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Games like The Legend of Zelda: Breath of the Wild don’t come along often. The 2017 title came 31 years into the franchise’s history and somehow felt familiar while simultaneously remixing or entirely removing core tenets of the series. To put it mildly, the changes worked. Breath of the Wild is the biggest-selling Zelda game of all time and was an unqualified success with critics and players alike.

What in the world do you do for an encore?

Internally, Nintendo decided to get right on that, announcing a direct sequel was in development only two years after Breath of the Wild arrived. The result is The Legend of Zelda: Tears of the Kingdom, a game that is not a complete reinvention. Instead, after successfully blowing up the Zelda format, Nintendo is giving players even more – more of Hyrule to explore, and more freedom to dream up how to tackle the many, many challenges the game throws at them.

Perhaps even more than its predecessor, though, Tears of the Kingdom demands patience. There’s an overwhelming amount of things to do, locations to see, puzzles to solve and enemies to defeat here. And as I tried to play through it as quickly as possible, to see as much of the world as I could for this review, I ended up more frustrated than satisfied. Fortunately, I then decided to slow down and indulge my curiosity, a decision that made the game far more rewarding and made me eager to explore at my own pace, without worrying about getting to the end.

Nintendo

Tears of the Kingdom kicks things off in a fashion that’ll be familiar to anyone who played Breath of the Wild. A quick prologue reveals the dark wizard Ganondorf and a calamity known as the Upheaval – events that leave Link grievously injured and Zelda missing (stop me if you’ve heard this one). The twist comes when Link awakes in a sky kingdom populated by ancient and powerful technology, courtesy of the Zonai clan. Lest you think, like me, that Nintendo just invented a new mysterious culture with a new set of powers to replace the Guardians from Breath of the Wild, the Zonai were actually briefly mentioned in the previous game.

The first few hours of the game take place entirely in the sky, a fascinating setting with a host of new challenges and enemies. But here the game retreads the prior entry here as you need to journey to a handful of shrines to get a new set of abilities, just like you did on the Hyrule plateau in Breath of the Wild. Once that’s done, you’re able to descend to Hyrule proper and get exploring.

Nintendo

Tears of the Kingdom gently guides you towards a few locations to get you started – but you can go anywhere you want, if you’re intrepid enough to try. The game definitely doesn’t hold your hand, and it took me a surprisingly long time to get my bearings and feel confident against the many monsters you’ll come across. At the start, Link is woefully underpowered, which makes finding the dozens of shrines dotting Hyrule crucial, as this is the quickest way to get more hearts, stamina and learn new fighting techniques.

I was also eager to find the numerous towers that dot the land, as those are how you reveal more of the Hyrule map. Six years later, Hyrule still feels positively massive, and navigating it without filling in the map is an exercise in frustration. In retrospect, though, I probably was too aggressive about journeying beyond the first few areas the game reveals to you, as I ran into numerous enemies I was simply not powerful enough to take on. My advice: stick to the game’s script and focus on the first few quests it gives you before going into full explorer mode.

In addition to the many shrines, the game will quickly implore you to search out four regions of Hyrule to investigate disturbances affecting the areas. (If you played Breath of the Wild, you can surely guess where those areas are.) This is where you’ll find the game’s four areas that harken back to the dungeons in Zelda games of yore. Just like before, you’ll need to help the citizens of each region before you can advance – but to keep things fresh, all the big dungeons are in the sky.

As much as I enjoyed revisiting the vast Hyrule overworld, the different gameplay elements and scenery of the sky areas made this feel novel. These main dungeons feel more similar to the Divine Beasts from Breath of the Wild than the levels found in Zelda games of old, but this time out they’re more visually distinct and connected to the region of Hyrule you’re visiting. The bosses of each are also a lot more creative and interesting than the variations of Calamity Ganon from last time out, too.

Nintendo

Another thing that will be familiar to Breath of the Wild players is the game’s presentation. As a direct sequel, there’s no noticeable change to how Hyrule and its inhabitants are rendered this time. Obviously, the sky islands and underground caverns were not present in BotW, so those areas gave the designers a chance to come up with impressive new visuals. The sky areas were particularly striking to me, though the underworld has a creepy, alien atmosphere that adds a whole new vibe to the game.

Nintendo’s art direction is impeccable, as usual, but six years on from Breath of the Wild it’s fair to say I sometimes wanted a bit more. I’ve been playing the Horizon Forbidden West expansion Burning Shores – that series has a similarly vast open world to these recent Zelda games, and having that in the back of my mind made me imagine what Hyrule could look like on more powerful hardware. I’m not saying I want a fully photorealistic Zelda game; the semi-cartoonish style has always been part of the charm. But it’s hard not to imagine just how spectacular this game could look on more powerful hardware. Of course, that’s not Nintendo’s strategy and it hasn’t been for years – but one can dream.

