The AI news just won’t stop! This week, Cherlynn and Devindra discuss the latest on Bing AI – Microsoft is loosening up some recent restrictions, following reports of its bad behavior – as well as the rise of ChatGPT stories on the Kindle store. Spotify is also launching its own AI DJ, starring the digitized voice of one of its current hosts. In other news, we discuss Microsoft’s recent agreements with NVIDIA and Nintendo, which could warm regulators towards approving its Activision Blizzard acquisition.
Listen below or subscribe on your podcast app of choice. If you've got suggestions or topics you'd like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcasts, the Morning After and Engadget News!
After the Microsoft and Google announcements, AI is suddenly everywhere – 1:17
Microsoft tries to win over regulators by putting Xbox games on GeForce Now – 26:29
Glucose monitoring on the Apple Watch could be coming soon – 28:16
Twitter limits SMS two-factor authentication to Blue users – 30:43
Amazon’s acquisition of One Medical is finished, regulators are still curious – 35:31
No Man’s Sky Fractal VR update is out just in time for PS VR 2 – 39:04
Working on – 42:58
Pop culture picks – 46:10
Livestream
Credits Hosts: Cherlynn Low and Devindra Hardawar Producer: Ben Ellman Music: Dale North and Terrence O'Brien Livestream producers: Julio Barrientos Graphic artists: Luke Brooks
Early on in Ant-Man and the Wasp: Quantumania, our hero Scott Lang (Paul Rudd) and his daughter Cassie (Kathryn Newton) are warped into a quantum-level universe. It’s filled with alien biology and vistas that wouldn't be out of place on distant planets. But while that sounds like the perfect setup for a fun sci-fi romp, I never bought it. And, unfortunately, the actors didn't appear to buy it either. The backgrounds looked like psychedelic screensavers, and, similar to the Star Wars prequels, there was an uncanny disconnect between the live humans and their mostly digital surroundings.
I found the aesthetic so viscerally ugly, it made me fear for the future of the Marvel Cinematic Universe, and for anything else made with ILM's StageCraft technology (AKA “the volume”). That realization surprised me, since I've mostly enjoyed how that tech helped make The Mandalorian's unique worlds come alive. The volume is a series of enormous LED walls that can display real time footage. Together with interactive lighting, it makes actors seem like they’re actually walking around artificial environments. Another plus? It also helps the lighting look far more realistic, something that was particularly noticeable on Mando's polished armor.
So what the hell happened to Quantumania? Its artificiality seems partially intentional, as it's trying to evoke pulp fantasy and even a bit of Star Wars. But somewhere along the line, director Peyton Reed forgot to ground its fantastical visuals with anything resembling human emotion. When Ant-Man, his daughter, or their tiny-tech compatriots, Hank Pym (Michael Douglass) and Janet Van Dyne (Michelle Pfeiffer), enter the Quantum Realm, there's little room for awe and wonder. Sure, they occasionally quip about something weird: buildings that move! An alien intrigued by body holes! But we quickly move onto a rote sci-fi tale of rebellion against an evil conqueror (in this case it's Kang, played by Jonathan Majors.)
Vulture’s Bilge Ebiri, who calls the film “a cry for help,” succinctly describes why Quantumania falls flat: “The action is tired, the universe unconvincing, and nobody on screen looks like they want to be there. They don’t even look like they know where there is.”
Marvel
Clearly, we can't blame”the volume” for all of the film's faults, it's just another tool in a director's kit. In an interview with Collider, Reed said that he wasn't sure if the technology would work out for Quantumania, but eventually he found it to be "great for certain environments, but not necessarily right for other ones." He later added "There are limitations to it [the volume], and we push that system to its limit on this movie... What works so well in Mandalorian is they have a lot of lead time, because they're doing a whole series, to invest and create these environments, and on the schedule we were on, it's not always right for that situation."
Several anonymous VFX workers told Vulturethat Quantumania’s hectic production schedule was one reason its computer generated worlds fall so flat. The higher-profile Black Panther sequel, Wakanda Forever, was a higher priority for Marvel (no surprise when that first movie made over $1.3 billion globally) when it came to VFX work. And there were apparently late-stage changes to Quantumania that led to some rushed work – though it’s worth noting that isn’t unusual for a major Marvel film.
