Trump Mobile’s T1 still doesn’t exist, but the company is now selling refurbished phones

The T1 smartphone from Trump Mobile remains non-existent vaporware, but the company is still finding new ways to take people's money. Anyone who desperately wants to fund this sham can now buy a refurbished phone from the company. The business's website has listings for "Renewed" models of the Samsung S24 and S23 and the iPhone 15 and 14. Gizmodo noticed that Trump Mobile is selling these other brands' phones for the same cost, or sometimes more, than the same refurbs from other retailers. Seems pretty par for the course.

NBC News opted to order one of the T1 phones in August to track its development. "After confirming with the credit card company that the transaction was not fraudulent, NBC News received a confirmation email verifying the order," the publication said in a report last month. However, it has not received much communication from the company on why the phone still has not shipped. "Neither Trump Mobile nor the Trump Organization responded to NBC News’ multiple requests for comment on when the phone would be released and why it’s delayed."

In case you missed the previous acts of sketchiness from Trump Mobile, the company insisted at its debut that the phone was made in the US. That seemed like a dubious claim and the "made in the USA" language was quietly removed from the website shortly after.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/trump-mobiles-t1-still-doesnt-exist-but-the-company-is-now-selling-refurbished-phones-191740570.html?src=rss

2026 Toyota GR Supra MkV Final Edition Review: A Farewell Written in Carbon Fiber and Camber

PROS:


  • Refined chassis sharpens every driver input

  • Larger Brembo brakes resist fade confidently

  • Distinctive silhouette will age gracefully

  • Manual transmission available for enthusiasts

  • Premium Alcantara and leather interior

CONS:


  • No Android Auto connectivity

  • Limited cargo space and rear visibility

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR'S QUOTE:

The most resolved Supra of this generation, built entirely for feel over flash.

The fifth-generation Toyota Supra has always carried the weight of resurrection, a nameplate revived after two decades of dormancy and built on a platform shared with BMW’s Z4. That partnership invited scrutiny from the beginning, with purists questioning whether the A90 could truly claim the Supra lineage when its heart beat with Bavarian engineering. Toyota’s response, refined across six model years, culminates in the MkV Final Edition: not a reinvention but a declaration that the conversation about authenticity matters less than the conversation about intent. The Final Edition does not chase new power figures or revolutionary technology. It chases feel, that elusive quality that separates cars people admire from cars people remember.

Designer: Toyota

Gazoo Racing’s philosophy has always emphasized the tactile over the theoretical, and this swan song embodies that principle with unusual clarity. Where competitors announce their final editions with horsepower increases and cosmetic packages, Toyota chose to invest in the parts that shape how the car communicates with its driver: bushings, braces, damper calibration, brake sizing. The engineering focus speaks to a different understanding of what makes a sports car meaningful. Numbers translate poorly to memory. The sensation of a chassis rotating precisely at the limit, the confidence of brakes that refuse to fade, the subtle feedback through a steering wheel that actually tells you something: these are the currencies that matter when the production line goes quiet.

The price positions the Final Edition in the upper 60s before destination, typically just over 70k as equipped, placing it firmly in the territory where a Porsche Cayman or BMW M2 becomes a reasonable cross-shop. That positioning is intentional. Toyota is not asking buyers to choose the Supra because it costs less or offers more features per dollar. The ask is simpler and more demanding: choose it because this is the most resolved version of a car that has spent six years learning how to be itself. I spent a week with the Final Edition, and that confidence comes through every time you turn the key.

Exterior Form Language

Few sports car silhouettes remain as distinctive as the GR Supra’s, a profile defined by the exaggerated length of its hood relative to the compact cabin and truncated tail. That proportion traces directly to the classic front-engine, rear-drive formula, but the execution here pushes further into sculptural territory than most modern interpretations. A double-bubble roof, functional in its origins as a nod to helmet clearance but now a visual signature, creates a centerline interruption that breaks what could have been a simple coupe arc into something more complex. Light catches the roof differently at every angle, revealing the depth of the sculpting work that photographs rarely capture.

The Final Edition adds visual weight through functional aero components that subtly alter the car’s stance without abandoning the base design’s intent. In person, the carbon ducktail changes the whole rear three-quarter view. A carbon fiber ducktail spoiler extends the rear deck with a lip that follows the body’s natural curvature rather than imposing an aggressive aftermarket aesthetic. Front wheel arch flaps and taller tire spats address airflow management at higher speeds, but their visual effect is equally significant: they emphasize the muscular fender bulges that have always been the Supra’s most overtly athletic element. The matte black 19-inch wheels specific to this trim level darken the car’s overall presence, pulling attention toward the body surfaces rather than the brightwork. That darkening strategy continues with available carbon mirror caps and the optional GT4 appearance package, which introduces matte paint finishes like Burnout and Undercover that transform surface reflections into something closer to fabric than glass. The lighting signature carries forward unchanged from previous model years, with the narrow headlamp clusters and integrated LED running lights that give the Supra its focused, almost predatory forward gaze. Rear lighting uses a full-width bar that connects the tail lamps and creates visual width when viewed from behind. The decision to keep lighting elements consistent with the broader Supra range rather than creating Final Edition-specific graphics reflects Toyota’s restraint. This is a car closing a chapter, not a special edition screaming for attention.

