Last week, Sony published a seemingly innocuous round of interviews that centered the company’s nebulous “creative entertainment vision”. Neil Druckmann, head of the Sony-owned game studio Naughty Dog, was one of those — but his interview wasn’t quite what it seemed.
Druckmann, who headed the team behind The Last of Us series, was apparently wildly misquoted by his own employers. A few days after the interviews were published, he took to X and said, “This is not quite what I said.” He even posted a section of the original interview transcript, which was hugely different.
Sony has since pulled the interview and issued an apology on the old page, saying the article had significant errors and inaccuracies, encompassing “animation, writing, technology, AI and future projects.” So, if all that was inaccurate, what was accurate?
Japan’s hit virtual pet, Punirunes, comes to the US this summer. A play on puni-puni, which means ‘squishy’ in Japanese, it’s a slightly different kind of digital pet. There’s a doughy button at the center of the device that simulates physical contact with your Punirunes. When you pet it, your finger even appears on the device’s screen. Punirunes makes its US debut in August for $40.
Amazon is permanently offering free Grubhub+ restaurant delivery as part of its Prime subscription. If you pay $139 per year for a Prime subscription and are up for spending more to eat, you’ll pay no fee for eligible GrubHub orders over $12. You’ll also see lower service fees, 5 percent credit back on pickup orders and, apparently, exclusive offers. Unlimited grocery delivery from Whole Foods and Amazon Fresh still costs an additional $10 per month.
The attacks have knocked the site offline a few times.
If you couldn’t access the Internet Archive and its Wayback Machine over the past few days, it’s because the website has been under attack. The nonprofit organization has announced it’s in its “third day of warding off an intermittent DDoS cyber-attack.”
The Internet Archive has yet to identify the source of the attacks, but it did talk about how libraries and similar institutions are being targeted more frequently these days. One institution it mentioned was the British Library, whose online information system was held hostage for ransom by a hacker group last year.
The headset is slated to gain PC support this year.
After teasing PC compatibility earlier this year, Sony has apparently created a PC adapter for the PS VR2, according to a Korean filing unearthed by VR and mixed-reality enthusiast Brad Lynch. There are no details on how the adapter works, what it looks like or how much it will cost, but it lends credence to previous evidence that the headset would have a wired PC connection. The company will be hoping that PC support will drive sales of its headset, which hasn’t exactly set the world alight.
This article originally appeared on Engadget at https://www.engadget.com/the-morning-after-sony-apologizes-for-fabricated-interview-with-head-of-last-of-us-studio-111549910.html?src=rss
Last week, Sony published a seemingly innocuous bit of fluff, touting its long-term "creative entertainment vision" in broad terms, along with some interviews of key employees. Neil Druckmann, studio head of Sony's Naughty Dog, was one of those — and his interview made waves in the game world. According to the interview, Druckmann said AI could "create nuanced dialogues and characters" and also said that the new game Naughty Dog was developing (but hasn't officially announced) "could redefine mainstream perceptions of gaming." Some mighty strong and potentially controversial statements from the head of a studio beloved for its The Last of Us and Uncharted franchises.
Problem is, Druckmann was wildly misquoted by his own employers. A few days after Sony published its interview, Druckmann took to X and said "this is not quite what I said." He then went full Ellie-in-revenge-mode on Sony, posting a section of the original interview transcript. (He was actually pretty polite if we're being honest — even the powerful can only bite the hand that feeds so hard.) Regardless, things here do not add up.
In editing my rambling answers in my recent interview with SONY, some of my words, context, and intent were unfortunately lost. Well, here's the full long rambling answer for the final question about our future game... pic.twitter.com/tVuxX3LYJF
Gaming reporter Stephen Totilo shared his own comparison of what Druckmann said and what Sony published, bolding the words in Sony's answer that Druckmann never said — and those words were the majority of the quote. Sony basically put words in his mouth and published them, kicking off a classic gamer freakout.
To be fair, if I was Druckmann, I'd be pretty pissed too. Look at this butchery!
If you're curious (about what he said; and how I spend a Friday night when my wife and kids are away), here's a comparison of the original answer and the edited one.
Many changes
No surprise, this was cut: "Not because games need to be movies, or they need to be TV shows" pic.twitter.com/FkxNkqQPY2
Now, five days later, Sony has removed the interview from its site entirely. However, they didn't just delete the page — they left it up with an apology to Neil and the Naughty Dog team "for any negative impact this interview might have caused."
My favorite bit is easily this:
In re-reviewing our recent interview with Naughty Dog's Neil Druckmann, we have found several significant errors and inaccuracies that don't represent his perspective and values (including topics such as animation, writing, technology, AI, and future projects).Sony
So everything he said about animation, writing, technology, AI and future projects had errors. Hey, at least they nailed his name and title.
For the morbidly curious, you can still read the "interview" on archive.org.
