Do you remember 3D TVs? They had a roughly six-year run from 2010 to 2016, a timespan that witnessed the demise of plasma TVs and the ascent of OLED TV technology. At that same time, there was a 3D movie boom in theaters, with nearly every major release getting a 3D-format screening, whether the content benefited from the addition of a third dimension or not.
Booms are usually followed by a bust, and these days most folks don’t even give a second thought to 3D movies. In an ironic twist, however, recent advances in display tech have created fertile ground for 3D viewing, particularly for watching 3D movies at home.
I’ll admit to having geeked out on 3D during the last boom period, partly because I was regularly reviewing TVs at the time, and also because I had young kids who wanted to see the new animated movie releases, most of which were shown in 3D. Consequently, I spent many a weekend wearing 3D glasses in theaters, and also amassed a decent-sized Blu-ray 3D disc library for home viewing.
Looking back at that time, my recollection is that the 3D kinda sucked, both at the theater and at home. In theaters, it was the pre-laser projector era, when the brightness of a typical digital cinema projector was significantly lower than what you get in today’s venues. Put on 3D glasses, and the picture put out by that already brightness-challenged projector could look almost unacceptably dim.
Along with being dim, many movies shown in 3D weren’t actually shot using 3D cameras but instead converted to 3D. Not surprisingly, any 3D effect in these titles was minimal, or even accidental.
On the home front, the 3D TVs of the time had smaller screen sizes and were significantly less bright than today’s models. Today, a typical lineup from any TV brand ranges from 55 inches up to 98 inches, and peak brightness for higher-end models is in the 2,000-3,000 nits range. Back in 2015, screens generally maxed out at 65 inches, with 55 inches being a more common size. As for brightness, one of the last 3D TVs I measured, a Panasonic LCD model, topped out at a mere 132 nits.
(Looking back at that 2015 review, I was reminded that Netflix at one time streamed 3D content, and that I had actually watched a Wim Wenders 3D movie on the Panasonic. Crazy.)
Most home projectors in that earlier era also supported 3D, which let you watch 3D movies on 100-inch-plus-size screens. But while a bigger screen provided a better and more immersive experience, the brightness of pre-laser, lamp-based home projectors was much less than what you can expect today. To cite one example, the Sony VPL-VW350ES, a 4K SXRD projector that cost $10,000 when I tested it in 2015, had a specified 1,500 lumens brightness. Today, the Sony Bravia Projector 7, the company’s entry-level 4K laser model, lists for the same price and has a specified 2,200 lumens brightness, a near 50% increase.
Today, there are still some 3D theatrical releases, though most are kids-oriented animated movies like the recent Pixar hit Hopper and The Super Mario Galaxy Movie. New Blu-ray 3D discs also continue to trickle out, with the latest entry in the Avatar franchise, Avatar: Fire and Ash, which is scheduled to ship in May 2026, being one notable release.
Anyone who owns a 3D-capable Blu-ray player and picks up Avatar: Fire and Ash on disc will find the 3D at home landscape much improved compared to the 3D boom years, and that comes down to one product category: projectors.
I recently got my hands on the Hisense PT1, a 3D-capable projector. The PT1 is an ultra short throw (UST) model designed for close placement to a screen and it supports screen sizes up to 150 inches. At $2,500, it’s affordably priced for a 4K UST projector, and its 2,500 lumens specified brightness exceeds that of considerably more expensive long throw projectors such as the Bravia Projector 7, a model that, despite its relatively high price, doesn’t offer 3D support.
Having the Hisense PT1 in-house gave me an opportunity to do something I’ve long been wanting to do: revisit my Blu-ray 3D disc collection to see how the experience holds up on a bigger, better, and brighter display than what I was used to in the old days. For my viewing, I paired the Hisense with a 100-inch Elite Pro AV Floor Riser Pro DarkUST 3 projection screen using an Oppo UDP-203 4K Blu-ray player as a source. Active 3D glasses were AWOL Vision DLP Link.
To get the 3D TV party started, I selected three movies that I know were actually shot using a stereoscopic process and not upconverted to 3D: Avatar, Hugo, and Coraline. It didn’t hurt that these are all good movies – very good in the case of Coraline – and that I remembered them as having a pronounced 3D effect when I first watched them, both in the theater and at home.
