure price only applies to the 97-inch model, which nobody this side of Elon Musk needs. The entry-level price is for a 55-inch OLED. Moving up the ladder, the 65-inch one costs $3,399, the 77-inch model is $4,499 and an 83-incher will set you back $6,499.
The evo G6 line includes all the OLED upgrades from the head-turning LG Wallpaper TV, for which LG hasn't yet announced pricing. You'll find the company's new "Hyper Radiant OLED" panel and optimizations to black and color levels in both lineups.
Meanwhile, the evo C6 line, which sits a notch below, ranges from $1,399 (42-inch) to $5,299 (83-inch). Rounding out the list is a 55-inch model for $1,999, a 65-inch one for $2,699 and a 77-inch model for $3,699. The C6 and G6 lines are powered by LG's Alpha 11 AI Processor Gen3. Both series support gamer-friendly features such as 4K at 165Hz with VRR, NVIDIA G-SYNC and AMD FreeSync Premium.
The evo G6 and C6 lines are available to order today from LG's website. Retail availability will follow later this month. Just keep in mind that, if you can hold off a little while, the entire history of TV pricing suggests you'll soon be able to find them for less than MSRP.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/lg-reveals-pricing-for-its-2026-oled-tvs-203923873.html?src=rss
Most sunglasses get two lenses. That’s the standard, the baseline, the thing nobody questions because why would you? Two lenses. Two eyes. Done. But Issey Miyake Eyes just released UROKO, a pair of sunglasses with eight lenses, and it made me stop and genuinely reconsider what we accept as default in design.
UROKO is part of the IM MEN Spring Summer 2026 collection, titled “Dancing Texture,” and the name alone tells you this isn’t a collection built on safe choices. The eight-lens design draws inspiration from the ceramic works of Shoji Kamoda, a celebrated Japanese potter known for his distinctive scale-like surface patterns. In Japanese, “uroko” literally means scale, and the connection between the pottery and the eyewear is direct, visible, and surprisingly earned. This isn’t one of those cases where a brand name-drops an artist and calls it a day.
Four lenses sit on each side of the frame, arranged in sequence to mimic the overlapping scale motifs found in Kamoda’s pottery. Each lens features a concave cut, meaning they curve inward rather than outward. That engineering decision is clever. By pulling the lenses inward, they can sit close together without the whole structure ballooning into something unwearable. It’s a practical solution wrapped inside an aesthetic one, and I appreciate when design works that way. Function hiding inside form, each decision earning its place.
The 3D-printed frame goes through a finishing process that intentionally leaves slight surface variations intact. No two pieces are perfectly uniform. That part matters because it mirrors the very thing Kamoda was known for in his ceramics: surfaces that resisted smooth perfection. What could have been a production quirk becomes a design language, a deliberate echo of the source material. It’s the kind of detail you don’t notice immediately but can’t unsee once you do.
Made in collaboration with Kaneko Optical and crafted entirely in Japan, the frame is lightweight titanium, which strikes me as both the right material and the obvious one. Eight lenses on your face need a frame that won’t drag you down by the end of the afternoon. The brushed finish shifts subtly depending on how light falls on it, giving it that quality where the object looks different from one moment to the next. That feels intentional rather than accidental, which again speaks to how much thought went into this.
Seeing UROKO from a distance, I understand why one description floated around: it looks like a necklace before it looks like sunglasses. Only when you get close enough to see the hinges fold and the scale-shapes settle into the familiar form of a pair of frames does the full picture land. That delay, that moment of working out what you’re looking at, is actually the design doing its job. Not all eyewear needs to announce itself from ten feet away.
I’ll admit there’s a part of me that wants to ask whether eight lenses actually changes how you see. The short answer is probably no, not in any technical sense. But I don’t think that’s the point. UROKO isn’t positioning itself as an optical innovation. It’s positioning itself as a wearable object that carries a conversation between contemporary manufacturing and Japanese craft tradition, between function and sculpture, between an artist who shaped clay in the twentieth century and a design house still finding new ways to reference that legacy.
