Engadget

Apple and Google's long-in-the-works effort to alert people to unwanted Bluetooth trackers that may have been planted on them has come to fruition. The companies have developed an industry standard called Detecting Unwanted Location Trackers. This makes it possible to alert someone via iOS or Android if they're being tracked with one of those devices.

When an unknown Bluetooth device is seen moving with someone over a period of time, they'll get an alert that reads “[Item] Found Moving With You," no matter which platform the tracker is paired with. Apple and Google are rolling out the capability in iOS 17.5 and across Android 6.0 and later devices starting today.

The companies announced a partnership to tackle this issue last May with backing from industry partners such as Samsung and Tile. Apple says that Chipolo, Eufy, Jio, Motorola and Pebblebee are among the companies who say that their future Bluetooth tags will work with the new standard.

Not long after Apple started selling AirTags three years ago, stories of bad actors using the devices to track people and steal cars started to emerge. Apple quickly started working on ways to make it harder for stalkers to use AirTags illicitly and it refined its approach to that over time. The company also released an Android app in late 2021 to help folks find out if an AirTag had been planted on them, but the new approach will take an OS-level approach to warning people about unwanted trackers across both platforms. 

Apple has been hit with legal challenges over AirTag stalking. In March, a San Francisco judge rejected the company's effort to dismiss a class-action lawsuit over the issue.

The timing of the Detecting Unwanted Location Trackers alert rollout is intriguing. There have long been rumors that Google was working on its own Bluetooth tracker. With its I/O developer conference taking place on Tuesday, perhaps such a device is about to come to light. 

This article originally appeared on Engadget at https://www.engadget.com/apple-and-google-roll-out-a-cross-platform-feature-to-tackle-unwanted-bluetooth-trackers-172411423.html?src=rss

Google is teaming up with HP to bring its futuristic video conferencing technology Project Starline to enterprise consumers. The company first began demoing this service in 2021 and the first iteration involved a 3D video chat booth with a projection of the person you’re talking to. We came away extremely impressed by the holographic technology, remarking on how realistic everything seemed and that the other person seemed to be in the room with you.

However, this technology isn’t quite the same as what we tried a couple of years back. Since then, Google has streamlined and simplified the system a fair amount. There’s no more video chat booth, as the whole thing has been moved to a system that features a large TV and cameras. This scales back some of the wow factor, but makes it much easier to implement.

To that end, Google and HP will be integrating Project Starline with common video conferencing apps like Google Meet and Zoom. There’s no information as to how much it’ll cost for companies to sign on to use this technology, or any details regarding the initial setup. Google says more information will be revealed later this year with actual commercialization beginning in 2025.

HP calls it an “immersive collaboration experience” and it certainly looks to be a better telepresence solution than a tiny smartphone screen. At the end of the day, though, it’s just a big display. The updated Project Starline tech doesn’t include anything resembling holographic projection.

This article originally appeared on Engadget at https://www.engadget.com/googles-project-starline-video-conferencing-tech-is-coming-to-offices-171622980.html?src=rss

It’s only been a month since Apple started allowing retro game emulators on the App Store and we already have our second bona-fide hit. The newly-released Gamma is a free PS1 emulator with plenty of bells and whistles for those looking to dive back into the world of blocky polygons. It joins the massively popular Nintendo emulator Delta. We have no idea why these apps keep getting named after the Greek alphabet, as both are made by completely separate devs.

Gamma comes courtesy of developer ZodTTD, which has been in the space nearly since the dawn of the iPhone. The app is primarily for Apple’s smartphone, but there is a dedicated iPad version, which is always nice. Gamma integrates with Bluetooth controllers and keyboards, offering a myriad of input options. It also features customizable on-screen controller skins, but we all know how frustrating it can be to play old-school games with a touchscreen. It’s nice to have the option though.

The app uses Google Drive and Dropbox syncing for backing up game files and save states, and the software will even automatically grab game cover artwork. The whole thing’s actually based on the codebase for Delta, according to reporting by The Verge. As always with emulators, you’ll have to supply the games. To stay on the right side of the law, convert titles that you already own into ROM files.

PS1 emulator Gamma currently the sixth most-downloaded entertainment app on iOS https://t.co/FfEjdn2SM6 pic.twitter.com/nEcTU1d0Q0

— Stephen Totilo (@stephentotilo) May 13, 2024

There’s obviously a mammoth appetite for emulators on the App Store. Delta, the Nintendo emulator, has been a mainstay on the charts since launch and Gamma currently sits at number six, above streamers like Disney+ and Hulu but below TikTok. The reviews, however, are mixed, with many users complaining that the UI needs a refresh and that some third-party controllers, like Backbone devices, cause it to crash. Fixes are likely coming in the near future. In the meantime, Oddworld: Abe’s Oddysee and Crash Team Racing are both begging for a revisit.

This article originally appeared on Engadget at https://www.engadget.com/a-free-ps1-emulator-for-iphone-is-burning-up-the-app-store-charts-161443236.html?src=rss

Apple last week refreshed its iPad lineup by upgrading the iPad Pro and iPad Air. The latter got its first hardware update in over two years. The latest iPad Air is powered by an M2 chipset and it ships on May 15. If you’re interested in picking one up and haven’t yet done so, you’re in luck. You’ll get a $30 discount on the M2 iPad Air if you preorder one at Amazon. The discount is available on select models such as several colorways of the base 11-inch iPad Air with 128GB of storage, which drops to $570. The purple 256GB variant of the 13-inch iPad Air is also $30 off at $870.