Avatar is the king of modern 3D spectacles, and it was the disc I was most eager to check out on the Hisense projector. (The next chapter in the series, Avatar: The Way of Water, was also a 3D banger when I watched it at my local IMAX theater, and it looked great on an Apple Vision Pro headset that I briefly had on loan.)
To quickly sum things up, Avatar looked great on the system. The picture had strong contrast and bold color, especially in the luminescent forest scenes early on, and the 3D effects were even more pronounced than I remembered. There really was a sense of being there in the forest with those blue aliens. I found that brightness could have been better – I guess I got spoiled by watching Avatar: The Way of Water in optimal 3D viewing conditions – but the picture wasn’t so dim as to prevent me from enjoying it.
Hugo on the Hisense was another case where the 3D effects were more pronounced than I remembered – the picture was almost too three-dimensional. Unlike Avatar, Hugo is a good enough movie (it was directed by Martin Scorcese) that you don’t need 3D to fully enjoy it, so this is one case where I’d forego the third dimension to get the added picture brightness in 2D.
Coraline (2009) was the first stop-motion animated feature to be shot in 3D, and it received a 4K restoration and 3D theatrical re-release in 2024. Unfortunately, the remastered version didn’t make it to Blu-ray 3D, though a 4K disc version is available.
Watched on the Hisense UST projector, my original Coraline disc lacked the 3D depth swagger of Avatar and Hugo, though there were some scenes that strongly benefited from the extra dimension, particularly the ones where Coraline crawls through the passage to and from the Other World. I had caught the remastered 2D version in theaters back in 2024, but watching it in 3D on a 100-inch screen at home was a compelling enough experience that I found myself sitting again through the entire movie.
Plowing through select scenes from the rest of my collection, I was surprised to see how good some of those discs, which I previously hadn’t been impressed by, looked on the big screen. Disney’s Tangled (which even has previews in 3D) and How to Train a Dragon both had subtle, yet impressive depth effects, and the IMAX documentary Deep Sea 3D was a visual delight, particularly the jellyfish segment. The Tsui Hark historical martial arts drama Flying Swords of Dragon Gate, in contrast, was almost too much in 3D given its non-stop over the top, gravity defying action scenes. And the same could be said for Pacific Rim, which had a near-wobbly look due to the shifting spatial perspectives.
Some things are better left in two dimensions.
The popularity of 3D movies may come and go, but the format will never completely disappear – it’s got way too much sticking power. What I don’t expect to see revived at any time in the near future is 3D TVs. Set manufacturers, and the viewing public, seem pretty much done with that concept.
Fortunately for 3D movie fans, 3D lives on in projectors. That’s not to say that all new projectors support 3D. In fact, Epson, Sony, and JVC have all dropped 3D support in their latest models. But other projector brands such as Hisense, Optoma, AWOL Vision/Valerion, and XGIMI are bullish on 3D, providing broad support for the format across their respective product ranges.
Looking back on my 3D experiment/nostalgia trip, the one thing I would have changed was to use a brighter projector. With a rated 2,500 lumens, the Hisense PT1 has good brightness for the price, and is a great value for an RGB laser projector. But the company’s flagship UST model, the Hisense L9Q, which is rated at 5,000 lumens, twice the brightness, would have been a better choice. The L9Q costs $6,000, and while that price might be high, it is apparently the cost of doing proper 3D business.
22-year-old Evan Tangeman of Newport Beach, California, was sentenced to 70 months in prison for laundering funds stolen in a massive $230 million cryptocurrency heist.
According to court documents, Tangeman (also known as “E,” “Tate,” and “Evan|Exchanger”) helped the suspects behind the crypto-heist launder at least $3.5 million between October 2023 and May 2025.
Fourteen suspects were charged in September 2024 and May 2025 in a RICO conspiracy for over $230 million in cryptocurrency and laundering the funds using crypto exchanges and mixing services.
20-year-old Malone Lam (aka “Greavys,” “Anne Hathaway,” and “$$$”) and 21-year-old Jeandiel Serrano (aka “Box,” “VersaceGod,” and “@SkidStar”) were arrested and charged in September 2024 for allegedly stealing over 4,100 Bitcoin from a Washington, D.C., victim (worth more than $230 million at the time) in an August 2024 attack.
