An appeals court has blocked a $1 billion copyright verdict from 2019 against US internet service provider Cox Communications and ordered a retrial, Arts Technica has reported. A three-judge panel ruled unanimously that Cox didn't profit directly from its users' piracy, rebutting claims from Sony, Universal and Warner. 

The judges did affirm the original jury's finding of willful contributory infringement from the trial, first announced back in 2018. To that effect, they ordered a new damages trial that may reduce the size of the award.

"We reverse the vicarious liability verdict and remand for a new trial on damages because Cox did not profit from its subscribers' acts of infringement, a legal prerequisite for vicarious liability," the panel wrote. It added that "no reasonable jury could find that Cox received a direct financial benefit from its subscribers' infringement of Plaintiffs' copyrights." 

Cox allegedly refused to take "reasonable measures" to fight piracy, according to the original allegations. Internet providers are supposed to terminate the accounts of offending users, but the ISP only conducted temporary disconnections and warned some users more than 100 times. The labels claimed it even instituted a cap on accepted copyright complaints and cut back on anti-piracy staffers.

However, the judges said that Sony offered no causal connection between infringement and higher revenues for Cox. "No evidence suggest that customers chose Cox's Internet service, as opposed to a competitor's, because of any knowledge or expectation about Cox's lenient response to infringement." 

Under the US Digital Millennium Copyright Act (DMCA) and EU rules, ISPs enjoy "safe harbor" protections that shield them from liability for user actions. However, that only holds if they comply with specific requirements and address copyright violations promptly — and in this case, Cox didn't do that, the judges said. 

"The jury saw evidence that Cox knew of specific instances of repeat copyright infringement occurring on its network, that Cox traced those instances to specific users, and that Cox chose to continue providing monthly Internet access to those users... because it wanted to avoid losing revenue," the ruling states. The case is now headed back to a US District court.

If you’re a content creator or YouTuber, camera companies increasingly want your business. Last year was no exception, with several new vlogging-specific models released by Canon, Sony, DJI and others. That means there are now over a dozen on sale, alongside regular mirrorless cameras that also do the job well.

Models specifically designed for vlogging include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 or Canon’s compact PowerShot V10. Others, like the new Panasonic G9 II and last year’s Canon EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.

All of them have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

Walmart is buying Smart TV manufacturer Vizio for $2.3 billion, the US retail giant announced as part of its latest earnings report. While Walmart has long been one of the major sellers of Vizio TVs, the company says the acquisition "enables a profitable advertising business that is rapidly scaling" via the company's SmartCast OS. The deal is still subject to regulatory approval. 

Vizio sells solid mid-range TVs, most equipped with its SmartCast operating system that supports free ad-supported content. The company recently refreshed its lineup with a more intuitive user interface and faster startups and app switching. 

Walmart, meanwhile, prominently features the brand on its shelves (along with TCL), as anyone who has gone there lately has probably noticed. The retailer already has its own TV house brand, ONN, but those sets are very much on the low end, usually selling for under $500. 

More importantly, the companies plan to combine their respective ad businesses. Walmart already has a $2.7 billion ad business, but Vizio would increase its access to key consumer info like viewership data. It would also effectively give Walmart more eyeballs for its ads — for instance, companies that sell goods at Walmart could also run ads on Vizio TVs, all of which could be tracked by the retailer. 

"We believe the combination of these two businesses would be impactful as we redefine the intersection of retail and entertainment," said Walmart VP Seth Dallaire. "Our technology will help bring a scaled, connected TV advertising platform to Walmart Connect," added Vizio CEO William Wang. 

The acquisition may also be a counter to Amazon's in-house Fire TV business, both in terms of television retailing and advertising, as The Wall Street Journal reported last week. Amazon has one of the largest ad businesses in the US behind Alphabet and Meta, and smart TVs help it gather personalized consumer data for targeted advertising. 

Fujifilm's X100V was the toy to have over the last couple of years (thanks, TikTok) and the company has now released its successor, the 40.2-megapixel X100 VI, with large improvements across the board. While keeping the same retro form, it offers much faster shooting speeds, in-body stabilization, 6.2K 30p video and more.