This article originally appeared on Engadget at https://www.engadget.com/sony-pulls-fabricated-interview-with-naughty-dog-head-neil-druckmann-210340146.html?src=rss
Apple's 10th-gen iPad has become a much better value after a permanent $100 price cut earlier this month, and now a new discount has made it even more affordable. The 10.9-inch tablet is on sale for $300 at Amazon, which is the lowest price we've seen to date. Just note that you'll need to clip an on-page coupon to see the full discount, and that the deal only applies to the blue and silver finishes as of this writing. For reference, Apple sells the slate for $349, though we previously saw it drop around $330 a couple weeks back.
Be aware that this deal is for models with 64GB of storage; if you need more space, 256GB versions are also $49 off and down to a low of $450. Again, just clip the on-page coupon to get the final price. All of these offers are available at Costco as well, but only for subscribers to that retailer's membership plan. (Amazon's deals are likely price matches.) Costco's listing says the sale will run through May 31.
We gave the 10th-gen iPad a review score of 85 back in October 2022, and it's now the budget pick in our iPad buying guide. The latter is somewhat by default, since this is the only iPad available for less than $350. Still, it's a great tablet for the money. It has a similar design as the more expensive iPad Air, with a crisp display, a clean aluminum frame, thin bezels, a Touch ID reader and a USB-C port. Its battery life is about the same at 10-ish hours, and its A14 Bionic chip remains plenty fast for the things most people do with an iPad, be it streaming Netflix, playing the occasional game or doing basic work. Like Apple's pricier tablets, its front camera is located on its long edge, which is a more natural location for group FaceTime calls.
To be clear, if you can afford one of the new iPad Airs, we think it's worth it. Those are available in 11- and 13-inch sizes and include a host of upgrades that add up to a more pleasing experience. Those include a faster and more futureproof M2 chip, double the RAM and default storage and a laminated display (which means there's no visible "gap" between the front glass and the display itself). The Air is also compatible with better accessories, such as the new Pencil Pro stylus. Here, you're limited to the cheaper USB-C Pencil, which lacks pressure sensitivity, or the old first-gen Pencil, which requires a mess of adapters to charge. If you can find a last-gen iPad Air for cheap before it goes fully out of stock, that should remain a better value as well. Still, if you just want a tablet for the essentials and are looking to spend as little as possible, the entry-level model gets you the core iPad experience at a good price. This deal only furthers that.
Here’s an open secret: Every cheap streaming stick kind of sucks. Yes, it’s great that people can access so many shows and movies with devices that cost less than $50. It’s great that the best of them no longer force you to suffer through constant lag and performance hiccups, too. But over time, the Faustian bargain we make with these things becomes increasingly obvious. We save cash upfront, then we repay our debt through a shoddy user experience.
I’ve been thinking about this since buying Amazon’s Fire TV Stick 4K Max a couple of months ago. It’s a good example of that handshake: It’s been on sale for $40 for most of the past few months, and at that price, its hardware is a tremendous bargain. It’s fast, it works with the major HDR formats and Dolby Atmos and it supports all the requisite apps.
But Amazon’s Fire OS is shamelessly bloated. Big honking ads dominate the UI, most of which put Amazon services like Freevee or MGM+ or Prime Video — still the Blockbuster bargain bin of streaming services — front and center. Some ads straight up promote products you can shop on Amazon. Friend, you have not seen the dystopian future until the top third of your 55-inch TV suggests you buy a KitchenAid espresso machine. Once I’m actually streaming something, the Fire TV Stick 4K Max is great. But I have to resist all the ads it peddles to me, to mentally block parts of the device I bought with my own money, to get the most out of it.
So why did I still buy one? Mainly because I’m not using it the way Amazon intends. Instead, I’m using it to emulate old video games, which is forever the easiest path to my heart. It’s possible to run retro games on just about anything today, of course — a PC, an iPhone, a million different handhelds, a fridge and more. You can do this kind of thing with other Android streamers such as the Google Chromecast or Amazon’s cheaper Fire TV Stick 4K as well. The Delta emulator was newly allowed on iOS, and you can also get at it with an Apple TV too, albeit over AirPlay instead of a native connection. I settled on the 4K Max simply because it seems to have more of a performance safety net than most other low-cost streamers. And it’s much cheaper than a higher-end box like the Apple TV or NVIDIA Shield.
Regardless, having a dedicated device for TVs is convenient in a way those non-streaming sticks aren’t. I’m not lugging a giant gaming PC from my desk to my living room, and I’m not paying extra for a mini PC when I can spend so much less on a dongle that emulates well enough. Official consoles like the Nintendo Switch and PlayStation 5 have plenty of retro games in their libraries, but far from everything. And while I’m a collector who has spent way too much on consoles and games from decades past, the process of getting that original hardware to run decently on a modern TV is famously laborious. Sometimes I just want to play a half-hour of NHL ‘94, Ken Griffey Jr. Presents Major League Baseball or Chrono Trigger without having to pull out the SNES (or Genesis), upscaler and heap of cables from my closet. (Related: I’d also like a bigger apartment, but c’est la vie in NYC.) Emulating on the Fire TV Stick isn’t as faithful as the real thing in terms of image quality, but it’s certainly playable and generally less of a hassle to just turn on and use.
