As with many wild and dramatic stories, the tale of Theranos and its former CEO Elizabeth Holmes is getting multiple adaptations. The Jennifer Lawrence-led Bad Blood, which was just snapped up by Apple, will likely get the most attention. (Expect it to get plenty of Oscar love, like Adam McKay's recent films, Vice and The Big Short.) But don't count out Hulu's miniseries, The Dropout. First announced in 2019 with Kate McKinnon as the infamous serial fibber, Elizabeth Holmes, the series will now star Amanda Seyfried when it premieres on March 3rd, 2022.
Hulu
Judging from the first round of pictures, Seyfried certainly captures the wide-eyed magnetism of Holmes. It's also surprising to see the great Naveen Andrews (Lost, Sense8) as Ramesh "Sunny" Balwani, Theranos' former COO and Holmes' former boyfriend. According to Hulu, the series will follow "an unbelievable tale of ambition and fame gone terribly wrong. How did the world’s youngest self-made female billionaire lose it all in the blink of an eye?"
Theranos managed to raise over $700 million from investors due to its seemingly miraculous device, the Edison. It was a blood testing machine that was supposed to test for a wide range of illnesses. But of course, it was all a lie. Reporting from the Wall Street Journal and others revealed that the company's technology never actually worked. Ultimately, the SEC charged Theranos, Holmes and Balwani with "massive fraud."
Alex Gibney's HBO documentary, The Inventor, did a serviceable job of covering the drama around Theranos, and Holmes' unusual mystique. But there's also plenty of ground to cover in a dramatic adaptation.
As the meme goes, the goal of every Twitter user is to avoid being the main character of the day. But if you end up being that unlucky soul, it turns out Twitter is prepared to help you survive the potential trolling onslaught. As Bloomberg reports, the company has developed Project Guardian, an internal list of thousands of accounts who could potentially be attacked by other users. Being on that list fast-tracks any complaints related to those users on Twitter's moderation systems.
While it may sound a bit suspect, the big takeaway from Bloomberg's reporting is that Project Guardian is just a predictive aspect of Twitter's security measures. And unlike Facebook's treatment of VIP's, which has been criticized for allowing celebrities and politicians to break that platform's rules, Twitter's system doesn't necessarily grant more privileges to users.
Project Guardian also includes some well-known athletes, media personalities and politicians, but Yoel Roth, Twitter's head of site integrity, tells Bloomberg that the list doesn't include famous users. As, as we mentioned, it also helps to protect normal people who end up going viral.
“The reason this concept existed is because of the ‘person of the day’ phenomenon,” Roth said. “And on that basis, there are some people who are the ‘person of the day’ most days, and so Project Guardian would be one way to protect them.”
In an ideal world, Twitter would be able to give every user the same amount of security support. But, as Bloomberg notes, the company currently receives too many moderation requests to manage that. Perhaps that's an argument that user safety should be scaled in proportion with user growth. And while Project Guardian helps to protect some users, it's also a smart way for Twitter to squash harassment that could also hurt its own image. You could argue that's true for practically every security measure a social media company takes, though.
This week, Cherlynn and Devindra discuss the significance of Jack Dorsey leaving Twitter. Will the social network thrive, or stumble, after losing its co-founder for a second time? Also, Cherlynn explains what’s up with all of Qualcomm’s new Snapdragon chips for phones, computers and… portable gaming consoles? Is it enough to take on Apple’s M1 chips? Or will Windows once again hold Snapdragon PCs back?
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!
What is Twitter without founder Jack Dorsey? – 1:21
Qualcomm’s Snapdragon 8 Gen 1 chip – 22:38
Updates from the Theranos / Elizabeth Holmes trial – 45:44
Spotify’s Wrapped feature is available this week – 51:41
Working on – 56:18
Pop culture picks – 59:20
Video livestream
Credits Hosts: Cherlynn Low and Devindra Hardawar Producer: Ben Ellman Livestream producers: Julio Barrientos,Luke Brooks Graphics artists: Luke Brooks, Kyle Maack Music: Dale North and Terrence O'Brien
Last year, Apple focused on quarantine life for its App Store Awards. For 2021, it's continuing that concept with a focus on "connection" as its trend of the year — basically, things that brought us together even though we're still dealing with a global pandemic. That trend award was bestowed upon five apps, including familiar names like Bumble and Among Us!. But the niche winners are even more interesting: there's EatOkra, an app that helps you find black-owned restaurants; Canva, which helps anyone create pro-grade designs; and Peanut, a social network focused on connecting women to find support throughout major life events.
