Before you take your electric G-Wagon for its next off-roading excursion, you may want to stop by an authorized dealer. The German automaker issued a recall for every Mercedes-Benz G580 with EQ technology with the 2025 model year, as first spotted by InsideEVs. According to the recall on the National Highway Traffic Safety Administration's website, the current wheel bolts could "allow a wheel to loosen or detach from the vehicle," potentially affecting 3,734 models on the road.
The recall report explained that the electric G580's wheel bolts were "not adapted to the increased vehicle mass and higher torque loads associated with the electric variant." According to the NHTSA report, Mercedes-Benz used the same wheel assembly and bolts as its other G-Class vehicles for the electric model, but conducted an analysis from September 2024 to January 2025 that confirmed these wheel bolts could loosen from repeated rough driving and wheel changes, specifically with the 2025 Mercedes-Benz G580 with EQ technology models. In the end, Mercedes-Benz concluded in the report that it couldn't rule out the risk, even though the wheel bolt loosening was "unlikely to occur under real-world operating scenarios."
To get it fixed, owners have to bring their affected G580s to a Mercedes-Benz authorized dealer, who will replace the bolts for free. Owners of the electric G580s, whose 2025 model year started at around $160,000, will get mail notices starting in late May. Besides this luxury SUV model, Mercedes-Benz had to issue another recall for another EV in 2021. The automaker recalled a couple hundred EQS EV and S-Class sedans that allowed for video playback on the dashboard even while the car was moving.
This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/mercedes-benz-recalls-some-g-wagon-evs-due-to-risk-of-wheels-falling-off-150939361.html?src=rss
Apple’s iOS 26.4 update introduces an exciting feature: the integration of ChatGPT with CarPlay. This addition allows drivers to interact with ChatGPT hands-free, enhancing both convenience and safety during commutes. By combining voice commands and widget functionality, this feature ensures seamless access to AI assistance while keeping your focus on the road. Below is a […]
Back at CES, Samsung showed off a new line of speakers and two of its 2026 soundbars. Today, the company announced pricing for the entire suite of new products, including two soundbars that weren’t inside its showroom in Vegas. All but two of the new devices are available to order now, so you might not have to wait to get your hands on some new Samsung audio gear.
Let’s start with the Music Studio 7 and Music Studio 5 speakers. The Music Studio 7 is the more rectangular model in the duo. It’s a 3.1.1-channel unit with left, right and center speakers alongside one woofer and one up-firing driver. This $500 device is also equipped with Pattern Control tech to direct the sound evenly through the room while keeping distortion to a minimum. The more circular Music Studio 5 has a 2.1-channel configuration composed of two tweeters and a single woofer. It has waveguide technology to evenly disperse the sound and costs $300.
Both the Music Studio 7 and Music Studio 5 use AI processing to customize the sound based on the room and the content. Those capabilities come in the form of Samsung’s Dynamic Bass Control and SpaceFit Sound Pro room calibration features. Both speakers also use Active Voice Amplifier Pro to boost dialogue.
Two Music Studio 7 speakers being used with a TV
Samsung
Yes, this means you can use a pair of either model as your living room setup. In fact, they can work with a compatible TV or soundbar to employ Samsung’s Q-Symphony feature that uses all of your speakers as an immersive group. Samsung is also expanding Q-Symphony to work with up to five of its audio devices and the feature will automatically adjust the sound based on speaker locations. Those upgrades seem an awful lot like LG’s Sound Suite and Dolby Atmos FlexConnect, if you ask me.
Samsung revealed its flagship soundbar, the Q990H, at CES. Unfortunately, the company is keeping the same overall design it’s been using for about years now, so I think it’s time for a change. This is the company’s 11.1.4-channel Dolby Atmos option that comes with rear satellite speakers and a subwoofer for $2,000. Samsung’s home theater features like Dynamic Bass Control, SpaceFit Sound Pro and Adaptive Sound are all here, but there are also two new features on the Q990H for 2026.
First, Samsung promises that Sound Elevation will improve the audio by making dialogue sound like its coming from where characters are on the screen rather than the position of your soundbar. There’s also Auto Volume, which will supposedly nix sudden volume jumps as you switch channels or streaming services.
The QS90H is the member of Samsung’s 2026 soundbar lineup that really impressed me at CES. The company says this is its first “all-in-one” soundbar, which means you shouldn’t have to use a subwoofer for adequate bass. Other companies have made that claim, and it’s almost never true, but the $1,000 QS90H pumped out some great low-end tone back in Vegas. That’s thanks to four built-in woofers and an overall 7.1.2-channel setup.