“Making big pivots late in the game has consequences, and there is a constant scramble from the VFX houses to keep up,” a former VFX worker told Engadget. (They requested anonymity due to confidentiality agreements around their work.] “And near the end, it's almost always a disaster. Lots of miracles. Lots of clever solutions, not based on heightening the art, but just being able to do a week’s worth of work in 24 hours.”
While watching Quantumania, I couldn't help but compare it to Avatar: The Way of Water, another big-budget science fiction epic that brings us to another alien, almost completely computer-generated world. That film goes even further than Ant-Man, since almost every scene involves actors playing CG Na’vi characters, one or two humans and elaborate sets. But I never once doubted the reality of The Way of Water.
You could tell that director James Cameron has actually been thinking about the world of Pandora for over a decade, so he has a strong vision of how the Na'vi are supposed to interact with their animal companions, or how a soulless corporation may view a pristine planet as a way to make more revenue. With Quantumania, there's no clear sense of why that sub-atomic universe is special, or why Kang may want to rule it. We might as well be watching a lesser Star Wars movie.
Marvel
Perhaps that's why the volume rubbed me the wrong way this time around. When you have a stronger grasp of character and story, as The Mandalorian (mostly) demonstrated, it can help to make the entire experience feel more epic. But if your narrative is dull and unfocused, the volume can easily heighten its flaws. There's room to do something truly special with the idea of a sub-atomic universe, the sort of thing screenwriter Jeff Loveness frequently did on Rick and Morty.
In the end, though, Quantumania feels like an episode of that show stretched out to two hours, and molded to fit the plot machinations of the MCU. Any enjoyment I had while watching it was instantly warped to the quantum realm when it was over.
The PlayStation VR2 is here, and it’s mostly great! But its high price and limited library make it hard to recommend for many gamers. This week, Devindra and Nathan Ingraham dive into our review of the PS VR2, and why our feelings about it are sort of complicated. Also, we discuss why Bing’s AI search is catching a bad attitude, and what Microsoft has to say about it. And be sure to stay tuned for our thoughts on HBO’s The Last of Us as we reach the middle of its first season.
Listen below or subscribe on your podcast app of choice. If you've got suggestions or topics you'd like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcasts, the Morning After and Engadget News!
Playstation VR2 review: a great headset that should be cheaper – 1:30
Microsoft apologizes for strange problems with Bing’s ChatGPT service – 23:43
This week in Twitter mess: Elon takes over your main feed – 41:47
Around Engadget: Oppo Find M2 foldable review – 44:35
Pop culture picks (with minor spoilers for The Last of Us) – 50:47
Last of Us spoilers end – 1:01:15
Livestream
Credits Hosts: Devindra Hardawar and Nathan Ingraham Producer: Ben Ellman Music: Dale North and Terrence O'Brien Livestream producers: Julio Barrientos Graphic artists: Luke Brooks
The PlayStation VR 2 is the virtual reality upgrade console gamers have been waiting for — but is it really worth $550? That depends on how much you need high quality VR.
The virtual reality landscape looks completely different today than it did in 2016. The original PlayStation VR arrived amid the peak of the VR hype, which kicked off with the Oculus Rift and HTC Vive. While they weren't perfect, wearing any of those devices was like shoving your eyeballs right into the next major leap for computing. And if VR took off, it was only a matter of time until we were all wearing augmented reality glasses. Clearly, that hasn't happened.
Now that much of the initial excitement around VR has fizzled out, the PlayStation VR2 is more of a curiosity than a must-have gadget. It has all of the specs you'd want from a next-generation headset, but it also costs more than the PlayStation 5 itself. Sony says more than 30 games will be available during the PS VR2's launch window, but who knows how well it'll be supported over the next few years.
And really, what's the point of a pricey tethered headset when the Meta Quest 2 gets you completely wireless VR (albeit of much lower quality) for $399? No matter how you look at it, the PSVR2 is a tough sell. And yet, I can't help but be impressed by it. The PS VR 2 packs in the best of high-end PC VR, including innovative features like eye tracking, as well as something we've never seen before: Haptics for your head!
Before we get to that though, let's take a look at the PS VR2 itself. At first glance, it seems like an evolved form of the original, with a design that's more reminiscent of the PS5. Instead of a bulbous Fisher Price-esque toy, the PS VR2 actually looks like something built with artistic ambition. (Get ready to roll your eyes when it's highlighted at MOMA.) Sure, it's still made of plastic, but at least it's good plastic, the same stuff used for the PS5's exterior shell and the DualSense controllers.
