Tag Archives: television

Sylvox Made A Bezel-less 75″ Outdoor TV That Plays 4K Movies In Rain, Sun, and Snow: Hands-on at IFA 2026

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An outdoor TV isn’t really judged by its screen, it’s judged by everything protecting the screen. Sunlight readability, a sealed chassis, and an operating range that survives both August and January are what separate a patio television from a regular one dragged outside against its will. Sylvox showed up at IFA Berlin this week leaning into that definition, then added a twist the category rarely bothers with, the Frameless Pro 2026, a 75 inch 4K set with 2000 nits, an IP56 rating, and a bezel trimmed down by 90 percent. The obvious question is whether shaving the frame down actually changes what an outdoor TV is, or just what it looks like. Either way, it’s the most interesting thing on Sylvox’s stand that isn’t running on a hand crank.

Bezels exist for a reason on any screen meant to survive weather, they’re where the gaskets, sealing, and wiring actually live, so trimming one down is a real engineering problem, not just styling. Sylvox says the Frameless Pro hits a 95 percent screen to body ratio while still holding IP56 and a range from negative 22 to 122 Fahrenheit. It wasn’t the only bezel story at IFA this year, Tecno showed a concept phone with a claimed 0mm bezel a few halls over, only for early testers to find a raised metal lip still doing the bezel’s job along one edge. That’s usually how these claims go, the border doesn’t disappear, it just moves somewhere less obvious.

Brand: Sylvox

An IP56 rating means dust can’t meaningfully get in and water thrown at the case from any angle won’t get through, which matters since most indoor TVs would die from a humid August afternoon. Brightness works the same way, 2000 nits is a requirement more than a flex, since anything dimmer washes out in direct sun, and Sylvox’s own Cinema Pro, last year’s IFA Innovation Award winner, pushes past that to 3500 and 5000 nits. The bezel claim is separate from all this. The spec sheet lists a 90 percent thinner bezel and 95 percent screen to body ratio, both about the visible border around the glass, not the television’s overall size. The unit is still 3.41 inches deep, since that depth now holds the sealing and wiring a fat frame used to carry.

Sylvox wasn’t the only brand playing this game in Berlin. Tecno debuted its Next-Gen Bezelless Concept Phone a few halls over, claiming a true 0mm display border through internal stacking and an inverted rear panel. Hands on reports found a raised metal frame still sitting above the screen, catching thumbs on swipes. Same pattern as the TV, a border hidden rather than eliminated, moved into the structure instead of removed from it. Two products, same trick, same asterisk, which is a better story than either press release admits.

At $5,299, the 75 inch Frameless Pro looks steep next to a similarly sized living room TV, but that number needs context most spec roundups skip. Anyone shopping for a 75 inch outdoor television already owns a backyard big enough to justify one, and at that point $5,299 reads less like a barrier and more like a rounding error on the pool or pergola it’s about to sit next to. Against Samsung’s Terrace and SunBrite’s Veranda, both of which still treat a thick edge as part of the design language, the Frameless Pro is a serious entry, though it deserves a more honest word than frameless, since the frame didn’t disappear, it just stopped being the first thing you notice. Sylvox’s booth also had a hand crank emergency TV in development nearby, likely the stranger story out of Berlin. For now, the Frameless Pro is a good looking outdoor TV wearing a name that oversells its own trick, aimed at people for whom that oversell was never going to matter.

The post Sylvox Made A Bezel-less 75″ Outdoor TV That Plays 4K Movies In Rain, Sun, and Snow: Hands-on at IFA 2026 first appeared on Yanko Design.

Perlegear AX1 TV Mount Knows You’re Sitting, Standing, or Lying Down

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Anyone who has mounted a TV at a fixed height knows the compromise that follows. What works perfectly from the couch turns into a neck strain when standing at the kitchen counter, and a mount set for family movie night rarely suits solo reading in bed. Perlegear’s AX1 Smart Adaptive Mount, unveiled at IFA 2026, treats that mismatch as solvable, building a wall mount that repositions itself instead of asking people to keep adjusting around it.

The AX1 relies on viewing-position sensing to figure out where someone actually is in the room, then shifts the screen’s height through a motorized lift to match. Sitting on the couch, standing near the doorway, or reclining flat on the floor all call for a different sightline, and the mount recalculates rather than leaving the screen locked in one static position that only serves one posture.

