If you're looking for a new streaming device for your home, or for your college-aged kid who's heading back to campus soon, a bunch of Amazon's Fire TV sticks are on sale right now. You'll find the best deal on the Fire TV Stick 4K Max, the company's most powerful streaming dongle, which is $15 off and down to $40. That's only $5 more than it was on Prime Day last month. Also $15 off is the Fire TV Stick, which is down to $25, and you can get $10 off the Fire TV Stick Lite and pick it up for only $20.
Aside from the Fire TV Cube set-top box, the Fire TV Stick 4K Max is the most capable of Amazon's streaming devices. It supports 4K HDR content with Dolby Vision and Atmos, plus WiFi 6 and voice commands using the included Alexa remote. The remote also has a few preset buttons for Netflix, Prime Video and other services, making it easy to access the platforms you use the most. And for those that have compatible security cameras around their home, the Fire TV stick 4K Max also supports live picture-in-picture view, so you can see your video camera's feed right on your TV without pausing what you're watching.
Both the Fire TV Stick and the TV Stick Lite are more basic models that provide streaming essentials at low prices. The standard dongle supports HD content and Dolby Atmos audio, while the Lite version lacks Dolby Atmos capabilities. Also, the standard stick has buttons on its voice remote to control your TV's power and volume, whereas the Lite model does not. We'd recommend springing for the Fire TV Stick since those few extra features go a long way in daily use, but the Fire TV Stick Lite will still be a good choice for those on tight budgets.
If you've had your eye on one of Amazon's premium e-readers but haven't yet pulled the trigger, today might be the day to do so. As part of a wide-ranging sale across various own-brand Amazon devices, the Kindle Oasis, Kindle Paperwhite Signature Edition and standard Kindle Paperwhite are all enjoying deep discounts.
The Kindle Oasis is currently down to $200, which is $50 off its usual list price. The Kindle Paperwhite Signature Edition, which is probably the best e-reader on the market right now, has fallen to $150 (down from $190), while the standard Kindle Paperwhite is $110 (usually $140).
The Kindle Oasis isn't discounted as often as its counterparts, making this a good time to consider the premium e-reader. With its bigger 300 ppi display, physical page turn buttons, 25 front LEDs, auto-rotating pages, the Oasis offers features that you won't find on other Kindle devices.
As for the Kindle Paperwhite Signature Edition, it's the first and only Kindle with support for wireless charging and is 10 percent brighter than previous Paperwhite models. An in-built sensor can automatically adjust the screen brightness depending on the ambient light around you, making night-time reading more comfortable on your eyes. Like the Kindle Oasis, it also has an IPX8 water resistant rating that makes it perfect for reading in the bath or by the pool.
Amazon updated the Kindle Paperwhite last September, adding a larger 6.8-inch 300ppi glare-free display. It's also faster, allowing for quicker page turns, and comes with 8GB of storage, USB-C fast charging and an IPX8 water-resistant rating.
While Prime Day saw many Amazon devices — including Kindles — fall back to all-time lows, today's sale comes within touching distance of those prices.
Ahead of Andor’s debut on September 21st, Disney will bring Rogue One: A Star Wars Story back to theaters. The 2016 film will return to IMAX screens in the US on August 26th, along with an “exclusive look” at the upcoming Disney+ series. Details on the preview are sparse, but it’s likely to expand on the most recent Andor trailer Disney shared on August 1st. Either way, Rogue One’s rerelease will give Star Wars fans a chance to rewatch the film before Diego Luna reprises his role as Cassian Andor.
Rogue One: A Star Wars Story is returning to theaters later this month in anticipation for ANDOR! ✨ pic.twitter.com/ObryEAjipm
Set five years before the events of Rogue One, itself a prequel to A New Hope, Andor tells the story of how the rebellion began. Disney is billing the series as a spy thriller. With Andor, Diego Luna isn’t the only actor returning to the franchise. Genevieve O’Reilly and Forest Whitaker reprise their roles as Mon Mothma and Saw Gerrera. The series was originally scheduled to debut on August 31st, but Disney pushed it back to give more time for She-Hulk: Attorney at Law to find an audience. The first three episodes of Andor will debut simultaneously, with subsequent episodes to follow every Wednesday.