Devindra Hardawar/Engadget
I also didn't mind the plastic much since the PS VR2's internal hardware is such a massive upgrade. It features dual 2K OLED screens, which effectively deliver a 4K image. The field of view has also been bumped up to 110 degrees, putting it on-par with most other high-end VR headsets. While the displays still offer 90Hz or 120Hz refresh rates, in my experience everything just looks smoother thanks to the PS5's additional horsepower.
Up front, you'll find four sensors that track the headset and its new Sense controllers. Thanks to these "inside out" sensors, which are also found on the Meta Quest and many other headsets, the PS VR2 doesn't require a PlayStation camera to track its movement like before. Along the top, there's a button to extend the front half of the headset, as well as a dial to adjust the pupillary distance. It does so by physically moving the lenses to match the distance between your eyes, something that was sorely missing from Sony's first headset.
Devindra Hardawar/Engadget
At the bottom of the PS VR2 there's a small microphone, power button and selection button. To get audio, you'll have to plug in the bundled earbuds along the back of the headset. There's nothing stopping you from using your own headphones or earbuds, but the cable situation would likely be a mess.
As for securing the PS VR2 to your head, I was happy to find that Sony didn't really change much from the incredibly comfortable first model. The PS VR2 features plush cushioning for your forehead, as well as a thicker cushion that sits behind your skull. Clicking the dial on the rear extends the arms of the headset, and like before, you secure it by twisting the dial. Together with its impeccably balanced design and light weight, the PS VR2 is a dream to wear. I only wish the headset flipped up like those forgotten Windows Mixed Reality devices – that would have made it far easier to slip on and off.
Still, I'm happy that Sony listened to the many criticisms of the Move wand controllers on the original PS VR. The new Sense controllers are actually purpose built for virtual reality – they're practically a carbon copy of Meta's Quest controllers, with a large tracking ring, analog sticks, two face buttons, triggers and grip buttons. Both remotes have haptic feedback, PlayStation buttons, and they also split the sharing and option buttons found on the DualSense. Overall they're a huge step up, though it would be nice if they were easier to put on when you're stuck in VR. It's hard to tell which controller is which, and their elaborate design makes it tough to get your fingers in the right places.
Devindra Hardawar/Engadget
Every time I was frustrated with those controllers, though, I took a breath and appreciated what Sony got right. The setup process for the PS VR2, for example, is vastly simpler than the previous model. Now all you need to do is plug in a single USB-C cable into the front of your PS5 to get the headset going. You're still dealing with a nearly 15-foot cable, but at least it doesn't involve an additional breakout box and camera.
After pairing my Sense controllers with my PS5, I stepped through the familiar process of scanning my space and measuring the floor by lowering my controllers down. The PS VR2 did an impressive job of recognizing the safe play space I had in my basement, but I also appreciated being able to tweak specific sections to my liking. As with every other VR headset, you can choose to play games while sitting or standing up. I enjoyed both positions, but intensive games like Horizon VR: Call of the Mountain benefit from having more room. It's easier to feel like a post-apocalyptic warrior when you're actually breaking a sweat.
Horizon VR ended up being the perfect game to show off everything the new headset could do. From the start, the PS VR2's screens astounded me with rich color and a wonderful level of contrast. You can chalk that up to the power of OLED displays. I'm no stranger to the elaborately detailed environments of the Horizon games, but scaling cliff sides and peering down mountains in VR is another matter entirely. Horizon VR taps into the headset's eye tracking sensors for choosing menu options, and it also uses that feature for foveated rendering, which concentrates the PS5's power on the things you're looking at.
As I ogled the game's robotic wildlife, I was also surprised to find the PS VR2 rumbling around my head. I forgot that Sony was actually bringing haptics to the headset, and my first experience with that practically had me jumping out of my seat. Now I've tested tons of VR headsets, many with far better screens than the PS VR2. But none of them shook me to my core in the same way. Headset haptics could be abused down the line, but right now many developers are trying to use it tastefully.
