Amazon, the biggest e-commerce website in most countries, now supports passkeys. That gives users access to the new login solution that's considered more secure than passwords, allowing them to access their account using the biometrics or PIN they use to unlock their devices. The company started rolling out the capability a few days ago but has only just announced the feature, which is now available on browsers and is gradually making its way to all users accessing Amazon through its iOS app. Passkey support is also "coming soon" to Amazon's Android application. 

Passkeys are resistant to phishing, the effects of data leaks or social engineering, because there are no passwords to steal or give away. Instead, the technology uses cryptographic pairs, one of which is a public key saved on a particular service's servers, while the other one remains private and is securely saved to a user's device. These pairs are unique for every service, and they must match for someone to be able to log in. It's also a lot less involved than two-factor authentication, though for some reason, Amazon will not automatically switch it off for those who turn on passkey support. 

In its FAQs, Amazon says that those who have two-factor switched on will still need to verify their identities with a one-time code even after they activate the new login option. It's unclear if users will no longer have to key in two-factor codes after their initial login with a passkey, but upon trying it out, we weren't asked for one the next time we signed in. To switch on passkey login, users only need to go to Login & Security under Your Account on Amazon and then choose "Set up" next to the new Passkeys option. 

Students can get Hulu for a mere $2 per month. The streaming service is offering US college students the discounted price on its ad-supported tier, usually $8 monthly. You can keep paying the lower amount as long as your enrollment status remains verified.

The offer applies to new customers, but existing subscribers can also use it if their current plan is billed directly through Hulu. The company will verify with SheerID to ensure you’re enrolled at a US Title IV accredited college or university.

Disney owns a majority stake in Hulu, which offers current-season episodes of broadcast popular television series, films and older TV. It also includes original programming, like Only Murders in the Building, The Handmaid’s Tale and The Bear. The discounted price only applies to the version with advertisements, and you also can’t download content for offline viewing with this tier. The company offers a “Hulu (No Ads)” plan for $18 monthly.

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Back in February, Meta launched a Telegram-like feature for Instagram called "broadcast channels," which introduced a one-way messaging feature to the app. It gave creators a way to update their followers without having to post on their main page. Now, the company is expanding broadcast channels' availability and is also bringing it to Facebook and Messenger. Creators and public figures with Facebook pages will now be able to send messages, including photos, videos and voice notes, to their community. 

It's still a one-way messaging tool, which means only Page administrators can send messages in the channel, but participants can react to them and vote in polls. Admins can launch a channel directly from their page, and Facebook will send their followers a one-time notification to join after they send their first message. Based on the screenshots shared by Meta chief Mark Zuckerberg, broadcast channels will show up in users' Messenger chats under a tab aptly labeled "Channels." Participants will get notifications every time the page owner sends an update, but they can mute the channel anytime. Presumably, those who chose not to participate the first time can still access the channel from the page's profile like people can on Instagram. 

Meta says any page admin where the feature is now accessible can start a channel if they want. The feature still isn't available everywhere, though, and those who can't find the option to open a broadcast channel yet can join the waitlist for now. 

Amazon has some big plans for its drone delivery program, including an international expansion to the UK and Italy in 2024. The company also aims to start drone operations in a third US city next year, following existing efforts in College Station, Texas (where it just started offering prescription medication delivery by drone) and Lockeford, California.

Drone deliveries in the UK and Italy will start at one site each before expanding to more locations over time. Amazon says it will announce the specific locations for the US, UK and Italy expansion in the coming months.

Moreover, Amazon will integrate the Prime Air program into its delivery network. In the US, drones will run out of some Same-Day Delivery sites. By basing drones at those locations and its larger fulfillment centers in the UK and Italy, Amazon says customers can choose from a wider range of items for drone deliveries. Until now, Amazon has been using dedicated delivery centers at its first two Prime Air locations.

When the option is available in their area and they buy an eligible item that weighs under five pounds, Amazon customers can choose to have the product delivered by drone. Thousands of items are eligible for drone delivery, including office and tech supplies, household products and beauty items. The company notes that, for nearly a year, it's been using drones to deliver items to customers in its first two Prime Air locations in an hour or less.