Rogue One is widely considered one of the better films to come out of the Disney Star Wars era. The movie made more than $1 billion during its original box office run and even earned two Academy Awards. If you don’t live near a theater with an IMAX projector, you can watch the film on Disney+.
Genshin Impact’s long-awaited 3.0 update will launch on August 24th, Hoyoverse announced on Saturday. Dubbed “The Morn a Thousand Roses Brings,” the update will add a new rainforest and desert-themed region called Sumeru for players to explore, as well as a handful of new characters, including multiple five-star combatants, to collect. Collie, one of the new additions to the roster, can be earned for free through the upcoming Graven Innocence event. As you might expect, 3.0 will also continue Genshin Impact’s overarching story.
Hoyoverse shared a lengthy teaser trailer detailing what the update has to offer. The studio also announced that Genshin Impact’s next three updates will arrive within five weeks of one another. As such, you can expect to play them around September 28th, November 2nd and December 7th, respectively. The game’s most recent update arrived on July 13th.
New content for Genshin Impact is only one of a few projects Hoyoverse is working on at the moment. Earlier this year, the studio announced Zenless Zone Zero andHonkai: Star Rail. Neither game has a release date yet, but Hoyoverse began beta testing the former at the start of August.
Nearly nine months after Congress passed President Biden’s $1 trillion infrastructure bill, the federal government has yet to allocate any of the $42.5 billion in funding the legislation set aside for expanding broadband service in underserved communities, according to The Wall Street Journal. Under the law, the Commerce Department can’t release that money until the Federal Communications Commission (FCC) publishes new coverage maps that more accurately show homes and businesses that don’t have access to high-speed internet.
Inaccurate coverage data has long derailed efforts by the federal government to address the rural broadband divide. The previous system the FCC used to map internet availability relied on Form 477 filings from service providers. Those documents have been known for their errors and exaggerations. In 2020, Congress began requiring the FCC to collect more robust coverage data as part of the Broadband DATA Act. However, it wasn’t until early 2021 that lawmakers funded the mandate and in August of that same year that the Commission published its first updated map.
Following a contractor dispute, the FCC will publish its latest maps sometime in mid-November. Once they're available, both consumers and companies will a chance to challenge the agency’s data. As a result of that extra step, funding from the broadband plan likely won’t begin making its way to ISPs until the end of 2023, according to one analyst The Journal interviewed.
“We understand the urgency of getting broadband out there to everyone quickly,” Alan Davidson, the head of the Commerce Department unit responsible for allocating the funding, told the Journal. “We also know that we get one shot at this and we want to make sure we do it right.”
With a second-place finish in Formula E's 100th E-Prix today, Stoffel Vandoorne secured the Season 8 Formula E world championship. The Mercedes-EQ driver made it back-to-back trophies for the team in both the drivers' and the team championships as fellow Silver Arrows pilot Nyck de Vries was the defending series champ. While Vandoorne was no match for Round 16 winner Edoardo Mortara, a podium finish after a P4 qualifying effort was enough to hold off his lone championship challenger during the final race.
Jaguar TCS' Mitch Evans put Vandoorne under pressure yesterday by winning the penultimate E-Prix in wet conditions. The Mercedes-EQ driver finished 5th, but was unable to extend the comfortable lead he had in the championship standings heading into the Seoul double-header. However, Evans couldn't replicate yesterday's magic: he only managed a seventh-place finish after starting P13.
"Just look at the season we've had," said Vandoorne. "The consistency and the car has been amazing, and the team has done an incredible job. I think every single one of us deserves it. What we've accomplished is something special."