The opening scenes of Jurassic World Aftermath, for example, hit a lot differently with a vibrating headset. Within the first few minutes, you encounter a pterodactyl attack, plane crash and a hungry T-Rex. And every time a dinosaur roared, it vibrated through my skull. You can, of course, turn off headset haptics if you want. But personally, I can't wait to see how new games take advantage of it. It's almost like feeling the DualSense controllers for the first time – we've all experienced haptics before, but Sony is doing it in entirely new ways.
Devindra Hardawar/Engadget
The company's tracking technology also feels more mature than what I've seen from the Meta Quest 2 and Quest Pro. It rarely runs into hiccups, something I saw frequently with the first PS VR. The new inside out tracking system handled fast-paced games like Rez Infinite without any issues, and it also proved to be great with titles that required fine movement, like Tentacular. That game puts you in the role of a giant tentacle monster tasked with odd jobs like demolishing buildings or collecting enormous shipping containers. Having tentacle arms is tough – trying to manage them with glitchy motion tracking would be even tougher.
Sony knows how to make a good controller, so it's no surprise that the new Sense VR devices both feel great, even for lengthy play sessions. They typically lasted for around four hours, so I'd recommend investing in the $50 charging bay to keep the topped up. Otherwise, you'll have to remember to plug them into USB-C cables.
When you're not gaming, the PS VR2 also makes for a great personal cinema, something that could be useful if you're forced to share a living room TV. The headset makes video appear as if you're a few feet away from a 100-inch screen, so it's far more immersive than most televisions. I was able to kick back and comfortably enjoy some YouTube videos, Netflix shows and Blu-rays. This wouldn't be my first choice for binge watching anything (it's tough to eat or drink while plugged into VR) but it's great if you don't have space for a projector screen.
Devindra Hardawar/Engadget
As much as I enjoyed my time with the PS VR2, playing many of these games felt like being thrown back in time. Seriously, I'll play Rez Infinite at every given opportunity, and it looks dramatically better on the new headset. But fundamentally, it's the same game that was released back in 2016 on the PS4 (itself a remake of the original 2001 title). And really, that's the story of many games coming to the PS VR2. Tentacular is a blast, but it arrived on the Quest 2 last year, and the Jurassic World game is even older. Perhaps upcoming VR releases, like Grand Turismo 7 and Resident Evil Village, will make a better case for Sony's new headset. Right now, though, it feels like it's arriving several years too late.
And then there's the price. Asking gamers to spend $550 on an accessory just feels like punishment after they shelled out almost the same amount on the PS5 itself. The original PS VR cost $500 if you bought the camera and controller bundle, but its base price was $400 if you already had those accessories. If Sony actually wanted to push VR adoption to new heights, rather than extract every cent of profit possible, the PS VR2 should have been $400 or less. It's particularly tough to stomach now with the $400 Meta Quest 2 around (and don't forget it used to be $300 before Meta bumped its price up). But hey, at least the PS VR2 feels like a better deal than the $1,500 Meta Quest Pro.
Devindra Hardawar/Engadget
I'm sure the PlayStation VR2 will come down in price eventually, but it seems like Sony is bungling what should be an important launch. Right now, it feels more like the PlayStation Vita than any other Sony product — an innovative device that the company just doesn't know how to handle. I'm also hoping Sony considers PC compatibility eventually, as that could help to justify its higher price. (I won't be surprised if third-party drivers arrive soon, though pairing the controllers may be an issue.)
If you're a PS5 owner that's been dying to see what PC VR enthusiasts have been enjoying for the past few years, the PSVR2 is exactly what you've been waiting for. Everyone else should just sit tight until the price drops and more new games arrive. And if the VR industry continues its current downward trajectory, that discount may happen sooner than you think.
Since the Mac mini's debut in 2005, it's been Apple's affordable small form factor trooper. Need something cheap to pair with an old monitor? Just get the Mac mini! Want to start a low-power media server, or a computer right near your TV? Mini, baby. The line has had its share of ups and downs — the 2014 refresh was criticized for replacing a quad-core model with a dual-core chip, the 2018 update had notoriously weak graphics — but it made a full recovery with the M1-powered model in 2021.