The M2 is one of the two major changes to the iPad Air this time around. The chipset is about 50 percent faster than the M1, according to Apple, so the latest model should be noticeably zipper than the previous generation. However, the iPad Pro is now significantly more powerful than the Air, as the high-end models arriving this week run on the new M4 chipsets, making them the first Apple devices to do so.

The screen is the other major change to the iPad Air. Not only is the base model’s display 0.1 inches larger, making it a tidier 11 inches, there’s a 13-inch variant of an iPad Air for the first time. That means the iPad Air has the same screen sizes as the iPad Pro (which is now somehow thinner and lighter than its mid-range sibling).

There’s one other immediately noticeable change to the iPad Air The front-facing camera is now positioned along the landscape edge. That should make video calls a bit more palatable for those who tend to have their iPad in that orientation, including those who use keyboard attachments.

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/the-m2-ipad-air-is-30-off-if-you-preorder-at-amazon-153809896.html?src=rss

One of Anker’s MagGo power banks is on sale for just $32 via Amazon. This is a discount of 21 percent, as the device is typically $40. For the price, you get a full-featured magnetic power bank that boasts a 10,000mAh capacity, which allows for around 22 extra hours of use with a modern smartphone.

The power bank features magnetic charging technology, like Apple’s MagSafe, and the device automatically attaches to the back of a smartphone via those same magnets. It’s also light and portable, so most pockets and handbags should be able to accommodate both the power bank and the attached smartphone.

On the downside, it’s not for every smartphone. It’s only for the iPhone 12 and up, as that’s when Apple introduced its MagSafe technology to the lineup. However, it can be used with other gadgets that allow for magnetic charging, like AirPod cases and the like. It’s also worth noting that, while cool, wireless magnetic charging is much slower than traditional wired charging.

We gave another Anker MagGo charger the top spot in our list of the best power banks. Anker makes good stuff. The primary difference between the one that topped our list and this one is that the former boasts Qi2 wireless charging technology, which is faster, and a nice LED display for data metrics. It’s also more than twice the price.

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/pick-up-this-anker-10000mah-magnetic-power-bank-for-only-32-150230046.html?src=rss

Things are really changing over at Apple with the announcement of a new M4 iPad Pro and M2 iPad Air. The company has also discontinued the ninth-generation iPad and cut the price of its 10th-generation model to $349. While that was exciting on its own, Apple's 10th-gen iPad is now available for an even better deal on Amazon: $334. The discount brings Apple's 64GB base model to a new record-low price.

The 10th-gen iPad is becoming Apple's cheapest option on the market and it's a solid product. We gave it an 85 in our review when it debuted in 2022 thanks to updates like a USB-C charging port and a redesign that made it more comparable to the iPad Air. It also has a landscape-mode front-facing camera so you can join video calls without being awkwardly vertical on people's screens. 

Apple's most affordable iPad also has a 10-hour battery estimate but lasted 11 hours and 45 minutes for us when playing a movie pushed from iTunes — though gaming or other active use would shorten the amount of time it works between charges. This iPad also has a 10.9-inch screen, compared to it's predecessors 10.2-inches. Plus, it uses an A14 chip (the same one as in an iPhone 12). 

Follow @EngadgetDeals on Twitter and subscribe to the Engadget Deals newsletter for the latest tech deals and buying advice.

This article originally appeared on Engadget at https://www.engadget.com/apples-10th-gen-ipad-hits-a-new-low-of-334-141510163.html?src=rss

The recipe for Google’s A-series Pixels is incredibly straightforward: Combine top-notch cameras with a vivid display and then cram all that in a tried and tested design for a reasonable price. But with the addition of a Tensor G3 chip, the Pixel 8a now supports the same powerful AI features as Google’s flagship phones. So when you consider that all this comes for just $499, you’re looking at not just the top midrange Android handset on the market but possibly one of the best values of any phone on sale today.

Design and display

Aside from a new aloe color option – which in my opinion is the best of the bunch – the Pixel 8a is nearly identical to the standard Pixel 8. However, there are a few subtle differences that become more noticeable when the two are viewed side-by-side. The most obvious is slightly larger bezels, which also has an impact on the Pixel 8’s screen size. Instead of a 6.2-inch display like on its pricier sibling, the Pixel 8a tops out at 6.1 inches. That said, you still get a vibrant OLED panel that produces deep blacks and rich colors, plus a slightly faster 120Hz refresh rate compared to the 90Hz on last year’s Pixel 7a.

The phone’s frame is still made out of aluminum, which feels great, while the metal camera bar in the back is actually a millimeter or two thinner, resulting in an ever so slightly sleeker device. Google also switched out the Pixel 8’s rear glass panel for plastic. But thanks to a new matte finish that’s supposed to mimic the texture of cashmere, it definitely doesn’t feel cheap. And while its IP67 rating for dust and water resistance is one step down from what’s on the mainline Pixel 8, that’s still enough to withstand dunks of up to 1 meter for 30 minutes. Not bad.