Sunday's race marks the end of the Gen2 era in Formula E. When the series begins Season 9 in January, the Gen3 racer will be in every team's garage. The new design, which is both lighter and smaller than the Gen2 model, should allow for more “agile” wheel-to-wheel racing. These cars should be two to four seconds faster in both qualifying and race conditions thanks to an electric motor can deliver 350kW of power (470BHP) to reach top speeds of 200MPH (320 km/h). Formula E says the electric power units can convert over 90 percent of their energy to mechanical power and around 40 percent of the energy cars will use during an E-Prix will be produced by regenerative braking. Gen3 will also be the first Formula car ever with both front and rear powertrains, which will add 250kW to the 350kW in the back.
Uber is discontinuing its free loyalty program. On a support page spotted by The Verge, the company said it would shut down Uber Rewards on November 1st. Users have until the end of August to earn points, with the final day to redeem rewards falling on October 31st.
Announced in 2018, Uber Rewards gave customers the opportunity to earn points on every Uber and Uber Eats transaction. The program has four membership levels, with members unlocking new perks at each stage. Platinum level, for instance, includes protection against price surging and priority pick-ups at airports. Uber won’t offer a direct replacement for Uber Rewards. Instead, the company plans to promote its paid Uber One membership program. The $10 per month service comes with perks like free Uber Eats deliveries and five percent off rides from top-rated Uber drivers.
“Thank you for being part of Uber Rewards,” the company said in email about the shutdown. “It’s been a great ride, but we’ve decided to end Rewards soon, as we shift our focus to our new Uber One membership program.” Uber will give existing Rewards users a free one-month trial to Uber One. Once that period is over, you’ll need to subscribe if you want keep the benefits associated with the program.
In the first days of social media, to build a personal brand online you mostly just needed a basic working knowledge of html. In 2022, however, the influencer marketing industry's reach is estimated at around $16.4 billion. With so much money to be made, it's little wonder that an entire support ecosystem has sprung up to help get the next generation of PewDiePies camera-ready. In the excerpt below from her new book examining the culture and business of online influencing, Break the Internet, Olivia Yallop enrolls in a summer gaming influencer camp for teens.
Beginning the course bright and early on a Monday morning in August stirs memories from classrooms past, as the students — myself, plus a small group of animated pre-teen boys hailing from across the UK — go around and make our introductions: an interesting fact about ourselves, our favourite foods, two truths and a lie. A pandemic-proofed schedule means we are learning remotely, in my case prostrated on my parents’ sofa. Once logged on, we meet our course coach Nathan, an upbeat, relentlessly patient Scottish instructor with a homegrown YouTube channel of his own, on which he reviews electronic synthesisers and (he reveals privately to me) vlogs whisky-tasting.
Twenty minutes into our induction, I realise I am already out of my depth: I have accidentally landed in a class of aspiring YouTube gamers. Within the influencer landscape, gaming is a microcosm complete with its own language and lore, each new game franchise spawning an expansive universe of characters, weaponry, codes, and customs. Whilst the students are happily chatting multiplayer platform compatibility, I am stealthily googling acronyms.
Far from the bedroom-dwelling pastime of the shy and socially reclusive, as it has been previously painted, gaming is a sprawling community activity on social media platforms. Over 200 million YouTube users watch gaming videos on a daily basis; 50 billion hours were viewed in 2018 alone, and two of the five largest channels on YouTube belong to gamers. And that’s just YouTube — the largest dedicated gamer streaming platform is Twitch, a 3.8m-strong community, which has an average of 83,700 synchronous streams — with 1.44 million viewers — taking place at any time.
Just a fraction of these numbers are users actually playing games themselves. Gaming content usually consists of viewing other people play: pre-recorded commentary following skilful players as they navigate their way through various levels or livestreamed screenshares to which viewers can tune in to watch their heroes play in real time. According to Google’s own data, 48 per cent of YouTube gaming viewers say they spend more time watching gaming videos on YouTube than actually playing games themselves.