The X100VI looks identical to the previous model, with the same styling and control positions. The series was conceived as a street photography camera, borrowing a lot of styling cues from Leica's famous rangefinder cameras. As such, it doesn't have the world's great ergonomics, but is light at 521 grams, discreet for shooting and can slide into a jacket pocket.

Fujifilm

Fujifilm elected to go with the same 40.2-megapixel (MP) APS-C sensor as the much bigger X-H2, significantly boosting resolution over the X100V. I think that's a wise choice as it gives the camera — which has a wide-angle fixed 23mmm f/2.0 lens (35mm full-frame equivalent) — more cropping options. The price for that is likely a small drop in low-light sensitivity.

Another big new feature on the X100VI is built-in 5-axis stabilization with up to 6 stops of shake reduction. Given the X100VI's small body, it's an unexpected but welcome feature, and will be a big help to street photographers taking candid shots on the fly. 

The X100V keeps the same 3.69-million dot hybrid optical viewfinder and 1.62-million dot LCD display, but the latter now tilts downward an extra 15 degrees to make shooting from above easier. It retains the same battery as before (CIPA rated for 300 shots), and unfortunately, the same slow UHS-I card slot. 

Fujifilm

The X100VI still shoots at 11fps with the mechanical shutter and 20fps in electronic mode, but autofocus is quicker and more capable, according to Fujifilm. It now offers the company's latest tracking and face/eye detection, along with animal/vehicle and other types of subject detection. 

Image quality should be improved as well with the extra resolution and a lower native 125 ISO. And since a lot of the newfound social media popularity of this camera is based on the film simulation modes, the camera comes with 20 built-in, including a new one called Reala Ace, designed to offer "faithful color reproduction and contrast tonality." 

Fujifilm

Finally, one usually doesn't think of video when it comes to this series, but the X100VI is surprisingly capable for a tiny compact. It can shoot 6.2K video at up to 30fps, 4K at 60 fps and 1080p at 240fps. You also get 10-bit F-log and F-Log2 recording, shockingly good for a small, photo-centric camera with a fixed lens. The only downside is relatively low data rates (200Mbps max) due to the slow cards, but you can capture ProRes to an external recorder.

Fujifilm's X100VI is now on pre-order for $1,600 in silver or black, with shipping slated for early March 2024. The company is also offering a special edition version "engraved with the corporate brand logo from Fujifilm's founding in 1934" for $2,000. It has vowed to reduce the long lead times of the previous model by manufacturing it in China like other recent models. 

TikTok is in the EU's crosshairs over potential Digital Services Act (DSA) breaches around the safety of minors and other matters. The formal proceedings will focus on addictive algorithms, the "rabbit hole effect," age verification issues and default privacy settings. The European Commission is also probing ad transparency and data access for researchers, it said in a press release. 

The probe is focusing on the privacy and safety of minors. The Commission will look at the potentially negative aspects of TikTok's design and algorithms, including addictive behavior and "rabbit hole effects" that can lead to harmful content. The assessment aims to "counter potential risks for the exercise of the fundamental right to the person's physical and mental well-being [and] the respect of the rights of the child," the EC wrote. 

As part of that, it's also examining TikTok's age verification tools that are supposed to prevent access by minors to inappropriate content. At the same time, it will force the social media site to ensure high levels of privacy, safety and security for minors with regard to default privacy settings — much as it did for Meta's Instagram and Facebook.

Europe is also looking into TikTok compliance with DSA obligations to "provide a searchable and reliable repository for advertisements." At the same time, it's investigating suspected shortcomings in researcher access to TikTok's publicly accessible data, as required by the DSA. 

After the proceedings open, The Commission will continue to gather evidence. The procedure allows it to take further enforcement steps including interim measures and non-compliance decisions.

TikTok (and parent ByteDance) was already forced to make large changes for EU users to meet the DSA by giving users the choice to not let algorithms power their For You Page (FYP). It also introduced new harmful content reporting options and dropped personalized ads for EU users aged 13 to 17. 

The EU is already investigating TikTok, along with Meta, to determine what they've done to mitigate illegal content and misinformation related to the ongoing violence in the Middle East. In 2022, Meta was hit with a $414 million fine for requiring personalized ads. It's rumored to be introducing a paid tier as a way to allow users to get rid of personalized ads — and TikTok may also be working on such a scheme. Civil rights groups are urging the EU to reject these plans, labelling them "pay for privacy."