That said, the Switch hardware does show its age in one significant area. Frame rate drops are a bit more common in Tears of the Kingdom than I’d like. To be clear, this isn’t a major issue that renders the game unplayable by any stretch of the imagination. Generally, things run solidly at 30 fps, but the more advanced physics at play here occasionally causes some stutters. You’ll also get some dropped frames if too much is happening on screen, like big battles with multiple enemies in the rain. I never felt like these problems were enough to keep me from playing, but they are noticeable and show that Nintendo is pushing the Switch as hard as it can here.

Nintendo

You may be wondering what makes Tears of the Kingdom more than just a Breath of the Wild remix. There are two major components that make it stand out. First are the two new areas above and below Hyrule proper. Both the sky islands and underworld add completely new challenges and gameplay elements. For example, one set of sky islands has less gravity than everywhere else in the game, so jumps carry you further. It may sound like a little thing, but it actually changes the way you go about fighting enemies – for example, a jumping slash attack can deliver multiple blows as you slowly float back to the ground. But it also leaves you more vulnerable, since you can’t pull out your shield in the middle of this move. If you time it wrong, you can take serious damage in a counter-attack.

The underworld areas are perhaps the most treacherous you can visit in Hyrule. That’s thanks to the persistent gloom enveloping those regions, something that makes the monsters below even more powerful. If you get hit, not only do you lose hearts from your health bar, but those hearts actually “break” – they can’t be refilled unless you use a special elixir or visit particular waypoints scattered throughout the map. Naturally, since it’s pitch-black underground, navigating is a challenge as well. You’ll want to come well-stocked with brightbloom seeds, which can be found in caves throughout Hyrule. Dropping those illuminates the area, and you can also take special potions that make you glow on your own.

The underworld quest line provides a second set of tasks beyond the ones found in the Hyrule overworld. There aren’t any dungeons underground as there are up in the sky, but there are still significant quests and enemies to find below the surface. And from what I’ve played so far, these aren’t just side quests – they intersect with the main goal of finding Zelda. It’s easy to forget about the underworld while journeying through Hyrule proper, looking for shrines and helping residents in all corners of the map, but you’ll gain valuable skills and progress the story in major ways by diving underground as well. If you’re getting stuck or running out of steam, delving into the deeps is a good way to change things up.

Nintendo

But easily the most significant change is in the abilities Link has, thanks to his “Purah Pad” (a new name for the Sheikah Slate from BofW). Two of the abilities, Ascend and Recall, are useful but don’t fundamentally change the way the game is played. Ascend lets you dive straight upwards through roofs or rocks to reach new areas quickly, while Recall rewinds time on specific objects to move them backwards. They can be handy for sure, but you’ll need to master the other two powers to get anywhere in Tears of the Kingdom. One is called “Fuse,” which lets you stick objects you find around the world onto your weapons or arrows to enhance them. This is a requirement, because most of the weapons you find in the world have been decayed by Ganondorf’s emergence.

The good news is that you can stick all the monster parts you find around the world onto these weapons to greatly increase their power. For example, you can stick bokoblin horns on to your swords to make them stronger, but you can also fuse the tail of an ice lizard to a weapon and get its freezing power. However, these weapons still break far too often, so you’ll constantly want to be stocking up your inventory and investigating what combos of weapons and additional items work best. This goes for arrows, too: instead of being able to find or buy fire arrows, for example, you’ll need to attach a fire fruit to your arrow to set things aflame.

And then there’s Ultrahand. This takes the Magensis power from BotW, which let you move metallic objects around, and supercharges it. Now, you can pick up almost anything you see – and you can stick objects together to build basically anything you want. What really makes your creations useful are the Zonai tools you’ll find around the world, things like fans, wheels, flame-emitting objects and much more. If you have a board and a fan, you can fashion a makeshift hovercraft, for example. Or if you need to reach a far-off location, try building a bridge.

As the game goes on, it does a great job of nudging you towards building more complex and useful tools. The possibilities are near-limitless, and I’m really looking forward to seeing videos of all the ridiculous things that people try to build. (For example, the hilariously flammable war cart that my colleague Sam Rutherford built.) I was initially worried that I wouldn’t be quite creative enough to fully take advantage of the potential that Ultrahand provides, but totally wild creations are rarely required. Usually, it’s a matter of sticking two or three things together to achieve a goal, and the game makes it pretty clear what you need to do. The quick shrines, most of which you can get through in five or 10 minutes, also are good at showing you what kinds of things are useful to combine.