Surfacing across the body panels demonstrates the kind of complexity that requires time to appreciate. The door skins carry compound curves that transition from convex to concave as they approach the rockers, creating shadow lines that change character depending on the sun angle. Fender tops pull upward from the hood line with enough volume to be visible from the driver’s seat, a design choice that deliberately references the original A80 Supra’s visual cues. The hood itself stretches forward with a slight power dome that interrupts what would otherwise be a simple convex surface, adding muscularity without resorting to the aggressive venting common in performance car design.

Where the Supra’s form language succeeds most convincingly is in its refusal to chase visual aggression for its own sake. Many competitors in this price bracket layer on ducts, vents, wings, and diffusers that announce performance intent through visual noise. The GR Supra communicates through proportion and surface, trusting that buyers who appreciate the engineering beneath will also appreciate the design discipline above. I think it is one of the better looking sports cars you can buy right now, and it will age better than most of its rivals.

Interior Architecture

Cabin architecture establishes its priorities the moment the door swings open, presenting a cockpit organized around the driver with almost aggressive single-mindedness. Seat positioning sits low, with the hip point closer to the floor than most modern sports cars permit, creating the sensation of sitting in the car rather than on it. A relatively high door line and the upward sweep of the dashboard combine with that low seating to produce an environment that feels enclosed without claustrophobia, like a well-fitted helmet rather than a restrictive space. The center console rises between driver and passenger, creating both physical and psychological separation that reinforces the driver-focused intent. This is not a car designed for conversation during spirited driving.

The Final Edition’s interior trim elevates the cabin through Alcantara and leather surfaces with red contrast stitching and GR branding integrated into the headrests and door panels. That red accent strategy walks a careful line: visible enough to communicate the special edition status, restrained enough to avoid the boy-racer look that aggressive color blocking can create. Alcantara appears on high-contact areas where grip matters, and the texture variation it brings is welcome. Leather covers the surfaces where durability and easy cleaning take priority. The combination feels deliberate rather than decorated.

Spatial logic within the cabin follows the classic sports car compromise: adequate space for two adults, minimal accommodation for anything else. The 10.2 cubic feet of cargo behind the seats accepts weekend bags or a set of helmets, but the hatchback opening limits practical access compared with a traditional trunk. I fit a carry-on and a camera bag back there without much fuss. Seat adjustment range accommodates a reasonable spread of body types, though taller drivers may find the roof proximity notable, particularly with the double-bubble sculpting pressing down at the head area. The passenger seat offers less adjustment range, an honest acknowledgment that this space exists primarily to transport someone occasionally rather than to provide equivalent comfort to the driver’s position. The instrument cluster positions directly ahead of the steering wheel in a binnacle that creates visual focus, while the center-mounted infotainment screen angles toward the driver with enough tilt to be visible without requiring a full head turn.

Ambient quality within the Final Edition cabin achieves a level of refinement that earlier A90 models sometimes missed. Panel gaps align with acceptable precision, door closure sounds carry the solid thunk that buyers at this price expect, and the overall assembly feel reflects the maturation that comes with late-production-run refinement. The JBL audio system fills the cabin with competent sound quality that neither embarrasses the car nor elevates it to audiophile territory. Road noise penetration remains higher than in grand touring competitors but lower than in track-focused machines, positioning the Supra appropriately for its dual-purpose character.

Control surface placement follows established conventions without innovation, which in this context reads as confidence rather than laziness. The steering wheel rim thickness and diameter feel appropriate for the car’s performance envelope. Paddle shifters, on automatic-equipped models, position within natural finger reach. Climate controls operate through physical buttons rather than touchscreen menus, a decision that becomes increasingly welcome as more manufacturers abandon tactile interfaces. The overall ergonomic impression suggests a cabin designed by people who drive rather than by people who design interfaces.

Material Composition

Material selection within the Final Edition demonstrates the kind of thoughtful approach that distinguishes serious sports cars from dressed-up economy platforms. The Alcantara carries enough weight to feel genuine rather than synthetic, and the stitching on the leather surfaces maintains consistent spacing throughout. Hard plastics appear in lower visibility areas, but their matte finishes prevent the cheap, shiny look that dates an interior. Carbon fiber trim matches the exterior pieces in weave and clear coat.

The steering wheel leather provides grip during hard cornering without needing aggressive perforation. The shift lever moves through its gate with the mechanical precision you want from a sports car. Climate control knobs click with appropriate resistance, and even the key fob has the right heft. These details matter more than they should, and the Final Edition gets most of them right.

 

Sound enters the cabin intentionally. Road surface changes come through the floor clearly enough to tell you about grip conditions. Wind noise picks up above highway speeds, a tradeoff for that slippery shape. The inline-six sounds smooth and present without needing artificial amplification through the speakers. This is a car that wants you engaged, not cocooned.