After letting rival camera companies catch up for the last few years, Sony laid down a gauntlet with the 24.6-megapixel A9 III. It’s the world’s first mirrorless camera with a global shutter, a much-awaited holy grail feature. It completely eliminates rolling shutter distortion found on CMOS cameras by reading the entire sensor at once. It also boosts speed and removes the need for a mechanical shutter.

As a pioneering product, it’s not cheap at $6,000, but you can expect the technology to come down in price in the future. And there is a downside: Image quality is reduced compared to regular cameras, due to the nature of a global shutter.

Is it worth trading off image quality for extra speed and lack of distortion, especially compared to stacked sensor cameras that are already pretty quick? To find out, me and my pro photographer friends put a final production model through a variety of shooting scenarios.

Body and handling

The A9 III is Sony’s best handling-camera yet, borrowing all the latest features of recent models like the A7R V. It’s very light for a full-frame camera at just 617 grams. And the redesigned grip is more comfortable and secure, which is a big help to working pros, especially with heavy lenses. By comparison, Sony's A1 can be hard on one’s hands over a full day, according to my photographer pals.

There are three top control dials, making it easy to find primary settings in fully manual mode. It has a pair of dual dials, with one for video, photos and S&Q plus shooting modes, and the other controlling burst along with autofocus. You also get a rear joystick, control dial and no less than 5 custom buttons.

With everything well-placed, it’s a cinch to shoot manually. When you do need to delve into the menus, those are also well laid out. Settings are divided logically into categories, while the home menu shows key options (shutter speed, white balance, etc.) at a glance. Everything can be customized, and you can back up your settings to a memory card.

The high-resolution two million dot rear display is of course touch sensitive for focus and menu control. It flips out and tilts up or down to please both photographers and creators. The viewfinder is the best on any camera, with 9.44 million dots at 120Hz, or half that at 240Hz. That level of sharpness makes it easy to check focus and colors. Again, this is Sony flexing its tech muscles as the primary camera EVF supplier.

Battery life is a solid 500 shots, but you can double that with a new $400 vertical grip, which also gives you a better hold of the camera. It has a dual-card slot setup with both SD UHS II and CFexpress. As usual with Sony, the latter is the slower Type A variety, though. Those are less than half the speed of CFexpress type A, but their smaller size allows Sony to do the dual slot setup.

Other key features include headphone and mic ports, with the option to add Sony brand microphones or audio accessories to the hotshoe. There’s also a full-sized HDMI port, USB-C charging port, ethernet, live-streaming capability and more.

Performance

With the global shutter, dual Bionz processors and the same dedicated AI processor found on the A7R V,, Sony’s A9 III is the fastest full-frame camera in the world. Compressed RAW bursts can be shot at an incredible 120 fps with autofocus and auto-exposure, or you can dial that down to 60 fps or 30 fps.

Steve Dent for Engadget

A big caveat is that the 120 fps mode only works with supported Sony lenses, while third-party lenses are all limited to 15 fps. Hopefully the company will address that in a future firmware update.

The buffer holds 200 RAW frames, so it fills up in less than two seconds at maximum speed. It takes longer to clear the buffer than it should due to the CFexpress Type A cards. If you use SD UHS II cards instead, it takes about twice as long to clear.

In any case, shooting at 120 fps is major overkill most of the time unless you like wading through thousands of photos later on. Sony does have a solution, though. You can shoot at, say, a still-very-fast 30 fps, then press the C5 button to enable the top speed at key moments. That way, you’ll get the shot you want without wasting frames.

The A9 III is also the first Sony camera to use a pre-capture mode that saves a second of photos when you half-press the shutter button. After you fully press it, those photos are saved along with any taken after.

Nathanael Charpentier

Your photos will usually be sharp, too. The 759 phase-detect focus points allow for extremely rapid and accurate autofocus in most situations. For regular continuous AF, it can keep up with even the fastest action.

The AI-powered subject detection shines too. Face tracking works with subjects farther away and it follows someone tenaciously, even when they duck behind obstacles. Human tracking is fast and fluid, and you can easily see if it’s locked onto eyes, face or body.

It can detect birds, animals (or both), along with insects, cars and trains. You can also select any distinctive object and the system will usually track it reliably.