You'd probably be surprised by some of the winners for Apple's mainstay categories too: the Apple TV app of the year was the boxing streaming service Dazn, something I've admittedly never heard of. The Apple TV game of the year, Space Marshals 3, also came out of seemingly nowhere. But the strong review scores for both of those apps make it clear that users genuinely enjoy them.
While the App Store Awards are very much a marketing exercise, it's also a useful way to highlight some of the best apps users may have missed. (And I'm sure developers appreciate the recognition, and the aluminum App Store icon they can display on their shelves.) LumaFusion, the best iPad app of the year, makes complex multi-track video editing easy to do with your fingers. And Carrot Weather, the best Apple Watch app, looks like a truly unique watch face.
Apple
Here are the rest of Apple's App Store Awards for 2021:
iPhone app of the year: Toca Life World
Mac App of the year: Craft
iPhone game of the year: League of Legends: Wild Rift
Microsoft isn't ready to backtrack on Windows 11's major design changes yet, but at least it's testing out a few new ways to customize the OS. With the latest Windows 11 Insider build (22509), you can have the revamped Start menu show more pinned apps, or more recommended apps and files, in addition to the default mode which balances the two. That's not a return to the Windows 10 Start menu that some diehard users have been clamoring for, and really, it's unlikely Microsoft will ever relent. Windows 11 prioritizes minimalism, and a busy Start menu filled with all of your apps doesn't really fit that mould.
Microsoft
Among other changes, the Insider build will also bring the date and clock back to the taskbar on additional monitor screens, something that was inexplicably removed in Windows 11. Microsoft notes that tweak isn't going to appear for every Insider user, oddly enough. It's a shame Microsoft isn't exploring more ways to customize the taskbar—losing Window labels has made my desktop cleaner, but harder to navigate compared to Windows 10.
The new Windows 11 Insider build will also it easier to use the Edge web browser while using Narrator, Microsoft's built-in screen reader. You can also expect to see more options moving over from the aging Control Panel, and into the cleaner Settings app. That includes Advanced Sharing settings, like Network Discovery and File/Printer Sharing. You'll also see more details about your printers and scanners within the Settings app.
Since it launched last month, Battlefield 2042has gained a reputation for being a buggy mess, instead of a return to form for the long-running shooter franchise. So it's not too surprising to see EA rush out with a slew of post-launch fixes — let those problems fester too long, and they risk losing dedicated players to Call of Duty and Halo Infinite. With its third update, which arrives on December 2nd, Battlefield 2042 will get over 150 bug fixes, including some some major UI improvements.
You'll be able to more easily see the difference between friends and foes, identify people nearby who you can revive (and vice versa), and also see who needs ammo or health. It'll also take less clicks to prepare your loadout and Plus Menu, and EA has made it easier to determine which attachments you're using. Those aren't groundbreaking changes, to be clear, but they should make the BF 2042 experience smoother when you're in the heat of battle.
As for other fixes, the new update should make matchmaking more reliable (especially when it comes to crossplay between platforms); make it easier to tell when enemies are firing at you; and menus should be a lot smoother. Looking ahead, EA says next week it'll start launching Weekly Missions, which will give you XP as you complete them. You know, like very other shooter these days. You can expect to see a cosmetic reward if you plow through all of your challenges.
When Spotify announced its stripped down Car View mode in 2019, it seemed like a smart way to prevent drivers from being distracted on the road. Whenever you connected to your car over Bluetooth, it would remove extraneous elements like menu buttons and album art. Instead, it gave you large buttons to pause and play music; jump to the previous or next track; or like a specific song. Nifty! But hope you didn't get too attached, as Spotify has confirmed it's "retiring" the feature, according to a recent support thread (via Android Police).
A Spotify moderator, who was replying to a user who noticed the feature had disappeared from his Android app, noted that Spotify is "actively exploring a variety of new ways to deliver the best in-car listening experience." They added that removing car view is necessary to "make way for new innovations." That's reasonable enough, though it doesn't excuse dumping a genuinely useful safety feature without a clear replacement.
The moderator suggested using Google Assistant (or Siri on iOS) to control Spotify hands-free, something that would also work while navigating with Google or Apple Maps. And, to be fair, that's how many people (including myself) end up controlling tunes on the road.
It could be that Spotify is de-prioritizing Car View simply because there are so many other ways to handle music playback in cars. If you've got a modern car with CarPlay or Android Auto support, you'll only be interacting with your in-dash display and will never see Car View in action. Many vehicles made in the last decade also have some sort of media control on their steering wheels.