After you get it set up, that is. Turning a Fire TV Stick into a retro game center isn’t especially complicated but requires a little prep. There are plenty of tutorials out there that’ll walk you through the full process, but here’s how I got it to work. First, I needed a few accessories: a Bluetooth controller, some sort of USB thumb drive (any older USB 2.0 model will do) and an OTG adapter with a microUSB connector that can power the Fire TV while connecting that external storage. I’ve been using this old SNES-style 8BitDo controller, just to get a more period-appropriate feel, though a PS4 or PS5 gamepad would also work. The USB drive holds the ROM and BIOS files for the games and systems I want to emulate. This is where I remind you that Engadget does not condone piracy, and while emulators are perfectly legal, sharing ROMs on the internet is not, so tread lightly. But backing up files of old games I’ve already bought, for personal use only, is at least fuzzier.
After formatting my thumb drive and loading it up with my games, it was simply matter of downloading the popular frontend RetroArch from Amazon’s app store, downloading the “cores” for each console I wanted to emulate within RetroArch, pointing the app toward the right folders on the USB drive and configuring my gamepad’s controls. I’ve done this on dozens of devices over the past couple years as I’ve sunk deeper into the retro-gaming rabbit hole, so the whole process took me well under an hour. Demystifying RetroArch would take me another 1,000 words, so I’ll direct you to this superb video tutorial from Retro Game Corps. It’s long, but this stuff always requires a little pain upfront, and I think it’s worth it. Turning a device like this into something completely different feels like I’m getting away with something. It’s exciting, even if it means I end up sounding like this guy.
As for what’s actually playable on this thing, I’ve found the 4K Max to work best emulating consoles up to the original PlayStation. Games from the PS1, NES, SNES, Game Boy, GBA, Genesis and old arcade machines have been consistently smooth. It’s technically possible to run stuff from the N64, Dreamcast, PSP or Nintendo DS, but those are more hit-or-miss, so I wouldn’t bank on them unless you’re the kind of sadist who enjoys futzing with resolution scaling and cycling between emulators. Still, this leaves me with hundreds of games to enjoy. Some are essential (Donkey Kong), some have been lost to time (U.N. Squadron), some make me want to self-defenestrate (Ecco the Dolphin) and none are live-service dross designed to disrespect my time.
I understand that this is a weird, niche pursuit. Emulators are daunting at first, and many old games feel like relics for a reason. Yet, in a small way, turning this ad-riddled, data-sucking streamer into a mini retro console has felt like reclaiming ownership of the gadget I paid for. The ads are still there, and my home screen will continue to badger me to watch Anne Hathaway’s latest rom-com on Prime Video. (My wife and I caved; it was fine.) But with a little trickery, I’ve bent it to show more of what I want to see — and gained an easier way to engage in some nostalgic fun in the process.
This article originally appeared on Engadget at https://www.engadget.com/amazons-fire-tv-stick-4k-max-is-better-as-a-retro-gaming-device-than-a-streamer-160022685.html?src=rss
Russell T. Davies admits his writing eschews narrative formalism in favor of things that just feel right. Two decades ago, his critics pointed to his use of deus ex machina endings as a stick to beat his reputation with. But we’re in a different era now, where vibes matter just as much as logic — both inside the show’s new more fantastic skew, and in the real world. “73 Yards” is the vibiest episode of new Doctor Who so far, but I even found it easy to sit back and enjoy what it was doing.
Doctor Who is a complicated show to make, and some series have started production on Day 1 a week or more behind schedule. To combat this, the show started making “-lite” episodes that didn’t need the leads to be as involved. There are “Doctor-lite” episodes like “Love and Monsters” and “Blink,” and even “companion-lite” episodes like “Midnight.” This production process enables the star, or stars, to be off shooting Episode A while a guest cast takes the spotlight for the bulk of Episode B.
Production of the new series began while star Ncuti Gatwa was still finishing the last of his work on Netflix’s Sex Education. So while he appears in the opening and closing moments of "73 Yards", he’s otherwise absent as the Doctor has been erased from history. It gives us the chance to see what a modern companion would do if left stranded in uncertain territory without her alien ally. The episode takes hard turns from folk and rural horror to kitchen-sink drama before becoming a light homage to Taxi Driver. Suffice to say, this is another episode you wouldn’t watch with small kids.
Bad Wolf / BBC Studios
The TARDIS lands on a cliff edge in Wales, with the Doctor pointing out it’s another liminal space where magic is allowed to creep in. He even mentions the war between the “land and the sea,” name-checking a rumored spin-off fans discovered after scouring production documents. The Doctor talks about how great a country Wales is, except for Roger ap Gwillam, a Welsh politician who, two decades hence, will lead the UK to the brink of nuclear armageddon. He then steps into a fairy ring, disturbing its web, and disappears while Ruby reads the paper notes tied to it. The notes mention a Mad Jack, a scary figure that sounds like a villain from folklore.
Suddenly, Ruby is alone on the cliff but can now see the blurry figure of an old woman waving her arms at her in the distance. Ruby tries to approach her but the figure remains the same distance away (the titular 73 yards) no matter where she goes. Believing the Doctor has ghosted her, she tries to solve the quandary of this figure on her own. Ruby approaches a hiker (Susan Twist) and tries to work out where she’s seen her before (every episode thus far), but can’t quite put her finger on it. She asks the hiker if she’d be willing to speak to the old woman who is following her, but when the hitchhiker gets there, whatever she says is so horrifying that she sprints away from the scene in terror.