Designer: Perlegear

Multi-posture recognition sits at the center of how the AX1 behaves once it is installed. The system distinguishes between sitting, standing, and reclining, adjusting the screen height for each without requiring someone to fumble with a remote or manually crank a lever. It is the kind of adjustment that used to require moving furniture or squinting at an awkward angle, now handled quietly by the mount itself.

Multiple people sharing one living room rarely share the same ideal viewing height, and the AX1 accounts for that through custom user profiles. Each person can save their preferred height setting, so the mount remembers whether someone prefers the screen slightly lower for reading subtitles or raised higher for movie night on the couch. It turns a shared TV into something closer to a personalized display, without anyone needing to remount hardware.

Control options extend beyond the mount itself, reaching into the smart home setups already running in most living rooms. The AX1 responds to a companion app, voice commands, and gestures, with compatibility built in for Alexa and Google Assistant. Someone lounging under a blanket can adjust the screen without standing up, treating the mount like any other connected device on the network.

On the hardware side, Perlegear built the AX1 to fit TVs between 50 and 90 inches, pairing its motorized lift with a 10-degree tilt range and plus-or-minus three degrees of leveling after installation. That leveling detail matters more than it sounds, since most mounts get slightly thrown off during drilling and mounting, leaving screens tilted just enough to notice during a long viewing session.

None of this changes what people watch, but it quietly removes one more obstacle standing between a person and a comfortable view. A mount that moves with the room, rather than forcing the room to work around it, treats posture and viewing comfort as part of the actual design brief instead of an afterthought solved by a thicker cushion or a taller side table.

The post Perlegear AX1 TV Mount Knows You’re Sitting, Standing, or Lying Down first appeared on Yanko Design.

Apple TV 4K Is Coming September 9, With a Gemini-Powered Siri You Can Actually Talk To

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Apple’s next Apple TV 4K is expected on September 9, and the headline feature is a Siri you can hold a conversation with. Siri AI runs on a custom 1.2 trillion parameter Google Gemini model inside Apple’s Private Cloud Compute, which Apple reportedly pays Google around a billion dollars a year to license. It should reach the public with tvOS 27 in mid September, most likely around Monday the 14th. Leaked code in the macOS 26.7 release candidate lists an unreleased controller as ATVRemote1,5. Four years after the last box shipped, the living room finally gets the good Siri, and the remote gets demoted.

The current model has been on sale since November 2022 with an A15 Bionic chip, making it the longest running Apple TV between updates. Apple raised its price anyway in June, from $129 to $199 for the Wi-Fi version and $149 to $249 with Ethernet, blaming the memory chip shortage. The new box is rumored to carry an A17 Pro chip or newer, 8GB of RAM, and Apple’s N1 wireless chip for Wi-Fi 7, Bluetooth 6, and Thread. Apple has confirmed exactly none of it. My interest is in the stick, because a conversational assistant changes what a remote is even for.

Designer: Apple

The Siri Remote has always been the awkward part of this product. The 2015 glass touchpad version was famously easy to hold upside down. The 2021 aluminum redesign fixed orientation with a circular clickpad and a jog ring, but it stayed thin, cold, and easy to lose in a couch. Nobody expects ATVRemote1,5 to look radically different, although one can hope. The rumor mill’s best guess is a second generation Ultra Wideband chip for Precision Finding, which is a nice way of saying Apple is finally building a remote finder into the remote instead of asking you to turn your house upside down, or worse, strap a clunky AirTag to it.

Siri AI’s 1.2 trillion parameter Gemini model dwarfs the roughly 150 billion parameter models Apple’s own Foundation Models run on, and Google built it specifically to handle summarizing and multi step planning, the tasks Siri has failed at for over a decade. Apple’s answer to the privacy question is architectural rather than rhetorical: queries route through Private Cloud Compute, Apple’s own server silicon, so the assistant is Google’s brain wearing Apple’s skin. Whether Apple TV gets the full version or a scaled down version tied to on device processing is still unconfirmed.

None of this works without new silicon, which is presumably why Apple TV and HomePod mini were left out of the WWDC keynote entirely despite tvOS 27 shipping Apple Intelligence frameworks in its beta code. Current Apple TV and HomePod hardware simply cannot run it. That is also the best explanation for why Apple hiked the price of four year old hardware by 54 percent in June rather than discounting it toward obsolescence. The company was buying time, not margin.