Performance

One of the biggest knocks against Google’s Tensor chips is that they don’t offer the same level of raw performance you get from rival Apple or Qualcomm silicon. And while that’s still true of the G3, when we’re talking about it powering a phone that costs $499, I’m much less bothered. In normal use, the Pixel 8a feels swift and snappy and even when gaming. Titles like Marvel Snap and TMNT: Shredder’s Revenge looked smooth. The only time I noticed significant hiccups or lag was when playing more demanding shooters like Call of Duty: Mobile.

While both sport very similar designs, the Pixel 8a (left) has a slightly smaller 6.1-inch screen with larger bezels than the standard Pixel 8 (right). Photo by Sam Rutherford/Engadget

Of course, the other part of the performance equation is all the on-device AI features that the Tensor G3 unlocks such as Audio Magic Eraser, Best Take and the Magic Editor, which you can use as much as you want instead of the 10-picture cap that free users are subject to in Google Photos.

Cameras

The Pixel 8a features the same 64MP main and 13MP ultra-wide sensors used in last year’s P7a. But that’s OK, because Google’s affordable phones punch way above their weight. So instead of comparing it with a similarly priced rival, I decided to really challenge the Pixel 8a by putting it up against the Samsung 24 Ultra. And even then, it still largely kept up.

In bright light, I’d argue the Pixel 8a might be the superior shooter, as it captured more accurate colors and excellent details compared to the warmer tones and often oversaturated hues from Samsung. This was especially noticeable when shooting a single yellow rose. The S24 Ultra made the middle of the flower appear orange and super contrasty, which looks great in a vacuum but doesn’t reflect what I saw in real life.

However, at night the S24 Ultra’s massive 200MP main sensor pulled back in front, producing images that were generally sharper and more well-exposed. That said, thanks to Google’s powerful Night Sight mode, the Pixel 8a wasn’t far behind, an impressive feat for a phone that costs $800 less.

Finally, while the Pixel 8a doesn’t have any other hardware tricks besides a solid 13MP selfie cam, Google’s AI is here to take your photos even further. Best Take allows you to capture multiple group shots and then swap in people’s reactions from various options. It’s easy to use and lets you create a composite where everyone is smiling, which feels like a win-win scenario. Then there’s the Magic Editor, a fun and powerful way to eliminate distracting elements or move subjects around as you please. It’s the kind of thing you might not use every day, but now and then it will salvage a shot you might have otherwise deleted. So even if you don’t care about AI or how it works, Google is finding a way to add value with machine learning.

Battery life and charging Photo by Sam Rutherford/Engadget

While the Pixel 8a’s 4,492 mAh battery is a touch smaller than what you get on the standard model (4,575 mAh), it actually boasts slightly better battery life, possibly due to its more petite screen. On our video rundown test, the 8a lasted a solid 20 hours and 29 minutes, barely beating the regular Pixel 8’s time of 20:16.

Meanwhile, when it comes to recharging, both wired and Qi wireless speeds have stayed the same. This means you get up to 18 watts when using a cable, but a rather lethargic rate of 7.5 watts if you slap it on an induction pad. That might not be a big deal if you only use wireless charging overnight or to conveniently top up the phone while you’re doing something else. But if you need some juice in a jiffy, you better grab a cord.

Wrap-up

Google isn’t breaking new ground with the Pixel 8a. But the simple formula of class-leading cameras, a great display, strong battery life and a slick design will never go out of style – especially when you get all this for just $499. And with the addition of AI features that were previously only available on Google’s flagship phones, the Pixel 8a is a midrange smartphone that really is smarter than all of its rivals. To top everything off, there’s a configuration with 256GB of storage for the first time on any A-series handset (though only on the Obsidian model), plus even better support with a whopping seven years of Android and security updates.

Photo by Sam Rutherford/Engadget

The one wrinkle to this is that the deciding factor comes down to how much its siblings cost. If you go by their default pricing, the $499 Pixel 8a offers incredible savings compared to the standard $799 Pixel 8. However, prior to the 8a’s announcement, we saw deals that brought the Pixel 8 down to as low as $549, at which point you might as well spend an extra $50 to get the full flagship experience.

But for those who don’t feel like waiting for a discount or might not care about details like slower wireless charging speeds, in addition to being the best midrange Android phone, the Pixel 8a is just a damn good deal.

This article originally appeared on Engadget at https://www.engadget.com/google-pixel-8a-review-the-best-midrange-android-phone-gets-flagship-ai-features-140046032.html?src=rss

It’s grill season, y’all. Time to clean those outdoor cook stations, or invest in a new one and make sure you have all the tools you need for the ultimate backyard culinary setup. To help you with the selection process, I’ve compiled a list of the best grills and accessories for cooking on the porch, deck, patio or anywhere else outside when you’re at home. Our reviews lineup includes a wide range of grills and other smart-grilling devices, all of which can help you elevate your BBQ game. I have some recommendations on other items too, including the ways to keep your beverages cold and the best oven for backyard pizza parties.