This year, though, the Mac mini is different. The $599 model remains an entry-level champ, especially since it's $100 less than the M1 version (maybe we'll see the $499 option return eventually). But you can also pay over double that — $1,299! — for a Mini with a slightly stripped down M2 Pro chip and 16GB of RAM. That might have sounded crazy a few years ago, but now it sits neatly into Apple's desktop ecosystem. Not all creatives need the power of a $1,999 Mac Studio with an M1 Max, but those same folks may feel limited by the base M2 chip. At last, there's a mighty Mini to serve them. (And no, the now-dead $1,099 Intel model never really filled that role.)
Just like with Apple's new MacBook Pros, the Mac mini doesn't look any different than before. It's still a squat little aluminum box with a ton of ports on the back, and a slightly raised black base underneath to allow for airflow. The $599 model features an M2 chip with eight CPU cores, 10 graphics cores, 8GB of RAM and 256GB of storage — that's about as basic as you can get with PC hardware these days. The $1,299 M2 Pro Mini offers 10 CPU cores, 16 GPU cores, 16GB of RAM and a 512GB SSD. For an additional $300, you can also upgrade to the full-powered M2 Pro chip with a 12-core CPU and 19-core GPU (but that's probably not a wise idea, as I'll discuss later).
On the rear, the base Mac mini offers two Thunderbolt 4 USB-C connections, HDMI 2.0 (with 4K 240Hz and 8K 60Hz output), two USB-A ports, a headphone jack and gigabit Ethernet (upgradeable to 10 gigabit). The M2 Pro model adds two additional USB-C ports, making it even more useful for creatives with a ton of accessories.
Devindra Hardawar/Engadget
Most striking about the Mac mini is its combination of simplicity and functionality. Unlike the taller and more domineering Mac Studio, the Mini is meant to disappear into your desk, a sliver of power that doesn't need to be seen. That could be a bad thing if you need to access its rear ports frequently, though. The Studio, in comparison, offers two USB-C ports and an SD card slot up front. You'll need a separate adapter to use SD cards with the Mini — a cheap fix, but one that also leads to more desk clutter.
Our review model, which featured the pricier 12-core M2 Pro chip, performed as well as I expected. It's slower than the M2 Max in the 14-inch MacBook Pro in GeekBench's CPU benchmark, but it also beats the M1 Max in the Mac Studio. The M1 Ultra-equipped Studio is far faster, not surprisingly, because that's essentially two M1 Max chips joined together. What's most important for some creatives though is its potential rendering performance. The Mac Mini scored 2,000 points higher than the M1 Max Studio in the Cinebench R23 benchmark, and it was on-par with the MacBook Pro 14-inch with M2 Max.
None
Geekbench 5 CPU
Geekbench 5 Compute
Cinebench R23
3DMark Wildlife Extreme
Apple Mac Mini (Apple M2 Pro, 2022)
1,826/13,155
43,241
1,647/14,598
12,769
Apple MacBook Pro 14-inch (Apple M2 Max, 2023)
1,970/15,338
71,583
1,603/14,725
18 ,487
Apple MacBook Pro 13-inch, (Apple M2, 2022)
1,938/8,984
27,304
1,583/8,719
6,767
Apple Mac Studio (Apple M1 Max)
1,715/12,642
61,412
1,534/12,314
10,017
Apple Mac Studio (Apple M1 Ultra)
1,785/23,942
85,800
1,537/24,078
10,020
In a more practical test, the Mac Mini transcoded a minute-long 4K clip into 1080p in 37 seconds with pure CPU power using Handbrake — the same job took 32 seconds with the GPU. Both figures narrowly surpassed the M1 Max Studio, which took 43 seconds with a CPU encode and 34 seconds using the GPU.
Beyond benchmarks, the Mac Mini was an absolute dream for my typical workflow (dealing with dozens of browser tabs, batch image processing, and practically every chat app out there). But I’d expect a similar result from the $599 model, so long as I cut down on demanding browsers to survive with 8GB of RAM. The computer remains a solid entry for mainstream users, and it’s potentially a great home theater PC if you wanted something more customizable than an Apple TV.
As I tested the Mac Mini, I started to wonder if it was even worth having a giant mid-tower PC as my daily driver. Realistically, though, I could never become a fulltime Mac guy because I like games. There are a few modern titles like Resident Evil Village that natively support Macs, but there simply aren’t enough titles out there. That game, by the way, easily reached 60fps while playing in 1,440p on the Mac Mini.