If, like me, you find yourself wondering why, you’re probably in the wrong demographic. My classmate Rahil, a die-hard fan of Destiny 2, broke it down: ‘What makes these content creators so good is that they are very confident in what they do in gaming, but they are also funny, they are entertaining to watch. That’s why they have so many followers.’
Watching other people play video games is a way to level up your skills, engage with the community’s most hyped gaming rivalries, and feel connected to something beyond your console. Being a successful gaming influencer is also a way to get filthy rich. Video game voyeurism is a lucrative market, making internet celebrities of its most popular players, a string of incomprehensible handles that read to me like an inebriated keyboard smash but invoke wild-eyed delight in the eyes of my classmates: Markiplier, elrubiusOMG, JuegaGerman, A4, TheWillyrex, EeOneGuy, KwebbelKop, Fernanfloo, AM3NIC.
PewDiePie — aka 30-year-old Felix Kjellberg, the only gamer noobs like me have ever heard of — has 106m followers and is estimated to earn around $8 million per month, including more than $6.8 million from selling merchandise and more than $1.1 million in advertising. Blue-haired streamer Ninja, aka Detroit-born 29-year- old Tyler Blevins, is the most-followed gamer on Twitch, and signed a $30 million contract with Microsoft to game exclusively on their now- defunct streaming service Mixer. UK YouTube gaming collective The Sidemen upload weekly vlogs to their shared channel in which they compete on FIFA, mess around, prank each other, order £1,000 takeaways, and play something called ‘IRL Tinder’, living out the fever dream of a million teenage boys across the internet. For many tweens, getting paid to play as a YouTube gamer is a hallowed goal, and each of my classmates is keen to make Minecraft a full-time occupation. I decide to keep quiet about my abortive attempt at a beauty tutorial.
Class kicks off with an inspirational slideshow titled ‘INFLUENCERS: FROM 0 TO MILLIONS’. My laptop screen displays a Wall of Fame of top YouTubers smiling smugly to camera: OG American vlogger Casey Neistat, Canadian comedian Lilly Singh, PewDiePie, beauty guru Michelle Phan, and actor, activist, and author Tyler Oakley, each underlined by a subscriber count that outnumbers the population of most European countries. ‘Everyone started off where you are today,’ says Nathan enthusiastically. ‘A laptop and a smartphone — that’s all they had. Everybody here started with zero subscribers.’ The class is rapt. I try to imagine my own face smiling onscreen between professional prankster Roman Atwood (15.3m subscribers) and viral violin performer Lindsey Stirling (12.5m subscribers). Somehow, I can’t.
Nathan hits play on early comedy vlogger nigahiga’s first ever upload — a 2007 viral video sketch entitled ‘How to Be Ninja’ that now has 54,295,178 views — and then a later video from 2017, ‘Life of a YouTuber’. ‘Look at that — 21.5M subscribers!’ Nathan taps on the follower count under the video. ‘It didn’t happen overnight. It took a year, 12 months of putting up content with 50 views. Don’t get disheartened. Take every sub, every view as a...’ he mimes celebrating like the winner of a round of Fortnite.
Thanks to its nostalgic pixelation and condensed frame ratio, watching ‘How to Be Ninja’ creates the impression that we’re sitting in a history class studying archival footage from a distant past: Late Noughties Net Culture (2007, colourised). In a poorly lit, grainy home video that feels like a prelapsarian time capsule, two teenage boys act out a hammy sketch in which they transform into martial arts experts, including off-tempo miming, questionable jump cuts, and a tantalising glimpse of old-school YouTube — running on Internet Explorer — that flies over the heads of my Gen Z classmates. The sketch feels like two friends messing around with a camera at the weekend; it’s almost as if they don’t know they’re being watched.
In the second video an older and now more-polished Higa — complete with designer purple highlights in his hair — breezily addresses his multi-million-strong fanbase in a nine-minute HD monologue that’s punctuated by kooky 3D animation and links to his supporting social media channels. ‘I am in one of the final stages of my YouTube career,’ he says, ‘and my YouTube life, so …’ The camera cuts to reveal his extensive video set-up, professional lights, and a team of three clutching scripts, clipboards, cameras, and a boom mic behind the scenes, all celebrating exuberantly: ‘That means we can get out of here right?’ asks one. ‘Yeah, it’s really cramped back here…’ says another, ‘I have to poop so bad.’