This article originally appeared on Engadget at https://www.engadget.com/best-grilling-gear-143011296.html?src=rss

Over the last few days, heightened solar activity (and those heady geomagnetic storms) led to outages in the GPS navigation systems that guide some modern tractors from John Deere and other brands. 404 Media reported farmers have been told to pause using high-tech tractors that use GPS systems to program and tightly farm their land. John Deere’s tractors’ Real-Time Kinematic (RTK) systems can apparently plant precisely, down to the centimeter. A bit of GPS noise could derail that.

REUTERS / Reuters

The weekend’s geomagnetic storm is the strongest in the last 20 years and reached G5 levels, considered “extreme,” on Friday and Saturday morning.

— Mat Smith

The biggest stories you might have missed

Doctor Who: The Devil’s Chord review: Is this madness?

What we’re listening to: Trail of Flowers, Hyperdrama, Science Fiction and more

Pre-orders for Ghost of Tsushima on PC are being canceled in countries without PSN access

​​You can get these reports delivered daily direct to your inbox. Subscribe right here!

Most Apple App Store developers aren’t trying outside payments Only 38 of a possible 65,000 have applied.

Apple’s recently added option for App Store developers to include links to external payment methods isn’t actually all that appealing. In a hearing on Friday, as part of the ongoing legal battle with Epic, Apple said only 38 developers have applied to add such links — out of roughly 65,000 that could. The changes were to satisfy an injunction ordered by US District Judge Yvonne Gonzalez Rogers in 2021. According to Bloomberg, Rogers said during the latest hearing: “It sounds to me as if the goal was to then maintain the business model and revenue you had in the past.”

Continue reading.

Alienware m16 R2 review When less power makes for a better laptop. Engadget

The Alienware m16 R2 is a rarity among modern laptops. Normally after a major revamp, gadget makers like to keep new models on the market for as long as possible to minimize manufacturing costs. However, after the freshly designed m16 launched last year, the company re-engineered it again. This time limiting the GPU. By doing that, Alienware could rework the m16 into a gaming laptop with a sleeker design, better battery life and a more approachable starting price — built for what customers were buying when the original launched. It’s a good approach. Check out our review.

Continue reading.

Waymo’s robotaxis are making 50,000 paid trips every week Across three cities.

The Alphabet-owned autonomous taxi company has announced it’s now serving more than 50,000 paid trips every week across Phoenix, San Francisco and Los Angeles. Waymo One operates 24/7 in parts of those cities, so if the company is getting 50,000 rides a week, that’s five bookings every minute.

Continue reading.

This article originally appeared on Engadget at https://www.engadget.com/the-morning-after-those-geomagnetic-storms-are-messing-with-farming-techs-gps-systems-111558939.html?src=rss

Apple's first unionized Store in Towson, Maryland has now authorized the first strike against the retail giant. That follows what the union called "over a year of negotiations with Apple management that yielded unsatisfactory outcomes," according to a press release from the International Association of Machinists and Aerospace Workers' retail coalition (IAM CORE). 

The Maryland store located in a Baltimore mall represents around 100 employees and unionized in 2022, becoming the first Apple Store to do so. The vote concluded last weekend and allows workers to walk out at any time, but no date has been set yet. 

While the sides have agreed on principle in 25 areas, other key matters remain unresolved. "The issues at the forefront of this action include concerns over work-life balance, unpredictable scheduling practices disrupting personal lives and wages failing to align with the area’s cost of living," the union wrote. 

"We deeply value our team members and we’re proud to provide them with industry leading compensation and exceptional benefits. As always, we will engage with the union representing our team in Towson respectfully and in good faith," Apple said in a statement.

The union previously accused Apple of illegally withholding new benefits including healthcare and other perks from workers at the Towson Store. Last year, the National Labor Relations Board (NLRB) said Apple violated federal law with anti-union meetings in Atlanta. A New York judge also issued a cease-and-desist order against Apple for abusing employee's rights. 

Apple and IAM CORE will return to the negotiating table on May 21, according to the union. "This vote today is the first step in demonstrating our solidarity and sends a clear message to Apple," the union said in a statement. "As discussions with Apple management continue, we remain committed to securing tangible improvements that benefit all employees." 

This article originally appeared on Engadget at https://www.engadget.com/apple-store-workers-in-maryland-have-voted-to-authorize-a-strike-091428890.html?src=rss

Nintendo turned things around with the Switch. Before its launch, the Wii U was languishing well in third place in the console wars and, after considerable pressure, the company was making its first tentative steps into mobile gaming with Miitomo and Super Mario Run. Fast-forward to today and Nintendo continues to sell millions of Switch units each year, even with the console being nearly eight years old. This is likely due in part to the Switch’s unique hybrid format and an ever-growing game library with uncharacteristically strong third-party support. Whether you’ve had your Nintendo Switch for many years or you just bought one, there are plenty of great titles to try for the first time. We’ve collected our favorite Nintendo Switch games here, in a list we’re constantly reevaluating, and don’t worry if you have a Switch Lite — every game on the list is fully supported by the portable-only console.