What I find genuinely interesting is the inversion. For a decade, the remote was the product’s weak point and the box quietly did fine. Now the box is getting the transplant everyone wanted, and the remote becomes almost optional, a fallback for when you would rather not talk to your television. If Apple pulls off a Siri that understands “put on the thing with the guy from that show” without three follow up questions, the aluminum wand in your couch cushions finally gets to retire.

The post Apple TV 4K Is Coming September 9, With a Gemini-Powered Siri You Can Actually Talk To first appeared on Yanko Design.

The LG Rolling TV That Went Viral Is Now 32 Inches, 4K, and $1,299

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TVs have stayed mostly where you put them. Whether wall-mounted or parked on a stand, they tend to define the room around them. Portable screens have existed on the margins, mostly small and underpowered, better suited for camping trips than everyday home use. The idea of a full-featured smart display that doesn’t need a power outlet and can move freely from room to room is still a fairly new proposal.

The LG StanbyME 2 Max pushes that concept further than its predecessors managed. It’s the largest StanbyME yet at 32 inches, now with 4K resolution, and a built-in battery lasting up to 4.5 hours without any outlets nearby. The screen area is roughly 40% larger than the 27-inch model it succeeds, which makes a genuine difference when you’re watching something rather than just glancing at a display.

Designer: LG

The battery is a 144Wh cell, a meaningful step up from earlier StanbyME versions that started with three hours of playback back in 2021. When the charge runs low, a USB-C port accepts input from an external power bank, so you don’t have to hunt for a wall outlet mid-movie. A magnetic clip-on mini remote stores against the side of the display, keeping the overall setup clean.

The display detaches from its wheeled floor stand with a single click and comes with a second tabletop stand for positioning on a desk or counter. Landscape and portrait orientations are both supported, so it adapts to what you’re watching or doing. The wheeled base lets you roll the setup from one room to another without lifting anything, which is what made earlier StanbyME models a social media phenomenon.

The jump to 4K UHD means the 32-inch panel renders at 3,840 x 2,160 pixels, which holds up well at the close-up distances a screen of this kind naturally invites. Dolby Vision handles HDR content, while side-firing speakers output Dolby Atmos supported by AI Sound Pro processing. The α8 AI Processor Gen3 handles picture enhancement automatically, detecting what’s on screen and adjusting the image accordingly.

Running on webOS, the StanbyME 2 Max behaves like LG’s current smart TV lineup, giving access to more than 400 free LG Channels alongside major streaming services. Mood Maker turns it into an ambient display when idle, while built-in touchscreen apps include board games and Let’s Draw for sketching. HDMI and USB ports cover external connections for laptops, gaming consoles, and set-top boxes.

The StanbyME 2 Max earned a CES 2026 Innovation Award in the Content & Entertainment category, building on the iF Design Award and Red Dot Design Award that its predecessor picked up. LG has kept the visual profile clean enough that it doesn’t look conspicuous propped beside a bed or rolled into a kitchen. It’s available for pre-order now at $1,299.99.

The first StanbyME was a genuinely strange product that found an audience anyway. This one is harder to dismiss as a novelty. At 32 inches with 4K resolution, a 4.5-hour battery, and HDMI connectivity for consoles and laptops, it competes as much with a secondary monitor as it does with a conventional TV. The $1,299.99 price tag is the part that asks the most of prospective buyers.

The post The LG Rolling TV That Went Viral Is Now 32 Inches, 4K, and $1,299 first appeared on Yanko Design.

C Seed’s Sculptural Bugatti N1 folding TV carries dynamic flair of the Tourbillon supercar

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Modern display technologies have come a long way in the last couple of decades, and so have the viewing experiences. Talking of the latter, no one does it better than C Seed, even though at a steep price. The Austrian high-end design brand has awed us with the 165-inch 4K MicroLED TV that disappears into the floor when not in use, and later with a TV that folds into itself within a metallic structure.

Anything new coming from them is deemed to be at the epitome of modern tech design, and that’s what the C Seed x Bugatti collaboration has materialized into. This is the Bugatti x C Seed N1 TV designed for purists who swear by the Tourbillon hypercar’s magnetism. The very same dynamic flair and emotional connection are now reflected in this sculptural C Seed folding TV.