‘What’s the difference between these two videos?’ Nathan prompts us. ‘What changed?’ The answers roll in quickly, students reeling off a list of ameliorations with ease: better lighting, better equipment, a better thumbnail, slicker editing, a more professional approach, background music, higher audio quality, and a naturalistic presentation style that at least appears to be ad-libbed.
‘What makes a good video more generally?’ asks Nathan. ‘What are the key elements?’ When he eventually pulls up the next slide, it turns out Nathan wants us to discuss passion, fun, originality, and creativity: but the class has other ideas. ‘I heard YouTube doesn’t like videos lower than ten minutes,’ offered Alex. ‘There’s many things that they don’t like,’ Lucas corrects him. ‘The algorithm is very complicated, and it’s always changing. They used to support “let’s plays” [a popular gaming stream format] back in 2018, and then they changed it, and a lot of Minecraft channels died.’ Rahil pipes up: ‘They find as many ways as possible to scrutinise your video … if you do many small things wrong, you get less money, even though YouTube is paid the same money by the advertisers. So you should never swear in your videos.’ ‘No, demonetisation is different,’ corrects Fred.
There is something fascinating and incongruous about watching pre-teens reel off the details of various influencer revenue models with the enthusiasm of a seasoned social media professional. The fluency with which they exchange terms I’m more accustomed to encountering on conference calls and in marketing decks is a startling reminder of the generational gulf between us: though they may be students, they’re not exactly beginners on the internet.
As the conversation quickly descends into technocratic one- upmanship, Nathan attempts to steer our analysis back to entry level. ‘Once you reach 1,000 subscribers,’ he enthusiastically explains to the class, ‘that means you can monetise your channel and have ads on it.’ A heated debate about the intricacies of YouTube monetisation ensues. Nathan is corrected by one of his students, before another pipes up to undercut them both, and suddenly everyone’s talking all at once: ‘Most YouTubers make money from sponsorships, not advertising revenue, anyway,’ offers one student. There is a pause. ‘And merch,’ he adds, ‘the MrBeast hoodies are really cool.’
‘Okay then,’ says Nathan brightly, shifting the slide forward to reveal a list of attributes for creating successful content that begins, ‘Attitude, Energy, Passion, Smile’, ‘what about some of these…’
Looking at my notes, I realise Nathan’s original question, ‘What makes a good video?’, has become something else entirely: what does YouTube consider to be a good video, and thus reward accordingly? It’s a small elision, admittedly, but significant; good is whatever YouTube thinks is good, and interpretations outside this algorithmic value system aren’t entertained. His prompt about creative possibilities has been heard as a question about optimising the potential of a commodity (the influencer) in an online marketplace. ‘It’s all about value,’ he continues, unwittingly echoing my thoughts, ‘what value does your video bring to the YouTube community? How are you going to stand out from all the other people doing it?’
This cuts to the heart of criticism against influencer training courses like this one, and others which have sprung up in LA, Singapore, and Paris in recent years: that it’s ethically inappropriate to coach young people to commodify themselves, that it’s encouraging children to spend more time online, that it’s corrupting childhoods. Influencers and industry professionals rolled their eyes or responded with a mixture of horror and intrigue when I’d mentioned the Fire Tech programme in passing. ‘That’s disgusting,’ said one agent, ‘way too young.’ (Privately, I thought this was an inconsistent position, given she represented a mumfluencer with a family of four.) ‘I respect it,’ said a Brighton-based beauty guru, ‘but I would never personally make that choice for my kids.’ ‘Crazy times we live in,’ offered a NYC-based fashion influencer, before admitting, ‘for real, though, I kind of wish I had had that when I was younger.’