To reiterate, though, you'd have to pay $1,599 for the upgraded M2 Pro to get the same performance figures. I didn't have the slower Mac Pro model to compare it to, but based on what we're seeing with Apple's M2 chips, it would still be a noticeable step up from comparable M1 hardware. Stepping back a bit, I can’t help but think that the $1,299 M2 Pro Mini makes more sense for creatives. If you upgraded our review model to 32GB of RAM, it would come to the same $1,999 as the base Mac Studio. And given that the Studio is almost a year old, it's due for an M2 refresh in the coming months.
Devindra Hardawar/Engadget
My advice? Get the $1,299 Mac mini if you're looking for a beefier Mac desktop, but try to avoid upgrading any hardware if possible. I could see stomaching the $200 upcharge to get 1TB of storage, but spending an additional $400 just to get 32GB of RAM isn't worth it. Apple has always been notorious for expensive upgrades — remember the $999 monitor stand? — let's not encourage them.
Apple might as well have just called this computer the Mac mini Pro – but I can see how that would have been confusing. Now the Mini exists in two forms: A cheap computer for most people, and a secret powerhouse for creators. It’s close to being the ideal small-form factor PC, if only it didn’t cost so much to get more RAM.
We’ve finally got new gadgets to review! This week, Cherlynn, Devindra and Engadget’s Sam Rutherford dive into the new 14-inch MacBook Pro with an M2 Max chip. Sure, it looks the same as before, but demanding users may appreciate the performance bump. Also, they discuss where the new M2 Pro-powered Mac Mini fits into Apple’s lineup. And of course, Cherlynn and Sam update us on everything they expect from Samsung’s Unpacked event next week. We’ll get the Galaxy S23, naturally, but rumors also point to new computers too.
Listen below or subscribe on your podcast app of choice. If you've got suggestions or topics you'd like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcasts, the Morning After and Engadget News!
MacBook Pro M2 Max review and Mac mini thoughts – 1:26
Samsung Unpacked 2023 preview – 13:02
Other news: Hacker leaks 2019 No Fly list – 27:14
Microsoft announces multibillion dollar investment in OpenAI days after layoffs – 33:45
Scientists found a colony of Emperor penguins after tracking poop markings on satellite images – 43:10
Formovie Theater UST projector and LG CineBeam projector reviews – 47:30
Ayaneo 2 handheld review: Like a Steam Deck, but fancier – 59:00
Pop culture picks – 1:06:14
Livestream
Credits Hosts: Cherlynn Low and Devindra Hardawar Guest: Sam Rutherford Producer: Ben Ellman Music: Dale North and Terrence O'Brien Livestream producers: Julio Barrientos Graphic artists: Luke Brooks
Minecraft Legends, the unique action-strategy spin on Microsoft's block-building franchise, will arrive on Xbox consoles and PCs on April 18th. Announced last June, the game resembles a modern spin on classic Warcraft strategy: Your goal is to protect your base and destroy your enemy's. It'll feature online campaign co-op and competitive multiplayer, as you'd expect. And judging from the most recent trailer, it looks compelling enough to tempt over gamers who could never figure out what to do in the original Minecraft.
Senator Joe Manchin, chairman of the Senate Energy and Natural Resources Committee, has introduced a new bill that squashes a small loophole around the Inflation Reduction Act's (IRA) $7,500 EV tax credit. The new credits are restricted to cars with final assembly in the US, as well as those with a certain amount of North American battery content (an amount that increases every year). But, the U.S. Treasury has delayed its final rules on battery guidance until March, which means EVs with foreign batteries can still receive the full $7,500 in credits until then. Manchin's legislation, dubbed the American Vehicle Security Act (AVSA), would push the battery requirement back to January 1st.
“It is unacceptable that the U.S. Treasury has failed to issue updated guidance for the 30D electric vehicle tax credits and continues to make the full $7,500 credits available without meeting all of the clear requirements included in the Inflation Reduction Act," Manchin wrote a statement. "The Treasury Department failed to meet the statutory deadline of December 31, 2022, to release guidance for the 30D credit and have created an opportunity to circumvent stringent supply chain requirements included in the IRA. The IRA is first-and-foremost an energy security bill, and the EV tax credits were designed to grow domestic manufacturing and reduce our reliance on foreign supply chains for the critical minerals needed to produce EV batteries."