Designer: C SEED x Bugatti

The car’s flowing contours and the precise measurements bring this colossal display into a league of its own. But it’s the calming Sierra of the display folding down into the Tourbillon’s distinct shape and then sliding off horizontally into the stand’s nest that sets this thing apart. It virtually turns into an architectural marvel in this configuration, and then when it’s time for a movie night, the N1 can open up over the course of 45 seconds with the push of a button. Depending on the sitting arrangement in the room, the TV can rotate 180 degrees like a smooth operator. Everything is effortless and creates an emotional connection, both when it is not in use and when it’s time for some cinematic entertainment with friends and family.

C Seed Bugatti N1 requires no structural integration and sits in your living room just like a luxury furniture piece. According to C Seed, the TV is “shaped by a commitment to precision engineering and uncompromising craftsmanship.” Every single detail, right from the silently unfolding MicroLED technology to the aluminum body in its finest form, is designed keeping in mind elegance, performance, and precision reminiscent of the world of automotive engineering. To keep the overall weight down, C Seed turned to carbon fiber, which speaks volumes about the ultimate refinement of the design.

The classy form of the TV is complemented by the sound system designed by Wisdom Audio. The housing has planar magnetic speakers that target a specific frequency range for perceived depth and clarity, no matter where the listener is positioned. Since we are talking about C Seed wizardry here, the speakers also retract into the sculptural housing when not in use. The display is also top of the line, incorporating the latest and greatest 4K MicroLED tech. Along with the Adaptive Gap Calibration for seamless panel transition for the perfect final unified picture, the stunning visuals match the audio for an immersive experience as a whole.

N1 TV is offered in either 110-inch or 137-inch size, and the patented folding display panel tech creates a single continuous screen even with multiple folding cycles. C Seed very rhetorically describes it as an engineered multi-stage movement that turns technical performance into a choreographed visual experience.”

There is no word about the pricing of this tech-infused kinetic sculpture for your living room, but coming from C Seed, it should carry an eye-watering price tag. One thing is clear: the folding display will come in bespoke colors and sizes for demanding users.

The post C Seed’s Sculptural Bugatti N1 folding TV carries dynamic flair of the Tourbillon supercar first appeared on Yanko Design.

This Dual-Sided Philips Monitor Lets You Share One Screen With Clients Without Sacrificing Desk Space

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The business monitor market rarely sees truly original ideas, but Philips may have found one with the new Philips 24B2D5300. Instead of chasing higher resolutions or curved ultrawide panels, the company has introduced what it calls the world’s first standalone dual-sided monitor, placing two full HD displays back-to-back inside a single chassis. The idea sounds unconventional at first, but its practical applications quickly become obvious in customer-facing environments, collaborative offices, reception counters, healthcare desks, banks, retail spaces, and coworking setups where information needs to be shared across a desk without awkwardly rotating a screen.

The monitor uses two 23.8-inch IPS LCD panels, each with a 1920 x 1080 resolution and a 120Hz refresh rate. Both displays support wide 178-degree viewing angles, ensuring the image remains visible and color accurate from nearly any position. Philips also includes its SoftBlue low-blue-light technology and TÜV Rheinland certification to reduce eye strain during long work sessions. Unlike standard dual-monitor setups that consume more desk space and require additional cabling, the 24B2D5300 integrates everything into one footprint while still offering two independently usable screens.

Designer: Philips

The real innovation lies in how the screens can operate. Philips’ DualView and SmartView software features allow the monitor to either mirror content across both displays or extend the desktop independently. In practice, this means an employee can keep confidential information visible only on their side while showing approved content such as invoices, forms, instructions, transaction details, or queue information to customers on the opposite display. It can also function as a collaborative workstation where two users interact with the same computer from opposite sides of a desk. Philips even claims the monitor can handle up to three simultaneous application windows through its split-screen functionality.

Connectivity is equally business-focused as each side includes its own HDMI and USB-C ports, with the USB-C connections supporting up to 65W power delivery for laptops and notebooks. The monitor can connect to one or multiple devices simultaneously, allowing the screens to function independently if needed. Built-in stereo speakers, USB hub functionality, and synchronized on-screen display controls further simplify workspace management. A 180-degree swivel stand also helps users quickly rotate the display to check the opposite screen without repositioning the entire setup.