As crypto fraud investigator ZachXBT found, they targeted a Genesis crypto exchange creditor using spoofed phone numbers and impersonating customer support at Google and Gemini.
While impersonating a member of the Gemini support team, they claimed the victim’s account had been compromised, tricking them into resetting their two-factor authentication (2FA) and sharing their screen using the AnyDesk remote desktop application. This allowed them to steal the victim’s cryptocurrency after gaining access to the Bitcoin Core private keys.
Next, they allegedly laundered the stolen funds via a combination of crypto mixers and exchanges, with the help of accomplices (including Tangeman), using “peel chains,” pass-through wallets, and virtual private networks (VPNs) to hide their identities and locations throughout the scheme.
The other nine suspects (including Tangeman) were indicted in May 2025 and are facing charges of racketeering conspiracy, money laundering, obstruction of justice, and conspiracy to commit wire fraud.
The group used the stolen cryptocurrency to finance their lavish lifestyles, including private security guards, high-end watches, designer handbags, nightclub outings ranging up to $500,000 per evening, and international travel.
They also rented homes in Los Angeles, the Hamptons, and Miami for $40,000 to $80,000 per month, as well as private jets and a fleet of at least 28 cars valued from $100,000 to $3.8 million (including a widebody Lamborghini Urus for Tangeman).
“This criminal enterprise was built on greed so brazen it borders on the cartoonish. They stole millions, spent it on half-million-dollar nightclub tabs, Lamborghinis, and Rolexes,” U.S. Attorney Pirro said on Friday.
“But Evan Tangeman didn’t just launder the money that fueled that lifestyle. When his co-conspirators were arrested, he moved to destroy the evidence. That is consciousness of guilt, and this office and the court have treated that accordingly.”
Tangeman pleaded guilty in December 2025 to laundering stolen funds for a criminal organization as part of a RICO conspiracy. He was sentenced to 70 months in prison and ordered to serve three years of supervised release afterward.
45-year-old Kunal Mehta (aka “Papa,” “The Accountant,” and “Shrek”) also pleaded guilty in November 2025 to helping to launder at least $25 million of the stolen cryptocurrency and is currently awaiting sentencing.
AI chained four zero-days into one exploit that bypassed both renderer and OS sandboxes. A wave of new exploits is coming.
At the Autonomous Validation Summit (May 12 & 14), see how autonomous, context-rich validation finds what’s exploitable, proves controls hold, and closes the remediation loop.
The governor of Maine, Janet Mills, has vetoed a bill that halts the construction of large data centers in the state until the fall of 2027. While the bill passed both houses of the Maine’s legislature on April 14, and Mills has suggested she’d support a temporary moratorium, the governor wanted a bill that would exempt an existing data center project in Jay, Maine.
The bill specifically blocked the construction of data centers that consume 20 megawatts of power or more and directs state agencies and other entities to not issue permits unless proposed projects fall under those energy needs. Passing the bill would also require the creation of a “Maine Data Center Coordination Council” that would “provide strategic input, facilitate coordinated state planning considerations and evaluate policy tools to address data center opportunities and related benefits and risks to the State.”
While Mills killed this attempt at data center regulation, she said she would sign an executive order calling for the creation of a council like the one proposed in the bill. She also signed LD 713, a bill that prohibits data centers from participating in Maine’s business development tax incentive programs.
Maine is far from the only state pursuing data center bans or temporary blocks. There are at least 12 other states exploring similar legislation, like New York, where lawmakers recently introduced a bill that would block the construction of new data centers for at least three years. At the federal level, Senator Bernie Sanders (I-VT) and Representative Alexandria Ocasio-Cortez (D-NY) endorsed a bill that would not only create a moratorium on new data center construction, but also any upgrades to existing facilities.
Any desire to slow down AI development or the infrastructure that makes it possible runs counter to the demands of tech companies, and the perspective of the Trump administration, who’s actively encouraging faster AI buildout in the US. President Donald Trump’s recent AI framework even called for the process of building and powering data centers to be streamlined in March.