If it's passed, the bill would be disappointing news for anyone who rushed out to buy an EV before March (something plenty of car publications were suggesting). As Autoblog notes, the AVSA doesn't touch on the other IRA loophole, which also allows for the full credit for leased cars built outside of the US. But given Manchin's early obstruction to the IRA, as well as his push against lax battery rules, it wouldn't be surprising to see another bill in the works.
Like many big tech companies, Microsoft is preparing for the worst after announcing plans to lay off 10,000 employees in the upcoming third quarter. It turns out that the company's second quarter was a mixed bag: It earned $52.7 billion in revenue, which was up 2 percent from last year, but a slight miss from the $52.9 billion analysts expected. Profits also fell by 12 percent to $16.4 billion, a trend that may continue throughout the year.
Who wouldn't want a small box that can spit a 120-inch image onto your wall? That's the basic pitch behind 4K ultra short-throw (UST) projectors, which are sometimes called "Laser TVs." They're technically easier to set up than traditional projectors, and unlike large TVs, they don't require a huge footprint. Once you've placed it in front of a screen (or treated wall), you can summon an enormous cinematic image in an instant.
Now after spending a few months with the company's latest UST, the CineBeam HU915QE, I'm even more enamored. It's brighter than its predecessor, reaching up to 3,700 lumens with a 2,00,000:1 contrast ratio, which makes it ideal for daytime viewing and HDR content. (Unfortunately, it doesn't support Dolby Vision, a rare feature we were surprised to see on the Formovie UST.) The new CineBeam can also be pushed even closer to your wall with the ability to spit out a 90-inch 4K image from 2.2-inches away, or a 120-inch image from 7.2-inches. I just wish it was cheaper than $5,000 — with the Formovie unit coming in at thousands less, it's hard to justify LG's premium.
The HU915QE looks similar to most other UST projectors — it's just a large rectangular box — and its design is practically the same as the previous CineBeam. Still, LG gave it enough flair to make it look at home in a classy living room. Its front speaker is covered in cloth, and the entire unit is encased in a solid light gray plastic. (There's also a black model for better nighttime viewing, though that one inexplicably spits out a darker image.) Around back, there are three HDMI ports, 2 USB connections, an optical audio port and Ethernet. It's not exactly heavy, at 26.9 pounds, but you definitely need a wide table or credenza to align it with your screen.
Devindra Hardawar/Engadget
That setup process, by the way, is more annoying than you'd think. Configuring any projector is a pain, as you'll need to place it in just the right spot to fill your screen. With a traditional long- or short-throw projector, you're often able to shift the lens around manually. But configuring a UST like the CineBeam involves finding the exact height and distance from the screen to make everything look perfect. If it gets nudged by even a millimeter, the image will simply look wrong. That makes USTs less than ideal for homes with small children or overzealous pets. (Also, you don't want kids peeking into the projector lens, as it's bright enough to cause serious eye damage. That’s hard to do with a traditional projector, but far too easy when it’s just sitting on the floor)
When I tested the previous CineBeam HU85L, it took me a few hours to find the proper position to work alongside my dropdown projector screen. That involved buying a small table and stacking a few wide boxes to get everything aligned. Even then, I couldn't quite get the image to fill every corner of my screen properly. That's when I learned that dropdown screens aren't ideal for UST projectors (Engadget's Steve Dent also found that small creases in dropdown screens could lead to rippled images). Ultimately, I was able to get the older CineBeam to fill around 98 percent of my 120-inch screen, but I gave up on the dream of having the whole thing covered.
Thankfully, I was able to drop the HU915QE into the exact same spot as the earlier CineBeam. After tweaking the manual focus wheel a bit, it ended up covering the same area of my screen. If you're building your home theater or living room around a UST projector, you'll ideally want to use a tensioned ALR (ambient light rejection) screen. Those are built to block light from everywhere but your projector, which means they'll deliver even better brightness and contrast. If you want to use a UST during the day like a TV, you'll definitely want to push away as much ambient light as possible.
While my setup wasn't ideal, the CineBeam HU915QE still delivered most of what I wanted: A large and luscious dose of cinema in my basement screening room. Almost immediately, I noticed that it produced richer and more vibrant colors than the CineBeam HU85L. Colorful films like Thor Ragnarok looked just fine on the previous projector, but the new model delivered a far bolder dose of cosmic psychedelia. The improved contrast also made the HU915QE better suited for dark scenes, like the spooky nighttime sequences in Nope where you’re trying to make out something floating through the clouds.