Technology Integration

The 8.8-inch infotainment display runs older BMW iDrive software that works fine without impressing anyone. Apple CarPlay handles smartphone connectivity, though Android Auto remains unavailable, a gap that stands out as the market has largely standardized around both. The central controller with shortcut buttons takes some learning but becomes efficient with use. Response time is adequate, and the screen resolution reflects the platform’s age without embarrassing the car.

The head-up display projects speed, navigation directions, and basic vehicle info onto the windshield where it belongs. Brightness adjusts automatically, and the information density stays reasonable during spirited driving. Taller drivers may find the projection sitting lower than ideal.

Driver assistance on automatic models includes adaptive cruise, lane departure warning, emergency braking, and blind spot monitoring. These systems work competently without the refined calibration of the best current implementations. The technology overall reflects a transitional moment: physical buttons for climate and common functions, which many buyers will appreciate, but less visual sophistication than competitors increasingly offer. The tech is fine. You are not buying this car for its infotainment.

Powertrain Character

The 3.0-liter turbocharged inline-six produces 382 horsepower and 368 pound-feet of torque through a powerband that emphasizes breadth over peak drama. Torque arrives from 1,800 rpm and maintains presence across the usable range, eliminating the lag and surge that characterized earlier turbo applications and creating a delivery character that rewards varied driving styles. The engine note carries the mechanical smoothness inherent to inline-six architecture, with a refined exhaust sound that announces intent without the aggressive crackle and pop that some competitors employ. Power delivery feels linear and accessible, building predictably with throttle input rather than arriving in sudden bursts that complicate corner exit management.

Transmission choice between the six-speed manual and eight-speed automatic represents a philosophical decision as much as a practical one. The manual offers the engagement and control that enthusiasts prize, with a shift action that has improved across model years to provide shorter throws and more precise gate definition. The automatic matches revs competently during downshifts, executes ratio changes with appropriate speed during spirited driving, and proves unobtrusive during commuting duties. Toyota’s quoted acceleration times favor the automatic slightly, with 0-60 mph arriving in 3.9 seconds versus 4.2 seconds for the manual, though the differences in real-world driving feel less significant than benchmark testing suggests.

The Final Edition’s chassis improvements transform how the powertrain translates through the driving experience. The brake pedal firms up after a few hard stops rather than going soft, which builds confidence when you start pushing. Revised differential control maps improve traction deployment during corner exit, and you feel the rear step just a bit before the diff catches it rather than snapping into oversteer. The stronger front stabilizer bar and recalibrated adaptive dampers maintain body composure under the power application that the turbo six enables. These changes do not alter the powertrain’s fundamental character but refine how that character reaches you through the controls.

Daily Reality

Ownership experience with the GR Supra Final Edition confronts the compromises inherent to sports car design with varying degrees of success. The low seating position that creates driving involvement also complicates entry and exit, particularly in parking spaces where adjacent vehicles limit door swing. Visibility limitations from the small rear window and thick C-pillars require adjustment for drivers accustomed to more expansive glass areas, making parking lot navigation a conscious task rather than a casual one. The firm suspension tuning that provides communication and control on winding roads transmits surface imperfections with corresponding directness, making rough pavement a more present companion than luxury-oriented vehicles would permit.

Fuel economy according to manufacturer estimates reaches 22 mpg in city driving and 29 mpg on the highway, with a combined figure of 25 mpg that reflects the turbocharged six-cylinder’s efficiency when cruising and its appetite when pushed. Real-world numbers will vary with driving style, but the overall efficiency positions the Supra reasonably within its competitive set, neither punishing owners with sports car fuel bills nor pretending toward economy car frugality. Premium fuel requirements add to operating costs in a way that buyers at this price point typically accept as inherent to the category.

Reliability considerations for the Final Edition benefit from six years of production refinement and the BMW powertrain’s established service record in various applications. Early A90 models experienced some software and electronic issues that subsequent years addressed through updates and revisions. The mechanical components, including the engine, transmission, and differential, have demonstrated durability across the ownership community, with major failures remaining relatively uncommon in maintained examples. Service access through Toyota dealers provides convenience advantages over more exotic alternatives, though parts pricing for BMW-derived components can exceed expectations set by Toyota’s mainstream reputation. Warranty coverage follows Toyota’s standard terms, providing the assurance that comes with corporate backing during the initial ownership period.

Storage practicality remains the sports car compromise that no design can fully solve within this package’s constraints. The 10.2 cubic feet behind the seats accepts soft luggage or equipment bags, but the hatchback opening restricts the shapes and sizes that fit easily. The absence of a front trunk, common in mid-engine competitors, eliminates a supplementary storage option that some buyers might expect. Interior storage compartments provide adequate space for phones, wallets, and small items without offering the bins and cubbies that more practical vehicles include. The trunk floor sits high relative to the rear bumper, requiring a lift-over motion that larger or heavier items resist. Owners planning regular cargo duties will find the Final Edition uncooperative.

