Marvel 1943: Rise of Hydra has been delayed again. The project had already been pushed back in May from a planned 2025 release date to a rough early 2026 window. In a post on X today, Skydance Games said the title won't be ready for even longer. "We've made the decision to shift our release window beyond 2026," the statement reads.
Amy Hennig's studio, which is part of Skydance, is the main driver of the project, which we know is a story-driven title with a quartet of Marvel characters in occupied Paris during World War II. Hennig was a core part of the creative team behind the Uncharted series, and was more recently a story consultant on Forspoken. She's also been long tied to some mysterious Star Wars title, but that game has also been pretty light on details for a few years.
That's two high-profile AAA delays in one afternoon. Fans worldwide will have to wait longer for the eventual arrival of Grand Theft Auto 6. Rockstar's eventual mega-hit has been pushed to a November 19, 2026 launch date.
This article originally appeared on Engadget at https://www.engadget.com/gaming/marvel-1943-rise-of-hydra-has-been-delayed-with-no-new-release-window-000121455.html?src=rss
CRKD is expanding its lineup of rhythm game controllers. The gaming accessory maker previously released guitar controllers that are compatible with games like Fortnite Festival and open-source projects like Clone Hero, and based on a recent teaser video, it looks like it's doing a drum kit controller next.
The teaser is brief, but CRKD appears to be covering all the basics that old Rock Band and Guitar Hero controllers did, with four separate colored pads, a pedal and cymbals. In a blog post, the company says that it plans to incorporate "the good lessons (and the bad)" from its previous controllers, mix them with customer feedback and hopefully make an even better controller when the drum controller is formally introduced in Q1 2026.
While rhythm games aren't as big as they used to be, they never fully left the indie scene, and they could be primed for a bit of a comeback in 2026. Nintendo plans to release a new entry in its Rhythm Heaven series, Rhythm Heaven Groove, in 2026, and Epic Games continues to support Fortnite Festival with new songs. CRKD also happens to be owned by Embracer Freemode, the same parent company of the revived RedOctane Games, which is working on new rhythm games after helping to popularize the genre with the original Guitar Hero.
This article originally appeared on Engadget at https://www.engadget.com/gaming/crkd-is-making-a-drum-controller-for-rhythm-games-190154673.html?src=rss
Spotify delivers a lot of personalized, data-driven music recommendations, and now the streaming service is adding new weekly snapshots of your listening activities. Listening stats will highlight the artists and songs that a user has heard the most over the previous four weeks and creates a playlist inspired by those selections. And according to the blog post: "Each week, it also includes a special highlight that captures what makes your listening unique, whether it’s a milestone, a new discovery, or a fan moment." That's a pretty vague introduction, and how engaging the highlights are in practice will likely depend on how much they actually surprise and delight listeners.
It sounds like a midway point between the company's year-end Wrapped data package and its daily mix playlists. More ways to view listening data are always fun, and several competing services like Apple Music, Amazon Music and YouTube Music have already upped how often they share reports with their users. This seems to be Spotify’s move to catch up on that trend.
The listening stats will live under your profile and can be shared internally on Spotify or as an external link. The new features will be available for both free and paying listeners across 60 international markets.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/music/spotify-introduces-weekly-listening-stats-140000577.html?src=rss
This story about Paul McCartney begins with one of his old bandmates. "I'm not really Beatle George," the ever-philosophical George Harrison once said. "For me, Beatle George was a suit or a shirt that I once wore. And the only problem is, for the rest of my life, people are going to look at that shirt and mistake it for me."
On one hand, that’s, well, George being George. But his quote does speak to our need to mythologize the Beatles. It’s hard not to! The music is so exquisite, influential and timeless that we look for grand stories to tell about it. We want a stronger connection to it, so we pore over biographies, interviews and documentaries. We seek meaning and purpose in their story.
Still, it must be surreal to be one of the four protagonists of that story. At some point, the narrative takes on a life of its own that may not reflect your experience. McCartney alluded to that in the 2013 song "Early Days." "Now everybody seems to have their own opinion on who did this and who did that," he sang. "But as for me, I don't see how they can remember when they weren't where it was at."
So, I’ll try not to mythologize the Beatles too much as I describe my experience photographing Sir Paul McCartney last month. I will, of course, fail spectacularly at that mission.
The crowd ranged from seniors to teens in Sgt. Pepper costumes.