Available in Dark Gray and Brown, and offered in both optical and sunglass versions, UROKO is priced at ¥99,000 JPY, approximately $632 USD. It’s not a casual purchase, but it’s not trying to be. It sits firmly in the category of considered design objects, the kind you buy because you’ve decided to live with something that makes you think a little, even on an ordinary Tuesday.
The real takeaway isn’t about the lenses. It’s about what happens when a design team takes a constraint, in this case the question of how to honor a ceramic artist’s vision through eyewear, and decides not to answer it predictably. Eight lenses is a strange answer. It’s also, once you see UROKO in person, kind of the only answer.
When cooking pizza with the high heat of an outdoor oven, you have to rotate your pies to ensure even cooking. That’s usually done by hand, but Ooni’s latest accessory automates the process. The company announced the Rotating Stone for its Koda 2 lineup, which helps distribute heat evenly across the surface of a pizza so that it’s consistently cooked all the way around.
Ooni says its Rotating Stone has a mechanism around its perimeter rather than a central pivot. According to the company, this takes care of any wobbling or stalling that might otherwise occur — even when heavy cookware is used. The new accessory also has two rotation modes, continuous and 90 degrees, so you can conserve battery life if you don’t need the full range of motion.
The Rotating Stone’s external module houses a LIDAR sensor for hands-free control. By simply waving your hand or a pizza peel, you can start or stop the rotation. What’s more, Ooni says the Rotating Stone can be installed in less than 10 minutes.
The Rotating Stone is available for the Koda 2, Koda 2 Pro and Koda 2 Max for $329, $349 and $399 respectively. If you need the oven too, bundles are priced at $799, $1,099 and $1,649.
This article originally appeared on Engadget at https://www.engadget.com/home/kitchen-tech/ooni-debuts-a-rotating-stone-for-its-koda-2-pizza-ovens-200000857.html?src=rss
At the start of February, OpenAI upgraded its Codex coding app to give it the ability to manage multiple AI agents. At the same time, it released a standalone macOS app. If you've been patiently waiting for Windows to get that same treatment, OpenAI just released a dedicated Codex app for Microsoft's operating system.
Like its macOS counterpart, the software allows you to coordinate multiple coding agents to work on the same task. There's also support for automations to streamline repetitive tasks like bug testing. To help users get started, Codex includes a dedicated "Skills" section. Skills bundle together instructions, resources and scripts the software can use to connect agents to specific tools and workflows. OpenAI has also included native sandboxing to help make Windows developers feel at home.
Codex is available to ChatGPT Free, Go, Plus and Pro users. If you decide to give the app a try, know that your session history is saved to your OpenAI account, meaning you can start coding on Mac and then move to Windows without losing your work.
This article originally appeared on Engadget at https://www.engadget.com/ai/openai-brings-its-codex-coding-app-to-windows-195345429.html?src=rss
The official title is Assassin's Creed: Black Flag Resynced, and that's about all we know for sure. The company released some concept art but it's just protagonist Edward Kenway hanging out on a boat.
We don't know when Ubisoft will release this thing into the world, but the company did recently say that a previously unannounced game would be released by the end of the coming financial year, which happens on March 31, 2027. At that time, Black Flag Resynced had yet to be officially announced. It's possible we could be playing this thing sooner rather than later, particularly if the company has been working on it for years.
This announcement came as part of a franchise roadmap, which included a slight mention of the next mainline Assassin's Creed entry. This is being developed under the name Codename Hexe, with Ubisoft promising a "unique, darker, narrative-driven Assassin's Creed experience set during a pivotal moment in history."
The creative director of that one, Clint Hocking, recently left the company after a 20-year tenure. He's been replaced by Jean Guedson, who had the same job for the original Black Flag 13 years ago.