Competitive Context

Positioning against direct competitors reveals the Final Edition’s distinctive value proposition within a segment rich with alternatives. At approximately $63,000, the Porsche 718 Cayman offers mid-engine balance and the Porsche badge’s aspirational weight, but base models arrive with less power, while equivalently-equipped examples push beyond $80,000. Starting around $64,000, the BMW M2 shares platform architecture with the Supra but wears the M division’s identity, providing comparable performance with a different aesthetic philosophy and higher standard equipment levels. The Nissan Z presents a front-engine, rear-drive alternative at lower price points starting near $50,000, though with less refined chassis dynamics and a less developed interior environment.

Design differentiation within this competitive set reflects each manufacturer’s interpretation of sports car purpose. The Porsche approach emphasizes precision engineering expressed through minimalist design, with restrained surfaces and functional detailing that communicates seriousness without flamboyance. BMW’s M2 adopts a more aggressive stance, with widened bodywork and prominent air intakes that announce performance intent visually. The Nissan Z revives retro styling cues that connect to heritage models, creating emotional resonance through nostalgic reference. The GR Supra occupies a space between these approaches, modern in execution but proportionally classic, dramatic in silhouette but restrained in detailing.

Value assessment for the Final Edition depends heavily on buyer priorities and intended use. Those seeking maximum performance per dollar will find better acceleration numbers elsewhere. Those prioritizing interior luxury or technology features will find more comprehensive offerings at similar prices. Those wanting a daily driver with occasional sport driving will find more practical alternatives with comparable engagement. The Final Edition’s value proposition centers on something less quantifiable: the refinement of a platform that has spent six years developing its character, presented in the form Toyota believes represents its fullest expression. That refinement carries worth for buyers who understand what it represents and holds less meaning for those who prefer specification sheet comparison.

Who Should Buy This

The Final Edition makes the most sense for enthusiasts who already know they want a Supra and want the most sorted version Toyota will ever make. If you track your cars occasionally but mostly drive them on weekends, the chassis improvements and brake upgrade translate directly into confidence. If you care about owning something that will hold its value as a last-of-generation collectible, the limited production run and manual transmission availability help that case. If you need a daily driver that happens to be fun, the standard 3.0 or 3.0 Premium gets you most of the experience for less money. And if you cross-shop heavily on tech features or interior luxury, the Cayman and M2 offer more polish in those areas. The Final Edition is for people who prioritize how a car feels over what it offers on paper.

Design Verdict

The 2026 Toyota GR Supra MkV Final Edition represents a mature conclusion to a generation that arrived with controversy and departs with resolution. Toyota’s decision to invest the Final Edition’s development budget in chassis refinement rather than power increases or cosmetic drama reveals a design philosophy that prioritizes experience over specification. The car that results feels more complete than its predecessors, with the sharpened dynamics and improved braking confidence that track time and engineering iteration produce. Whether those improvements justify the price premium over standard models depends on the buyer’s sensitivity to the differences and the value they place on owning the definitive version of a platform reaching its end. The design choices, from the restrained exterior treatment to the driver-focused interior architecture to the material selections that emphasize quality over flash, communicate intentions clearly enough for interested buyers to evaluate alignment with their own priorities.

Longevity prospects for the Final Edition’s design suggest the kind of aging that rewards restraint. The absence of aggressive trend-chasing elements, the proportion-driven exterior language, the functional rather than decorative interior approach: these qualities tend to preserve relevance as years pass rather than dating the design to a specific moment. The limited production run adds collectability considerations that may influence future values, particularly for manual transmission examples in distinctive color combinations. Whether the GR Supra MkV will achieve the classic status of its A80 predecessor remains for time to determine. What the Final Edition demonstrates conclusively is that Toyota understood what made this generation worth building and chose to close its production run with the clearest expression of that understanding.

The post 2026 Toyota GR Supra MkV Final Edition Review: A Farewell Written in Carbon Fiber and Camber first appeared on Yanko Design.

Trump Media is merging with a Google-backed fusion energy company in a deal worth $6 billion

Trump media, the company behind the president's personal social media platform Truth Social, is inexplicably merging with a Google-backed fusion energy company called TAE Technologies. The deal is worth $6 billion, according to reporting by Financial Times.

Why is an entity known for publishing frenzied hot takes by the president at 3AM combining with a fusion energy company? Who the heck really knows, but a statement says the two organizations will join together to build the "world's first utility-scale fusion power plant." This would be huge, if true, as there are currently no operational commercial nuclear fusion power plants.

We know what TAE would bring to the table in that scenario. The energy company has been around since the 1990s and has attracted interest from Google, Chevron and others. Trump Media would be a great partner when building a reactor powered by insults, but doesn't seem to offer much of anything else.

The merger statement does mention that Trump Media would provide TAE with "access to significant capital." The company lost $55 million last quarter, as there's only so much money in a social media platform primarily used by just one person.