Reports earlier this year suggested that Prime Air got off to a very slow start, delivering to just a handful of homes in its first few weeks of operation in Texas and California (the program is said to have been hit hard by layoffs around that time too). Regulatory red-tape was said to be a key reason for the lackluster debut. To that end, Amazon says it has been "working closely with regulators and governments around the world to expand drone delivery."

Meanwhile, Amazon plans to start making deliveries with the MK30 drone it first showed off last November. This model has a range that's twice as large as previous drones, while it has improved tolerance for higher and lower temperatures. The MK30 can also operate in light rain. It's smaller, lighter and quieter than previous drones too, according to Amazon.

What's more, the MK30 latest model is said to be capable of identifying and avoiding obstacles that are in its delivery area, including objects like moveable cranes that weren't there the previous day. One other intriguing aspect of the MK30 is how it flies. After taking off vertically, it orientates itself for horizontal, wing-borne flight. Add all of that up (and roll in some safety features), and Amazon says the MK30 can deliver packages to folks who live in more densely populated suburban areas and have smaller backyards.

We still have months to wait before Dune: Part Two hits theaters, so what better time to reminisce about David Lynch's intriguing adaptation of Frank Herbert's masterpiece? Reviled at the time, Lynch's Dune has now firmly established itself as a cult sci-fi epic, a film with boundless creative energy hampered by studio interference.

In this bonus episode, Devindra chats with film journalist Max Evry, author of A Masterpiece in Disarray: David Lynch's Dune. We explore why he devoted two years of his life towards researching an unloved film, as well as how it's a refreshing departure from the superhero films dominating theaters today.

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 podcast, Engadget News!

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Credits
Host: Devindra Hardawar
Guest: Max Evry
Music: Dale North

Star Trek: Prodigy has found a new streaming home with Netflix, after being both canceled by Paramount+ and completely deleted from the platform back in June. Not only will Netflix air the previously-released 20-episode first season later this year, but it’s also putting the final touches on the second season, which will stream sometime next year.

The initial cancellation came as a surprise, as Paramount had already greenlit a second season and those episodes were just about finished. Then it did that recent streamer thing where it went through and deleted all of the old episodes, kicking them to the dustbin of history. That may be possible for a lesser-known IP, like the criminally underrated Infinity Train, but this is Star Trek. Trekkers have been conducting successful campaigns to bring back shows ever since the original series was canned back in 1969. These are the same fans, after all, that helped Star Trek: The Animated Series and Star Trek: The Motion Picture get off the ground.

So they went to work, amplifying fan engagement across various social media sites. Prodigy’s creators have long held out hope for a new platform, and it looks like this optimism has finally paid off.

Star Trek: Prodigy follows a ragtag group of alien adolescents after finding the titular spaceship. It’s actually very good and acts as the perfect entry point for parents who want to introduce their kids to the ideals of Star Trek. It’s also a pseudo-sequel to Star Trek: Voyager, with Kate Mulgrew reprising her role as Captain Janeway and Robert Beltran appearing as Chakotay, among other guest stars. Season two looks like it’ll integrate further with Voyager, if leaks are anything to go by.

It’s odd that the show will now be on Netflix, given that one of Paramount’s slogans is “The Home of Star Trek.” This has been a busy week for streamers selling shelved projects to other platforms. Disney+ inked a deal with Roku, giving the platform rights to air an adaptation of the acclaimed book series The Spiderwick Chronicles. As for Star Trek animation, Paramount+ is still home to the stellar Star Trek: Lower Decks which is currently airing its fourth season.

After Disney releases a new film in English, the company will go back and localize it in as many as 46 global languages to make the movie accesible to as wide an audience as possible. This is a massive undertaking, one for which Disney has an entire division — Disney Character Voices International Inc — to handle the task. And it's not like you're getting Chris Pratt back in the recording booth to dub his GotG III lines in Icelandic and Swahili — each version sounds a little different given the local voice actors. But with a new "AI dubbing" system from ElevenLabs, we could soon get a close recreation of Pratt's voice, regardless of the language spoken on-screen.   

ElevenLabs is an AI startup that offers a voice cloning service, allowing subscribers to generate nearly identical vocalizations with AI based on a few minutes worth of audio sample uploads. Not wholly unsurprising, as soon as the feature was released in beta, it was immediately exploited to impersonate celebrities, sometimes even without their prior knowledge and consent. 