This article originally appeared on Engadget at https://www.engadget.com/the-21-best-nintendo-switch-games-in-2024-183005073.html?src=rss

It seems Apple’s recently added option for App Store developers to include links to external payment methods isn’t actually all that appealing. In a hearing on Friday as part of the ongoing legal battle with Epic, Apple said only 38 developers have applied to add such links — out of roughly 65,000 that could, according to Bloomberg. The new guidelines, introduced in January, require developers get Apple’s approval before they can add alternative payment options and stipulate that they’ll still have to pay a commission fee of up to 27 percent.

The changes were intended to satisfy an injunction ordered by U.S. District Judge Yvonne Gonzalez Rogers in 2021, but, per Reuters, Epic in March called Apple’s attempt at compliance “a sham” and filed a complaint with the court. At this point, Rogers doesn’t really seem impressed either. “It sounds to me as if the goal was to then maintain the business model and revenue you had in the past,” Rogers said of Apple's solution during the latest hearing, according to Bloomberg.

On top of Apple’s commission, developers also need to consider payment processing fees, which altogether could lead to them paying even more than they did before. “You’re telling me a thousand people were involved [in approving the new fee] and not one of them said maybe we should consider the cost [to developers]?” the judge reportedly said.

This article originally appeared on Engadget at https://www.engadget.com/most-app-store-developers-arent-taking-apple-up-on-its-new-outside-payments-option-210802382.html?src=rss

Space weather has been known to cause disruptions to GPS and communications systems, and perhaps no one is feeling those headaches more than farmers this weekend. 404 Media reports that the heightened solar activity over the last few days has led to outages in the GPS navigation systems that guide some modern tractors from John Deere and other brands. The technology has allowed farmers to plant more efficiently in ultra-tight, straight lines, but they’ve been advised to temporarily stop using it due to the potential for inaccuracies that could cause havoc down the line come harvesting time.

John Deere’s tractors connect to what are known as Real-Time Kinematic (RTK) systems, 404 reports, which allow for precision planting down to the centimeter level. If farmers were to go ahead and plant without their usual accuracy, “we expect that the rows won't be where the AutoPath lines think they are” when it’s time to tend and harvest the crops, Landmark Implement, owner of some John Deere dealerships, told 404 Media.

The timing is terrible — it’s peak planting season for corn, and one Nebraska farmer, Kevin Kenney, told 404, “All the tractors are sitting at the ends of the field right now shut down because of the solar storm.” Many farms have had to pause planting, while others are carrying on and just hoping for the best.

The geomagnetic storm we’re currently experiencing is the strongest observed in the last 20 years, and reached G5 levels on Friday and Saturday morning, which is considered to be “extreme.” It later died down some to G4/G3, but is expected to surge again on Sunday evening when some intense but slower-moving coronal mass ejections (CMEs) from the sun reach Earth. That’s great if you want to see the northern lights, but not so much if your livelihood depends on the technology the storm is interfering with.

This article originally appeared on Engadget at https://www.engadget.com/the-geomagnetic-storm-is-a-nightmare-for-farmers-relying-on-precision-agriculture-tech-180252016.html?src=rss

People who pre-ordered the PC port of Ghost of Tsushima Director’s Cut in countries that don’t have access to PlayStation Network (PSN) were reportedly notified this weekend that their purchases have been canceled and auto-refunded. Steam, Green Man Gaming and the Epic Games Store have all been canceling these orders, Eurogamer reports. Developer Sucker Punch previously said that a PSN account would only be needed for the game’s multiplayer mode, and the single-player campaign would be playable without it. But, here we are — and just days after the Helldivers 2 mess that transpired last week.

According to Eurogamer, people in affected areas were sent an email letting them know their orders were being refunded, saying, “The publisher of this game is now requiring a secondary account to play portions of this game — and this account cannot be created from your country.” Prior to this, Ghost of Tsushima was delisted from Steam in the over 170 countries without PSN, PCGamer and other outlets have reported. Sony hasn’t said anything publicly about the whole debacle yet. Ghost of Tsushima Director’s Cut is slated to be released for PC on Thursday.

This article originally appeared on Engadget at https://www.engadget.com/pre-orders-for-ghost-of-tsushima-on-pc-are-being-canceled-in-countries-without-psn-access-155429366.html?src=rss

The strongest geomagnetic storm in 20 years made the colorful northern lights, or aurora borealis, visible Friday night across the US, even in areas that are normally too far south to see them. And the show may not be over. Tonight may offer another chance to catch the aurora if you have clear skies, according to the NOAA, and Sunday could bring yet more displays reaching as far as Alabama.

The extreme geomagnetic storm continues and will persist through at least Sunday... pic.twitter.com/GMDKikl7mA

— NOAA Space Weather Prediction Center (@NWSSWPC) May 11, 2024

The NOAA’s Space Weather Prediction Center said on Saturday that the sun has continued to produce powerful solar flares. That’s on top of previously observed coronal mass ejections (CMEs), or explosions of magnetized plasma, that won’t reach Earth until tomorrow. The agency has been monitoring a particularly active sunspot cluster since Wednesday, and confirmed yesterday that it had observed G5 conditions — the level designated “extreme” — which haven’t been seen since October 2003. In a press release on Friday, Clinton Wallace, Director, NOAA’s Space Weather Prediction Center, said the current storm is “an unusual and potentially historic event.”