While the hardware specifications themselves are relatively modest by gaming or creative-professional standards, the product is clearly aimed at improving workflow efficiency rather than visual performance. The monitor’s compact design could be particularly useful in environments where counter space is limited, but customer interaction is constant. Tech observers have already pointed out that the concept feels surprisingly practical despite its unusual appearance, especially for front-desk staff, service counters, and collaborative workplaces.

The Philips 24B2D5300 is expected to launch in parts of Europe beginning in June 2026, with reported pricing starting around £359.99 (roughly $480). Availability in other markets has not yet been confirmed, though the monitor’s distinctive functionality could easily attract broader global interest if businesses see value in its space-saving and customer-friendly design.

The post This Dual-Sided Philips Monitor Lets You Share One Screen With Clients Without Sacrificing Desk Space first appeared on Yanko Design.

This LEGO VHS Player Actually Has Cassettes You Can Insert and Remove

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Before streaming queues and binge-watching algorithms rewired how we consume film and television, there was a ritual. You drove to the video store, walked the aisles, made your pick, and came home to slide that chunky black cassette into a slot that swallowed it with a satisfying mechanical thunk. The VCR wasn’t just a piece of consumer electronics. It was the centerpiece of a whole cultural ceremony, the thing that turned an ordinary Tuesday night into a genuine event. Polar-Angel_UA, a LEGO builder and 10K Club Member from Ukraine, has captured exactly that feeling in brick form with the Video Home System.

The build recreates a classic VHS setup with the kind of specificity that only someone who actually lived through the era could pull off. The main unit nails the flat, utilitarian slab aesthetic of a proper 80s or 90s VCR deck, complete with a cassette slot, a row of playback controls, and a PAUSE indicator rendered in green. A top-loading lid flips open to reveal the tape mechanism inside, and the real delight here is in that interaction. The tapes go in. The tapes come out. For a build that’s ostensibly a static display piece, that single interactive element transforms the whole experience.

Designer: Polar-Angel_UA

Four items accompany the main unit: a movie cassette, a cartoon cassette, a remote control, and a VHS case. The distinction between the movie tape and the cartoon tape is a quietly brilliant design decision because if you grew up in that era, you absolutely had a dedicated shelf section for each. Saturday morning cartoons lived in their own plastic sleeve, carefully rewound and stacked away from the movie collection. Polar-Angel_UA understands the taxonomy of the VHS-era household intimately, and it shows.

The MOC’s inherently block-ish nature (thanks to the LEGO bricks) works well for this product. VCRs were not delicate objects. They were heavy, deliberately black, and looked like they meant business sitting under your television set, blinking 12:00 in perpetuity because nobody ever set the clock. This LEGO version carries that same hulking, I-mean-business energy, with the cassettes propped against it like they’re already queued up for a double feature. The remote control sitting casually beside the deck is a small touch that completes the tableau perfectly. You can almost feel the carpet under your feet and smell the takeaway boxes.

The Video Home System is currently gathering votes on the LEGO Ideas platform, where fan-created builds compete for the chance to become official retail sets. Cross the 10,000 vote threshold and LEGO’s internal team reviews the submission for potential production. With 688 supporters on the board right now and 422 days left on the clock, there is plenty of runway here. Head to the LEGO Ideas page and cast your vote!

The post This LEGO VHS Player Actually Has Cassettes You Can Insert and Remove first appeared on Yanko Design.

Ted Lasso’s fourth season starts August 5

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It turns out you can go back again, especially if you win a pile of awards, mint a crop of stars and turn a potentially obscure sitcom into Apple’s biggest hit. The iPhone maker has today announced Ted Lasso season four will debut August 5, with new episodes arriving every Wednesday through October 7. This time out, Ted and Beard have returned to Richmond to take over coaching its women’s team as it languishes in the second division.

Ted Lasso wrapped up its initial three-season arc back in 2023, wrapping up its storylines in a fairly definitive manner. Despite this, Apple wanted to maintain one of its earliest breakout hits and so quickly started making moves to get an additional run under way. Jason Sudekis, Brendan Hunt, Hannah Waddingham, Juno Temple, Brett Goldstein and Jeremy Swift are all returning for the run. But, given the focus on the women’s team, there’s a whole new crop of cast members, including Sex Education’s Tanya Reynolds and Andor’s Faye Marsay.