The QS90H has a similar design to the existing QS700 soundbar
Samsung
Like the QS700F, the QS90H has a gyro sensor that automatically detects if it’s sitting flat on a shelf or mounted on a wall. This allows the soundbar to automatically adjust the sound based on its position so you don’t sacrifice performance for what looks best in your home. The QS90H also offers Q-Symphony, SpaceFit Sound Pro room calibration, Adaptive Sound, Active Voice Amplifier Pro and Dynamic Bass Control — plus the new Sound Elevation and Auto Volume from the Q990H.
Two other soundbars that Samsung didn’t discuss at CES are the Q930H ($1,500) and the Q800H ($1,100). As you might expect based on the numbers, these two models sit below the Q990H in the company’s lineup. The Q930H is a 9.1.4-channel option that comes with rear speakers and a subwoofer in the box. In terms of features, Q-Symphony, SpaceFit Sound Pro room calibration, Adaptive Sound, Voice Amplifier Pro and Sound Elevation are all here. Step down to the Q800H and you’ll get all of those features in a 5.1.2-channel arrangement. This soundbar only comes with a subwoofer though. It’s also worth noting that both the Q930H and Q800H have a similar angular design to the Q900H.
This article originally appeared on Engadget at https://www.engadget.com/audio/speakers/samsungs-music-studio-speakers-and-two-of-its-2026-soundbars-are-available-now-150000056.html?src=rss
E Ink notetakers in 2026 cater to a variety of needs, balancing functionality and specialization. Vladimir Kostek highlights key examples, such as the Remarkable Paper Pro, which stands out in the color e-ink category with its 11.8-inch Gallery 3 panel. This device offers vibrant visuals for creative tasks while maintaining core note-taking features, though its […]
Most lamps exist to be useful. A few exist to be beautiful. Almost none manage to feel like they’ve captured an actual atmospheric phenomenon and suspended it inside a room. BằNG’s Dreamy Lớp lands very firmly in that last category, and I haven’t been able to stop thinking about it since I first saw it.
BằNG is a Vietnamese furniture and lighting brand, and Dreamy Lớp is the newest chapter of its already award-winning Lớp sculptural lighting collection. The collection was conceived by co-founder and creative director Thomas Bình-Minh Vincent around a deceptively simple idea: a sphere floating within layers. It sounds almost zen when you say it out loud, and the visual result is exactly that kind of quiet, can’t-look-away quality that makes you realize how rarely furniture actually earns your attention. The Dreamy series is the latest evolution of that original concept, pushing it further with new material choices and a striking new visual language.
The Dreamy iteration introduces dichroic acrylic into the mix, and that single material choice changes everything. The lamp is built from precise layers of translucent acrylic sheets separated by polished inox spacers, creating consistent gaps that give the piece its signature rhythm and depth. At the center sits a matte opal glass sphere. When light hits the dichroic acrylic, the colors shift depending on your angle and the ambient light around it. One moment it reads as a cool blue. Move slightly and it blooms into warm gold or a soft green. The lamp isn’t just emitting light, it’s refracting it, filtering it, playing with it in a way that feels almost alive.
The design reference point is cloud iridescence, that rare atmospheric effect where sunlight diffracts through high-altitude ice crystals or water droplets and scatters into shifting, painterly color. It’s the kind of thing you catch in the sky for thirty seconds before it’s gone, and you’re left wondering if anyone else saw it. Vincent’s goal was to translate that fleeting, almost-too-beautiful-to-be-real quality into a controlled lighting object you can actually live with. From what I can see, it works. The lamp doesn’t try to replicate nature literally. It just borrows its logic, and that restraint is where the real design thinking lives.
Five design awards say other people agree. Dreamy Lớp carries recognition from the Archiproducts Design Award, the German Design Award, and MoMA’s historic Prize Design Award, among others. That’s not a small list. Awards in design can sometimes feel like insider industry congratulations, a round of applause from people who already understand the language, but in this case the recognition reflects something genuinely visible in the object. The craftsmanship is precise. The concept is tight. The execution doesn’t overcomplicate itself, which is much harder to pull off than it looks.
Practicality is worth noting too, because beautiful objects that are impossible to actually live with are a particular kind of frustrating. Dreamy Lớp was designed for multiple orientations and scales, meaning it can adapt to homes, cafés, and galleries without demanding that any of them rearrange themselves around it. It’s also repairable, which matters more than most lighting brands want to discuss. The entire piece is rooted in BằNG’s workshop-driven philosophy, where form comes directly from materials and fabrication processes rather than starting with a slick rendering and working backward.