You can also use Fuse to combine Zonai objects together with your weapons and shields. One of my favorite combos is sticking a springboard to a shield – so when enemies hit it, they go flying, giving you a chance to counter-attack or run away. Attaching a fire device to your weapon, meanwhile, lets it spew flames as you swing it. Again, the possibilities are vast, and it’s going to be a lot of fun seeing what kinds of weapons and other contraptions people come up with to suit their own play styles.

Nintendo

This all adds up to a game that, despite significant shared DNA with Breath of the Wild, feels new and vital. I have fond memories of my time traversing Hyrule in BotW, and I was eager to jump back into the world again. The overworld map may be the same, but plenty of the locations have changed significantly, which provided a distinct feeling of time passing between the games as well as offering new puzzles and challenges. The frequent dips into the sky or underworld, meanwhile, provide plenty of fresh, all-new areas to explore and challenges to overcome.

All this said, I also would be remiss if I didn’t mention the difficult, sometimes unforgiving challenge this game can occasionally present. Since there’s minimal guidance as to where you can and should go, it’s easy to find yourself in enemy encounters where you’re totally overmatched. And while most of the shrines are well done, there are some that are absurdly difficult for no apparent reason.

My “favorite" so far is one where you lose all your items and armor and have to figure out how to defeat enemies with just the tools provided to you. In this case, there were about eight high-powered machines, and while there were some little war machines to create, there’s also no shield in the shrine. Even with 10 hearts, making two mistakes was enough that I would die and lose my progress. It was incredibly frustrating, and there was no reason for it to be so hard.

And the impact of Fuse and Ultrahand cannot be overstated. These new tools make experimentation a hallmark of Tears of the Kingdom in a way it hasn’t been before. Now, in addition to exploring every corner of Hyrule, you’ll also need to try lots of different combinations of tools, weapons, found objects and Zonai devices to find the solution a puzzle demands. Or you can fritter away hours making contraptions from whatever you find laying around. In a lot of ways, Breath of the Wild was already a creative sandbox that let gamers tackle the various adventures it offered in any order and any fashion they chose. In Tears of the Kingdom, that’s even more true.

If you want to spend all your time spelunking in the underworld, feel free. If you’d rather hunt down shrines at the expense of all else to maximize your stamina and hearts, that works too. If you only want to engage in building objects with Ultrahand when the game requires it, that’s fine – it makes it clear when you need to build various contraptions to advance. There’s enough guidance to set you on your path when you get started, but you can also ignore that and just roam the wilds. Do so at your own risk, though – it’s rough out there.

Tears of the Kingdom isn’t the series reinvention that we got in 2017, but that’s OK. There’s more than enough here to justify revisiting the Hyrule that we first saw with Breath of the Wild — I've "only" put in about 35 hours at this point, and there's no end in sight to my journey. If you’re one of the millions who delighted in that game’s freedom, chances are you’ll love Tears of the Kingdom too.

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Teenage Engineering has launched a new field recorder called the TP-7 that was designed to record interviews, music and any kind of audio with, in the company's words, "zero friction in the highest possible quality." It's the latest entry to its "Field" series of interoperable products, which includes the OP-1 synthesizer and the TX-6 mixer released last year. Like the TX-6, the TP-7 is about as big as a deck of cards and can fit comfortably in your hand. It has a motorized "tape reel" at the center that you can use to easily scrub through or pause your recording and to navigate the menu. 

There's also a rocker on the left side of the recorder that you can also use to scrub through audio, along with a button right below it that quickly changes recording modes. While you can use its built-in microphone to record audio just fine, you can also plug in external mics through its three stereo two-way jacks. Take note that the jacks can accommodate other audio equipment, as well, such as Teenage Engineering's other Field devices. 

The TP-7 also has a USB-C port that you can use to transfer data or to charge it. If you use the device for interviews, you can connect it to an iPhone through that USB-C port or via Bluetooth and fire up the company's iOS app to get automatic transcriptions. The recorder can last up to seven hours between charges, has a built-in speaker in addition to the microphone and 128GB of internal storage.

Teenage Engineering calls the TP-7 "a device engineered in every detail to do only one thing and to do it well," one that's "perfect for... journalists, lawyers and medical professionals." But like most of the company's products, the TP-7 doesn't come cheap. It's listed for $1,499 on Teenage Engineering's website with a note that says it's coming sometime this summer. 

Google’s big developer conference had a lot to get through. That included the Pixel Fold (more on that below), a new Pixel A-series phone for only $500, a tablet, Android 14, a faster, more sophisticated AI language model, and lots more tricks for AI chatbot Bard. Coming soon, Bard will be able to analyze images and integrate into Google apps, like Gmail and GDocs. And if you haven’t dabbled with Bard yet – no more waiting list.