Ruby heads to a pub in the nearby town where the locals mock her — mistaking her hesitancy for condescension. She asks one of the patrons to go speak to the woman and, when he does, the same thing happens. Ruby gets home and asks her mum to try, this time holding a phone so Ruby can hear what she’s saying. But the phone call is disrupted and her mum is similarly horrified by what she hears — locking Ruby out of her home soon after. Kate Lethbridge-Stewart and UNIT are next to offer aid, right up until they encounter the woman, when they all abandon her.
Bad Wolf / BBC Studios
All the time, the old woman remains 73 yards away from wherever Ruby is, unnoticed by everyone else unless Ruby directs their attention to her. She can’t photograph the woman's face — it's blurry — and can’t get close enough to hear her ominous warning. In fact, even to the end of the episode, there’s a lot of unknowns that are never resolved.
Ruby’s strangely resilient, and once she’s gotten beyond the abandonment, she looks to build a new life for herself. She treats her stalker as a friend, wishing her well as we cycle through a montage of the next chapter of Ruby’s life. She gets a job, moves into her own flat and goes through a series of breakups as she gently ages past 30, and then 40. Then, on the TV, she sees Roger ap Gwillam on the TV, who even mentions Mad Jack, and remembers both the Doctor’s warning and the messages in the fairy ring. It takes Ruby no time at all to be sure that her purpose in life is to save the world, and to avert Gwillam’s nuclear catastrophe.
She signs up to Gwillam’s fascist political party as a volunteer and eventually reaches a position where she’s close to the top. Gwillam’s rise is quick and it’s not long before he’s promising to secede from NATO and put his itchy trigger finger on the UK’s nuclear arsenal, ready to wage war on the rest of the world. Gwillam’s inauguration will take place at Cardiff City Stadium, while Ruby follows the politician along, lurking in the crowd.
Bad Wolf / BBC Studios
Ruby then starts to approach Gwillam, walking across the off-limits pitch at the stadium, and you expect her to pull out a weapon. But instead, she whips out her phone and starts measuring the distance between her and Roger until she reaches 73 yards. When she does, she gestures to the villain to notice the woman, and when he notices her, he hears the horrifying thing she says. The shock is enough to send Gwillam racing out of the stadium, resigning from the role of Prime Minister and preventing nuclear armageddon.
But while Ruby hoped that would be the end of it, the figure remains with her for the rest of her life. It’s only on her deathbed she realizes she can project herself back in time to act as a warning for the Doctor to not step in the fairy ring. She does so, preventing the accident in the first place and paradoxically nullifying the entire time stream in the process. History carries on its merry way and all is well… for now. But given the risks of paradoxes in Doctor Who, and the general sense that history is unraveling, it might not augur too well for what’s going to happen in the future.
Bad Wolf / BBC Studios
“73 Yards” is an exercise in putting your character in a hostile world and seeing what they’ll do to deal with it. It’s an episode that, when written down, doesn’t feel like a lot happens, because so much of its runtime is an exploration of Ruby as a character. Doctor Who thrives when the companion role is occupied by someone who wants to grab a fistful of narrative for themselves. And Ruby Sunday seems almost too perfect in her ability to draw out the logic from what she’s experienced and work within it.
Much as you can draw narrative and thematic parallels between the new series and Davies’ original tenure, this episode pulls from “Turn Left.” Both tell the story of what happens to a companion when the Doctor is withdrawn from the narrative and what they do to fix that wrong. And it’s no surprise both suggest that the UK, without the intervention of the Doctor, is only a few days away from tipping over into fascism.
Ruby’s humanity shines, even to the point where she’s trying to treat her tormentor with care. She refuses to fly, or travel by boat, lest she endanger the life of the apparition that’s following her, despite how much damage it causes to her life. And when she sees Roger ap Gwillam on the TV, she’s certain that her destiny is to prevent the nuclear armageddon the Doctor warned her about. This is another useful thread — the idea that Ruby has an instinctive grasp of the genre she exists in — much as she did in “Space Babies.”
As for the ending, it’s probably best we talk about those “vibes,” or the sort of slightly skewed associations in the show’s logic. Ruby, at the end of her life, realizes that she’s able to travel, or project herself somehow, through time to avert the Doctor’s fall. There’s nothing in the episode that points to it, no hint that the ghostly figure is Ruby, or if this is tied to the snow or anything else. But perhaps, the trick to an episode like this is simply to let yourself relax and enjoy seeing the character evolve, rather than anything more.
Susan Twist Corner
Obviously, Susan Twist plays the hiker that Ruby first encounters after the Doctor disappears and, for the first time, Ruby notices the familiarity. In the materials that Disney sends along that Susan Twist’s character is named the “mystery woman.”