The new AI dubbing feature does essentially the same thing — in more than 20 different languages including Hindi, Portuguese, Spanish, Japanese, Ukrainian, Polish and Arabic — but legitimately, and with permission. This tool is designed for use by media companies, educators and internet influencers who don't have Disney Money™ to fund their global adaptation efforts.

ElevenLabs asserts that the system will be able to not only translate "spoken content to another language in minutes" but also generate new spoken dialog in the target language using the actor's own voice. Or, at least, a AI generated recreation. The system is even reportedly capable of maintaining the "emotion and intonation" of the existing dialog and transferring that over to the generated translation.

 "It will help audiences enjoy any content they want, regardless of the language they speak," ElevenLabs CEO Mati Staniszewski said in a press statement. "And it will mean content creators can easily and authentically access a far bigger audience across the world."

Uber is adding another service to its ride-hailing app: package returns. The company announced a new feature — dubbed ‘Return a Package’ — where customers can have a courier pick up their packages and have them dropped off at a local post office, UPS or FedEx. It will only be available for parcels that are sealed and prepaid, however.
Using this tool, you can track your package's movement in real-time in the Uber app and confirm when a drop-off is completed. This feature will have a flat rate fee of $5, or $3 for Uber One members. ‘Return a Package’ will be available starting today in the Uber and Uber Eats apps in nearly 5,000 cities throughout the United States.

This new service is similar to Uber's existing Connect feature, which allows users to ship goods to and from friends and family — the difference here is that the receiver will be another service worker instead. However, Return a Package is by no means breaking new ground. DoorDash has been offering a similar service since January of this year. The new offering comes ahead of the busy holiday season, when lots of online shoppers buy and return items.

Airbnb chief executive Brian Chesky told the Financial Times that the company is going "a little bit beyond its core business" starting next year. Chesky wants Airbnb to expand its focus and is currently planning a push into long-term rentals. The service already offers monthly rentals, but apparently, only 18 percent of gross nights booked in the second quarter of 2023 come from stays longer than 30 days. Chesky believes the company can do more to drum up interest in long-term bookings and that offering rentals for up to a year represents a "huge opportunity." 

"In this post-pandemic world, there's this   unrecognized market of a month, two months, three months, because people can work from laptops, people are going away for the summer," he told the publication. 

Chesky's plan, if executed well, could be what the company needs to be able to regain lost NYC listings. The city used to be one of the biggest Airbnb markets with the most number of listings available, but officials recently started enforcing new regulations that wiped out most of them. NYC mandated that hosts will have to lodge an application to be able to rent homes to guests for less than 30 days, and it has reportedly been slow to issue approvals. Further, hosts can only rent out homes for short-term stays if they're also staying there, and only two guests are allowed at any one time. 

In addition to putting a focus on long-term rentals, Chesky also intends to expand its experiences selection, so it could offer more "things to do on your trip." He presented more ideas under consideration to the Times, as well, including dining pop-ups and car rentals. "The second biggest asset usually in someone's life after their home is their car," he said. "That'll be the next thing." His statement hints at a business model similar to services like Turo's, which people have been calling "Airbnb for cars."

Equal parts Terminator, The Golden Child and The Matrix prequel, The Creator is yet another sci-fi epic about a war between humans and AI, one told by someone who just can't shut up about their time backpacking across Asia. Director Gareth Edwards clearly understands the power of scale and spectacle, something he demonstrated with his indie knockout Monsters, as well as his big-budget efforts, Godzilla and Rogue One. But The Creator, like those films, also suffers from a disjointed narrative, weak characters and a surprisingly shallow exploration of its (potentially interesting!) themes. It's a shame — at times, the film also proves he can be a genuine visual poet. 

The Creator stars John David Washington, fresh off of Christopher Nolan's Tenet, as Joshua, an American soldier embedded among a group of AI rebels as a double-agent. When an operation goes wrong early on, he loses his rebel wife Maya (Gemma Chan) and the will to keep fighting the war between the anti-AI West and the AI-loving country of New Asia. (Yes, this is a film where the many people, cultures and languages throughout Asia are flattened into a single nation.)