This article originally appeared on Engadget at https://www.engadget.com/gaming/ubisoft-confirms-assassins-creed-black-flag-remake-193629862.html?src=rss
Google is officially doing away with its 30 percent cut of Play Store transactions, and rolling out changes to how third-party app stores and alternate billing systems will be handled by Android. Some of these tweaks were proposed as part of the settlement the company reached with Epic in November 2025, but rather than wait for final judicial approval, Google is committing to revamping Android and the Play Store publicly.
The biggest change is to how Google will collect fees from developers publishing apps on Android. Rather than take its standard 30 percent cut of in-app purchases through the Play Store, Google is lowering its cut to 20 percent, and in some cases 15 percent for new installs of apps from developers participating in its new App Experience program or updated Google Play Games Level Up program. Those changes extend to subscriptions, too, where the company’s cut is lowering to 10 percent. For Google’s billing system, the company says developers in the UK, US, or European Economic Area (EEA) will now be charged a five percent fee and "a market-specific rate" in other regions. Of course, for anyone trying to avoid those fees, using alternatives to Google's billing system is getting easier.
Google says that developers will be able to offer alternative billing systems alongside its own or "guide users outside of their app to their own websites for purchases." The setup, as described by Google, appears to be more permissive than what Apple settled on in 2025. For iOS apps on the App Store, developers interested in avoiding Apple's fees can only direct customers to alternative payment methods on the web through in-app links. Allowing for these outside transactions is part of what prompted Epic to bring Fortnite back to the App Store in the US in May 2025. The developer added the app back to the Play Store in the US in December of that year, and Epic CEO Tim Sweeney shared alongside today's changes that Fortnite will soon be available in Google's app store globally.
Fortnite will return to Google Play Store worldwide soon. Epic Games Store continues supporting Android worldwide alongside Windows and Mac, and installation on Android will become much easier later in 2026.
Epic is ultimately interested in getting people to use the mobile version of its Epic Games Store, and Google’s announcement also includes details on how third-party app stores can come to Android. Third-party app stores will be able to apply to the company's new "Registered App Stores" program to see if they meet "certain quality and safety benchmarks." If they do, they'll be able to take advantage of a streamlined installation interface in Android. Participating in the program is optional, and users will still be able to sideload alternative app stores that aren't part of the program, but Google clearly has a preference. Changes the company plans to make to sideloading later in 2026 could deliberately make the process more difficult, which might force developers to apply to Google’s program.
App stores approved by the Registered App Stores program get a simpler installation interface.
Google
Given the scale of the changes, not all of Google's tweaks will be available everywhere at the same time. Google says that its updated fee structure will come to the EEA, the UK and the US by June 30, Australia by September 30, Korea and Japan by December 31 and the entire world by September 30, 2027. Meanwhile, the company's updated Google Play Games Level Up program and new App Experience program will launch in the EEA, the UK, the US and Australia on September 30, before hitting the remaining regions alongside the updated fee structure. For any developers interested in offering their own app store, Google says it'll launch its Registered App Stores program "with a version of a major Android release" before the end of the year. According to the company, the program will be available in other regions first before it comes to the US.
Google has made changes to how it collects app store fees in the past, the most significant being in 2021, when it lowered its cut to 15 percent on the first $1 million developers earn, and 15 percent on subscriptions. The difference here is that the regulatory scrutiny brought about by Epic's lawsuit against Google and Apple seems to be a key motivator for its changes. Well, that, and an entirely separate business deal the company made with Epic. Google and Epic's settlement served as the basis for these changes, but The Verge reported in January that the companies also agreed to an $800 million joint partnership around product development and Google using Epic's "core technology." Letting developers keep more of their money is ultimately good, but it's a business decision Google felt comfortable making, which likely means it has its own share of upsides.
This article originally appeared on Engadget at https://www.engadget.com/apps/google-ends-its-30-percent-app-store-fee-and-welcomes-third-party-app-stores-185248647.html?src=rss
Apple is looking to gain a foothold in the more budget-friendly end of the laptop market with the MacBook Neo. The system starts at $599, which is darn inexpensive for an Apple laptop — it even has the same starting price as the M4 iPad Air.