The Sun emitted two strong solar flares on May 10-11, 2024, peaking at 9:23 p.m. EDT on May 10, and 7:44 a.m. EDT on May 11. NASA’s Solar Dynamics Observatory captured images of the events, which were classified as X5.8 and X1.5-class flares. https://t.co/nLfnG1OvvE pic.twitter.com/LjmI0rk2Wm

— NASA Sun & Space (@NASASun) May 11, 2024

Geomagnetic storms happen when outbursts from the sun interact with Earth’s magnetosphere. While it all has kind of a scary ring to it, people on the ground don’t really have anything to worry about. As NASA explained on X, “Harmful radiation from a flare cannot pass through Earth’s atmosphere” to physically affect us. These storms can mess with our technology, though, and have been known to disrupt communications, GPS, satellite operations and even the power grid.

This article originally appeared on Engadget at https://www.engadget.com/extreme-geomagnetic-storm-may-bless-us-with-more-aurora-displays-tonight-and-tomorrow-192033210.html?src=rss

Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now (horrifying, I know), but I can't blame them for not keeping people hanging even longer.

28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case.

We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.

This article originally appeared on Engadget at https://www.engadget.com/28-years-later-is-coming-to-theaters-next-summer-171831988.html?src=rss

In this installment of What We're Listening To, Engadget writers and editors discuss some of the recent music releases we've had on repeat. It's safe to say there's some variety on this list.

Sierra Ferrell - Trail of Flowers 

Sierra Ferrell seems almost like an anachronism in 2024, but in the best possible way. She has this effortless, old-timey country style that is at points reminiscent of the likes of The Carter Family or Flatt and Scruggs (her brilliant covers of songs once performed by the latter duo are permanently seared into my brain), and it’s just so refreshing. Trail of Flowers, Ferrell’s second studio album, toes a little further into a more modern sound, but it maintains this deeply Americana feel that just seems to roll off the West Virginia-born artist so naturally.

Country music isn’t just one thing, and neither is Trail of Flowers. It meanders through different flavors — folk, bluegrass, hints of jazz — but it manages to do so in a way that feels cohesive when it’s all taken together. The wistful “American Dreaming” and “Wish You Well” are offset by sillier, whimsical numbers like “I Could Drive You Crazy” or the deep cut cover, “Chitlin' Cookin' Time in Cheatham County.” Tracks like “Money Train,” “I’ll Come Off the Mountain” and “Lighthouse” are instantly catchy. “Why Haven’t You Loved Me Yet” and “No Letter” feel like classics in the making.

And then there’s the cheekily sinister, scorned-lover’s lament, “Rosemary.” It’s one of the songs that first got me hooked on Sierra Ferrell years ago, as I imagine is the case for a lot of fans who have followed Ferrell’s career since her busking days or her unforgettable GemsOnVHS performances. I was almost nervous to hear it on Trail of Flowers, with a full production, after loving the raw, stripped-down recording I’ve been replaying on YouTube for so long. But they’ve done a beautiful job of capturing that magic, and “Rosemary” may be my favorite track on the album. It’s hard to pick, though.

Castle Rat - Into the Realm 

Sometime early last year, I discovered something I didn’t realize was missing from my life: medieval fantasy doom metal. I was at a show at the gloriously trippy Brooklyn Made watching an opener ahead of the band I’d gone there to see, and unexpectedly found myself witness to an on-stage choreographed sword fight (well, there was a scythe involved too) between a woman in chainmail and someone wearing a hooded rat mask and lingerie. I’d already been enraptured by the band’s heavy, immersive riffs and the singer’s hypnotic 1970s-esque vocals, but in that moment, yeah, things really clicked into place. This was my introduction to Castle Rat, and it was a damn good one.

I’ve been eagerly awaiting the release of their debut album ever since, and from the second it dropped last month — an LP called Into the Realm — I’ve pretty much been playing it on a nonstop loop. It would actually be embarrassing if you were to check the number of times I’ve listened to the album’s standout ballad, “Cry For Me.” It is a haunting, emotional song that really takes you on a journey and I’m a little obsessed with it. Into the Realm opens strong with the boppy “Dagger Dragger,” and some real heavy-hitters follow in tracks like “Feed the Dream,” “Fresh Fur” and “Nightblood.” “Red Sands” is a slow-building powerhouse, and I’ve even found myself loving the three roughly minute-long instrumental interludes that tie the whole album together.

Doom bands love a good theme (as do I), and we tend to see a lot of weed, witchcraft, science fiction and fantasy pop up throughout the subgenres that fall under this umbrella. Castle Rat definitely isn’t the first to have a shtick, but there’s a certain freshness to the band’s even more specific, self-described medieval fantasy brand, perhaps because they commit to it so hard. Their ‘70s and ‘80s influences are obvious, yet everything they’ve put out so far still feels original. Some people might find the whole thing gimmicky, but I think it’s working. Especially since they have the chops to back it up. I’m excited to see where Castle Rat goes from here.

Honorable Mentions:

Girl with No Face, Allie X— Another song I’ve been listening to an embarrassing amount these days is Weird World, off Allie X’s latest album, Girl with No Face. I somehow haven’t tired myself of it yet, it makes me go absolutely feral. Girl with No Face is full of synth-pop gems, like “Off With Her Tits” — a dancey, angsty anthem sure to resonate with anyone who has experienced dysphoria around their body image — “John and Johnathan,” “Black Eye” and “Staying Power.”