Google

And while Google had media and analysts captive, it showed off its holographic meeting experience, Project Starline, two years after it first appeared. Google did not allow Engadget to take pictures or video of the setup – it’s difficult to capture holographs on camera anyway – but our impressions were of an uncanny experience. The prototype uses a light-field display that looked like a mesh window, with multiple cameras to get the visual data to generate the 3D model of the caller. It’s not perfect, but then the system is busy. Sound and images are broadcast to the cloud over WiFi, creating a 3D model of both callers, then sending it down to the light display.

The pitch may be the most realistic, detailed teleconferencing experience, but the tech is still far away from our homes and offices. And Google does like to kill its darlings when things aren’t working out. Will Project Starline survive?

– Mat Smith

The Morning After isn’t just a newsletter – it’s also a daily podcast. Get our daily audio briefings, Monday through Friday, by subscribing right here.

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Google Pixel Fold vs. Samsung Galaxy Z Fold 4: Battle of the foldable

Google Pixel Fold hands-on: A real rival for Samsung

Its first foldable phone is here. And expensive.

Engadget

While the $1,799 Pixel Fold is more expensive than reports suggested, its hardware is mostly what we expected. It sports a 5.8-inch external display and a wide 7.6-inch internal screen when it's opened. It has a new 9.5-megapixel external camera and an 8MP internal shooter, and its rear setup features a 48-megapixel main camera, a 10.8MP ultra-wide and a 10.8MP telephoto camera with 5X optical zoom. In a lot of ways, the Pixel Fold is like last year’s flagship Pixel 7 Pro, but foldable, with the same Tensor G2 processor.

Google apparently had to redesign a lot of components to make it into what is a pretty slender widescreen foldable. We got to see one in person (because we’re Engadget), and the screen has a wider aspect ratio than Samsung’s Galaxy Z Fold series. The bezels are… chunkier too, but that hasn’t put us off too much. The company hasn’t confirmed a shipping date, but it’ll be "sometime next month." It’s offering pre-orders for the foldable if you’re already sold on the concept.

Continue reading.

Google Pixel Tablet hands-on

A $500 smart display with a detachable screen

Though it was initially teased at last year’s Google I/O, the Pixel Tablet is finally ready for purchase. You can now pre-order it for $499, and that includes the speaker base. The Pixel Tablet will likely spend most of its time in your home as a smart display, and you can buy additional docks for $120 each, so you can have stations in multiple rooms to feel like a millionaire.

The company doesn’t want you to think of this as a standalone $370 tablet. With an 11-inch screen, a rounded-rectangle shape and a mesh fabric covering the speaker base, the Pixel Tablet looks incredibly similar to the Nest Hub Max. When the tablet is docked, you can use it as an additional screen and Chromecast to it. Google said this is the first tablet with Chromecast built in, but to be clear, the feature is only available when the device is docked and in Hub Mode, not as a standalone slate.

Continue reading.

Scammers used AI-generated Frank Ocean songs to steal thousands of dollars

It follows the fake Drake and The Weeknd song that circulated last month.

Mario Anzuoni / reuters

More AI-generated music mimicking a famous artist has made the rounds — while making lots of money for the scammer passing it off as genuine. A collection of fake Frank Ocean songs sold for a reported $13,000 CAD ($9,722 in US dollars) last month on a music-leaking forum devoted to the Grammy-winning singer, according to Vice. The fact Ocean hasn’t released a new album since 2016 and recently teased an upcoming follow-up to Blond may have added to the eagerness to believe the songs were real.

Continue reading.

Vast and SpaceX plan to launch the first commercial space station in 2025

The duo will have to compete with Blue Origin and other big rivals.

Another company wants to launch the first commercial space station. Vast is partnering with SpaceX to launch its Haven-1 station as soon as August 2025. A Falcon 9 rocket will carry the platform to low Earth orbit, with a follow-up Vast-1 mission using Crew Dragon to bring four people to Haven-1 for up to 30 days. Vast is taking bookings for crew wanting to participate in scientific or philanthropic work. It’ll be racing against Jeff Bezos' Blue Origin, which doesn't expect to launch its Orbital Reef until the second half of the decade. Voyager, Lockheed Martin and Nanoracks don't expect to operate their Starlab facility before 2027.

Continue reading.

Google Pixel 7a review

It’s got everything you need and more for just $499.

Engadget

So maybe we had one piece of Google hardware a little early. With the Pixel 7a, Google seems to have nailed the balance between price and performance. We’re talking a Tensor G2 chip, a 90 Hz display, wireless charging and a higher-res rear cam, all starting at just $499. And when you factor in its design, the Pixel 7a delivers everything I like about the regular Pixel 7 for $100 less. I’ll say this: If you’ve got family members musing on buying a new Android phone, save yourself a headache and recommend the Pixel 7a. 