And on the subject of twists, you’ll recall at the end of “Church on Ruby Road” that, in the post-credits, Mrs Flood (Anita Dobson) breaks the fourth wall. The annoying neighbor character, who lives next to Ruby’s mum’s flat, turns to the camera and asks if we’ve “Never seen a TARDIS before?” (Given her surprise at seeing it earlier in the episode, it’s clear her history may have been changed during the course of the show.) When Ruby heads back to her mum’s house, Anita Dobson’s Mrs Flood is back sitting on her step with her deckchair out. Interestingly, when she notices the ghostly figure — and Ruby and her Mum’s attempts to deal with it, she declares that it’s “nothing to do with me” and goes inside. Which, again, feels like a hint that Mrs Flood and the mystery woman are separate
This article originally appeared on Engadget at https://www.engadget.com/doctor-who-73-yards-review-dont-stand-so-close-to-me-000018703.html?src=rss
Google's Password Manager now allows password sharing, albeit in a limited way with family members, Android Authority has reported. "With this new feature, you can now securely share your passwords with your family group in Google Password Manager. When you share a password, your family members will receive a copy of it in their Google Password Manager, ready to be used," Google wrote in a support document.
Google first announced the feature in February 2024 as part of Safer Internet Day, but it's finally rolling the feature out as part of its May 2024 Google Play Services update v24.20. Password sharing is strictly limited to members of a family group, so you'll need to create one and add any members to use it.
Android Authority
If you do have a family group, a "share" button should appear as an option in Google's Password Manager. However, Android Authority noted that the feature may not yet be enabled in the desktop version of Chrome.
Earlier, Google wrote about potential examples of using it, like if "two members of a family are coordinating with daycare through a single account, or a child is letting a parent access their school assignments."
This article originally appeared on Engadget at https://www.engadget.com/google-introduces-password-sharing-for-family-members-123018295.html?src=rss
Unless you’ve worked in the food service industry, the Ninja Creami probably isn’t like any other ice cream maker you’ve used before. That’s because until recently, the engineering that powers the Creami was owned by the Pacojet company (which was acquired by Groupe SEB in 2023), which made pricey devices intended for use in restaurants. But after the patent expired, Ninja jumped on the opportunity to make a much more affordable version for home cooks. And while making ice cream in your own kitchen is more of a luxury than a true necessity (though I’m sure some may disagree), the Creami makes the process so fast and easy, and produces surprisingly tasty results, that I hope more people will give it a go.
Standard Creami or Deluxe?
The version I tested for this review is the standard Creami, which goes for $200. However, there is a deluxe model that costs a touch more at $230. The latter comes with a few extra settings (most of which are drinks) for things like slushies and Creamiccinos (whatever those are) and a revamped menu system to match. But the biggest change is that the Deluxe uses larger 24-ounce “pints” instead of the 16-ounce containers you get with the standard model. This means it's easier to make bigger batches for parties or other special occasions, while also having options to spin just the top or bottom of a container as needed for smaller mixes.
Design and how it works
Unlike traditional ice cream makers, the Creami doesn’t rely on churning. Instead, you make a liquid ice cream base, freeze it solid (ideally for 24 hours) and then the machine uses what is essentially a drill press to blend (or spin in Creami parlance) everything into a thick and tasty treat. The base of the machine is about 6.5 inches wide and 16 inches tall. That’s significantly smaller than most old-school ice cream churns, but it’s still going to take up some space on your countertop, especially for anyone living in an older home with low cupboards. Make sure you measure before buying.
Aside from its main body, the Creami comes with an outer bowl, two plastic pint containers (plus tops), a large lid and a paddle, which is the blade-like attachment that does all the hard work. The pints fit inside the outer bowl, while the paddle attaches to the top of the lid. Then, after you put everything together, you shove the whole contraption into the machine, twist the handle to lock it in place and you’re ready to go. Admittedly, it sounds complicated, but if you can use a food processor, you can use the Creami. After the first spin, you can always top off your creation with some sprinkles, chocolate chips or anything else you want and then hit the mix-in button to spread things evenly throughout the pint.
My main complaint is that when it’s actively blending, the Creami is kind of loud. It’s noisier than a food processor but slightly quieter than a countertop blender on full blast. The first time I used the Creami, my toddler covered his ears and ran into another room. But the commotion only lasted for a few minutes, and on subsequent attempts, he stuck around (though that’s probably because he learned all that noise meant ice cream was on its way).
How it tastes
Of course, the best part of testing the Creami is trying everything it makes. To start, I relied on Ninja’s surprisingly large catalog of recipes. My son requested something with blueberries, so I landed on this recipe for blueberry honey ice cream with graham crackers, which turned out excellent even though I swapped in coconut-based yogurt (my wife is lactose intolerant) and skipped the graham cracker crumble. Next, I made a sorbet based on this formula, but with key lime juice instead of lemon. It was smooth and tart without a hint of iciness and it may have been my favorite of the bunch. Then my wife used these instructions to create a true vegan option, which tasted rich and creamy even though she used zero dairy.
After this, I went for a more freestyle approach and started throwing things together with abandon. The most surprising thing is how hard it is to mess up a batch, even when things don’t turn out how you intended. For example, while there isn’t a dedicated setting for it, I wanted to see if the Creami could make something close to shaved ice. Even though the texture of my creation was more like froyo than distinct flakes, I was shocked at how good a simple mixture of whole milk with a couple tablespoons of condensed coconut milk can be. So unless you go absolutely buckwild, it’s pretty hard to make something that doesn’t taste good.