Will Shanklin for Engadget
Months before I watched him play for nearly three hours in front of 15,000 fans (at age 83!) at Albuquerque’s Isleta Amphitheater, I sent a press request to his team. A few days before the concert, I learned that my photography pass had been approved. Once it sank in, I screamed and giggled, not unlike the teenagers in Ed Sullivan's audience. (Don't judge those gals until you've been near a Beatle!)
But there wasn’t much time to soak up the excitement. Without any real cameras on hand — my iPhone 17 Pro certainly wasn’t going to cut it — and only a few days to prepare, some quick decisions were in order. After enough internal debate to make my head spin off its axis, I settled on an oddball combination. For the body, I went with the Canon EOS R50, an ultra-compact mirrorless with a 24-megapixel APS-C sensor.
Was it the best one available? Not at all. But instead of renting a $3,000 camera, I decided to buy something in my budget that I'll enjoy using for years. I'd already eyed it after handling a display model and reading Steve Dent's review. Plus, it created a fun challenge: How can a sub-$800 consumer-facing camera stand up to the unique demands of concert photography?
The lens, on the other hand, is no place to mess around. So I rented the Canon EF 70-200mm f/2.8 L IS USM, a gargantuan, professional-grade telephoto one. (It's the precursor to this $2,399 one.) This choice was simple: It was by far the most concert-appropriate lens available to rent. It maintains sharpness and contrast across its long zoom range, its autofocus is fast and its f/2.8 aperture is crucial for the unique demands of stage lighting.
Put the tiny camera and ginormous lens together (with this $38 adapter), and you get the odd couple you see below. To say this sucker was front-weighted would be an understatement.
"She's so heavy..."
Will Shanklin for Engadget
Camera in hand (and Beatles hoodie equipped), I took my position in the tight press pen. The photography area was about 150 yards from the stage and didn’t allow for lateral movement, so ideas for creative compositions were set aside. My only option was to push that glass out to 200mm (or close to it) and fire away. Save those composition ideas for when it's time to crop.
When photographing someone like Sir Paul, you ideally want an image that captures not only the man and the musician, but also that larger-than-life myth. It should be something grand that you’d want to hang on your wall. No pressure!
Sir Paul's first number was the John Lennon-penned classic "Help!" Until this year's leg of the Got Back tour, McCartney hadn't played the song in full since 1990. We can only speculate about his reasons for pulling it out of his bag now. But I feel like the song's desperate pleas gain new poignancy in 2025. I can't count the times I've wanted to cry out to someone — anyone! — to "Please, please help me" after reading the news.
We were huddled close enough together that I was glad I wore these $16 kneepads under my jeans. When the crowd in front of us settled down a bit, I kneeled to give my photographer cohorts more elbow room. My right knee bounced pleasantly onto the cozy leg pillow.
Will Shanklin for Engadget
With one song already down, the R50's burst mode was getting a workout. The stock Canon battery was still going strong, but I had these two third-party spares stashed in this camera bag to swap out if necessary. (I didn't end up needing them, despite snapping over 600 photos.)
McCartney transitioned into his second number, "Coming Up," the first track from 1980's McCartney II. That LP was ahead of its time, embracing synths, drum machines and other studio tricks before they became commonplace. Contemporary critics didn’t care much for it, but it later became a cult classic. That combination illustrates something about his solo career: always experimenting, sometimes misunderstood, but ultimately vindicated.
Two songs were over in a flash. Macca addressed the crowd, and picture time was over. Off to leave my camera with security, and claim the faraway lawn seat I bought long before I knew I'd have press access.
The rest of McCartney's set included a perfect balance of Beatles, Wings and solo numbers. (There was even an old Quarrymen song, "In Spite of All the Danger.") As you can see in the photos, he started on his trademark Höfner bass. But he moved on to piano, acoustic and electric guitars and ukulele. The latter was for his beautiful rendition of Harrison's "Something."
That number wasn’t the only point that moved me. The most notable was where he teamed with Lennon on "I've Got a Feeling." Present-day McCartney singing with 1969 Lennon, who appeared on the giant screen above (via the restored rooftop concert footage in Get Back), was profound. "I love that one because I get to sing with John again," he said.
Will Shanklin for Engadget
Sir Paul strikes me as someone who’s always looking forward. But the Got Back tour is a chance to look back. It lets us, the romanticizing fans, join him on the long and winding road from the Quarrymen to today. The entire production made me feel like a passenger on his journey.
I could go on. But you don't need me to elevate Paul McCartney's musical legacy any more than you need me to explain Michael Jordan's basketball skills or Meryl Streep's acting chops. Listen to the music — and catch his tour if you can — and you'll feel it.