Continue reading.

The original HomePod arrived in 2018 and was discontinued in favor of the $99 HomePod Mini in 2021, but Apple brought it back earlier this year as a second generation model with upgraded audio and new smart home tools. Now, it's on sale for the first time at B&H Photo Video for $279 in white and $289 in black via an instant rebate, saving you $20 and $10 respectively. 

The design of the second-generation model is much the same, apart from details like the slightly recessed touch panel, a detachable power cord and a slightly shorter profile. Inside, though, there are a host of changes. Apple reduced the number of tweeters from seven to five, angling them slightly upward instead of side-firing as before. The number of voice microphones was reduced from six down to four and, most importantly, Apple swapped the iPhone 6’s A8 chip for the much more modern S7.

The new model cures one of our biggest gripes with the original HomePod, namely Siri's limited abilities. Now, it can recognize multiple users, create recurring home automations without an iPhone and play music from voice commands via services like Deezer and Pandora and not just Apple Music. Most importantly, performance and responsiveness is much improved.

Sound quality is outstanding, with excellent clarity, though bass can occasionally be too subdued for certain types of music. It works especially well as a stereo pair, something that's easy to set up via the app. It can also be set up for use with Apple TV and has especially good voice clarity. The best part, though, is the reduced price compared to the previous model, and B&H Photo Video's discount of up to $20 makes it a particularly good buy — just be sure to act by midnight ET on May 14th. 

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

It’s been ten years since Fairphone launched with the laudable goal of making a better phone than its competitors. Not better in the spec-list sense, but by building it with greener materials and ensuring that they are easily and comprehensively repairable. More importantly, the company has sought to improve the working conditions of the people building the devices in the first place. That’s by paying fairer wages or offering workplace training and other benefits that major manufacturers might be unwilling to do. All the while attempting to produce gear that can at least stand proud alongside brand-name devices costing two or three times as much.

Now, Fairphone is launching its first pair of over-ear headphones, Fairbuds XL, with the same focus on utility and repairability. The company says they’re the “most sustainable headphones on the market,” with almost all of the parts user-replaceable and available to buy. They can’t just be repairable and last a long while, however, they also have to sound good enough that you’ll genuinely want to use these over what else is in the market. Specs-wise, you won’t just get the basics, but active noise cancellation (ANC), multiple audio modes, two-point Bluetooth connection and a two-year warranty that’s likely to include hardware support for a lot longer.

The Fairbuds XL are available either in speckled black or speckled green. I was loaned the green model for two weeks, and while the black looks like every other dull-ass pair of cans on the market, the green is utterly gorgeous. I love the orange contrast cabling and the lovely pop of copper on the four-way joystick, and enjoyed walking around in public with these on.

The design, with its visible wire connections and fold-in arms, is a generation or two behind the cutting edge. You know, your Sony XM5s and B&W Px7s and Bose QC45s, with hidden wires, hinged earcups and an overall more elegant setup. I don’t think it’s an issue unless you’re suffering from a serious case of status anxiety, but if you are, you’re probably not thinking about buying these.

As for the hardware, there’s the aforementioned four-way joystick, a dedicated ANC lozenge button and a USB-C port, and that’s it. This minimalism carries across to what else is in the box: A recycled polyester / nylon carry bag and a little paper manual. There’s no USB-C charging cable, audio adapter or anything else, since Fairphone assumes you already have this stuff, or can just as easily buy it from its store.

Daniel Cooper / Engadget

Fairbuds XL comes with 40mm dynamic drivers, Active Noise Cancellation (ANC) and an Ambient Sound Mode. It has an 800mAh battery which the company says will last for 26 hours with ANC or for more than 30 hours with it switched off. You’ll get around 320 hours of standby time and, once that’s exhausted, charging from cold is pegged at three hours. Supporting Bluetooth 5.1, Fairbuds XL offers dual-point connectivity, letting you hook up and switch between two paired devices. This switching was mostly reliable, although I found there were some device combinations – like an Android smartphone and my mac OS laptop, that it simply refused to play nicely with. Weighing 330 grams (11.6oz), the cans don’t outstay their welcome on your head, or your ears. The earcups are soft enough that I’m not forced to take them off because they’re uncomfortable.

Inside, those 40mm diameter drivers have a frequency response running from 20Hz to 20KHz. That puts it in the same bracket as a number of low and mid-budget sets on the market, of which this probably sits at the higher end, price-wise. Since it lacks any real background in sound, Fairphone sought out help from Sonarworks, a sound calibration company that works with a number of pro audio companies and artists. Its SoundID software will let users calibrate their audio profile to tweak how sound comes out of their headphones for a more personalized experience.