Club Shy, Shygirl — This is just a collection of straight-up bangers. It’s not even 16 minutes long, but it really hits. If you need an instant mood-elevator ahead of a night out, this album is it.

Stampede: Volume 1, Orville Peck — Orville Peck’s first release in his fringeless era is a duets album, the first part of which was released on Friday and features artists including Willie Nelson, Noah Cyrus and Elton John. I haven’t had much time to spend with Stampede: Volume 1 yet, but I’m into it so far. “Conquer the Heart” ft. Nathaniel Rateliff and “How Far Will We Take It?” with Noah Cyrus feel like they combine the best elements of Pony (2019) and Bronco (2022). Bronco came in two waves, so I expect we’ll see a Volume 2 for Stampede before long, too.

— Cheyenne MacDonald, Weekend Editor

Hannah Jadagu - Aperture

Whenever I hear the words “banger” or “bop,” I don’t think about artists like Taylor Swift. I think about the nebulous musical genre known as bedroom pop. Bop, after all, is right there in the name. Hannah Jadagu is a bedroom pop wizard of the highest order. Her first EP was made entirely on an old iPhone and still slaps, though she has since graduated to real recording studios. Jadagu’s latest full-length on Sub Pop, Aperture, is filled with both bangers and bops, and my favorite is the lovelorn “Say It Now.” Listen to this thing. It just may be the perfect pop song and is absolutely crying out for some road trip singalongs. The shoegaze-adjacent “What You Did” is another classic and would be at home on any decent summer playlist.

— Lawrence Bonk, Contributing Reporter

Justice - Hyperdrama

Justice’s first full-length release Cross from 2007 is one of my favorite albums of all time. Not only did it define the crunchy electronic sound of the blog house era in the late 2000s and early 2010s, it also felt like a new French duo had picked up where Daft Punk left off following 2005’s Human After All. Now Justice is back with its fourth album in Hyperdrama. But instead of being inspired by a specific genre of music like we heard in Audio, Video, Disco’s stadium rock tracks or Woman’s disco-fueled beats, this album feels more like the soundtrack to a moody sci-fi thriller, almost as if this is Justice’s alternate reality take on the Tron: Legacy soundtrack.

“Generator” is a certified banger and probably the song that sounds the most like classic Justice. “Neverender” and “One Night/All Night” are also highlights, though I think Justice may have leaned a bit too heavily on Tame Impala to give this album personality. “Dear Alan” delivers super smooth vibes and Thundercat makes a delightful appearance and finishes things strong in “The End.” 

The one thing I really miss is at least one truly danceable track like we got on all of the band’s previous albums. I also have to admit that some of the songs in the middle blend together in a less-than-memorable way. So while Hyperdrama isn’t the top-to-bottom masterpiece that Cross was a decade and a half ago, more Justice isn’t a bad thing.

— Sam Rutherford, Senior Reporter

Utada Hikaru - Science Fiction

Over the past few weeks, I've mostly been listening to songs from Science Fiction, the first greatest hits album by J-Pop artist Utada Hikaru. I've been a fan since they released their debut album First Love back in 1999, when people were far more likely to be weirded out by the fact that yes, you can enjoy music with lyrics in a language you don't understand. Utada has been in and out of the J-Pop scene since then, and there were long stretches of time when I wouldn't hear anything about them. Every new music drop is a gift, especially this album, since it's tied to an upcoming concert tour, which they only do once in a blue moon.

Utada experienced a resurgence in 2022 when their songs “First Love” and “Hatsukoi” — which also translates to “first love” — were featured in a hit Japanese drama series on Netflix called (you guessed it) First Love. Those tracks are, of course, in Science Fiction, which also includes songs from various points in Utada's career. 

The album will take you on a journey from when they mostly wrote R&B-inspired pop to an era when their music became more experimental, and it will introduce you to their current sound, which is both mainstream and unique. While some of the re-recorded versions of their older songs like “Traveling” don't quite hit the mark, it's still a good representation of who Utada is as a musician. As a long-time fan, though, this album isn't just a collection of songs to me, but a collection of memories from different stages of my life.

— Mariella Moon, Contributing Reporter

Caroline Polachek - “Starburned and Unkissed”

There are a few reasons that “Starburned and Unkissed” stands out against the I Saw the TV Glow soundtrack, which is replete with not only beloved mainstays like Broken Social Scene's “Anthems For A Seventeen-Year Old Girl” as well as other original songs from luminaries like Phoebe Bridgers and Hop Along's Frances Quinlan. If cornered, I would say the most brilliant thing about “Starburned and Unkissed,” its greatest strength, is that it's just a little too slow. 

Every note stretches and yearns with the impatience of adolescence, verges on running out of air, of snapping in two. Much like the scene of the utterly and equally brilliant I Saw the TV Glow it was written for, it captures the sleepy anxiety of a too-warm high school, overcrowded and isolating. The heaviness of its crushing guitars ebbs and flows unsteadily, mimicking the experimentation of callow hands. (It takes the second try on the chorus for the drums and guitars to all come in on cue.) 