As for the photos, my favorite is the one at the top of this article. (I also included a color version in the gallery below.) It’s the only one that (to me) captures the man, musician and myth as he plays his Höfner bass. Out of more than 600 rapidly-fired photos, one that feels just right is good enough for me.
But even if they all sucked, who cares! Decades from now, I'll tell everyone at the old folks' home that, when I was young (and my heart was an open book), I snapped some pictures of Sir Paul McCartney. The story may grow more inflated by then, and maybe I’ll invent new details. But perhaps I can be forgiven for a bit of mythologizing.
This article originally appeared on Engadget at https://www.engadget.com/cameras/the-gear-i-used-to-photograph-paul-mccartney-133033591.html?src=rss
Hilarious co-op video game Overcooked is making the move to the real world. A24 has acquired the rights to the popular indie hit and Deadline reports that the company is working with Netflix to develop the concept into an unscripted competition reality TV series. I adore this idea, and with the right people behind it, I think it could be a masterwork of reality TV. According to the reports, this is the first time independent film and TV studio A24 will make a reality show, but Netflix has already had some success with food and cooking programs, such as with the absolute gem that is Nailed It!
The often ridiculous antics of Overcooked are a wonderful match for that type of lighthearted competition show. In the game, one to four players work together to cook customers' food orders as quickly as possible while the environment creates silly, unexpected obstacles. Unfortunately, there's no way the Netflix legal team will green light challenges where contestants might fall into actual lava, and recreating the space travel levels would probably blow the budget. But I can see all sorts of Overcooked-style mayhem from sliding on icy floors or suddenly moving countertops. I’m also imagining a lot of dashing between inconveniently placed kitchen appliances and occasionally plunging the contestants into total darkness. There’s no timeline given in Deadline’s report, but I cannot wait for this to exist.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/co-op-game-overcooked-may-become-a-competition-reality-tv-show-on-netflix-222406920.html?src=rss
The company promises a "sleek" new look, but that's not the only change. This visual redesign should make it much easier to quickly glance at recent songs you've identified via the Home tab. They now appear directly on the home screen.
There's also a revamped toolbar that lets you quickly swap between different tabs, including one that lists nearby concerts. The search icon is now separated into its own button on the bottom of the app.
The Motion Picture Association doesn’t share Meta’s view that the content people under the age of 18 might encounter on an Instagram Teen Account is comparable to what you might find in a PG-13 movie. The MPA has reportedly hit Mark Zuckerberg’s company with a cease-and-desist letter that objects to Meta’s use of the term "PG-13."
To rewind, Meta revamped its teen-specific accounts — which were first introduced last year — last month, claiming that going forward the account content would be guided by PG-13 movie ratings. In a blog post explaining the change, it said: "Just like you might see some suggestive content or hear some strong language in a PG-13 movie, teens may occasionally see something like that on Instagram — but we’re going to keep doing all we can to keep those instances as rare as possible."
As Engadget’s Karissa Bell pointed out at the time, while Meta openly acknowledged that no system is without its flaws, the analogy is a bit vague and confusing, especially as the company has tightened up some of its rules so that teens are no longer supposed to see any "sexually suggestive" content on the app. This is despite content of that nature often being present in a PG-13 movie.
In the cease-and-desist letter that The Wall Street Journal claims to have seen, the MPA has called Meta’s use of its ratings system in describing how the new teen account restrictions work "literally false and highly misleading." It said that the established movie-ratings system is not comparable to Meta’s system, which it added appears to "rely heavily on artificial intelligence." It also warned that potential issues with Meta’s classification metrics would "inevitably cause the public to question the integrity of the MPA’s rating system."
Meta did also directly reference the PG-13 ratings system in its blog post when discussing its AI experiences, where it said that teens interacting with chatbots would not receive "age-inappropriate responses that would feel out of place in a PG-13 movie." Meta told the WSJ that the changes were intended to make it easier for parents to understand its content policies by measuring them against something familiar, and that it was aware that "social media isn’t the same as movies." Responding to the cease-and-desist letter, it said that it never tried to claim or imply any official PG-13 certification from the MPA.
This article originally appeared on Engadget at https://www.engadget.com/big-tech/the-mpa-tells-meta-to-stop-using-pg-13-to-describe-teen-accounts-174251843.html?src=rss
First of all, the entire exterior has been redesigned to make that reggae theme really pop. It's green and off-white, with fun fonts aplenty. The thing just screams "play me," much like the original KO II.