Now on the whole, I do rather like the sound that comes out of the Fairbuds XL. I’m not a massive fan of some of the genres which modern audio tests calibrate for, preferring instead something calmer, cleaner and more atmospheric. One thing I’ve always used to test a headphone’s quality is to see how well you can hear the breaths of the horn players during Finale from the Tron Legacy soundtrack, which are really clear here. Or how alive Max Haymer’s piano feels when playing his jazz reworking of Optimistic that you think you’re in the room. London Grammar’s Stay Awake feels urgent, more meaningful here than in some headphones I’ve tried.

The ANC, meanwhile, was very reliable at drowning out a lot of the ambient noise in my office, inside and out. It totally eliminated the sound of my own typing, the sound of a vacuum cleaner, the building work a nearby neighbor was doing and a crying baby out in public. The one time I had an issue with it was taking a stroll around my local area and getting a face full of wind, but there’s no strong wind setting in the mobile companion app like you’ll find on other products.

In order to offer a greater level of customization, Fairphone is also launching a Fairbuds App for iOS and Android. This will allow you to change the EQ presents – tuned by Sonarworks – for a similar level of tweaking as you could find in SoundID. The app also offers the usual bunch of guides, tutorials and access to customer service, as well as the promise of future software updates. You’ll also be able to order replacement parts directly from the app, which should help prompt you to seek out a fix if things start to go wrong.

There are four sound profiles: Amsterdam (standard), Copenhagen (more treble), Tokyo (more bass) and Boston (heavy bass). I’ll be honest, I found that only really Amsterdam and Boston offered much real difference, and even then, the changes weren’t massive. In fact, I’d say that I’d opt for Amsterdam over Boston even if I was listening to something pretty bassy like Low’s More, with its wonderfully teeth-rattling glitchcore overdriven bass. Suffice to say, I feel like the sound profiles need to be more distinct here, but it’s something that Fairphone should be able to improve upon in the coming months.

Daniel Cooper / Engadget

Of course, Fairphone’s obligation stretches beyond the idea of simply making the hardware modular and repairable. The company says Fairbuds XL uses 100 percent recycled aluminum, 100 percent recycled tin in its solder paste and 80 percent recycled plastic. It added that it has integrated Fairtrade Gold into its supply chain, and uses 100 vegan leather for both the ear cushions and headband.

In terms of working conditions for the people who made them, the company will pay 0.55 USD per headphone made to “fill the living wage gap of production line workers.” And that it is “working with the supplier on improving working conditions based on workers’ needs.” It will also back carbon-reduction projects to help reduce CO2 emissions to ensure the headphones are essentially climate-neutral.

These are all laudable, but even Fairphone serially admits that the effort it makes can only make a small difference in the grand scheme of things. Its work is limited both by its size and relatively small market share, which means that it can’t do everything that it would like to. As much as it can say it’s producing the fairest device on the market, it can’t claim ownership of a halo that it doesn’t deserve. The best it can hope for, however, is to try and push the technology world toward approaching a more sustainable approach for its products.

(This is a good moment to share a gripe about the company’s True Wireless Earbuds, which it launched alongside the Fairphone 4. These are made with fair and recycled materials, and were dubbed as “e-waste neutral,” but weren’t modular or repairable. Given most TWS earbuds have sealed-in batteries, they become effectively unsalvageable when they break. Fairphone offered replacement cases, tips and buds, but it seemed to join the tide as opposed to swimming against it. With the Fairbuds XL, the focus has moved back toward an audio product that sails closer to Fairphone’s true ethos)

Fairphone’s overall ethos is that its products are – with the above exception – user-repairable, and easy enough that anyone should be able to take them apart and keep them going for years to come. The company has already shared a list of parts you can buy from its online store, which includes a new battery, left and right speaker modules, headband assembly and cover, as well as the ear cushions. Prices range from €19.95 (around $22) for the battery all the way to €79.95 (around $88) for a new speaker module, which connects to the setup with an integrated USB-C cable.

As for the ANC selection button, four-way joystick and the specific PCBs inside the earcups, those can be repaired, but right now, only at the company’s repair center. This, to me, seems pretty fair, since users probably won’t be comfortable taking a soldering iron to their cans. The deal is that you can swap in modules to keep this thing going for as long as possible, but if you want to keep it going with completely-original parts, you’ll need more expert help.

Fairphone customarily ships out its loan units for review with an iFixit #00-size Phillips-head screwdriver in the package. This is because it wants reviewers, and by extension potential buyers, to know how easy it is to take apart its products and put them back together. Imagine if Apple, Samsung, John Deere or any of the other companies that are regularly behind anti right to repair legislation had a similar attitude. As usual, I didn’t start disassembling the Fairbuds XL until I’d spent enough time listening to them, just in case something broke, but I needn't have worried.