However, the president himself is likely the world's most renowned raiser of funds when it comes to personal pet projects. He knows how to get a roomful of billionaires to open up their wallets, provide copious compliments and even hand-deliver gold statues. The terms of the deal state that Trump Media will provide TAE with $300 million in capital as a bonus of sorts, though we don't know where that money is coming from as it represents over ten percent of the company's entire valuation.

This is an all-stock deal and stocks aren't exactly immune from the manipulative whims of billionaires. To that end, shares in Trump Media have risen dramatically since this deal was announced. President Trump shifted his stake in the company to a revocable trust that he is the sole beneficiary of and is controlled by Donald Trump Jr. 

There's also the potential notion of using access to shore up federal support for grants, low-interest loans and permit approvals. That kind of thing seems particularly thorny and, to put it mildly, legally gray.

Creating a power plant for large-scale nuclear fusion would be an incredible undertaking and it's something humanity has yet to figure out. TAE CEO Michl Binderbauer told CNN the newly-formed company will have it done in "five-ish years." Most experts put that time frame in the "30-ish years" category.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/trump-media-is-merging-with-a-google-backed-fusion-energy-company-in-a-deal-worth-6-billion-180910779.html?src=rss

This Phone Concept Stacks a 3.5-Inch LCD Above a 5.2-Inch E Ink Screen

Modern phones have turned into pocket TVs, huge OLED slabs that are great for video and games but terrible for focus. Most E Ink phones go to the opposite extreme, either dropping color screens entirely or putting an E Ink panel on the back while keeping a full-size color display on the front. This dual-screen concept tries a different take, stacking both screens on the same face, with a small color LCD above a larger monochrome E Ink panel.

The basic layout is a 3.5-inch IPS LCD at the top and a 5.2-inch E Ink panel below, both on the front. The numbers are 1280 × 800 resolution at 120 Hz for the LCD and 1300 × 838 at 300 ppi for the E Ink. The clear back with a single camera and simple branding quietly signals that this phone is not chasing the usual multi-lens, all-screen spec race, instead treating the front as a composition of two very different surfaces.

Designer: Mechanical Pixel

The smaller LCD becomes the “burst of color” zone for time, notifications, music controls, and quick interactions, while the larger E Ink area is reserved for reading, notes, and simple widgets. This creates a hardware-level hierarchy; the calm, monochrome screen is where you spend most of your time, and you consciously move your attention to the smaller, brighter panel when you really need it, which changes the default state of the device from hyperactive to quiet.

The obvious pros are less visual noise, better eye comfort, and potentially much better battery life. E Ink only draws power when it refreshes, so a reading-first layout means the phone can idle for long stretches without burning through charge. For people who mostly message, read, and check calendars, the big E Ink panel could handle most of the day while the LCD stays off or in a low-duty role, extending runtime significantly.

The trade-offs are nothing to scoff at, though. A 3.5-inch LCD, even at 120 Hz, is not ideal for immersive video, complex productivity apps, or touch-heavy games. UI designers would need to rethink layouts for that smaller window, or accept that some tasks are better on a tablet or laptop. The E Ink panel’s slower refresh also limits it to taps and page turns, which is fine for reading but not for fast, gesture-driven interfaces that rely on immediate visual feedback.

This concept uses hardware to enforce a kind of digital minimalism. Instead of relying on focus modes and grayscale filters, it bakes the idea into the front of the phone, a big, calm screen for reading and a small, hyperactive one for everything else. For people who like the idea of a phone that nudges them toward books and away from endless feeds, that stacked layout feels like a surprisingly sharp design argument, where the very shape of the device encourages a different relationship with what lives on it.

The post This Phone Concept Stacks a 3.5-Inch LCD Above a 5.2-Inch E Ink Screen first appeared on Yanko Design.

Apple opens up iOS in Japan in response to new regulations

You can add Japan to the list of regions where Apple has been forced to do something it would rather not: open up the App Store. On Thursday, the company announced changes to iOS in Japan to comply with the nation's Mobile Software Competition Act (MSCA). The tighter regulations for Apple and Google, which overlap with Europe's, took effect today. Users in the US and elsewhere won't see any of these changes.

Apple's changes in iOS 26.2 in Japan revolve around alternative app stores, payments outside the App Store and browser choice. The company worked with Japanese regulators on new protections for increased security risks.

The company calls this set of safeguards Notarization. It involves an authorization process for alternative app stores and child-safety protocols. Third-party marketplaces will need to undergo a baseline security review. This uses a combination of human and automated checks to block malware and other threats.

Naturally, Apple cautions that Notarization is less comprehensive than the App Store's reviews. "The App Store — where every app is reviewed to meet the App Store's high bar for privacy and security — remains the best place for iOS users in Japan to discover and download the apps they love," the company wrote.

To state the obvious, the App Store is a booming business for the iPhone maker. In 2024, it generated $1.3 trillion in total sales. Opening it up poses a threat to one of the company's most reliable revenue streams. Big Tech seems to talk a lot about fewer rewards and more penalties for users when their own money trees are at risk.