The HU915QE is a triple laser projector, relying on red and blue lasers for their respective primary colors, as well as another blue laser shining through a phosphor to create green. That setup works well, but it can only reach 94 percent of the DCI-P3 color gamut. Newer UST projectors with three distinct RGB lasers, like the HiSense PX1-Pro, can reach a wider 107 percent of the BT.2020 gamut. Like many other UST units, the HU915QE relies on pixel shifting to achieve a visible 4K resolution. It has a native resolution of 2,716 x 1,528, which is shifted twice to hit 4K. The result is an image that's sharper than cheaper projectors, which typically have 1080p native resolutions with four-phase shifting.
After spending a few hundred hours watching everything from streaming shows like Midnight Mass, to blockbuster action films like Top Gun: Maverick, I found myself preferring the experience of using the HU915QE compared to trekking out to the theater for many films. And, to be clear, that’s a pretty big deal for a movie lover like me. Even with the COVID-19 pandemic threatening the viability of theaters, I’ve held out hope for a comeback. The strong box office performance of the Top Gun sequel and Avatar: The Way of Water makes me think that there’s still room for the true cinematic experience (though as I write this, Regal is shuttering more locations in the US after its parent company Cineworld declared bankruptcy last September). Those films, as well as the recent Dune adaptation, are so large and bombastic that even a 120-inch home projector can’t fully capture their grandeur. But the HU915QE sure comes close.
Devindra Hardawar/Engadget
Like most projectors, the CineBeam HU915QE isn’t ideal for gaming thanks to its noticeable input lag. Still, I had a great time playing PS5 titles like God of War Ragnarok, Ratchet and Clank: Rift Apart and even the fast-paced Returnal on my giant screen. LG hasn’t issued any latency figures, but some reviews peg the projector’s input lag between 50ms and 67ms. There’s an auto low-latency mode that cuts off extra processing to speed things up, but you obviously won’t be using this thing for lightning-fast competitive gaming. Based on my experience with the 55-inch Samsung Odyssey Ark, though, that’s not something you’d want to do on a gigantic display anyway. Twitch gaming requires smaller screens so you can actually focus on all of the super-fast action.
When it comes to sound, I can’t imagine that anyone buying a $5,000 projector would be relying on built-in speakers, but it may make sense if you just want to avoid extra clutter in your living room. The CineBeam’s 40-watt 2.2 speaker setup sounds good enough for casual viewing – it’s certainly far better than what you’d get on modern TVs. It’s basically a fairly simple soundbar sitting below the projector, but it delivers clear dialogue and some surprisingly boomy bass. Seriously though, look into surround sound systems if you’re actually buying this thing. You deserve it.
Devindra Hardawar/Engadget
While I spent most of my time using an Apple TV 4K, the HU915QE is also powered by LG’s WebOS platform, which offers all of the smart TV apps you’d expect. That’s nice to have, especially if you don’t want to juggle multiple remotes, but I’d wager most home theater fans will stick with their set-top box platform of choice. If you’re used to WebOS from LG’s OLED TVs, you’ll feel right at home with this projector. It even uses the same Magic Remote found on LG’s TVs, which has voice controls and (so-so) motion controls.
As much as I loved the CineBeam HU915QE, it’s not exactly priced competitively against newer entries like the $3,000 Formovie Theater. Sure, that’s not as bright, but at half the price of the CineBeam, that projector delivers Dolby Vision, great sound and excellent image quality thanks to a modern triple-laser setup. You can easily add in an excellent $2,000 surround sound system to match the CineBeam's price . As for other high-end competitors, the HU915QE competes directly with Hisense’s much-lauded L9G, which currently sells for $4,500 to $5,000 depending on the screen you get. Samsung’s Premiere LSP9T triple-laser UST also retailed for $6,500 when it debuted, though it can now be found for around $3,500 at online sellers.
If you’re an LG loyalist, the CineBeam HU915QE is still a very compelling UST projector. It offers enough brightness to use during the day, and it’s vibrant enough in darker rooms to deliver a truly cinematic experience. But it’ll be an even better buy once it comes down in price.
