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Disney has shut down its metaverse division and laid off all of the team's 50 or so members as part of a broader restructuring process, according to The Wall Street Journal. It was just over a year ago when former Disney CEO Bob Chapek tapped company veteran Mike White to lead the team in its task of finding interactive ways to tell Disney's stories using new technologies. While the rest of team has lost their jobs, White will remain at the company, though it's unclear what role he's taking on going forward. 

The executive's plan to launch an Amazon Prime-like subscription service for Disney has reportedly also been scrapped. It would've created a single user experience for Disney+, the company's retail operations and its apps that people use to purchase food and merchandise at Disney theme parks. 

Chapek was hopeful and optimistic about Disney's future when it came to the metaverse and previously said that the company should excel at "blending... the physical and digital experiences." He called the metaverse "the next great storytelling frontier." The division's closure doesn't necessarily mean that Disney is abandoning its metaverse ambitions for good, though. As The Journal notes, Bob Iger, who returned as CEO to replace Chapek in November 2022, showed that he also sees a future in the metaverse when he joined the board of an animated avatar startup. 

While Iger may have another strategy in mind, it may take some before we hear about it. Disney has been under pressure from investors to implement serious cost-cutting measures, and it previously announced that it was going to lay off 7,000 employees. According to TechCrunch, it will have three rounds of layoffs, with the first one taking place this week. The metaverse team might simply be one of the first teams impacted by Disney's significant restructuring efforts. In the note TechCrunch obtained, Iger said the company will send a larger round of layoff notifications in April and will notify the last affected employees before the beginning of summer. 

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Apple Music Classical is now available for download globally with more than 5 million tracks. Offered as part of an Apple Music subscription, it's designed to make it easier to find things unique to classical music, including orchestras, conductors, musicians and more. 

The app sprung from Primephonic, the streaming service Apple acquired in 2021. It was originally slated to be released at the end of 2022, but earlier this month, Apple revealed a firm release date of March 28th. 

The app is available on iPhones running iOS 15.4 or later, with an Android version "coming soon." As you'd hope, it offers 192KHz/24-bit high-resolution lossless audio quality, with "thousands" of recordings offered in spatial audio as well. It also lets classical enthusiasts browse composer biographies, descriptions of key works, "deep-dive" guides and more. The search feature has been rewritten for classical music queries and lets you choose from over 700 curated playlists. 

There are few things missing from the main Apple Music app, though. Apple Music Voice Plan subscribers can't use Classical, there's no native iPad app yet and you can't download music for offline listening. The navigation bar has just four buttons (Listen Now, Browse, Library and Search), as there's no Radio shortcut. Apart from that, it should appeal to classical music lovers seeking things specific to the genre, especially those hard-to-locate performances. 

In mid-March, Virgin Orbit went into an "operational pause" and put most of its 750 employees in an unpaid leave due to financial issues. Reports have come out that the satellite launch company was in talks with potential new investors since then, but it sounds like it has yet to clinch a deal that would fund its operations going forward. According to CNBC and Reuters, Virgin Orbit CEO Dan Hart has told employees via email that the company will extend unpaid furlough for majority of its workforce. 

"Our investment discussions have been very dynamic over the past few days, they are ongoing, and not yet at a stage where we can provide a fulsome update," he reportedly wrote. Sources told the news organizations that Virgin Orbit's late-stage discussions with Texas-based investor Matthew Brown broke down and was officially called off late last week. 

Brown was going to put in $200 million into the company, which would've given the investor a controlling stake. Talks with a different potential buyer, CNBC said, also came to a halt on Sunday night. CNBC's Investing in Space newsletter recently reported that Sir Richard Branson, which currently has the largest stake in the company at 75 percent, doesn't want to own the business anymore. Branson's Virgin Group has apparently been rushing to find funding for the company in an effort to avoid bankruptcy. 

A small team of Virgin Orbit employees already returned to work last week as part of its expected "incremental resumption of operations." While the company's future remains unclear, it has to start preparing for its next planned rocket launches. One of the missions it's aiming to accomplish this year is its second orbital launch attempt from UK soil. If you'll recall, what was supposed to be Virgin Orbit's first orbital UK launch took off from Spaceport Cornwall on January 9th, but it failed to reach orbit due to a dislodged fuel filter.

In a couple of weeks, all the tweets you see on the For You feed will come from Twitter Blue users. Twitter boss Elon Musk has announced that the website will only display tweets from verified accounts in For You's recommendations starting on April 15th going forward. 

Musk explained that the company is making the move to combat AI bots and that it's the "only realistic way" to prevent "advanced AI bot swarms" from taking over. He also said that Twitter is fighting a "hopeless losing battle" otherwise if it doesn't implement the change. In a follow-up tweet, Musk clarified that AI bots can pay for verification (and presumably be shown in the For You timeline), as long as they don't impersonate a human. 