The easiest repair to make is swapping out the battery, which requires you to pop off the outside cap on the left earcup. If you’ve got strong fingernails, you can lever out the battery and swap in a replacement in half a minute if you’re on the slow side. Removing the ear cushions to replace them is similarly a matter of just twisting them a quarter-turn to unlock them from their mounts. This is easy stuff, which makes it all the more frustrating that most companies won’t let users make these sort of common repairs.

Feeling braver, I then opted to detach the speaker modules from the headband in their entirety to mimic the process of replacing one. You just need to pop out the battery, twist off the ear cushions and then you can slide out the USB-C cable sticking up top. After that, you need to unscrew just two small screws which hold the whole assembly to the headband. The process took all of two minutes, and that was probably because I was going slow to avoid messing up.

Fundamentally, the Fairbuds XL follow through on the usual Fairphone promise of a modular, almost infinitely-repairable device. It has many of the necessary fundamentals to make them a worthwhile purchase for many people, including good ANC, long life and a comfortable design. What it lacks, for now, is a certain dynamism in its sound profiles that would give users more choice in how tunes are presented. Thankfully, that’s something that could be fixed in a later update, which is something that Fairphone has historically been very good at doing. In fact, if you’re happy with very good sound, and want to help make the world a slightly better place in doing so, then I’d say these are a very solid bet.

The name is a bit silly, however.

Fairbuds XL will be available to buy in Europe from tomorrow, May 11th 2023, on Fairphone’s website, priced at €249 (around $275).

Cruise's robotaxis are continuing their push across the Lone Star State. The self-driving car company has announced it plans to begin supervised testing in two more Texan cities, Houston and Dallas, joining its earlier move into Austin (yes, the home of still robotaxi-less Tesla). For now, the expansion is focused on familiarizing the car with the areas, rather than picking up passengers. Residents of the two cities can expect to start seeing Cruise's robotaxis cruising down the streets with a safety driver inside.

In a tweet sharing the news, Cruise said supervised testing in Houston should start in a matter of days while Dallas will be "shortly thereafter." Cruise's robotaxis are already available on a limited basis overnight in Austin and Phoenix and all day in certain areas of San Francisco. 

The speed General Motors-owned Cruise is advancing has brought some concerns. In January, San Francisco's Transportation Authority asked regulators to limit or temporarily pause Cruise and competitor Waymo's expansion, citing repeated cases of their cars inexplicably stopping in traffic and blocking emergency vehicles. As of yet, things have done anything but slow down. Since the request, Cruise celebrated one million fully driverless miles on top of making its robotaxis available at all times in San Francisco — though full access is only for employees.

Right now, there's no set date for when the public will have access to rides in Houston or Dallas. Going off the timeline of other Cruise expansions, it will likely take at least a few months until anyone can hail a self-driving car in either city. Even then, it will probably start with a small group of people and only at night. Anyone interested in taking one of Cruise's robotaxis has to sign up for a waiting list and be accepted to create an account. The company says its limited available cars will keep its services invite-only for the time being.

Google's excellent Pixel 7a just hit the market for an already solid price of $499, but you can now save more thanks to a deal at Amazon. If you order now, you get a free $50 Amazon gift card that can be used for other purchases, effectively bringing the price down to $449 if you plan to order other things from Amazon. 

The Pixel 7a not only received praise in our Engadget review, but instantly became the best midrange Android smartphone in our latest roundup. Google has nailed the balance between price and performance, offering the same Tensor G2 chip as the Pixel 7, along with a 90Hz display, wireless charging and a higher-resolution rear camera. 

The two big changes over the Pixel 6a are a new high-res 64-MP main cam in back, along with a front 13-MP selfie camera can record videos in 4K. The Pixel 7a beats other smartphone cameras in its price range so handily for photography and video that it actually needs to be compared to flagship devices like the Pixel 7 Pro and Samsung's S23 Ultra. 

The extra resolution goes a long way to eliminating any concerns about the lack of a telephoto, as you can zoom in four times and still get a 16-megapixel image. And Google's Night Sight mode remains the best in the business, even though it does add a little more noise than we expected. 

In sum, the Pixel 7a delivers 95 percent of what you get from the regular Pixel 7, but for $100 less. The deal gives you a $50 Amazon card on top of that, which could be spent on accessories like a protective case. More importantly, you get a rare thing — a deal on a Google Pixel phone that just entered the market. 