Billy Steele/Engadget
Of course, there's a more nefarious objective, as some Spotify users mentioned in the forum thread. It could be that the company is trying to push people towards Car Thing, its $80 display accessory. We found it to be a useful upgrade for older cars, but it also seemed superfluous when you could just mount your phone and control Spotify directly. Without Car View mode, though, that strange gadget all of a sudden seems more helpful. In cases like this, though, the simplest explanation usually comes down to companies realizing certain features aren't being used much.
We've reached out to Spotify for a full explanation about Car View's retirement, and will update when we hear back.
Cowboy Bebop was like nothing else when it premiered twenty years ago. It was a neo-Western set in space; a noir thriller alongside the spectacle of martial arts action and John Woo-esque shootouts; an existential vision of a broken future where characters were forced to live with their shattered pasts. And on top of all of that, it was propelled by an iconic soundtrack that easily danced between genres. We didn't have much time in the Bebop-verse — just 26 episodes and a movie — so every second felt like a miracle. How could a live-action Netflix adaptation live up to that?
Simply put, it doesn't. While the original show was a love letter to cinema and pop culture, crafted by a creative dream team (director Shinichiro Watanabe, writer Keiko Nobumoto and composer Yoko Kanno), Netflix's remix is mainly in love with Cowboy Bebop. It wants to remind us of the anime, so much so that it replicates many iconic sequences shot-for-shot, but it doesn't latch onto what made it so special. It hums the melody, but has no soul. It's a hollow tune that's common to nostalgia-focused reboots, like Star Wars: The Force Awakens and Ghostbusters: Afterlife, and it almost always holds them back.
By almost every measure, I should hate Netflix's Cowboy Bebop with a passion. But, it's a testament to the talented actors involved that I don't. John Cho wouldn't be my first choice to play the impossibly cool Spike Spiegel (that would be Sung Kang, Fast and Furious's swagger king Han), but he makes a serious effort to replicate his charm. Mustafa Shakir easily carries Jet Black's irascible yet lovable nature. And Daniella Pineda's Faye Valentine is an absolute scene stealer.
But this talented group is failed by a confounding production, which often looks worse than a cheap Doctor Who episode. Some sets appear to be made out of cardboard and spray paint, nothing conveys the lived-in aesthetic the anime captured so well. There are flashes of visual brilliance, to be clear, but that mainly comes from digital effects that often replicate shots from the original series. At times, Bebop wants to replicate the live-action cartoon aesthetic from the Wachowski's under-rated Speed Racer. Then, at other times, it will just have a bright neon "PORN" sign in the background, as if that's enough to convey the seediness of a neighborhood.
Geoffrey Short/Netflix
So where did everything start going wrong? As with most nostalgia reboots, it usually comes down to the writing. Netflix's Cowboy Bebop was developed by Christopher Yost (Thor: Ragnarok, Star Wars Rebels) and includes genre talents like Javier Grillo-Marxuach (Lost, Charmed). Their combined credits gave me hope that the show would be something more than a copycat of the anime, but instead it's a confusing mishmash of nostalgia worship and superfluous story additions.
Instead of being a mysterious cutthroat assassin, the villain Vicious comes across as a dull Eurotrash gangster. Instead of a haunting past based on the consequences of being overbearingly protective, Jet gets an estranged daughter and a ticked-off ex-wife. And perhaps most damningly, Spike's love interest Julia loses her mystique, and instead becomes another pretty damsel in distress. We've seen all of these storylines before, so instead of feeling like "a new genre unto itself," the bold proclamation the anime made in the middle of every episode, it all just feels like "been there, done that."
That's the same vibe I got while watching Ghostbusters: Afterlife. It starts out as an intriguing portrait of a struggling family, but eventually becomes bogged down by replicating almost every plot beat from the first Ghostbusters. It's still a fun and enjoyable film, but it's reverence for the past clearly prevented it from doing anything truly new. Watching that movie and Cowboy Bebop over the weekend made me genuinely worried about the future of pop culture. Are we just doomed to repeat the past, over and over again, to appease the fans?
Now, here's the thing: Despite all of the ways Cowboy Bebop fundamentally misunderstands its source material, it still ends up being a decently enjoyable sci-fi romp. And if you don't know what you're missing, it's easy to overlook the flaws as you soak in the talent of the cast, the strange yet familiar future filled with terraformed moons and planets, and the catchy Yoko Kanno tunes.