AXPONA 2026 was a tremendous show by any metric; bigger crowds, stronger energy, and more gear than anyone could reasonably process without developing a caffeine dependency and mild resentment toward elevators. We’re already counting the days until next year. But let’s not pretend everything was perfect. If you were hunting for genuinely affordable loudspeakers, the pool was shallower than it should have been. Which is exactly why the forthcoming Talisman R from Ruark stood out like a Chabad House in King’s Landing.
Plenty of six-figure systems flexing for Instagram, not nearly enough options for people who actually have to pay their mortgage or whose children can’t survive on a diet of char dogs from the Weiners Circle and Portillo’s — although a much thinner and younger version of myself did just that for almost a month back in 2000. Pickle spears and tomatoes count as salad for those who might be wondering.
There were, however, some notable exceptions. Quad has something new cooking that we’re not quite ready to spill the mushy peas on yet. Paradigm showed off the new Premier Series v2, which looks like a serious play in the sane-price category. SVS continues to show up for people who want performance without selling a kidney. Acoustic Energy remains quietly consistent. And then there was this one—slightly under the radar, a little cagey on details, and far more interesting than it had any right to be.
The Ruark Audio Talisman R was one of the more surprising debuts at the show. It’s Ruark’s first floorstanding speaker in roughly two decades, which alone makes it worth paying attention. If pricing lands under $2,000 in the U.S. through Fidelity Imports, this could turn into a problem for some of the usual suspects who seem convinced the 25-40 crowd is just waiting for a pair of 80-pound floorstanders from France or Denmark; speakers that demand a small power plant for amplification and a quick organ sale to close the deal.
Physically, it’s compact for a floorstander; about 85 cm tall, or roughly 33.5 inches, but it doesn’t come across as compromised. Ruark kept things close to the vest in terms of full driver details, with more expected when it shows in Vienna, but what was on display didn’t feel like a prototype. Fit and finish looked sorted. No rough edges, no “we’ll fix that later” energy.
In the room, driven by the Ruark R610, it came out swinging. Bold, crisp, and articulate without sounding thin. The soundstage pushed wider than expected, especially with electronic material, and it held its composure at volume. This isn’t a polite, sit-in-the-corner tuning. It has some bite.
I wanted a pair within minutes, which is usually the only metric that matters. My ego keeps eyeing the ATC EL50 Anniversary Loudspeakers. My brain knows these are the smarter call.
What stuck with me is how flexible they felt. This isn’t a one trick demo speaker that only works in the room it was born in. It comes across like a blank canvas. You can shape it. I would not pair it with something lean or overly clinical. That feels like the wrong direction. It wants a bit of weight and drive behind it.
Think Lauren Bacall, but only after Humphrey Bogart already spotted her across the room and knew exactly what he was looking at. Cool, controlled, a little dangerous, and never trying too hard. The kind of presence that does not need to raise its voice to own the room. That is what this reminded me of. The Talisman R does not force a personality on you. It responds to what you give it.
The finish lines up with the rest of Ruark’s range. Clean, understated, nothing trying too hard. My brain immediately went practical. Concrete slab risers in my new home office, nearfield-ish setup, something that looks right without screaming for attention.
Pairing options feel wide open. A strong tube integrated would be a great call, yes something like Unison Research. Marantz, Rega, Cambridge Audio, even the Quad 3 I just reviewed all make sense. Each would push it in a slightly different direction, and that is the appeal.
And here is the part that needs saying. There are not enough products like this getting attention. Too much focus on gloss and price tags that feel disconnected from reality. I have probably spent more time thinking about these than most of my peers. Fine by me.
If Ruark does not mess this up between now and September when they go on sale, this could be the steal of the year.
Ford Racing’s Mustang Cobra Jet 2200 just ran a quarter mile in 6.87 seconds at 221 mph at an NHRA event in Charlotte, setting a new world record for an EV. The run smashed Ford’s own previous EV record of 7.62 seconds, set by the Cobra Jet 1800 last September, by an impressive 0.75 seconds.
As the name suggests, Ford’s Cobra Jet 2200 puts a massive 2,200 horsepower to the wheels thanks to a newly designed electric motor and inverter combo. Ford elected to use two motors and inverters instead of four of each as before to reduce complexity and boost efficiency to 98 percent. Overall power is up by 600 horsepower, but the motors and inverters weigh half as much as before. Everything runs on a 900-volt architecture and 32 kWh battery that charges in 20 minutes, easily enough for the NHRA’s 45-minute turnaround rule.