A "one-app experience" that combines Disney+ and Hulu content will launch in late 2023, Disney CEO Bob Iger has announced during the company's latest earnings call. He said the company will continue offering Disney+, Hulu and ESPN+ as standalone options, but combining services "is a logical progression" of its direct-to-consumer offerings "that will provide greater opportunities for advertisers, while giving bundle subscribers access to more robust and streamlined content..."

Since Comcast still owns 33 percent of Hulu, this announcement suggests that Disney could be thinking of buying the cable TV and media company's stake. Iger didn't elaborate on the company's plans, though, and only said that Disney has had "constructive" talks with Comcast about the future of Hulu. 

In addition to announcing the combined streaming app, Iger has also revealed that Disney+ is getting another price increase after adding $3 on top of its ad-free streaming tier's monthly fee in December. He didn't say when the company is raising the service's prices, but when it does, the ad-free and ad-supported tiers will cost more than $11 and $8, respectively. 

While Disney reported (PDF) a 26 percent decrease in operating losses for its streaming business, a $659 million loss is still massive. The price hike's announcement didn't come out of nowhere, seeing as the company promised investors that the business will be profitable by the end of the 2024 fiscal year. The question is whether the combined Disney+ and Hulu app could convince new users to pay for a subscription — or for old subscribers to come back. Disney+ lost 4 million subscribers in the first quarter of 2023 after shedding 2.4 million users in the previous quarter.

Yes, Sony is still making smartphones, and its latest is the flagship Xperia 1 V designed for both photographers and vloggers. It features a new stacked, backside-illuminated (BSI) sensor along with features aimed at content creators found in its Alpha-series cameras. 

The Xperia 1 V has a new image sensor called "Exmor T for Mobile" designed to be faster and work better with computational (AI) photography, while offering "approximately double" the low-light performance of the Xperia 1 IV, Sony said. As you'd expect in a flagship, it offers other high-end features like a Snapdragon 8 Gen2 Mobile Platform, a 6.5-inch 4K 120Hz OLED HDR display, a 5,000 mAh battery that allows for up to 20 hours of continuous 4K playback, up to 12GB of RAM and more.

With that, Sony is promising "best in class" gaming performance, thanks to a Game Enhancer function that provides visual and auditory support. It also lets players livestream their gaming directly to YouTube. 

The key feature is clearly the camera system, though. The main 24mm f/1.9 equivalent 52-megapixel camera features a Type 1/1.35-inch (about 12mm diagonally) Exmor T sensor that's 1.7 times larger than the Xperia 1 IV's sensor, Sony said. It also comes with an ultrawide 12-megapixel camera and an 85-125mm 12-megapixel optical telephoto zoom, like the one on the Xperia 1 IV. The front 12-megapixel camera has a Type 1/2.9-inch sensor. 

Purists will be able to shoot video and photos using the professional modes that allow for full manual control. Chief among those is the Photography Pro mode designed for creative control. It also allows live streaming while letting creators see viewer comments in real time.

Sony

If you set it to Basic mode, though, you'll get a good dose of computational imaging seen in other Android phones. Those include a Night mode and color settings for subjects like flowers and a blue sky. It also delivers real-time eye autofocus and tracking, along with high-speed continuous shooting of up to 30 fps with auto-exposure and AF enabled. 

For vloggers and content creators, it now features the same Product Showcase setting found on Sony's vlogging cameras like the ZV-E1. The new sensor also promises improved skin tones, thanks to extra saturation available on the sensor. It also has a new voice priority mic placed near the rear camera that can pick up voices even in busy outdoor locations. 

Sony

One cool feature that might justify the price alone for many video shooters is the ability to use the phone as a monitor for select Sony Alpha cameras. The Xperia 1 IV could do that as well, but the new model offers multiple display options with waveforms, gridlines, and zebra lines normally only found on professional field monitors. You can also control settings and record content to phones, features that weren't available before. Meanwhile, the phone's microphones can capture sound while monitoring audio via the Xperia 1 V's headphone jack.

As with past Xperia models, the catch here is the price. The Xperia 1 V starts at $1,400 (in khaki green or black) with 12GB of RAM and 256GB of storage (upgradeable via an microSD slot). That's a lot of money for most smartphone users (even flagship buyers) but might make sense for content creators, avid photographers and others. 

Along with the Xperia 1 V, Sony also unveiled a far more mainstream smartphone, the Xperia 10 V. It's powered by a Snapdragon 695 chipset and offers a 6.1-inch 1080p OLED display that's 50 percent brighter than before, but only refreshes at 60Hz. The camera system features a main 48-megapixel Type-1/2.0-inch sensor with a wide lens, along with a 2x telephoto and an ultrawide. Other features include a 5,000 mAh battery and up to 6GB of RAM. It's priced at €449 in Europe, with sales set to start in June. US pricing/availability is not yet available.