Audi has revealed the Nuvolari, the fastest and most powerful production vehicle in its history. The hybrid supercar produces 1,001 PS (736 kW) from a 4.0-litre V8 biturbo paired with three axial flux electric motors. Only 499 will be built, starting at €600,000.

The V8 alone delivers 800 PS and revs to 10,000 rpm, territory previously reserved for motorsport. Each of the three electric motors adds 110 kW. Combined, the powertrain launches the car from 0 to 100 km/h in 2.6 seconds and 0 to 200 km/h in 6.8 seconds, with a top speed above 350 km/h.

The Nuvolari shares its platform with the Lamborghini Temerario, which produces 920 PS. But Audi pushed the output higher and added its own tech, including a system called quattro predictive ride. It processes steering angle, acceleration, yaw rate, and grip level in real time, coordinating the electric motors, brakes, and aerodynamic surfaces as a unified network.

The body is almost entirely carbon fibre reinforced polymer, built on an Audi Space Frame. Active aerodynamic surfaces, inspired by Formula 1, adjust position to generate downforce on demand. A vertical frame made of 64 individually angled tiles channels air through a concealed S-duct.

It is a plug-in hybrid, not a pure EV, at a time when Europe’s cumulative EV investment has passed €200 billion. Weighted fuel consumption sits at 11.3 l/100 km combined with 7.8 kWh/100 km of electric use. CO2 emissions land at 270 g/km. Those are preliminary figures, but they make clear this car is built for performance, not efficiency.

The timing is notable. Audi had signalled a push toward full electrification, but the Nuvolari is a combustion-led halo car arriving as the brand enters Formula 1 in 2026 and works to rebuild its performance credentials. It also comes as foreign automakers struggle to compete in China, where domestic brands now control 70% of the market. CEO Gernot Döllner said the car shows how Audi is “taking ‘Vorsprung durch Technik’ into a new era.”

The name honours Tazio Nuvolari, one of the most celebrated racing drivers to represent the four rings. Ferdinand Porsche once called him “the greatest driver of the past, the present and the future.” Order books open in late 2026, with deliveries beginning in the first half of 2027.

Meta has been quietly stashing dormant face recognition code on more than 50 million phones, WIRED reported this week, tucked inside the companion app that pairs with its Ray-Ban and Oakley smart glasses. If activated, the feature—known internally as NameTag—would let wearers identify people in front of them by matching captured faces against a biometric gallery sitting on the user’s device. It’s the same kind of technology Meta said it walked away from in 2021, after paying out billions of dollars to settle biometric privacy lawsuits in Texas and Illinois.

Meanwhile, xAI is asking a federal judge to force four people suing the company over Grok-generated deepfake nudes to drop their pseudonyms and litigate under their real names—including one plaintiff who alleges the chatbot was used to fabricate sexual images of her as a child. The plaintiffs say they’d sooner drop the suit than submit to harassment and doxing from Musk’s online supporters. xAI’s lawyers, however, claim that since the deepfakes will remain under seal, there’s “nothing inherently stigmatizing” about naming the people in them.

Google rolled out a new Android feature this week aimed at the wave of AI-powered impersonation scams that help fraudsters spoof a familiar number and clone a person’s voice. Packaged with Google Dialer and shipping to phones running Android 12 or later, it pings the caller’s device for a silent cryptographic handshake. If the call is fake, Android will flag it and strip the contact photo from the screen, but only if both ends are on Google Dialer, which leaves iPhones out of the picture.

WIRED also reported this week that the Manhattan Institute—the same right-wing think tank that engineered the 1990s broken-windows policing and the Trump administration’s anti-DEI push—is now shopping model legislation to turn minor protest-related offenses into felonies under a novel theory it calls “civil terrorism.”

Researchers have detailed a clever new browser side-channel attack called FROST that fingerprints other tabs—and sometimes the apps on your device—by measuring how long it takes to read from a sandboxed file on your SSD. The attack runs entirely in JavaScript and feeds the timing traces through a neural network trained on the I/O signatures of common software. No evidence so far anyone is using it in the wild.

And that’s not all. Each week, we round up the security and privacy news we didn’t cover in-depth ourselves. Click the headlines to read the full stories, and stay safe out there.

The supplements known as peptides—chains of amino acids that promise to help those who smear, ingest, or inject them achieve everything from weight loss to skin rejuvenation—have become their own largely unregulated pharmaceutical subindustry. So it figures that their growth is being fueled by cryptocurrency, often sent directly to the Chinese labs that sell these mysterious panaceas.