That said, there are some important differences between what the Creami makes and more traditional ice cream. Because the base is spun instead of churned, there’s less air inside your finished product. This is good because it increases flavor intensity and delivers a slightly denser, more luxurious mouthfeel. It’s almost closer to a frozen custard than ice cream. The downside is that less air means less insulation, so treats tend to melt faster. I noticed that often after spinning something in the Creami, the consistency was borderline runny, like when you leave a pint from your freezer on the counter for a few minutes too long.
Now, if you’re eating things right away, this might be a bonus, because I prefer a softer product instead of something you need to really bite into. But if you’re not, it’s important to put whatever you made in your icebox almost immediately before it turns back into a puddle. On the flipside, if your base is too cold before you put it in the Creami and it comes out too hard or chunky, you can simply re-spin the pint (there’s a dedicated button for that), which will help smooth it out.
Wrap-up
For someone like me with a relatively small kitchen, anything that takes up valuable space on my countertop or in my pantry has to be more than just OK or even good. And while I’m still not sure I need it, the Creami is something I want to make room for. Sure, what it creates isn’t exactly the same as a more traditional churned product and the machine is far from the prettiest kitchen appliance I own. But the Creami is still undoubtedly a great ice cream maker and it has some advantages over more traditional rivals. Flavors are more intense and textures are smoother. Meanwhile, because most of the parts are machine washable or easily rinsed, cleanup isn’t a chore either. You also get the freedom to control exactly what ingredients you use or mix in, which is almost essential when you live with people with a handful of food allergies/restrictions. And at just $200 for the standard model, it feels very reasonably priced. You just have to remember to use it in moderation, because it is possible to have too much of a good thing.
This article originally appeared on Engadget at https://www.engadget.com/ninja-creami-review-this-machine-makes-your-frozen-dreams-come-true-143155174.html?src=rss
The following article discusses spoilers for the first season of X-Men ‘97.
I was excited about the return of the ‘90s Saturday morning cartoon version of the X-Men. Still, I wasn’t sure Marvel, under the auspices of Disney, could deliver on the flavor of the original while also making a modern show that older fans, now adults in their 30s and 40s, could enjoy. And X-Men '97 is a total play on our nostalgia, which makes it even odder that it delivers. And is better than the original in pretty much every way.
And of all the Marvel baubles that needed some affection, the X-Men arguably needed it most. The ten-episode run managed to cram in so many plotlines, cameos, comic sagas, villains, plot twists and even deaths that, at times, it was hard to process everything — but I utterly loved how relentless it all was. X-Men ‘97 goes hard, especially if you’re already an obsessive fan.
When Marvel first launched an all-you-can-read comic book app, I went in hard on the X-Men back catalog, especially stories by Chris Claremont and Grant Morrison, two of my favorite writers. X-Men ’97 mines a lot of my favorite characters and stories. Magneto is put on trial, and begins a (brief?) redemption arc, Jean Grey turns out to be a clone, and the cartoon crammed a roughly-year-long comic arc, Inferno, into a single episode. Other arcs either included wholesale, or with some riffs, include Lifedeath, Fatal Attractions, Motendo, Operation: Zero Tolerance and more.
The highlight of this first season (a second is already underway) has to be the crushing episode 5, where the mutant nation of Genosha is devastated by a high-powered sentinel mothership… thing. Just before the attack destroys mutant adults, mutant children and eventually even an X-man, Cable, the time-traveling son of Scott Summers and Jean’s clone. (See: Inferno, mentioned above) reappears to stop the attack. But he fails again and his mother dies.
Magneto is left helpless as mutants are slaughtered and he’s forced to relive the genocide he suffered as a child. Eventually, Gambit sacrifices himself and lights up the entire robot with his mutant ability. This is after Rogue reignites a romance with Magento, changes her mind, and decides to be with Gambit. As I said, each episode is a lot.
I may be alone in this, but I still prefer the older series’ animation style and look. A cartoon can look a little scrappy, in my opinion —or maybe I’m just 39 and also not a Disney executive. The majority of the action scenes are great, too. Cyclops is finally not done dirty and gets to thrive in fights. There are some great combination attacks comparable to the iconic fastball special.
Sometimes, the show can feel a bit too “anime” (And I love anime, don’t at me!), where the ridiculous scale of the fight removed a lot of my interest in it. Cool, Bastian has metal wings in the final episode. Yes, yes, very cool. But didn’t one of his super sentinel underlings wipe the floor with the X-Men mid-series? And did we need the Phoenix to reappear (again!) so that Jean can save her 50-something son from the future? Probably not.
But, it’s the X-Men. It wouldn’t be the X-Men without this kind of nonsense.