There are changes behind the scenes too, especially given showrunner Bill Lawrence’s split focus on his current hot streak of shows. Consequently, Jack Burditt, who created Last Man Standing, is taking the role of executive producer —- try not to worry, however, he also worked on Frasier, 30 Rock and Unbreakable Kimmy Schmidt. You should check out the teaser trailer below and wonder why Tracy Ullman, who is all over the footage, doesn’t even get so much as a namecheck in Apple TV’s press release.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/ted-lassos-fourth-season-starts-august-5-150337209.html?src=rss

Star Trek: Strange New Worlds returns for its penultimate season on July 23

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Star Trek: Strange New Worlds returns for its fourth season via Paramount Plus on July 23. The ten episodes air weekly until September 24. This is actually the second-to-last batch of episodes, as the show was recently renewed for a fifth and final season.

The streamer has dropped a trailer for season four and it looks promising. The tone looks slightly darker when compared to season three, which was maligned for being a bit too silly and uneven. The trailer is narrated by Anson Mount's Captain Christopher Pike, who discusses the "terror" of space as a planet explodes.

This is still Strange New Worlds, so it won't be all doom and gloom. The trailer shows us a screeching alien dinosaur, which is pretty fun. There have also been reports that season four will feature a puppet episode with involvement from Jim Henson's Creature Shop.

This new batch of episodes will lean even heavier into connections to the original Star Trek show from the 1960s. Paul Wesley's version of Captain Kirk features prominently in several scenes, with one looking like a direct callback to Star Trek II: The Wrath of Khan. A younger Scotty also makes an appearance.

For the uninitiated, Star Trek: Strange New Worlds is a prequel to the first show and starts several years before Kirk takes over as captain of the Enterprise. It's been said that the series will end with Kirk taking the big chair. It's also primarily an episodic series, with no real serialized season-long arcs. It's pretty good!

It's also ending in the near future. Season five will presumably premiere next year and will include just six episodes. As a matter of fact, it looks like the modern incarnation of Star Trek is ending in totality. Sets are being taken down and there are currently no new shows in production for the first time in a decade.

This is a bummer, even if I didn't always love some of the newer content. The upcoming second season of Starfleet Academy will be its last, which is exceptionally sad because it was really beginning to fire on all cylinders. It was 12 years between the final episode of Star Trek: Enterprise and the first episode of Star Trek: Discovery, which kicked off the modern era. Who knows how long we'll have to wait this time.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/star-trek-strange-new-worlds-returns-for-its-penultimate-season-on-july-23-170946603.html?src=rss

Apple TV’s upcoming For All Mankind spinoff Star City oozes Cold War-era paranoia

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Apple TV just dropped a real-deal trailer for Star City, after releasing a short teaser earlier this year. It's a spinoff of For All Mankind, but this new show examines the alt-history space race from the Soviet perspective.

In other words, this is a trailer steeped in Cold War-era paranoia. Secret photos are snapped, phones are tapped and characters are disappeared, all set against the backdrop of space exploration. The vibe looks decidedly different from For All Mankind, despite the parent show occasionally dabbling in Russia-based espionage.

The vibe isn't the only shift here. Star City isn't doing time jumps, which is a hallmark of For All Mankind. The original show started in 1969 and season five is set in 2012. The spinoff "lives in the 1970s" and is "its own genre." This is according to showrunners Matt Wolpert and Ben Nedivi.

For the uninitiated, For All Mankind begins with Russia beating us to the Moon in the 1960s. This creates a butterfly effect that changes history in ways both big and small. Star City looks like it'll focus on how Russia managed to land astronauts on the Moon before America and what happened to the space program in the immediate aftermath. It stars Rhys Ifans, Anna Maxwell Martin, Agnes O’Casey and Alice Englert.

Star City premieres on May 29 with two episodes. That's the same day season five of For All Mankind concludes. The original show was recently renewed for a sixth and final season.

Apple TV really has become the best streamer for sci-fi. This summer sees not just the premiere of Star City, but the second season of the multiverse-based thriller Dark Matter and season three of the dystopian adventure Silo. The platform is also home to shows like Pluribus, Severance and Foundation, among many others.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/apple-tvs-upcoming-for-all-mankind-spinoff-star-city-oozes-cold-war-era-paranoia-180429809.html?src=rss