Apple CEO Tim Cook (C) applauds as US President Donald Trump delivers a speech to business leaders at the US ambassador's residence in Tokyo on October 28, 2025. (Photo by ANDREW CABALLERO-REYNOLDS / AFP) (Photo by ANDREW CABALLERO-REYNOLDS/AFP via Getty Images)
Apple CEO Tim Cook in Tokyo in October 2025
ANDREW CABALLERO-REYNOLDS via Getty Images

iOS 26.2 in Japan also introduces new payment options. Developers can now use non-Apple payment processors within their apps or link to external websites for purchases. (Children's content is exempt from this.) Here, Apple again warns the user about the penalties for doing something that will hurt its bottom line. "For apps that use alternative payment processing or link users to the web for transactions, Apple will not be able to issue refunds and will have less ability to support customers encountering issues, scams or fraud," the company cautioned.

The last big change involves picking defaults within the operating system. Users in Japan will see new browser and search engine choice screens. They'll also find default controls for navigation apps and app stores. Finally, developers can now offer browsers that use alternative engines other than Apple's WebKit.

Apple's announcement comes a day after Google detailed its compliance with the MSCA. Since Android is more open than iOS, Google's changes in response to the regulations are a bit less pronounced. Android users will find new browser / search choice screens, expanded billing options and side-by-side comparisons of external vs. Play Store payment options.

This article originally appeared on Engadget at https://www.engadget.com/mobile/apple-opens-up-ios-in-japan-in-response-to-new-regulations-174854950.html?src=rss

MokaMax Packs a Pressure Brewer Into a Ridged Stainless Travel Mug

Portable coffee gear is usually a compromise. Compact brewers come with plungers, filters, cups, and lids that rattle around in a bag, and making a decent cup on the go often means unpacking a small chemistry set. After brewing, you clean it all in a cramped sink or a trailside stream. MokaMax is a response to that friction, aiming to keep the ritual but lose the clutter by collapsing everything into a single cylinder.

MokaMax is a portable coffee maker that positions itself as a true successor to Pipamoka, promising rich espresso-style coffee anywhere. It is designed for wanderers who move between libraries, trains, and mountain trails, and want one object that brews and carries coffee without a bag full of accessories. The idea is a single, rugged cylinder that feels like a travel mug but hides a full pressure-brewing system inside.

Designer: Somya Chowdhary

The distinctive ridged stainless-steel body gives fingers a secure place to rest and helps the mug blend in with other rugged gear. The ridges went through several iterations to balance grip and comfort, avoiding sharp edges or overly complex profiles. A flexible rope loops through the top, letting you clip MokaMax to a bag or hang it from a hook, reinforcing its role as part of a mobile kit that lives outside rather than just on a desk.

The brewing sequence is straightforward. Drop in a filter pod, add ground coffee, pour hot water, stir, close the top, rotate to filter using the pressure mechanism, then separate the top and drink. The pressure chamber and top cap fasten together and can be stowed upside down as one piece, so you are not chasing loose parts around a campsite or office kitchen when you just want a second cup.

The internal architecture breaks down into three main compartments: the pressure chamber, the coffee mug, and the top assembly with plunger and filter pod. Each section is easy to clean, and the decomposable coffee filter pods can be thrown away after use, cutting down on rinsing and scrubbing in awkward places. The “fewer parts, fewer headaches” philosophy keeps the system simple without compromising the quality of the brew or the convenience of the mug.

MokaMax is machined from food-grade stainless steel, which handles heat, knocks, and daily abuse better than plastic. The special edition black powder-coated finish leans into the rugged aesthetic, and the metal construction helps it feel like a long-term tool rather than a seasonal gadget. The combination of steel, rope, and compact form makes it feel at home in a backpack or on a desk, ready for whatever kind of wandering comes next.

MokaMax tries to change not the taste of coffee, but the friction around making it when you are away from a kitchen. By collapsing a pressure brewer and travel mug into one ridged cylinder with three main parts, it nudges portable coffee gear closer to the simplicity of a water bottle, turning the ritual into something that fits the rhythm of a day spent moving without demanding much attention or bag space.

The post MokaMax Packs a Pressure Brewer Into a Ridged Stainless Travel Mug first appeared on Yanko Design.

Alexa+ can now answer your Ring doorbell and talk to people

Amazon just introduced a new feature for Alexa+ called Greetings. This lets Alexa+ answer the doorbell and converse with visitors, which certainly sounds futuristic in a "gated community as dystopia" kind of way.

There are several caveats here. First of all, it only works with certain newer Ring video doorbell models. Customers also have to pony up for a Ring Premium Plan and have access to the Alexa+ early access build. It's available in the US and Canada and only in English.

If you meet those criteria, this could be a fairly useful little feature. Amazon says it "transforms your Ring doorbell into an intelligent assistant capable of determining who's at your door, understanding what they need and responding conversationally." The company promises that the tool operates whether people or home or out doing errands.

How does this work? It's an AI algorithm that "determines who's there based on what they're wearing, holding or their actions." It will use "visual context, any information the visitor shares and the instructions it's been given to help manage interactions on your behalf."