The bottom line is that it rarely misses focus, so it’s great for professional sports, wildlife, weddings and more. Of course it’s not infallible and can mix up subjects, but is better than any camera I’ve tried to date.

Nathanael Charpentier

The A9 III has no need for a mechanical shutter because there’s no rolling shutter distortion, meaning you can shoot in complete silence at all times. With that, it’s perfect for sports like golf, as you can shoot a player in mid-swing without disturbing them, and a club in motion won’t be distorted.

It also allows for extremely fast shutter speeds up to 1/80,000th and it can sync with supported flashes all the way up to that speed. It also eliminates the flicker and banding from venue lights, another big aid for sports photographers.

Sony has also improved its in-body stabilization significantly, boosting it to 8 stops with supported lenses. That allows shots down to a quarter second or less, matching Canon’s EOS R3 and besting the Nikon Z9 and Sony’s own A1.

Image quality

As mentioned, the primary issue with this camera is image quality. So is how much does it fall below regular CMOS cameras? To test that, I shot in situations including gymnasiums, night scenes, bird shooting, an airport and more.

There’s no question that dynamic range is reduced compared to Sony cameras like the A1, at least by a stop. The reason is that the sensor has less light capacity due to the space taken up by the extra electronics.

It also has a smaller ISO range, both on the high and low end. Minimum ISO is not great at 250 and at the high end, ISO is limited to 25,600, half that of the A9 II.

In general, there’s more noise and less dynamic range at any given ISO setting than the A9 II. At the same time, the resolution is lower than rivals like the Nikon Z9 and Sony’s own A7R V and A1. So for landscapes, portraits and other types of photography where dynamic range and resolution is important (and speed isn’t), the A9 III isn’t the best choice.

That said, you’d need to pixel peep to notice any major difference in image quality between rival 24-megapixel cameras up to about ISO 6400. For the intended audience of sports, action and wildlife shooters, it’s more than sufficient.

Beyond that, images are noisier, but still usable up to the maximum ISO 25,600 with noise reduction (Sony appears to have more aggressive noise reduction for JPEG images at higher ISOs). I had no difficulty extracting good shots in dark scenes at ISO 6400 or even ISO 12,800. And as mentioned, you have more control with a flash than any other camera on the market – so that’s a solid option in low light.

Otherwise, images are typical for Sony, with accurate colors and skin tones. The 14-bit RAW files are easy to work with and allow some pushing and pulling, particularly in highlights.

Video

Steve Dent for Engadget

Sony took advantage of the global shutter to make the A9 III its most capable mirrorless camera for video. 4K at up to 60 fps is supersampled using the full 6K sensor width, while 4K at 120 fps can also be shot using the full sensor, albeit with pixel binning. That mode supports full 120 fps playback as well, or slower playback modes via the slow and quick (S&Q) setting.

RAW 4K capture at 60 fps is also possible using an external recorder. All of those modes are available with 10-bit S-Log 3 recording to expand dynamic range in challenging lighting conditions.

That’s just the start of the A9 III’s video powers. Autofocus is as fast and accurate in video as stills mode and has all the same AI features. That means you’ll be sure to keep even fast-moving subjects sharp, whether they’re people, birds, animals or vehicles.

Those who prefer to shoot manually can employ Sony’s handy focus map feature. It has the auto-framing seen on previous Sony models like the ZV-E1 that lets YouTubers move around while filming themselves. You also get the digital zoom feature that reduces focus breathing for supported lenses, with some loss of quality.

Steve Dent

Airplane propeller distortion in video is a telltale sign of a rolling shutter camera, so naturally we had to test the A9 III at an airport against Sony’s stacked sensor A1. Our findings? While the A1 still produces bendy propellers, they’re of course dead straight on the A9 III. That trivial test has large implications. You can shoot things like whip pans or a fast moving train that you’d never try with a rolling shutter sensor. And since everything is exposed at once like a film camera, it’s more cinematic.

The A9 III does have some video competition, as RED just launched a pair of full-frame global shutter cinema cameras last month.

It has the same excellent video stabilization capabilities as the ZV-E1. Regular optical stabilization is good for handheld shots without much movement, or you can kick in the dynamic active mode for walking. That provides near gimbal levels of smoothness, though there’s a considerable zoom and loss of sharpness.