The car has some unusual features for an EV like a clutch that lets the driver dump all the power to the road instantly for maximum acceleration. It also uses a multi-speed transmission that allows the car to run in its ideal power band through the duration of the run — reducing the quarter-mile time by up to a second, according to Ford. The battery design also allowed the team to tune weight distribution for optimal traction. Another racing touch is a pyrotechnic circuit breaker that can instantly break the high-voltage connection via a small explosive charge to align with NHRA safety rules.
Some of this tech, like the high-efficiency motors and 900 volt system, could conceivably trickle down to consumer vehicles. Unfortunately, Ford and other US automakers have significantly reduced their investment in BEV technology of late. Ford recently announced that it would reboot the F-150 Lightning as an EREV with a gas generator, while last week GM delayed its next-gen full-size EV pickups and SUVs — all in the face of rapidly rising gasoline prices.
There are many white whales the TV world has tried to conquer over the years. With some, it’s managed to win the battle and bring those concepts to the mainstream market. Others have slowly but surely disappeared.
MicroLED finds itself somewhere in the middle of those two realities. Brands like to show it off as a concept of what the future of TVs in the home could look like. But often it’s a concept piece, as it was when Samsung showed off another MicroLED screen at CES 2026.
But could it move from concept to actual reality? I was invited to Harrods to see Hisense’s 136-inch MX MicroLED TV, and there’s now reason to believe it could exist beyond the show floors of consumer electronics events. But if it does, it’s also unlikely to make its way to your living room any time soon.
Launched many, many, many years ago, MicroLED was championed by both Samsung and LG as the technology leading the charge for people’s homes, bringing the TV industry’s obsession with colour and brightness to higher heights.
But instead of gathering pace, its momentum slowed. The technological promise seemed to smash into a cost and effectiveness barrier. Year after year, there were murmurings that MicroLED TVs could arrive sooner than you’d expect, but without any real timescale.
Samsung’s The Wall threatened to become an actual TV, but every time Samsung made an announcement, it was conveyed in vague, nebulous terms. If memory serves, there was a mention of a 75-inch MicroLED being a possibility. Clearly, that never came to fruition.
Others have taken their MicroLED tech and pushed it towards B2B, with massive, modular screens for advertising and the like. But the promise of MicroLED seemed to have faded as TV manufacturers realised the promise of Mini LED as another avenue.
But Hisense is one of the few that’s persisted. The 136MXQTUK I saw is the first MicroLED TV I’ve come across outside of tech events or a company’s HQ. There, in the Harrods in Knightsbridge, you can head up a series of escalators, walk past the many weird and expensive kit that decks the floors and you’ll find one of the biggest TVs on the planet.
In that sense, MicroLED has leapt from tech demo and wish fulfilment to something you can see and touch.
But of course, MicroLED TVs come at a price, and it’s the cost that’s been the prohibitive factor to making it a mainstream proposition.
Hisense has made it its mission in recent years to become a leader in the market, whether it’s with Mini LED, RGB Mini LED or large screen sizes.
A good ten years ago when the Chinese brand first entered the UK market, they were a value-led proposition, a TV for those that didn’t want to spend too much. Over the years they’ve evolved, broadened their range and upped their quality. They’re still not up to the standard of a Samsung, a Sony or an LG, but they’re making steps to reach that level.
And now they find themselves in Harrods, alongside the likes of Samsung, Sony and LG.
But who exactly is a MicroLED TV for? Now that it’s a thing, someone has to buy that thing, and the cash required is significant. We’re very far from Hisense being a value-led brand.
At £120,000, the 136MXQTUK is for the few, not the many. A modular TV where Hisense’s installers come to your (lavish) home, or boat, penthouse – you get my point – and install it as you wait. With the frame going up first, filled by the modular pieces that make up the screen, it’s a process that apparently takes up to four hours to complete.
This isn’t a TV likely to come down in price – there will not be any Black Friday discounts – nor do I think there’s going to be smaller sizes. The stage is set, and it’s a very large one, at an expense that makes it for the millionaire crew.