Twitter's For You interface shows not just tweets from the accounts a user follows, but also content based on previous tweets they've liked or other people in their network have liked. The feature debuted on iOS back in January as an alternative to the Following tab before making its way to other platforms. Not everybody liked it, and Twitter released an update so that its web and mobile apps will default to the timeline tab users last had open after it came out. But displaying only verified users could potentially mean that those who choose to view it would see a lot more promotional tweets. 

After all, pretty soon the only verified accounts on the social media site will be Twitter Blue subscribers. Twitter previously announced that it's killing legacy checkmarks on April 1st, stripping public personalities, companies, government and non-government organizations and the like of their verified status unless they pay for it.

When Rode released the original Wireless GO, it was an instant success. The ease of use, audio quality and reasonable price made wireless microphones much more accessible. In fact it was so successful that it spawned a number of copycat products from rivals. After releasing the Wireless GO II ($299) with dual mics, the company is back with a more affordable option - the $149 Wireless ME. There’s also a new video app called Rode Capture aimed at creators which offers tight integration with the Wireless ME and other products from the company.

If you’re thinking “more affordable” means fewer features, then you’d be right. But also you might be surprised. Even though there initially appears to be just one transmitter (mic) and one receiver, the latter also has a mic built-in so you can still record two speakers at the same time with their own separate audio files. That said, Rode is calling the second mic the “ME mic” and describes it as a “narrator” microphone because you can’t use it wirelessly (it’s the one that plugs into your recording device) so it can only really be used by someone off camera. That obviously is no problem if you’re not recording video, but worth knowing if you are.

There are, of course, other minor compromises. For one, the receiver doesn’t have any type of display, so visual feedback for connectivity is limited to a pair of LEDs. There doesn’t appear to be any feedback for gain levels at all. There’s also no onboard storage for recording away from a camera, computer or a phone. This also means there’s no option to record a safety track at a lower gain level which, given the lack of a way to see levels means you’ll have to really be sure you have everything set right up front. As a reminder, though, the ME is half the price of the GO II.

Photo by James Trew / Engadget

There are tools to help, though. The Wireless ME comes with a feature called GainAssist which internally monitors the signal and sets levels automatically depending on your environment and the volume of the subject. This definitely helps keep things from clipping, but you can still go into the red with it. It appears to be using either a limiter or compression (or both) but you can still make it go into the red. There’s a “dynamic” mode too for when recording things with a more consistent volume than speech.

In terms of range, you can expect about 100 meters / 328 feet (line of sight) but in practice this can vary a little in either direction depending on the conditions. This is a shorter range than the Wireless GO II (200 meters / 656 feet) and DJI’s Mic (250 meters / 820 feet) but likely ample for most scenarios. As for battery life, it’s a respectable seven hours but there’s no charging case as with DJI or Anker’s solutions.

With no way to change settings directly on the device, you’ll want to get familiar with the Rode Central app. It’s here where you’ll be able to turn the receiver’s microphone on or off if you want to use it, change whether it records to one or two separate files (if using both mics) and adjust the gain settings. There are versions for both desktop and mobile (Android/iOS) so you can change modes on the go, even if it’s a bit more involved than doing it on the receiver as with DJI and Anker’s products.

Given that the narrator-guest setup isn’t ideal for recording two speakers on camera at the same time it's a shame that the receiver doesn't have the option to plug an external 3.5mm lav mic into it. This would mean you could theoretically run one with a longer cable and have two on camera hosts. You can still use 3.5mm mics with the main transmitter though. Alternatively, if you have access to another transmitter, such as a Wireless GO II, you can pair it with the ME’s receiver and record up to three people at the same time – though two of them will have to share an audio channel in case having separate files for all speakers is important to you.

Rode

The interoperability between the Wireless GO II and the ME shows that Rode is thinking about how these products can work together, meaning creators can collaborate seamlessly with their own gear or continue using older products even as new ones come around. Expect to see more interoperability with other wireless devices in the future.

Along with the new microphone kit is the aforementioned Capture app. It’s a dedicated video app with a twist: direct access to the settings of compatible Rode microphones. Most video apps don’t even let you know what mic you’re using which can cause anxiety when you’re not sure it’s working with the one you plugged in. Having this assurance alone is useful and the direct access to microphone settings is always going to be a welcome bonus for creators. The app is entirely free and doesn’t require a Rode product to work but will need one of Rode's compatible products if you wish to access its settings.

The Wireless ME is available for $149 starting today.

More than a decade into its life, Lyft is bringing on a new chief executive officer. On Monday afternoon, the company announced current CEO and co-founder Logan Green would hand day-to-day operations of Lyft to David Risher, a former Amazon executive, on April 17th. That same day, Green will take over as chair of Lyft’s board of directors. The announcement is part of a larger executive shuffle that will also see Lyft president and co-founder John Zimmer move to the company’s board where he will serve as its vice chair. Zimmer’s last day as president will be June 30th.