What I keep coming back to is how rare it is for a lamp to feel like a genuine conversation piece without trying too hard to be one. Dreamy Lớp has the confidence of something that knows exactly what it is. It doesn’t need to be loud. The shifting color does the talking on its own, casting unexpected shadows in natural sunlight and projecting soft hues into whatever room it inhabits. It turns a corner of your home into something slightly otherworldly, and it does it without ever announcing itself. Good design tends to make you feel something before you understand why. This lamp is exactly that.
Rumors point to the Samsung Galaxy Z Fold 8 focusing on long-awaited practical upgrades rather than a total design overhaul. While early CAD renders suggest the overall aesthetic will remain consistent with the Galaxy Z Fold 7, leaked specifications indicate that this 2026 iteration could finally introduce a massive 5,000mAh battery and 45W fast charging—two […]
AI detection systems like Turnitin and Originality are becoming increasingly sophisticated, making it harder to pass off AI-generated content as human-written. In a recent breakdown by Andy Stapleton, three standout methods for bypassing these systems were analyzed, including Humanize, which achieved a 0% detection rate in Turnitin tests. While these methods show promise, their effectiveness […]
The Japanese Grand Prix is underway this weekend at Suzuka, and it has done what it always does: pulled attention back toward Japan with a kind of quiet, inevitable force. There’s something about watching a sport built on engineering precision staged in a country that has made precision its cultural identity that makes you want to look beyond the circuit. Japan’s design culture runs on the same engine as its racing teams. Nothing is wasted. Nothing is performed. Every decision earns its place, and every object that comes out of that sensibility carries a particular weight.
Japanese design has always understood something the rest of the world is still working out. Restraint is not a lack of ambition. It is the hardest expression of it. The five objects below range from a razor to a kitchen knife to a bath towel, but they all speak the same language. They each solve one problem completely, and they look like nothing else needs to be added. That is the thing about great Japanese design. It doesn’t just make a good product. It makes everything else in the room look like it’s trying too hard.
1. The Paper Razor
There’s something almost provocative about the Paper Razor. Designed by Japan’s Kai Group, it is a single-use disposable razor built almost entirely from paper, reducing plastic use by 98% without compromising function. The origami-inspired body folds completely flat for shipping, then snaps into a rigid, ergonomic handle in seconds. At just 4 grams and 5mm thick when flat-packed, it ships across five colorways: ocean blue, botanical red, jade green, sunny yellow, and sand beige.
The obvious question is water, and the Kai Group answered it practically. The paper body is made from a water-resistant grade similar to milk carton stock, holding up to temperatures of 104°F. The metal blade head features a notched channel on top for easy rinsing between strokes. Designed primarily for travelers, the Paper Razor is the kind of product that feels less like a shaving tool and more like a position statement on what disposable objects are capable of being when someone takes the design seriously.
What We Like:
The origami-fold construction assembles in seconds and ships as a 5mm flat-pack, making it one of the most logistically elegant disposables ever designed
Reduces plastic use by 98% while maintaining the ergonomics and shave quality of a standard disposable
What We Dislike:
Single-use by design, which limits its appeal for anyone building a more sustainable long-term shaving routine
Water resistance caps at 104°F, meaning it isn’t suited for anyone who prefers very hot water while shaving
2. Levitating Pen 2.0: Cosmic Meteorite Edition
The Levitating Pen 2.0 Cosmic Meteorite Edition is the kind of desk object that stops a conversation the moment someone notices it. It suspends at a precise 23.5-degree angle, creating a floating illusion that is genuinely difficult to look away from. The design draws its visual language from spacecraft aesthetics, referencing silhouettes like the USS Enterprise, bringing a sci-fi sensibility to something as familiar and grounded as a ballpoint pen sitting on a work surface.
The detail that separates this edition from the standard series is the meteorite tip. The pen incorporates a genuine Muonionalusta meteorite, a fragment older than Earth by 20 million years, shifting this object from clever desk accessory to something rare and worth owning on its own terms. A simple twist sets it spinning for up to 20 seconds. It is a fidget-worthy, collector-grade piece that makes a compelling case that good design doesn’t always need to justify its existence through usefulness alone.