My one faint hope is that viewers who enjoy the live-action series will also check out the anime, which is also available on Netflix. I'm all for new viewers finding ways into existing properties. I just wish that didn't involve watering down classics to make them more palatable.
Next year's Sundance Film Festival will mark a momentous return to Park City, Utah, after in-person festivities were cancelled last year. But Sundance isn't giving up on the digital platforms it used to stream films and bring cinephiles into a VR social hub last January. As part of its New Frontier exhibition, Sundance plans to expand The Spaceship, its virtual venue where attendees can chat together and explore VR and mixed reality art installations.
In an effort to connect Sundance's in-person attendees with its global online audience, the Festival will also launch a "Biodigital Bridge" in Park City. Shari Frilot, Sundance's Senior Programmer and Chief Curator of New Frontier, describes it as a human-scale screen where physical and digital attendees will be able to interact with each other. Developed together with the immersive studio Active Theory, the bridge will offer basic chat support, but it's mostly a way for Sundance-goers to see how other attendees enjoy the event.
Sundance New Frontier curator Shari Frilot.
Sundance Film Festival
Frilot says New Frontier has been pushing the concept of biodigital experiences for several years now, mostly through an exploration of how technology can intersect with our lives. Think of the way that an app like Uber, or even Google Maps, has reshaped the way we navigate physical spaces. But now that the pandemic has forced us to rely on our tech more than ever — Sundance wouldn't have been possible without it last year, after all — the term seems practically prescient. It's more than just a buzzword: Frilot says she's interested in exploring the technology that best serves humanity, or Team Human, as media theorist Douglas Rushkoff put it.
Last year, I found Sundance's online platform last year to be a fascinating way to explore the festival and interact with fans. The core of the experience is the aforementioned Spaceship, which allows attendees on computers and VR headsets to mull about together. On a laptop or desktop, it resembles a stripped down version of Second Life. You walk around as simplistic avatars, and if you choose, you can also flip on your webcam, which fills your avatar's head with a live video feed. Since Sundance's platform is built on WebXR, a way to deliver virtual reality over the web, you can enter that same space in VR by slipping on any headset and visiting Sundance's website.
Sundance Film Festival
Compared to SXSW's VR platform, which looked beautiful but mostly felt like a virtual wasteland, it was clear that Sundance got something right last year. After isolating for most of 2020, being able to see many of my cinephile friends in VR made last year's Sundance feel special. So for next year, Frilot says, the festival is going even further. The Spaceship will be upgraded with a new Cinema House, where attendees on computers and VR headsets can view events livestreamed from Park City, as well as room-scale discussions.
On the ground, Sundance will also have a new space called The Craft, which will let in-person attendees visit New Frontier exhibits, artist discussions and panels. There will also be VR headsets to use, though the festival is also encouraging people to bring their own gear if they've got it. Sundance hasn't finalized its list of New Frontier exhibits yet, but Frilot tells me many artists are optimizing for the Oculus Quest 2, so fest-goers can experience their work without being connected to a PC. But there will likely still be pieces that demand a serious VR rig. Sundance's famed Egyptian theater will also host some New Frontier performances, which will occur both on the ground and virtually on the Spaceship.
You'll need a $50 Sundance Explorer Pass to access all of these virtual goodies, which is double what it cost last year. It's a shame to see the price jump so quickly, but it's also reflective of the deeper commitment the festival is making in its digital platforms. Notably, the Explorer Pass is also open to people around the world, whereas Sundance's virtual screenings are limited to U.S. attendees.
"[The virtual platform] is not just this thing that we're trying, we're actually doubling down on this," Frilot says. "This points to the vital landscape of how cinema and storytelling is going to manifest [going forward]. We're here to not only contribute to it, but to meet it and support it."
This week, Cherlynn and Devindra are joined by Engadget’s Jessica Conditt to dive into the latest controversy around Activision Blizzard CEO Bobby Kotick. According to a recent Wall Street Journal report, he was well aware of sexual misconduct allegations at the company, and he deliberately kept Activision's board in the dark. Also, we chat about what Apple’s self service program means for you, as well as a new accessibility gadget that brings eye tracking to the iPad.
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!
Credits Hosts: Cherlynn Low and Devindra Hardawar Guest: Jessica Conditt Producer: Ben Ellman Livestream producers: Julio Barrientos,Luke Brooks Graphics artists: Luke Brooks, Kyle Maack Music: Dale North and Terrence O'Brien