The scale of the screen is impressive in the flesh, and I have to commend Hisense’s persistence for making this a reality where others have stumbled – but in all honestly, I left Harrods in a mood unchanged from how I felt about MicroLED TVs at CES.
The picture quality wasn’t the best I’ve seen, and you could see the lines that marked each module, which is a distraction unless you’re watching from far away. You don’t want to see the seams, especially if you’re paying £120,000.
Perhaps it was the slightly dim setting of the venue, or the picture mode the TV was in (which seemed to be in Standard or Vivid), or the AI processing likely to have been used for a TV of this size, but it didn’t look as clear or as bright as I was expecting.
I expected to be wowed by the colours, depth and brightness, but I felt underwhelmed. It didn’t compare to what I’ve seen from Samsung and LG. There’s something about the colours that’s off to my eyes.
If I had won the Euro Millions, would I spend £120,000 on this TV? My answer would be that I’m not sure, which in itself is probably a ‘no’. Would I spend that amount on a Samsung MicroLED? Having seen it, I think it’d be more of a yes.
I can be a “bah, humbug” type of person, but there’s a whiff of 8K TV about MicroLED TV – a format where there’s just not enough enthusiasm about it, and where I think the excitement for it has naturally passed.
Hisense sees a clear and open path with MicroLED, one in which it believes it can make hay in, and good on them for taking the plunge. But I think the relative lack of interest from other TV brands is a sign that, while the future of TVs is bright and colourful, it’s no longer a MicroLED future.
This webinar explores how Simscape™ Electrical™ can be used to model and simulate power systems and power converters across different timescales. Using practical examples, we’ll move from quasi‑static studies such as 8760‑hour simulations to electromagnetic transient (EMT) simulations that include grid integration of inverter‑based resources.
The session demonstrates how simulation can be used to analyze system behavior and performance for modern, converter‑dominated power grids.
The models will be used to:
The best iPhone charger depends on several factors. Are you topping off your battery on the go? Do you want to charge your iPhone as quickly as possible? Are you charging it overnight on your nightstand? The best gear recommendation is going to change with the situation. Luckily, the WIRED Reviews team tests iPhone chargers in the field all year long. There’s not a day that goes by that at least one of us is not assessing at least one iPhone charger. I’ve gathered up our favorite picks for every scenario.
Be sure to check out our related buying guides, like the Best Power Banks, the Best 3-in-1 Chargers, and the Best Wireless Chargers.
Table of Contents
Best Wall Charger for iPhone
Photograph: Julian Chokkattu
Anker
This Anker charger is slick and has folding prongs so it’s easy to travel with, but the best part is that it can charge your phone at 40 watts (average is 20 to 27 watts). That means you can get up to 50 percent battery life in only 20 minutes. Not all iPhone models support charging this fast—it’s limited to iPhone 17, iPhone 17 Pro, and iPhone 17 Pro Max—but you may as well future-proof your gear if you’re shopping for a wall charger, even if your phone can’t take full advantage of those speeds yet.
Best Power Bank for iPhone
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We do recommend the Anker Laptop Power Bank as our top-pick power bank, but if you’re only trying to top off your iPhone, this is a very reliable and neat-looking power bank. It’s svelte, smaller than a deck of cards, and can deliver 20 watts to two devices at once. Nimble also makes a slightly larger version, which has a larger capacity and can charge at up to 65 watts. Aside from the cool design featuring speckled colors and a lanyard loop, Nimble also uses bioplastics, recycled materials, and minimal packaging. A USB-C charger is included in the box.
Best MagSafe Portable Charger for iPhone
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Anker
This 10,000-mAh power bank can charge your device at up to 15 watts, but it’ll also charge older devices at a slower rate. It has a built-in kickstand and an LED display that lets you know how much power is left at a glance. It works in portrait or landscape modes. Be aware that it won’t be able to charge most phones fully more than once, but it’s hard to beat if you’re seeking wireless charging on the go. If you want a bigger capacity or faster charging, you don’t want MagSafe.