The genuine Muonionalusta meteorite tip gives this pen a provenance no other writing instrument on any desk can match
The floating 23.5-degree angle creates an immediate visual anchor on a desk surface without taking up meaningful real estate
What We Dislike:
The limited edition nature makes availability unpredictable, and the pricing reflects exclusivity as much as it does materials
The spacecraft-inspired aesthetic is deliberate and specific, meaning it will feel out of place on a desk that skews quieter or more minimal
3. Kuroi Hana Knife Collection
The Kuroi Hana knives begin with Japanese AUS-10 steel sourced from Aichi Steel Corporation, rated between 58 and 60 HRC for hardness and chosen specifically for its combination of toughness, sharpness, and corrosion resistance. Each blade is built from 67 layers of high-carbon steel, producing the Damascus layered structure that defines the collection’s character. Kuroi Hana translates to “black flower,” and the dark floral pattern that emerges across each blade makes that name feel entirely earned rather than marketed.
The pattern isn’t applied to the surface. It is drawn out from within. Skilled artisans manually submerge each blade into an etching solution that penetrates the steel layers and reveals the Damascus patterning in a deep, dark floral form. Because the process is done by hand and each blade’s steel structure is unique, no two knives carry the same pattern. This is a kitchen tool that respects the cook enough to make the knife itself a considered, genuinely beautiful object worth picking up before you even start cooking.
What We Like:
Every blade carries a unique dark floral pattern drawn from the steel itself, making each knife a one-of-a-kind object rather than a manufactured product
AUS-10 steel at 58–60 HRC delivers professional-grade sharpness and toughness that performs as well as it looks, sitting on a magnetic strip
What We Dislike:
The artisanal Damascus etching process makes these a premium investment that sits well outside casual kitchen knife territory in terms of price
The distinctive dark floral aesthetic is polarizing for cooks who prefer clean, unmarked blades in a working kitchen environment
4. The Invisible Shoehorn
The Invisible Shoehorn is the kind of product that earns its place by solving something so specific and so quietly that you find yourself wondering why every shoehorn hasn’t been designed this way. The long stainless steel body eliminates the need to hunch over, protecting your lower back from the kind of daily accumulated strain that nobody tracks until it’s a problem. The smooth, polished surface slides cleanly against socks and stockings without snagging. It performs one job with a material confidence that feels entirely Japanese.
The transparent stand is the decision that lifts this from a functional object to something worth displaying. Mounted in its clear acrylic holder, the shoehorn practically disappears into its surroundings, reading less like a bathroom utility and more like a considered piece of interior design. In a category full of objects people hide at the back of a closet, this one earns a place on the shelf. That shift from something concealed to something displayed is precisely what separates a good tool from a genuinely designed one.
The transparent acrylic stand transforms a purely utilitarian object into something display-worthy that holds its own in a well-designed home
The long stainless steel handle removes real daily lower back strain without requiring any change in how you put your shoes on
What We Dislike:
Polished stainless steel and a transparent stand both attract fingerprints readily, requiring consistent upkeep to maintain the invisible aesthetic the design promises
The extreme restraint of the form may feel underwhelming to people who expect more visual personality from their home accessories
5. Sento 2 Towel
Most towels are made by twisting cotton fibers into dense, rope-like loops, a production method that prioritizes speed and cost over softness or absorbency. The Sento 2 goes the other way entirely. Using a zero-twist design developed through specialized manufacturing techniques refined in Japan, the natural cotton fibers are left loose and uncompressed, producing a towel that is softer, more absorbent, and faster-drying than standard terry cloth. The process is slower, more demanding, and the finished result communicates every bit of that effort on first contact.
The zero-twist construction leaves natural cotton in a state that feels fundamentally different from anything mass-produced. The towel is light enough to feel like almost nothing in your hands, and absorbent enough that the job is done before you’ve consciously started it. There is an effortless quality to the whole experience that is harder to explain than it is to feel. It is a towel. It is also a quiet argument for buying fewer things, buying them properly, and understanding that the best version of an everyday object is worth far more than the cheapest one.
What We Like:
Zero-twist construction produces a softness and absorbency level that standard terry cloth towels genuinely cannot replicate, and the difference is apparent immediately
The quick-drying design makes it practical enough for daily rotation, not just a display-shelf luxury that performs better as a photograph
What We Dislike:
Zero-twist fibers are more delicate than standard loops and require careful laundering to preserve their structure and softness over repeated washing
The premium construction comes at a price that becomes harder to justify when buying multiples to fully outfit a bathroom
Japan Has Been Designing This Way Forever. The Rest of the World Is Still Catching Up.