Ever since Apple launched the App Store, developers big and small have gotten caught up in the company's approval process and had their apps delayed or removed altogether. The popular messaging app Telegram is just the latest, according to the company's CEO Pavel Durov. On August 10th, Durov posted a message to his Telegram channel saying the app's latest update had been stuck in Apple's review process for two weeks without any real word from the company about why it was held up.
As noted by The Verge, the update was finally released yesterday, and Durov again took to Telegram to discuss what happened. The CEO says that Apple told Telegram that it would have to remove a new feature called Telemoji, which Durov described as "higher quality vector-animated versions of the standard emoji." He included a preview of what they would look like in his post — they're similar to the basic emoji set Apple uses, but with some pretty delightful animations that certainly could help make messaging a little more expressive.
"This is a puzzling move on Apple's behalf, because Telemoji would have brought an entire new dimension to its static low-resolution emoji and would have significantly enriched their ecosystem," Durov wrote in his post. It's not entirely clear how this feature would enrich Apple's overall ecosystem, but it still seems like quite the puzzling thing for Apple to get caught up over, especially since Telegram already has a host of emoji and sticker options that go far beyond the default set found in iOS. Indeed, Durov noted that there are more than 10 new emoji packs in the latest Telegram update, and said the company will take the time to make Telemoji "even more unique and recognizable."
There are still a lot of emoji-related improvements in the latest Telegram update, though. The company says it is launching an "open emoji platform" where anyone can upload their own set of emoji that people who pay for Telegram's premium service can use. If you're not a premium user, you'll still be able to see the customized emoji and test using them in "saved messages" like reminders and notes in the app. The custom emoji can be interactive as well — if you tap on them, you'll get a full-screen animated reaction.
To make it easier to access all this, the sticker, GIF and emoji panel has been redesigned, with tabs for each of those reaction categories. This makes the iOS keyboard match up with the Android app as well as the web version of Telegram. There are also new privacy settings that let you control who can send you video and voice messages: everyone, contacts or no one. Telegram notes that, like its other privacy settings, you can set "exceptions" so that specific groups or people can "always" or "never" send you voice or video messages. The new update — sans Telemoji — is available now.
Facebook and Apple have been at odds for several years now; Apple announced back at WWDC 2020 that iOS would require apps to ask users to opt-in to cross-app advertising tracking. Facebook spent much of the next months speaking out against Apple's plans and predicting revenue instability due to the upcoming changes, but the feature was released in iOS 14.5 back in April of 2021. Somewhat surprisingly, though, a new report from The Wall Street Journalclaims that before this all went down, Facebook and Apple were working on a partnership and revenue-sharing agreement.
According to the Journal, Apple and Facebook were considering a a subscription service that would offer an ad-free version of the platform. And since Apple takes a cut of in-app purchases, including subscriptions, it could have been a very lucrative arrangement indeed.
Another arrangement that was discussed and ended up being a point of contention was Apple taking a cut of "boosted posts," which essentially amounts to paying to put a post in front of a larger audience. Facebook has long considered boosted posts part of its advertising portfolio; as the Journal notes, small businesses often use boosted posts to reach more people. The issue came down to Apple saying boosts should be considered in-app purchases, which would be subject to the 30 percent revenue cut that the company takes. Facebook, on the other hand, maintained that those were advertising products which aren't subject to Apple's cut.
Since rolling out its user-tracking changes in 2021, research firm Insider Intelligence claims that 37 percent of iPhone users have opted in to letting companies track their activity across apps. Since the change went into effect, Facebook (now Meta) has seen its revenue growth shrink significantly — and last quarter, Meta reported the first revenue decline in the company's history.
As these discussions reportedly took place between 2016 and 2018, we're a long way off from these talks. Apple is doing its best to position itself as a defender of privacy, and Meta... well, Meta is busy trying to make the Metaverse a thing. But for now at least, advertising is the only notable way Meta makes revenue, so the company will have to continue to adjust to a world in which iOS app tracking protection is a thing that most users take advantage of.