Best 3-in-1 Charger for iPhone
Belkin
The Belkin 3-in-1 can charge your compatible iPhone at 15 watts, plus your AirPods and your Apple Watch at the same time. The charging pad can be tilted to your preferred angle, including in landscape orientation if you want to watch a video or put your phone in StandBy mode. The USB-C cable is permanently attached, which you may or may not like. Check our best 3-in-1 chargers buying guide for additional picks.
Best 2-in-1 Charger for iPhone
Photograph: Louryn Strampe
Mophie
I love a 3-in-1 charger as much as the next tech nerd, but sometimes they’re overkill. My Apple Watch battery usually lasts all day long, but I can chew through my older AirPods battery before my lunch break hits, and my iPhone battery might be depleted too, depending on whether or not I’m streaming Max Velocity off to the side. This 2-in-1 charger has been my steadfast desktop companion. Mophie makes another version that tops off your Apple Watch and iPhone instead of your headphones, which might be what you want if you’re rocking wired headphones or you’re making intense use of a walking pad throughout the day. There’s a 40-watt wall charger in the box—a rarity these days!—plus a USB-C cable that winds neatly into the base. It’s easy to adjust the angle of your iPhone as well, and I’ve found the base very sturdy. If you want to charge, but not necessarily all of the possible devices simultaneously, these might be what you seek.
Anker
This braided nylon USB-C cable has a durable exterior made from recycled plastic. The cable is rugged, with Anker promising that it can operate in temperatures ranging from negative 40 degrees to 176 degrees Fahrenheit. It’s backed by a lifetime warranty. It’s got a built-in cable management loop. It’s more than enough cable for your iPhone. Read our guide to the Best USB-C Cables for more picks.
Ugreen
If your iPhone is still rocking the Lightning cable, this is gonna be way better than whatever shoddy cable Apple sent you. It’s durable and is Made for iPhone-certified, so you won’t have any problems getting it to work. It comes in 3-, 6-, or 10-foot lengths with a two-year warranty. Best of all, the exterior casing will stay intact, unlike what you’d probably get with Apple’s cables.
Demis Hassabis met South Korean President Lee Jae Myung at Cheong Wa Dae on Monday and signed an MOU with the Ministry of Science and ICT. The campus will be operational this year. Hassabis accepted a request to send at least 10 Google engineers from US headquarters. He presented Lee with a Go board signed by himself and Lee Se-dol.
Google DeepMind will open an artificial intelligence campus in Seoul, South Korea, the first facility of its kind in the world for the company, after Demis Hassabis met South Korean President Lee Jae Myung at Cheong Wa Dae on Monday. Kim Yong-beom, the presidential chief of staff for policy, confirmed the agreement.
The Science Ministry and Google signed a memorandum of understanding on the campus at the Four Seasons Hotel in Seoul later the same day, with Minister of Science and ICT Bae Kyung-hoon and Hassabis in attendance. The campus is expected to open within 2026.
The MOU covers joint AI research in science and technology, AI skills development, and the responsible use of AI. Hassabis confirmed he would actively consider dispatching Google researchers to Korea.
Kim quoted him directly: “The CEO instantly accepted our request to send at least 10.” The campus is intended to serve as a hub connecting Google engineers with South Korean startups, researchers, and industrial companies.
The Ministry of Science and ICT framed it as a key element of Korea’s “K-Moonshot” project, which brings together AI and science capabilities to address major national challenges. South Korea has stated its intention to become one of the world’s top three AI powerhouses alongside the United States and China.
The choice of venue and timing carries specific symbolic weight. The 2016 match between Google DeepMind’s AlphaGo and Korean Go grandmaster Lee Se-dol took place at the Four Seasons Hotel in Seoul, the same venue where Monday’s MOU was signed.
AlphaGo’s 4–1 victory over Lee Se-dol in March 2016 is widely credited with catalysing the modern wave of investment in artificial intelligence by demonstrating that deep learning could surpass human expert performance in a domain of extreme complexity.
Hassabis cited it explicitly during the meeting, noting that the AlphaGo match had “inspired many advances in AI, including its work in science like the AlphaFold system for protein folding.”
AlphaFold subsequently solved one of biology’s most important open problems: predicting the three-dimensional structure of proteins from their amino acid sequence.