What these five objects share is not a visual style. It is a philosophy. Japanese design has always understood that the most powerful thing a product can do is remove everything that shouldn’t be there. The Paper Razor removes plastic. The Invisible Shoehorn removes visual noise. The Sento 2 removes the compromise built into every standard terry loop. What remains in each case is an object that works so cleanly it feels inevitable, as though no other version was ever possible.
The Japanese Grand Prix reminds us every year that Japan operates at a level of precision most cultures aim for and fall short of. Its design culture runs on the same engine. These five products are proof that restraint is not a limitation. It is the hardest discipline to master and the most rewarding thing to live with. Every one of them earns its place, whether on a shelf, in a kitchen drawer, mounted by the door, on a desk at a 23.5-degree angle, or wrapped around you right after a shower.
Apple is preparing to transform the smartphone industry once again with the highly anticipated iPhone 18 Pro Max. Packed with a host of innovative features, including a smaller Dynamic Island, new performance upgrades, and the potential introduction of a foldable design, this new lineup is set to push the boundaries of mobile technology. Let’s explore […]
If you grew up in the ’90s or early 2000s, the floppy disk was basically part of your personality. You carried those little squares everywhere. You stressed over how many kilobytes were left on them. You wrote your name on the paper label with a Sharpie because it was, obviously, yours. And if you lost one that contains important information and documents, then you might as well say goodbye to it.
Now, BEAMS and Nik Bentel Studio have gone ahead and turned that deeply specific nostalgia into a leather wallet, and I genuinely cannot decide if that’s the most ridiculous thing I’ve heard all week or the most inspired. It’s probably both, and that’s exactly the point.
The Floppy Disk Wallet is, in the most literal sense, a wallet shaped like a 3.5-inch floppy disk. The Brooklyn-based Nik Bentel Studio took the original form apart, component by component, and restructured it in leather, modifying the actual design by only 5%. That means the square shape is intact, the label window is still there, and the hardware detailing reads exactly like the real thing. Except instead of storing a few hundred kilobytes of data, it stores your cash, cards, and whatever else you can fit into its single interior compartment. The metal door lifts off and doubles as a money clip, which is either the cleverest detail of the year or just the most on-brand way possible to carry loose bills. Probably both, again.
It comes in black, beige, and orange. At $60 a piece, it’s priced like a thoughtful design object rather than a novelty tchotchke you’d find at a museum gift shop. That distinction matters to me. This wallet sits in that rare category of things that are both genuinely funny and genuinely well-made, and it pulls that balance off without seeming like it’s trying too hard.
What makes the whole thing more interesting than the obvious nostalgia play is who made it. Nik Bentel Studio isn’t a brand that slaps retro imagery on products and calls it a day. Bentel has described his work as storytelling through objects, and that philosophy shows up consistently across everything his studio releases. He’s the same designer who turned a Barilla pasta box into a handbag, reimagined the Mendl’s patisserie box from Wes Anderson’s Grand Budapest Hotel as a carry-all, and built a purse that’s actually a remote-controlled car. Every piece has a concept baked into it from the start, not layered on afterward for aesthetics. The floppy disk wallet isn’t just fun to look at. It’s a meditation on how beautifully designed everyday objects can be when they’re shaped entirely by their constraints.
The BEAMS partnership amplifies that story in a way that feels earned. The Japanese retailer has long operated at the intersection of fashion, culture, and considered design through its bPr line. Bringing Nik Bentel Studio into that fold doesn’t feel like a brand collab for collab’s sake. It feels like two creative sensibilities that already speak the same language finding a natural reason to collaborate.
I’ll be honest: I have complicated feelings about nostalgia as a design strategy. It gets used so lazily and so often that it’s hard not to be skeptical when something leans into it. Cassette tapes on tote bags. Pixelated graphics on hoodies. That kind of thing loses its meaning fast. But the Floppy Disk Wallet sidesteps that trap because it isn’t just referencing an old object. It is the object, rebuilt in a better material. The nostalgia isn’t decorative; it’s structural. You’re not looking at a picture of a floppy disk. You’re holding one, in your pocket, every single day.
Whether you’ll use it as your primary wallet is a separate conversation. It’s compact by design, and minimal in terms of storage. If you carry a thick stack of loyalty cards and old receipts, this isn’t for you. But for someone who keeps things lean and wants their everyday carry to actually say something about them, this one says quite a lot. The black and orange colorways are already sold out on the studio’s site. That probably tells you everything you need to know.