As such, the MacBook Neo should help Apple compete with cheap Windows laptops and Chromebooks. Pricing it at $499 for educational use won’t exactly hurt either.
Apple is really lowering the cost of entry for those looking to pick up a new MacBook here. The base MacBook Neo costs $500 less than the cheapest M5 MacBook Air, which is now officially Apple's midrange laptop.
Of course, there are a lot of tradeoffs you'll make by opting for a MacBook Neo instead of a MacBook Air. If you’re curious about all the differences between the Neo and the base 13.6-inch Air (and perhaps what you’ll be foregoing if go you with the cheaper option), we've got you covered.
MacBook Neo vs. MacBook Air exteriors
Apple
Let's start with the things you'll notice at first glance about the two laptop lines. The Neo has an arguably more eye-catching array of colorways with silver, blush (a light pink), citrus (light yellow) and indigo options. The Air comes in a more muted batch of sky blue, silver, starlight (a sort of champagne) and midnight (a very dark blue).
The weight of the two laptops is identical at 2.7 pounds and the differences in the dimensions are negligible. Blissfully, both laptops have a headphone jack. Please have the courage to keep those around in MacBooks, Apple.
Apple
Alas, the Neo does not have a MagSafe port, so you'll need to use one of its two USB-C ports (it has one USB-C 2 port and a USB-C 3 port) for charging. The MBA has two Thunderbolt 4 (USB-C) ports to go with its MagSafe connector.
While we're on the subject of charging, the MacBook Neo comes with a 20W power adapter. The MBA includes a 40W Dynamic Power Adapter with 60W Max, and it supports fast charging at up to 70W.
The Neo has a 36.5-watt-hour lithium-ion battery, which Apple claims has enough juice for up to 11 hours of web browsing or 16 hours of video streaming on a single charge. As for the MBA, that has a 53.8-watt-hour lithium-polymer battery. Apple says you'll be able to use that laptop for 15 hours of web browsing or 18 hours of streaming video before you need to recharge.
Back to the exterior of the laptops and in terms of audio, the Neo has a side-firing dual-speaker system with Spatial Audio and Dolby Atmos support. However, unlike with the MBA (which has four built-in speakers), there's no mention of Spatial Audio support for AirPods. The MBA has one more microphone than the Neo as well, and both laptops support Voice Isolation and Wide Spectrum microphone modes.
MacBook Neo vs. MacBook Air opened up
Apple
If you were to place a MacBook Neo and MacBook Air side by side and open them up, you might spot that the former's screen is a little smaller at 13 inches on the diagonal. While both have Liquid Retina displays with 500 nits of brightness, the Neo's screen has a lower resolution of 2408 x 1506 vs. the MBA's 2560 x 1664. The Air also has a P3 wide color gamut and support for Apple's True Tone feature, which tweaks the screen’s color temperature to better fit your surroundings. The Neo has an sRGB display instead.
While the webcams in both laptops can capture 1080p video, the one in the Neo is lower-specced and has fewer features. It's a 1080p FaceTime HD camera. The MBA has a 12MP camera that supports Center Stage, a feature that keeps you in the middle of the frame as you're moving around. It also supports Desk View, which allows you to show your face and what's on your desk simultaneously.
The MacBook Neo has a Magic Keyboard and multi-touch trackpad (which we didn't feel were super sturdy in our initial hands-on time). The MacBook Air, on the other hand, has a backlit Magic Keyboard and a Force Touch trackpad. It also supports Touch ID as standard.
If you want Touch ID on the MacBook Neo, though, you'll need to pay extra. A version of the laptop with Touch ID costs $699. That upgrade (which is the only one available for the Neo as things stand) also doubles the internal storage to 512GB. And that feels like a smooth segue into comparing the internal specs of each machine.
MacBook Neo vs. MacBook Air on the inside
The M5 MacBook Air comes with 512GB of storage as standard and you can equip it with up to a 4TB SSD. The Neo tops out at 512GB.