I also adored the attention to detail. How Storm changed back to her original comic-book attire, Rogue transitioned to her green and white look, Magneto wore the same black-and-white costume while on trial, just like the original comic book. X-Men '97 doesn’t miss the chance to sprinkle in other Marvel characters, too. Captain America pops up a few times, we spot an out-of-costume Spider-Man, with Mary Jane Watson, watching the fall of Asteroid M. The Silver Samurai, who got his own episode in the original series, stares on as Tokyo loses power due to Magneto’s attack on the whole of Earth.
In other episodes, an aged Polaris, Rachel Grey and more mutants briefly appear in a vision of the future. The series is bursting at the seams with references, easter eggs and surprises. Did you know that Bastian is briefly, obliquely, on-screen during the horrific attack on Genosha, long before he’s revealed as the X-Men’s primary antagonist? Well, he is. It’s a show that’s ripe for debate and discussion in an era of Reddit, Discord and YouTube reactions.
Marvel Studios President Kevin Feige stipulated that both the cast and the music had to return for the project to happen. I’m glad it did and I’m glad the theme song still slaps.
This article originally appeared on Engadget at https://www.engadget.com/x-men-97-didnt-have-to-go-that-hard-140023964.html?src=rss
It should be a given any new series needs time to find its footing, even when it’s a revival of an already-running hit. The first three episodes of “new” Doctor Who have been fun, but not without their ownidiosyncrasies that made them hard to love. Now it’s time for Steven Moffat, the series’ greatest 21st century writer, to show what this new season can do. There’s the usual degree of showboating and cleverness, but it’s hard to deny the man’s genius when he pens the first genuine classic of the Disney+ era. Bloody hell.
“Boom” thrusts the Doctor and Ruby into the smallest corner of a war, and lets it play out in microcosm. This is an angry story about how money, power and cruelty make people inhuman, and is the sort of episode Doctor Who excels at. This story makes no bones about the pointlessness of war and why money is the engine that keeps it going. Its framing may be modern — there’s one too many uses of the word “algorithm” here — but its central thesis is timeless.
Bad Wolf / BBC Studios
In a wasteland battlefield on Kastarian 3, two militarized Anglican clerics are walking back to base. Carson (Majid Mahdizadeh-Valoujerdy) is leading his friend, John Francis Vater (Joe Anderson) who has been blinded in the fighting, an injury that’ll take four weeks to recover from. In the distance, they spot an ambulance but seem afraid of it and look to go the long way around it. Carson loses his footing and slips into a small crater, activating a land mine that instantly obliterates him. The disturbance summons the ambulance, a tank-tracked device with a large screen with an apparently friendly avatar (Susan Twist) which injects its tendrils into Vater, identifying his injury. It decides that four weeks is an unacceptable amount of time for recovery and terminates him instead. His scream is heard by the Doctor, who sprints out of the TARDIS to help but winds up putting one foot on the exact same mine that killed Carson.
Ruby arrives to find the Doctor frozen in place, asking her to describe what he’s standing on: A Villengard mine. It’s an anti-personnel explosive made by a notorious weapons manufacturer that Moffat has referenced several times before. The Doctor asks Ruby to find something heavy for him to hold, so that he can shift his weight and put his foot down without triggering the mine. What she finds is Vater’s compacted remains bolted to an AI canister containing a simulacrum of Vater. The Doctor asks Ruby to throw it to him, but she instead opts to walk within the blast range and hand it over. It affirms the dynamic that as Gatwa’s Doctor has vacated the role of big-chested hero, Ruby has stepped in to fill the void.
The mine is, however, unsure if the Doctor is a viable target, and so remains frozen on the edge of activation. Villengard’s weapons are notoriously vicious and the company has created a warfare algorithm to limit the number of bodies in the battle zone at one time, while also dragging wars on profitably and indefinitely. It gives the company license to slay the wounded rather than spending the cash to cure them.
Bad Wolf / BBC Studios
Before he died, Vater was speaking to his daughter Splice (Caoilnn Springall), who was brought along to the war as there was no-one else to look after her. While her father was on patrol, she had been left in the care of Mundy (Varada Sethu), a lower-ranking soldier in the army. But she slips her minder to reach the last GPS-tagged location of her father. She arrives, triggering the hologram attached to Vater’s remains that delivers his valediction to his daughter.
Soon after, Mundy tracks down her wayward ward and is able to explain the rest of the plot to the TARDIS crew. The Anglicans have been fighting a war for six months against an enemy that’s never seen or heard. Mundy and the Doctor spar on the nature of religion and how faith — in more than just a higher power — helps create willing material for the meat grinder of war. Mundy’s skeptical about the Doctor and Ruby but is quickly convinced when she scans the Doctor to see he’s not just going to explode on the mine. As a complex space-time event, the mine’s activation won’t just kill him but destroy half of the planet. It gets worse: The mine is going to time out and go off anyway after its stuttering activation.