Green and Zimmer founded Lyft in 2012 and successfully took the company public in 2019. Since its IPO, however, the value of Lyft’s stock has dropped dramatically. Following an initial high of $78.29 per share in 2019, the stock hit a record low of $9.60 per share earlier today. On February 9th, the day Lyft announced its Q4 2022 results, the stock shed 36 percent of its value after Green delivered what was widely considered one of the worst earnings calls in recent memory, telling investors the company would need to increase spending to stay competitive with Uber. To say Lyft’s new CEO has his work cut out for him would be an understatement. The company has never reported a profit, and, barring a surprise breakthrough in autonomous driving, it has a difficult path ahead due to the economics of ride-sharing. Still, Risher is definitely qualified to turn Lyft around having previously served as Amazon’s first head of product and head of US retail.

In February, Fitbit announced it would sunset open groups, adventures and challenges on March 27th. That day has arrived, and if you didn’t download your trophies before today, I’m sorry to say you missed your chance to do so. Last month, Fitbit said it was removing those features due to “limited use.”

If you’re a longtime Fitbit user, the demise of open groups, adventures and challenges is likely to come as a shame, particularly since two of them made the platform more social and were widely copied by the company’s competitors. Challenges, for instance, made it possible to motivate your friends and family to hit their daily step count. Meanwhile, open groups were a great way to meet other like-minded users, and there were some groups with hundreds of thousands of active users. Now those are gone.

Apple's long-expected Martin Scorsese movie has a release date — for theaters, that is. The company has revealed that Killers of the Flower Moon will get a wide theatrical release on October 20th following a "limited" run starting October 6th. The company hasn't said when the film will be available to Apple TV+ users, but the streaming launch will come after the theater exclusivity period ends. This is Apple's first movie to get a widescale big-screen debut before going online.

Killers of the Flower Moon is an adaptation of David Grann's namesake book. It covers the fledgling FBI's investigation of murders of Osage Nation members in the early 1920s after the tribe won rights to oil profits on its land. Scorsese both directed the movie and co-wrote it alongside Eric Roth (of Dune and Mank fame). The cast includes more than a few big-name stars and Scorsese favorites, including Robert DeNiro, Leonardo DiCaprio and Lily Gladstone.

Scorsese struck a multi-year deal with Apple in spring 2020 that covered both movie and television projects. While the exact terms aren't clear, Killers reportedly has a budget topping $180 million. The pact came just months after Netflix's Scorsese film, The Irishman, received a massive audience but failed to win any Oscars.

The strategy of releasing a movie in theaters first isn't new. Industry awards like the Oscars frequently require movies to show in theaters before they qualify, and it's no secret that streaming giants like Apple, Amazon and Netflix chase after these awards for the publicity they bring. Apple's CODA was the first streamer to win a Best Picture Oscar, for instance. The scope of this premiere is new to Apple, though, and the company is clearly willing to spend on A-list talent to potentially clinch some statuettes and boost its credibility in Hollywood.

China’s Chang’e 5 rover has found tiny glass beads containing water in an impact crater on the Moon. Samples collected from a 2020 mission found beads with water content as high as 2,000 parts per million (PPM). Given the prevalence of these glass spheres on the lunar surface, there may be enough to provide 71 trillion gallons of water.

Some beads formed when asteroids collided with the Moon millions of years ago, while others came from ancient volcanoes. Scientists believe the water originated from a chemical reaction when hydrogen ions emitted from the sun — transported to the lunar surface from solar winds — combined with oxygen atoms inside the beads. The water-filled beads are tiny, ranging from “tens of micrometers to a few millimeters.” Still, there are enough on the Moon’s surface to (theoretically) supply an estimated 270 trillion kilograms of water — enough to fill 100 million Olympic-sized swimming pools.

However, scientists haven’t yet figured out how to collect them, and they would need to heat them to around 212 degrees Fahrenheit to extract water. Still, they could be a resource for future lunar settlements, where astronauts could use water for drinking, bathing, cooking, cleaning and even producing rocket fuel.

Scientists believe other moons in our Solar System may have similar beads. “Our direct measurements of this surface reservoir of lunar water show that impact glass beads can store substantial quantities of solar wind-derived water on the moon and suggest that impact glass may be water reservoirs on other airless bodies,” the study’s authors wrote. “The presence of water, stored in impact glass beads, is consistent with the remote detection of water at lower-latitude regions of the Moon, Vesta and Mercury. Our findings indicate that the impact glasses on the surface of Solar System airless bodies are capable of storing solar wind-derived water and releasing it to space.”

The glass beads aren’t our first glimpse at water on the Moon. In 2009, NASA crashed a probe into the Cabeus crater that led to water detection; in 2018, NASA found direct evidence of ice deposits in the Moon’s permanently shadowed craters on its north and south poles. NASA and China / Russia plan to put lunar bases at the Moon’s South Pole within the next decade; the competing initiatives both hope to have inhabitable bases ready by the early-to-mid-2030s.