Perhaps the biggest internal feature is the addition of an actual synth engine called Supertone. The previous models in this series were just samplers. The company promises that this engine can deliver thick bass sounds and classic leads. It also offers access to a dub-inspired siren mode that's pressure sensitive. It oscillates faster the harder you press it.
The machine also boasts double the storage and an additional main effect. All told, there are seven main effects and 12 punch-in effects. These have all been inspired by reggae tunes. It comes pre-loaded with hundreds of samples which have also primarily been pulled from the genre.
This isn't just for reggae, as sounds are sounds and people can do whatever they want with them. Also, it's really easy to load your own samples into this machine via a web tool. I've used the tool often with the original KO II and it truly is drag-and-drop.
Teenage Engineering
There's one final fascinating element here. The sampler ships with something called the EP-2350 Ting microphone. This handheld mic resembles something out of a CB radio and is "lo-fi by design." It features four voice-changing effects, including one that combines echo and spring reverb. This is an essential effect for dub reggae vocals. In theory, this microphone could be used with other devices, but it's only available as a combo pack with the Riddim.
Everything else is in line with the KO II. It has a speaker that'll likely be pretty crappy, but also plenty of inputs and outputs. It operates via AA batteries and there are 12 buttons to trigger samples.
The Riddim is slightly more expensive than its counterparts, at $329. However, this does include the aforementioned Ting microphone. It's available right now for purchase.
This is the second off-kilter rebrand of the KO II. Teenage Engineering already released the EP-1320 Medieval, which is filled with samples of screaming peasants, flutes and Gregorian chants. The menus were also completely in Latin which, dear readers, made it very hard to use for this dumb American.
This article originally appeared on Engadget at https://www.engadget.com/audio/teenage-engineering-made-a-reggae-inspired-sampler-complete-with-a-weird-microphone-for-vocals-173812774.html?src=rss
2026 is seemingly going to be the year that Netflix gets aggressive with podcasting. We already knew that the streamer will start licensing video podcasts from Spotify Studios and The Ringer in the new year, and according to a new report, agents at leading talent agencies are being sounded out ahead of a Q1 push.
Sources have told The Hollywood Reporterthat Netflix has sent “dozens of requests" to agents at WME, UTA and CAA as it looks to add more video podcasts to the platform. The plan is that the company launches its video podcast offering in early 2026, by which time it wants to have a library of shows with existing audiences.
This comes after Bloombergreported this week that Netflix is also in licensing talks with iHeartMedia, which is one of the largest podcasts publishers in the world and makes shows like Stuff You Should Know and The Breakfast Club. According to Bloomberg’s sources, Netflix wants an exclusivity deal that would mean featured shows would no longer be uploaded to YouTube. The latter is Spotify’s biggest rival in the space, and passed one billion monthly active podcast viewers at the start of 2025.
The Spotify deal Netflix penned last month includes nine sports podcasts at launch, among them The Bill Simmons Podcast and The Zach Lowe Show. Other video podcasts coming to the streaming service include Serial Killers and The Ringer’s The Rewatchables.
This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/netflix-is-reportedly-going-big-on-video-podcasts-for-2026-133025499.html?src=rss
Reddit won't escape Australia's child social media ban. The Guardianreports that Communications Minister Anika Wells announced Reddit's addition on Wednesday. The nation's law, which blocks children under 16 from major social media sites, is scheduled to go into effect on December 10.
Alongside Reddit, Wells said Australian streaming site Kick would also be included. They join the previously announced Facebook, X, Snapchat, TikTok, YouTube and Instagram. Australia considers the list to be a starting point for the ban and won't rule out adding more.
The ban passed in late 2024. The legislation puts the onus on the platforms, rather than parents, to police underage use. Companies that don't take reasonable steps to prevent under-16 users from accessing their platforms can face penalties of up to AU$49.5 million (around $32 million).
"There's a time and place for social media in Australia, but there's not a place for predatory algorithms, harmful content and toxic popularity [meters] manipulating Australian children," Wells said. "Online platforms can target children with chilling control. We are mandating they use that sophisticated technology to protect them."
Update, November 5 2025, 1:09PM ET: A previous version of this story indicated that Australia was considering banning under 16s from using Discord, GitHub and Roblox. This is not the case, as Australian officials do not plan to treat those as age-restricted social media platforms. We regret the error.
This article originally appeared on Engadget at https://www.engadget.com/reddit-will-be-included-in-australias-looming-under-16-social-media-ban-213052856.html?src=rss