Much as with photos, video quality isn’t quite up to other full-frame cameras, with more noise in general. I shot in S-Log3 most of the time to maximize dynamic range and was satisfied with the results. In low light, I was forced to use some noise reduction.

Quality is still better than any APS-C mirrorless or cinema camera. I think the global shutter advantages, particularly the elimination of rolling shutter, will be worth the tradeoff in quality for a large number of videographers.

Wrap-up

Steve Dent for Engadget

Sony launched its first full-frame mirrorless camera, the A7, years before rivals, and was first to market with backside illuminated and stacked sensors. Lately though, rivals (especially Canon) have been catching up and the field has leveled. With the first global shutter camera, Sony has taken a leap ahead once again.

Image quality has held global sensor cameras back, but Sony clearly felt that the time was finally right. It was a wise calculation — the A9 III is far better than I expected for a first-gen product. It offers mind-blowing speeds and incredible video capabilities, with a relatively small cost in image quality..

Its primary rivals are the $4,800 Canon R3, Sony’s own $6,500 A1, the $5,650 Nikon Z9 and $3,800 Z8, all stacked sensor cameras. The latter three offer much higher resolution and better picture quality, plus shooting speeds that are still darn fast. They all have some rolling shutter, though, along with flicker and flash sync issues that don’t exist on the A9 III.

Whether it’s worth risking that kind of money on new and unproven stacked sensor tech depends on the buyer. Action photographers and videographers won’t blink at the cost if they advantages of global shutter will help them make money. Unless you really need those benefits, though, Nikon’s Z9 and Z8, along with Sony’s A1, are more versatile cameras — and the Z8 is significantly cheaper.

Apple's second-generation Pencil aimed at artists and creators is on sale at close to the lowest price we've seen. You can now grab one for $79, a full 39 percent ($30) off the regular price. That makes it an easy buy if you have a compatible tablet and are looking for Apple's Pencil model with the widest array of features. 

Apple designed the second-generation Pencil specifically to work with the iPad, and it's the best stylus you can snap up for the company's tablets. It offer low latency, along with a double-tap feature that you can customize to switch between preferred tools. Other features include tilt sensitivity, pressure sensitivity and what Apple claims is "pixel-perfect precision."

One big advantage that the second-gen Apple Pencil has over its two siblings is wireless charging, as it attaches magnetically to the side of a compatible iPad while it recharges. You'll need a relatively recent iPad Air, iPad mini or iPad Pro, but the magnetic charger on the side of those tablets gives you an easy way to stow your stylus while powering it. You don't have to think about cables, or buy a case with a pen slot.

If you don't need all the second-gen model's features and want to spend a bit less, Apple's Pencil (USB-C) is also on sale for $70 (11 percent off), near it's all-time-low price. It offers the same precision and magnetic mount, but lacks pressure sensitivity, wireless charging and the double tap drawing tool feature.  

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Nintendo's "Switch 2" was widely expected to arrive sometime this year, but a new rumor is putting that timeline into question. Now, the company is telling publishers that the next-gen console is slated for release in the first quarter of 2025, according to VGC, Eurogamer and other sources. That would line up with the release of the original Switch, which was announced in October 2016 but came out in March 2017. 

Publishers were reportedly briefed recently on the launch date change from late 2024 to early 2025. Several sources said they were working on Switch 2 games with releases planned for early 2025. One key title could be the long-delayed Metroid Prime 4, which is still on Nintendo's release schedule but has no specific date attached. 

Earlier this month, Nintendo slightly bumped its fiscal 2024 Switch sales forecast from 15 million to 15.5 million, compared to 18 million and 23 million in 2022 and 2021. Nintendo's stock slid today based on the release delay rumors, according to Reuters.

Not much is known about the future device, including the name. Rumors suggest it will have backward compatibility with Switch, along with 4K capabilities and visual quality similar to that of the PS5 and Series X. In any case, this year is bound to be a busy one for the company — if the new console does launch in Q1 2025, it'll likely be announced at a Nintendo Direct showcase later this year.

Apple has explained why it's disabling progressive web apps (PWAs) in the EU, it wrote in updated developer notes seen by TechCrunch. The news follows users noticing that web apps were no longer functional in Europe with recent iOS 17.4 beta releases. Apple said it's blocking the feature in the region due to new rules around browsers in Europe's Digital Markets Act (DMA).