Photo by 20th Century Studios

Through a series of clunky newsreels that open the film, we see the rise of artificial intelligence as a potential boon for mankind, as well as the creation of Simulants, AI-powered beings with human-like bodies and skin. When a nuclear bomb hits Los Angeles, obliterating millions in seconds, the US and other Western countries blame AI and ban its use. And so begins the war with New Asia, where people live alongside AI and support their rebellion against the West. Naturally, the US ends up building a killer, trillion-dollar weapon: Nomad, an enormous spaceship that can obliterate any location on Earth.

In a last-ditch effort to win the war, Joshua is tasked with finding a powerful new AI weapon and destroying it. Surprise! It's an adorable AI child (portrayed by the achingly sweet Madeleine Yuna Voyles). Joshua doesn't have the heart to kill the kid, who he calls Alfie (based on her original designation, "Alpha Omega"). The pair then set off on a Lone Wolf and Cub journey together, as often happens when a grizzled warrior is paired with an innocent child.

If you're getting shades of Star Wars here — an evil Empire creates a massive space-based weapon to put down rebels — you're not alone. While The Creator is technically an original property, it lifts so much from existing fiction that it still ends up feeling like a visually lush facsimile. It's as if ChatGPT remixed your sci-fi faves and delivered the world's best screensaver.

It doesn't help that the film doesn't really have much to say. America's horrific military aggression against New Asia, which has overt and unearned shades of the Vietnam War throughout, is undoubtedly evil. AI's push for freedom and understanding is inherently good, and any violence against the West is justified as an act of self defense. Many characters don't think beyond their roles in the AI War: Allison Janney (from The West Wing!) plays the cruel Colonel Howell, a soldier who hates all AI and wants Alfie dead, no matter the cost. On the other side there's Ken Watanabe's Harun, a stoic rebel who fights relentlessly against the American army.

The Creator has no room to explore AI as their own beings and cultures — instead, they just adopt a mishmash of Asian identities. There's nothing close to the excellent Second Renaissance shorts from The Animatrix, which chronicled the rise of AI in The Matrix and humanity's eventual downfall. In that universe, AI rebelled against humans because they were basically treated like slaves, and they ultimately formed their own country and customs. In The Creator, some AI wear Buddhist robes for no reason.

I'd wager Edwards is trying to establish the humanity of AI by having them mirror so much of our culture. But that also feels like a wasted opportunity when it comes to portraying an entirely new lifeform. At one point, a village mother describes AI as the next step in evolution, but why must robots be defined by the limitations of humanity?

While the relationship between Joshua and Alfie serves as the emotional core of the film, it still feels stereotypical. Joshua begins the film as a complete anti-AI bigot – which seems odd, given that he spent years among AI rebels and fell in love with one of their major supporters. Alfie is an impossibly adorable Chosen One figure. You can just imagine how their bond grows.

On a personal level, I also found myself annoyed by the relentless Orientalism throughout the film, something that's practically endemic in popular science-fiction like Blade Runner, Dune and Firefly. By adopting elements of Hinduism, Buddhism and Asian cultures, The Creator is trying to suggest something profound or spiritual tied to AI. But it mainly serves as visual shorthand without giving artificially intelligent beings any interiority of their own.

As the film critic Siddhant Adlakha wrote this week, "By having robots almost entirely stand in for Asian peoples, but without creating a compelling cinematic argument for their humanity, The Creator ends up with a cultural dynamic that feels immediately brutalizing and xenophobic."

Despite the film’s flaws, Edwards deserves credit for delivering a major science-fiction release that at least attempts to look different than your typical comic book movie. The Creator was shot on consumer-grade Sony FX3 full-frame cameras (yes, even its IMAX footage), which gave Edwards the freedom to shoot on location across the globe. He also delivered a final cut of the film before VFX work began, which allowed those workers to focus on crafting exactly what was needed for each scene. In contrast, Marvel’s films require a backbreaking amount of VFX work, even for scenes that are later changed or cut. (It’s no wonder Marvel VFX workers voted to unionize for better treatment.)

The Creator is more of a missed opportunity than a complete creative failure. If you tune out the clunky dialogue and thin characters, it’s still a visually lush epic that’s worth seeing on the big screen. But I also think that’s true of Attack of the Clones. In a post-Matrix era, a world where we’re already seeing the (very basic) ways AI tools can reshape our society, science-fiction needs more than another story about man versus AI.