Amazon says that it can, for instance, distinguish if a person is wearing a delivery uniform and tell them to leave the package at the back door. Most of my delivery drivers don't come to the door in full uniforms because it's winter and that would be ridiculous. I don't even expect that during the summer. In other words, this is modern AI and mistakes will happen.

The company gives other examples of how this could be used, like gathering messages from friends who stop by and telling door-to-door salespeople to (politely) bug off. Amazon also says Alexa+ will be able to direct visitors to water and snacks that have previously been laid out. Finally, there's a way to avoid those pesky cute kids on Halloween while still providing them with treats.

Everything can be reviewed later on via the Ring app, which should provide context as to who has been hanging around the porch. Alexa+ Greetings are rolling out today.

For the uninitiated, Alexa+ is Amazon's updated chatbot. It's more conversational than the old Alexa, which could be useful or annoying depending on what you use it for. I use Alexa primarily as an alarm, so I don't necessarily want a gabfest.

This article originally appeared on Engadget at https://www.engadget.com/ai/alexa-can-now-answer-your-ring-doorbell-and-talk-to-people-162712774.html?src=rss

This 500-Million-Year-Old Nautilus Shell Is Now a Speaker

The Sazae Radio was a Japanese novelty radio built into a turban shell, sold by lottery in 2016 with just 100 units available for 8,350 applicants. The odds were 83.5 to one. Losing that lottery left a maker named hide-key with a simple choice: accept the disappointment or build something better. The DIY pivot turned into the Steampunk Nautilus, a haptic speaker project that takes a similar idea and pushes it considerably further.

The choice was a nautilus shell, a living fossil that has barely changed in 500 million years. Discovering that its English name matched Jules Verne’s submarine sealed the decision. The goal became not just a speaker, but a piece of audio art with three rules: steampunk-kintsugi repair, where metal celebrates the shell’s imperfections, conservation-minded reversibility, where every adhesive can be removed with acetone, and a haptic drive that turns the shell itself into a vibrating diaphragm.

Designer: hide-key

Early experiments failed. A massive sea snail shell refused to vibrate, too thick and heavy for a small exciter to drive. The nautilus, by contrast, worked immediately. Its thin, lightweight structure, built for buoyancy, behaves like a violin body or speaker cone, with internal ribs adding resonance without mass. The project quietly became a study in bioacoustics, where shell biology dictated whether the fossil could sing, and heavy shells behaved like bricks.

The build starts with a chipped shell and leans into the damage. The broken area is traced, and a 1.2 mm aluminum sheet is hammered and filed to match the organic curve, polished to a mirror, and attached with cyanoacrylate and brass-colored epoxy putty. All adhesives were chosen so they can be removed with acetone, leaving the shell intact underneath. Reversibility was treated as a hard constraint, respecting the specimen while giving it a new function.

The haptic core moved from a boring internal speaker to a vibration exciter mounted in a custom silicone cartridge that fits the shell’s living chamber. Water displacement measured the volume at just 50 cc, and Shore 15A silicone was poured to create a perfect seat. A transparent hair band acts as a hidden pull tab, and a silicone cap hides the exciter and diffuses its faint blue LED into a heartbeat-like glow deep in the spiral.

The base is a Quince burl chosen for its red, white, and black grain that echoes the shell’s pattern. A Magic Circle layout of brass bushings lets the shell’s angle be changed by moving three brass pillars. Threaded brass rods with ball nuts support the shell, and a drop of soft UV resin on each contact point prevents buzzing, making the heavy fossil appear to float while staying mechanically quiet.

Three hidden modes emerge. Holding the shell in your hands for bone-conducted haptic listening, shifting the exciter between internal and external mounts to change the sound from lo-fi radio to a sharper, more direct tone, and the dream of a stereo pair if a second shell appears. The Steampunk Nautilus turns a broken specimen into a reversible, vibrating instrument that asks you to feel the music as much as hear it, turning disappointment from a lottery into something tactile, strange, and surprisingly beautiful.

The post This 500-Million-Year-Old Nautilus Shell Is Now a Speaker first appeared on Yanko Design.

This 500-Million-Year-Old Nautilus Shell Is Now a Speaker

The Sazae Radio was a Japanese novelty radio built into a turban shell, sold by lottery in 2016 with just 100 units available for 8,350 applicants. The odds were 83.5 to one. Losing that lottery left a maker named hide-key with a simple choice: accept the disappointment or build something better. The DIY pivot turned into the Steampunk Nautilus, a haptic speaker project that takes a similar idea and pushes it considerably further.

The choice was a nautilus shell, a living fossil that has barely changed in 500 million years. Discovering that its English name matched Jules Verne’s submarine sealed the decision. The goal became not just a speaker, but a piece of audio art with three rules: steampunk-kintsugi repair, where metal celebrates the shell’s imperfections, conservation-minded reversibility, where every adhesive can be removed with acetone, and a haptic drive that turns the shell itself into a vibrating diaphragm.