It's a little disappointing (though somewhat understandable given the surging costs of RAM) that the Neo only has 8GB of unified memory. That's half of what you get in a MacBook Air as standard, and you can expand that laptop’s RAM to 32GB. Memory bandwidth is nearly three times faster on the MBA as well at 153GB/s, compared with 60GB/s on the Neo.
The chip that runs the Neo is significantly less powerful than the M5 you'll find in the MacBook Air too. The Neo uses an A18 Pro, which is the chip that debuted in the iPhone 16 Pro and iPhone 16 Pro Max. It has a 6-core CPU (two performance, four efficiency), 5-core GPU and 16-core Neural Engine. Measure that against the Air's M5, the base version of which has a 10-core CPU (four super cores, six efficiency cores) and 8-core GPU, though that too has a 16-core Neural Engine.
We don't yet have a direct comparison, such as Geekbench 6 scores, to directly measure the performance of each laptop. However, it's already clear that the MacBook Neo won't be nearly as powerful as the M5 MacBook Air. You probably won’t be doing heavy-duty video editing on a Neo. That said, Apple says that you will be able to use Apple Intelligence features on the laptop.
This article originally appeared on Engadget at https://www.engadget.com/computing/laptops/macbook-neo-vs-m5-macbook-air-all-the-trade-offs-youll-make-to-save-500-less-190434959.html?src=rss
Humble Games' library has returned home, so to speak. Indie publisher Good Games Group (GGG), led by former Humble leaders, has acquired the full back catalog of over 50 Humble Games titles from Ziff Davis. Alongside the purchase, GGG has rebranded to Balor Games, positioning itself as a force in "triple-I" gaming.
"For the developers we have worked with over the years, this moment is a reunion," Balor Games CEO Alan Patmore wrote in a statement. "[It has] the same leadership and the same commitment to thoughtful publishing remain in place. What changes is our scale and our focus. Balor Games is built for inventors and backed by believers. To that end, it exists to be a seal of quality for independent games."
The Humble Games lineup includes (among others) Slay the Spire, A Hat in Time, SIGNALIS, Forager, Coral Island, Monaco and Wizard of Legend. Separate from the Humble transaction, Balor also bought the complete catalog of Firestoke Games (which shut down last August) and publishing rights to Fights in Tight Spaces. In total, the young studio now owns the publishing rights to over 60 indie titles.
Humble Games is separate from the Humble Bundle storefront. The latter is still owned by Ziff Davis.
Alan Patmore (l) and Mark Nash
Balor Games
The seemingly happy ending comes after quite the rocky road. In July 2024, Ziff Davis laid off all 36 employees of Humble Games. But later that year, Humble Games' former leaders (Patmore and Mark Nash) formed GGG and cut a deal to help manage their old studio's back catalog. Now, with Ziff Davis in a selling mood, that library is back in Patmore and Nash's hands. Balor Games, it is.
The pair view the newly anointed Balor as a developer-friendly publishing house. As for its name, Balor is a supernatural being in Irish mythology. It's sometimes depicted as having three eyes. Triple-eye, triple-I… Clever devils!
The triple-I moniker is a more recent addition to the gaming lexicon. It typically means something defined by indie creativity and passion — with a budget far less than AAA but more than a tiny two-person passion project. (Balor says it's about "high-quality, impactful games.") You wouldn't be blamed for wondering how that's different from AA. But the slant here is to define the genre less by budget and more by "indie" intangibles.
Nash detailed the company's vision in an interview with GamesIndustry.biz (which, curiously, is a Ziff Davis property). "We felt that what's becoming more and more critical is that as game development becomes more diverse, more complicated, and expectations continue to rise, we feel it's important that a publisher can match the needs of each individual project," Nash said. "We are spending a considerable amount of time with anyone we are partnering with, figuring out what they need specifically."
This article originally appeared on Engadget at https://www.engadget.com/gaming/humble-games-former-bosses-buy-the-studios-back-catalog-183831194.html?src=rss