The achievement led to Hassabis being jointly awarded the Nobel Prize in Chemistry in 2024. As a symbolic gesture, Hassabis presented President Lee with a Go board signed by himself and Lee Se-dol, marking the 10th anniversary of the match.
Hassabis also expressed interest in strengthening cooperation with major Korean companies including Samsung, SK Hynix, Hyundai’s Boston Dynamics, and LG, to start new joint projects.
Those four names span the full breadth of Korea’s technology industrial base: Samsung and SK Hynix in semiconductors and memory (both critical to AI infrastructure), Hyundai’s Boston Dynamics in physical AI and robotics, and LG in consumer and enterprise electronics.
The campus, combined with these industrial partnerships, suggests Google is positioning Korea not just as a market for its AI products but as a node in its global AI development and hardware supply chain.
The announcement is consistent with a broader pattern of major technology companies seeking government-endorsed AI campus arrangements in Asia-Pacific democracies. Microsoft’s A$25 billion investment in Australia, includes similar elements: an MOU with the national government, infrastructure expansion tied to a national AI strategy, and skills training commitments.
The Seoul AI campus adds South Korea to a list of countries, alongside Australia, Japan, Singapore, and the United Kingdom, where Google DeepMind and its peers are embedding their AI development presence at the government-partnership level, rather than purely through commercial market entry.
Hassabis also noted that countries like Korea, the UK, and Singapore urgently need to cooperate to build a broader framework for AI safety, pointing to the campus as part of a responsible AI agenda alongside the commercial and research dimensions.
The race to secure electricity for AI models has reached new heights: Meta has signed an agreement with the startup Overview Energy that could see a thousand satellites beam infrared light to solar farms that power data centers at night.
In 2024, Meta’s data centers used more than 18,000 gigawatt-hours of electricity—roughly enough to power more than 1.7 million American homes for a year—and its need for compute power is only increasing. The company has committed to building 30 gigawatts of renewable power sources, with a focus on industrial-scale solar power plants.
Typically, data centers turning to solar power must either invest in battery storage or rely on other generation sources to operate at night.
Overview, a four-year-old, Ashburn, Virginia, outfit that emerged from stealth in December, has a different solution: The company is developing spacecraft that collect plentiful solar power in space. It then plans to convert that energy to near-infrared light and beam it at sufficiently large solar farms—on the order of hundreds of megawatts—which can convert that light to electricity.
By using a wide, infrared beam to power existing terrestrial solar infrastructure, Overview thinks it can sidestep the technological challenges and safety and regulatory issues that bedevil plans to transmit power to Earth through high-power lasers or microwave beams. CEO Marc Berte says you’ll be able to stare right into his satellite’s beam with no ill effects.
The technology would increase the return on investment from building solar farms and reduce reliance on fossil fuels — if it can be deployed at scale.
Overview says it has already demonstrated power transmission to the ground from an aircraft, and is planning to launch a satellite to low Earth orbit in January 2028 to perform its first power transmission from space.
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In today’s announcement, Meta said it signed the first capacity reservation agreement with Overview to receive up to 1 gigawatt of power from the company’s spacecraft, although it’s not clear if any money changed hands. Overview developed a new metric for this contract, megawatt photons, which is the amount of light required to generate a megawatt of electricity.
Berte expects to begin launching the satellites that would fulfill that commitment in 2030, with a goal of flying 1,000 spacecraft in geosynchronous orbit, a high orbit in which each satellite remains fixed above the same point on Earth. He expects each of the company’s spacecraft to provide power from space for more than 10 years.
Once in space, Berte says the fleet of spacecraft will be able to cover about a third of the planet, with an initial deployment that will reach from the West Coast of the United States across to Western Europe. As the Earth rotates below and customer solar farms enter evening and night, Overview’s spacecraft should boost their electrical generation with additional light from space.
Berte sees opportunity in combining both generation and transmission, with the flexibility to deliver power to solar farms wherever and whenever it is most valuable.
“There’s a big difference between being in any one energy market, and being in all of the energy markets,” Berte told TechCrunch.
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ASML expects to produce at least 60 EUV systems this year, up sharply from 2025, with capacity rising to at least 80 systems annually in the next phase. At the same time, the firm is working to improve throughput, including upgrades that allow some machines to process more wafers per hour.
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