Designer: hide-key

Early experiments failed. A massive sea snail shell refused to vibrate, too thick and heavy for a small exciter to drive. The nautilus, by contrast, worked immediately. Its thin, lightweight structure, built for buoyancy, behaves like a violin body or speaker cone, with internal ribs adding resonance without mass. The project quietly became a study in bioacoustics, where shell biology dictated whether the fossil could sing, and heavy shells behaved like bricks.

The build starts with a chipped shell and leans into the damage. The broken area is traced, and a 1.2 mm aluminum sheet is hammered and filed to match the organic curve, polished to a mirror, and attached with cyanoacrylate and brass-colored epoxy putty. All adhesives were chosen so they can be removed with acetone, leaving the shell intact underneath. Reversibility was treated as a hard constraint, respecting the specimen while giving it a new function.

The haptic core moved from a boring internal speaker to a vibration exciter mounted in a custom silicone cartridge that fits the shell’s living chamber. Water displacement measured the volume at just 50 cc, and Shore 15A silicone was poured to create a perfect seat. A transparent hair band acts as a hidden pull tab, and a silicone cap hides the exciter and diffuses its faint blue LED into a heartbeat-like glow deep in the spiral.

The base is a Quince burl chosen for its red, white, and black grain that echoes the shell’s pattern. A Magic Circle layout of brass bushings lets the shell’s angle be changed by moving three brass pillars. Threaded brass rods with ball nuts support the shell, and a drop of soft UV resin on each contact point prevents buzzing, making the heavy fossil appear to float while staying mechanically quiet.

Three hidden modes emerge. Holding the shell in your hands for bone-conducted haptic listening, shifting the exciter between internal and external mounts to change the sound from lo-fi radio to a sharper, more direct tone, and the dream of a stereo pair if a second shell appears. The Steampunk Nautilus turns a broken specimen into a reversible, vibrating instrument that asks you to feel the music as much as hear it, turning disappointment from a lottery into something tactile, strange, and surprisingly beautiful.

The post This 500-Million-Year-Old Nautilus Shell Is Now a Speaker first appeared on Yanko Design.

This 500-Million-Year-Old Nautilus Shell Is Now a Speaker

The Sazae Radio was a Japanese novelty radio built into a turban shell, sold by lottery in 2016 with just 100 units available for 8,350 applicants. The odds were 83.5 to one. Losing that lottery left a maker named hide-key with a simple choice: accept the disappointment or build something better. The DIY pivot turned into the Steampunk Nautilus, a haptic speaker project that takes a similar idea and pushes it considerably further.

The choice was a nautilus shell, a living fossil that has barely changed in 500 million years. Discovering that its English name matched Jules Verne’s submarine sealed the decision. The goal became not just a speaker, but a piece of audio art with three rules: steampunk-kintsugi repair, where metal celebrates the shell’s imperfections, conservation-minded reversibility, where every adhesive can be removed with acetone, and a haptic drive that turns the shell itself into a vibrating diaphragm.

Designer: hide-key

Early experiments failed. A massive sea snail shell refused to vibrate, too thick and heavy for a small exciter to drive. The nautilus, by contrast, worked immediately. Its thin, lightweight structure, built for buoyancy, behaves like a violin body or speaker cone, with internal ribs adding resonance without mass. The project quietly became a study in bioacoustics, where shell biology dictated whether the fossil could sing, and heavy shells behaved like bricks.

The build starts with a chipped shell and leans into the damage. The broken area is traced, and a 1.2 mm aluminum sheet is hammered and filed to match the organic curve, polished to a mirror, and attached with cyanoacrylate and brass-colored epoxy putty. All adhesives were chosen so they can be removed with acetone, leaving the shell intact underneath. Reversibility was treated as a hard constraint, respecting the specimen while giving it a new function.

The haptic core moved from a boring internal speaker to a vibration exciter mounted in a custom silicone cartridge that fits the shell’s living chamber. Water displacement measured the volume at just 50 cc, and Shore 15A silicone was poured to create a perfect seat. A transparent hair band acts as a hidden pull tab, and a silicone cap hides the exciter and diffuses its faint blue LED into a heartbeat-like glow deep in the spiral.

The base is a Quince burl chosen for its red, white, and black grain that echoes the shell’s pattern. A Magic Circle layout of brass bushings lets the shell’s angle be changed by moving three brass pillars. Threaded brass rods with ball nuts support the shell, and a drop of soft UV resin on each contact point prevents buzzing, making the heavy fossil appear to float while staying mechanically quiet.

Three hidden modes emerge. Holding the shell in your hands for bone-conducted haptic listening, shifting the exciter between internal and external mounts to change the sound from lo-fi radio to a sharper, more direct tone, and the dream of a stereo pair if a second shell appears. The Steampunk Nautilus turns a broken specimen into a reversible, vibrating instrument that asks you to feel the music as much as hear it, turning disappointment from a lottery into something tactile, strange, and surprisingly beautiful.

The post This 500-Million-Year-Old Nautilus Shell Is Now a Speaker first appeared on Yanko Design.