Having detected the fracas, an ambulance arrives and jams its menacing tendrils into the Doctor. Ruby, again refusing to allow anyone else control the narrative, grabs Mundy’s rifle and tries to create a distraction to no effect. Mundy tells Ruby to shoot her using the rife’s lowest setting which would draw the ambulance without being fatal. But, as Ruby takes aim, Canterbury (Bhav Joshi) arrives just in time to misappraise the scene and shoot Ruby to defend his fellow soldier. Ruby, on the edge of death, generates more snow but is fading fast
The Doctor has worked out the problem, which is that there’s no enemy on the planet at all — it’s barren. Villengard's algorithm is sending soldiers out to die with the traps they themselves bought and probably placed. The only solution is to surrender but that’s not something Mundy is willing, or empowered, to do, so the Doctor needs to find proof to show to the senior cleric. He uses the AI of Vater, appealing to his duty as a father and whatever humanity is left inside to search through the military database to find evidence there is no enemy at all.
More ambulances arrive in an attempt to overwhelm the people in the crater, looming down on them all. As Mundy and Canterbury speak, the latter is suddenly minced for reasons that boil down to… we’re in the final few minutes of the episode. In the chaos, it looks as if all is lost, but as the Villengard AI projects a hologram, it’s quickly taken over by Vater, whose love for his daughter has hopefully triggered some sort of feedback loop, ending the war and disabling the mine. As the war is ended, Ruby is resurrected by the ambulance and the four survivors are able to enjoy the beautiful view in the skies over Kastarian 3.
There’s even time for the Doctor to mention a “grumpy old man” who told him once that “what will survive of us is love.” That’s a reference to notoriously acerbic poet Philip Larkin’s work An Arundel Tomb, referencing a long-decayed sculpture of two people lying in state. The Doctor mentions Splice may have a bright future ahead of her, and gets ready to head off to their next adventure.
Bad Wolf / BBC Studios
There’s no good place to address this later, so I’ll add that Varada Sethu has also been cast as a new companion for Doctor Who’s second season. Initial rumors suggested she was replacing Millie Gibson but the BBC said last month the trio would travel together. It’s not uncommon for an actor to play a minor role in one episode and then return as a member of the core cast. Peter Capaldi, Karen Gillan, Freema Agyeman and Colin Baker all played one-off roles before joining as a Doctor or as a companion. I have no idea if Mundy will return, or if Sethu will play a new character, but I’m not sure Mundy was a compelling enough character to warrant a revisit.
Bad Wolf / BBC Studios
“Boom” is a masterclass in perpetually-building tension in a way that Doctor Who has rarely attempted. I wouldn’t want to experience this level of stress every single week, but it’s a wonderful change from the status quo. The one thing that doesn’t quite work with the episode is the uneven pacing. For all the effort put into building the tension, the ending just seems to happen.
I feel like Moffat was straining against the running time, since the last few minutes are just dashed off without as much attention as I’d have liked. Interestingly, the other times Moffat has written stories that are this bleak, like “The Empty Child / The Doctor Dances” and “World Enough and Time / The Doctor Falls,” they were both two-parters. I’m not sure “Boom” needed 90 minutes, but an extra 10 or so might have helped things breathe.
Despite being rooted to one spot for most of the story, Gatwa’s Doctor still commands every frame he occupies. There’s enough chemistry between him and Millie Gibson that the pair’s interactions are entirely believable. The rest of the cast, however, don’t really get as much time to shine, given the limited focus and the stock roles they play in the narrative.
It’s entirely in keeping with Moffat’s style that he’d come back to a show, now equipped with a Disney-sized budget, only to make an episode set in one location. As a writer, he’s always enjoyed tying one hand behind his back and then allowing those restrictions to force him to be better. It was his Swiss watch plotting, smart storylines and snappy dialog that has always ensured his episodes are events. History has also silenced his critics: Last year, Doctor Who Magazine polled readers to rank every episode of the show made. Staggeringly, of the top 10, Moffat was credited with five, knocking Robert Holmes, the show’s greatest writer, off his perch.
And, as I said at the top, “Boom” stands proud as the first bona fide classic of the Disney+ era.
Susan Twist Corner
This week, Susan Twist played the avatar of the sinister Villengard ambulances that roamed the battlefield. Several times, the Doctor appealed to Vater’s AI homunculus on the fact that they are, or were, both fathers. If it isn’t clear, I think the show really wants the audience to know that the Doctor is a father with a child, whereabouts unknown. The hacky premise would be that it’s Susan who has taken the mantle of “The One Who Waits,” or that she’s somehow Ruby. Yeugh.
This article originally appeared on Engadget at https://www.engadget.com/doctor-who-boom-review-all-hail-the-conquering-hero-000001420.html?src=rss
Apple and Google recently held events to showcase new products and services. From a deals perspective, that means some older iPads are hitting new low prices — we even spotted a few modest $30 and $50 discounts on brand new iPad Air and iPad Pro models. Google's latest smartphone, the Pixel 8a, shipped this past Tuesday, but a few retailers are still offering pre-order deals of a free $100 gift card with purchase. There were plenty of deals on other tech too, like a return to an all-time low on the Kindle Scribe, a sale on one of our favorite outdoor pizza ovens and discounts on a couple of Anker portable chargers that'll keep your phone topped off as you do what you do. Here are the best tech deals from this week that you can still get today.
This article originally appeared on Engadget at https://www.engadget.com/amazons-kindle-scribe-dips-back-to-an-all-time-low-plus-the-rest-of-this-weeks-best-tech-deals-163858971.html?src=rss