Web apps behave much like native apps, allowing dedicated windowing, notifications, long-term local storage and more. European users tapping web app icons will see a message asking if they wish to open them in Safari instead or cancel. That means they act more like web shortcuts, creating issues like data loss and broken notifications, according to comments from users seen by MacRumors.

The problem, according to Apple, is a new DMA requirement that it allow browsers that don't use its WebKit architecture. "Addressing the complex security and privacy concerns associated with web apps using alternative browser engines would require building an entirely new integration architecture that does not currently exist in iOS and was not practical to undertake given the other demands of the DMA and the very low user adoption of Home Screen web apps," the company wrote.

However, the Open Web Advocacy organization disagrees, as it writes in its latest blog: 

Some defend Apple's decision to remove Web Apps as a necessary response to the DMA, but this is misguided.

Apple has had 15 years to facilitate true browser competition worldwide, and nearly two years since the DMA’s final text. It could have used that time to share functionality it historically self-preferenced to Safari with other browsers. Inaction and silence speaks volumes.

The complete absence of Web Apps in Apple's DMA compliance proposal, combined with the omission of this major change from Safari beta release notes, indicates to us a strategy of deliberate obfuscation. Even if Apple were just starting to internalize its responsibilities under the DMA, this behaviour is unacceptable. A concrete proposal with clear timelines, outlining how third party browsers could install and power Web Apps using their own engines, could prevent formal proceedings, but this looks increasingly unlikely. Nothing in the DMA compels Apple to break developers' Web Apps, and doing so through ineptitude is no excuse.

The change, spotted earlier by researcher Tommy Mysk, arrived with the second iOS 17.4 beta, but many observers first thought it was a bug. "The EU asked for alternative app stores and Apple took down web apps. Looks like the EU is going to rue the day they have asked Apple to comply with the #DMA rules," he posted on X.

According to Apple's App Store Guidelines, web apps are supposed to be an alternative to the App Store model. Considering that that the EU's DMA is designed to break the App Store monopoly, the move to disable them altogether is bound to cause friction. The EU, Japan, Australia and the UK have previously criticized the requirement for WebKit to run PWAs, according to the Open Web Advocacy (OWA). 

Apple said it regrets any impact to the change, but said it was required "as part of the work to comply with the DMA." The company has already been accused by developers of malicious compliance with the DMA over fees for developers to bypass the App Store, with Spotify CEO Daniel Ek describing it as "extortion.". 

Apple has explained why it's disabling progressive web apps (PWAs) in the EU, it wrote in updated developer notes seen by TechCrunch. The news follows users noticing that web apps were no longer functional in Europe with recent iOS 17.4 beta releases. Apple said it's blocking the feature in the region due to new rules around browsers in Europe's Digital Markets Act (DMA).

Web apps behave much like native apps, allowing dedicated windowing, notifications, long-term local storage and more. European users tapping web app icons will see a message asking if they wish to open them in Safari instead or cancel. That means they act more like web shortcuts, creating issues like data loss and broken notifications, according to comments from users seen by MacRumors.

The problem, according to Apple, is a new DMA requirement that it allow browsers that don't use its WebKit architecture. "Addressing the complex security and privacy concerns associated with web apps using alternative browser engines would require building an entirely new integration architecture that does not currently exist in iOS and was not practical to undertake given the other demands of the DMA and the very low user adoption of Home Screen web apps," the company wrote.

The change, spotted earlier by researcher Tommy Mysk, arrived with the second iOS 17.4 beta, but many observers first thought it was a bug. "The EU asked for alternative app stores and Apple took down web apps. Looks like the EU is going to rue the day they have asked Apple to comply with the #DMA rules," he posted on X.

According to Apple's App Store Guidelines, web apps are supposed to be an alternative to the App Store model. Considering that that the EU's DMA is designed to break the App Store monopoly, the move to disable them altogether is bound to cause friction. The EU, Japan, Australia and the UK have previously criticized the requirement for WebKit to run PWAs, according to the Open Web Advocacy (OWA). 

Apple said it regrets any impact to the change, but said it was required "as part of the work to comply with the DMA." The company has already been accused by developers of malicious compliance with the DMA over fees for developers to bypass the App Store, with Spotify CEO Daniel Ek describing it as "extortion.".