It's unstable, hopeful. Caroline's voice — gently mangled by intentional autotune pitch shifts — falls out of key in the song's last few refrains, threatening to derail the dreamy beauty of the past three minutes. It ends abruptly, begging for another listen, another return to a time that can't be recaptured.

Honorable mentions:

“Lover's Spit Plays in the Background,” Claire Rousay — Rousay's sentiment is a perfect album for reading outside on an overcast day. I'm not sure I can pick a standout track, as the experience is really in letting the whole thing wash over you, but this one's close enough.

“Stickers of Brian,” Hot Mulligan — Classic pop punk subject matter (“my job sucks and I hate everyone”) but my god what an earworm.

“On Brand,” Ekko Astral — Levels of snottiness previously considered unachievable. Hard not to love what a beautiful mess these folks make.

“Cometh the Storm,” High on Fire — Most of High on Fire's 20+ years of output sounds like — and lyrically is probably about — an axe-wielding barbarian ripping a bong, or whatever other D&D nonsense they're up to. (I say this lovingly. I adore High on Fire.) The title track off the new one is… unusually dirge-like? At first it felt very “old band showing their age” but it's grown on me as an intentional and welcome change. They're not off the hook for using AI for the “Burning Down” music video though. C'mon guys.

— Avery Ellis, Deputy Editor, Reports

This article originally appeared on Engadget at https://www.engadget.com/what-were-listening-to-trail-of-flowers-hyperdrama-science-fiction-and-more-143052023.html?src=rss

If you've been seeing more Waymo robotaxis recently in Phoenix, San Francisco and Los Angeles, that's because more and more people are hailing one for a ride. The Alphabet-owned company has announced on Twitter/X that it's now serving more than 50,000 paid trips every week across three cities. Waymo One operates 24/7 in parts of those cities. If the company is getting 50,000 rides a week, that means it receives an average of 300 bookings every hour or five bookings every minute. Waymo has revealed, as well, that it's had over one million rider-only trips across four cities, including Austin, where it's currently offering limited rides to select members of the public.

In its announcement, Waymo credited its "safe and deliberate approach" to scaling its program for reaching the milestone. "We see people from all walks of life use our service to travel carefree, gain independence, reclaim their commute and more. Fully autonomous ride-hailing is a reality and a preferred mobility option for people navigating their cities every day," it added. 

While Waymo certainly seems to be doing better than Cruise, which only recently re-deployed some of its autonomous vehicles following a much-needed hiatus, it's had its share of controversies. In April, six Waymo robotaxis blocked traffic in a San Francisco freeway, and it was just one of the instances wherein the company's vehicles caused traffic blockage. Earlier this year, two Waymo vehicles crashed into the same pickup truck one after the other, because their software had incorrectly predicted the future movements of the truck. The company issued a software recall after the incident to fix the issue and prevent similar incidents from happening. 

Our safe and deliberate approach to scaling the Waymo Driver is gaining traction, as we’re now serving more than 50,000 paid trips every week across three major cities. Thank you to our riders for trusting us to get you to your destinations safely and reliably. pic.twitter.com/g0ws4QnV7v

— Waymo (@Waymo) May 9, 2024

This article originally appeared on Engadget at https://www.engadget.com/waymo-says-its-robotaxis-are-now-making-50000-paid-trips-every-week-130005096.html?src=rss

The following includes spoilers for “The Devil’s Chord.”

For a show about time (and space) travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing.

This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. (FilmStories reported from a recent Q&A, where Davies said that this episode lacked a central plot and was, instead, "Just some subplots.")

James Pardon/Bad Wolf/BBC Studios

But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV.

Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil.

James Pardon/Bad Wolf/BBC Studios

We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro (Jinkx Monsoon), the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano.

When the titles end (notice the theme is playing out of the jukebox) it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor.

James Pardon/Bad Wolf/BBC Studios

The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs.

Next door, (famous British singer / TV presenter / notorious diva) Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement.

James Pardon/Bad Wolf/BBC Studios

The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. (The Doctor knows just enough about how the form and format of TV works to turn the tables on their opponent.) Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano.

The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro

Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky.

Natalie Seery/Bad Wolf/BBC Studios

But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures.

Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a (real) fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up.

Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background.

Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below.

James Pardon/Bad Wolf/BBC Studios

There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself.

It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up.

The problem of Susan Twist

As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan.

When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies (eww babies) and stay here while I go off running around the universe.” Yes, it is a bit yikes.

This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail.

Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for.

Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.

This article originally appeared on Engadget at https://www.engadget.com/doctor-who-the-devils-chord-review-is-this-madness-010056449.html?src=rss

The following includes spoilers for “Space Babies.”

You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.

We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.

To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.

Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.

James Pardon/Bad Wolf/BBC Studios

For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.

The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.

Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.

On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.

James Pardon/Bad Wolf/BBC Studios

But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?

Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.

The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.

This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”

James Pardon/Bad Wolf/BBC Studios

The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.

Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.

Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.

The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.

Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)

The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.

James Pardon/Bad Wolf/BBC Studios

I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.

During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.

But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.

This article originally appeared on Engadget at https://www.engadget.com/doctor-who-space-babies-review-bet-you-didnt-expect-that-000030277.html?src=rss