Crypto-tracing firm Chainalysis this week published an analysis of crypto flows to peptide sellers, a gray market that the company now measures at more than $100 million a year and growing. Chainalysis specifically found that some of the same Chinese labs that were previously selling fentanyl precursors have now switched to manufacturing and selling peptides. The transition, Chainalysis believes, is designed to cash in on the wave of “looksmaxing” hype across social media that has pushed peptide sales—and to avoid the risk of a law enforcement crackdown on opioid manufacturers.

AI can do all kinds of things if you just ask it: Code an app, touch up your photos, or even hack President Barack Obama’s Instagram account. Since Meta announced in March that its account support will be increasingly automated with AI, including for functions like updating your password, hackers found that they could exploit the tool to reset the password and take over accounts of even high-profile users and celebrities. Among the victims, as reported by 404 Media, are Obama, the chief master sergeant of the US Space Force, and makeup chain Sephora. Meta says the issue is now fixed and affected accounts have been secured. But the wave of takeovers illustrates the risks of off-loading security functions to AI—particularly at companies like Meta, which has very publicly touted its all-in approach to adopting AI across the company.

When AI firm Anthropic rolled out its powerful Mythos tool to a select group of organizations for testing, it raised eyebrows by including the US National Security Agency on that initial access list. Mythos, after all, is reportedly capable of finding previously hidden, hackable vulnerabilities in software with alarming speed, raising fears that it could be used for automated mass surveillance and cyberattacks. But the NSA also has a defensive mission, and initial reporting suggested the agency might just be using Anthropic’s tool to find bugs in popular software used by Americans—such as Microsoft’s—with the goal of better securing it. Yet the Financial Times now reports that Anthropic is helping the NSA take its use of Mythos a step further, deploying Anthropic’s own engineers to the agency to help it learn to use the AI tool—including for offensive hacking. The FT couldn’t confirm that Mythos is being used in active hacking operations. But given the growing use of AI for state-sponsored hacking, it would be a surprise if the US is not joining the field of modern-day automated cyberintrusions.

US president Donald Trump has picked Bill Pulte to temporarily act as director of national intelligence. Pulte replaces Tulsi Gabbard, who recently stepped down from the role citing her husband’s health issues. Trump has said he is considering other people for the permanent job, but that confirmation process can take months.

As acting director, Pulte would be responsible for the entire US intelligence community, coordinating 18 different agencies including the Central Intelligence Agency and NSA.

Netflix may be willing to send Greta Gerwig’s upcoming Narnia movie into theaters, but if anyone in Hollywood was hoping that decision signaled a broader change of heart, the company just slammed that door shut.

In a candid interview with The New York Times, Netflix film chairman Dan Lin made it clear that the streamer’s relationship with movie theaters remains largely unchanged. While Gerwig’s Narnia is expected to receive a full theatrical release before arriving on Netflix, Lin described the project as an exception rather than the start of a new strategy. More notably, he suggested Netflix has little interest in accommodating filmmakers who continue to prioritize traditional theatrical runs.

“There is a group of filmmakers who still want theatrical,” Lin said. “Those are filmmakers that we’ve accepted we just won’t work with.” It’s a remarkably direct statement, but it also reflects the confidence of a company that no longer feels the need to play by Hollywood’s old rules.

Netflix no longer needs theaters to prove itself

A few years ago, Netflix spent considerable energy convincing filmmakers that it could be both a streaming giant and a legitimate movie studio. Under former film chief Scott Stuber, the company aggressively pursued acclaimed directors, handed out sizable budgets, and occasionally fought for theatrical releases to attract awards attention.

The environment today looks very different. Netflix won the streaming wars, at least by most conventional measures. It has hundreds of millions of subscribers, dominates the viewing charts, and operates from a position of strength while traditional studios continue to search for sustainable business models. As Lin sees it, the company no longer needs movie theaters to validate its films or its reputation.

Instead, the focus has shifted toward making movies specifically for Netflix audiences. Lin has spent the past two years pushing a strategy centered on producing fewer films, spending more carefully, and concentrating on projects that can attract viewers directly to the platform.

That approach has already generated successes such as Apex, which crossed 100 million views during its first month on the service, and People We Meet on Vacation, a romantic comedy that drew millions of viewers while turning relatively unknown actors into recognizable Netflix stars.

The great theatre divide isn’t going away

The tension between streaming and theatrical exhibition has never really disappeared. Many filmmakers still argue that movies are designed to be experienced on giant screens with packed audiences. For directors, theatrical runs can also create cultural momentum, awards consideration, and a level of prestige that streaming premieres often struggle to replicate.

Netflix, however, continues to view the equation differently. Lin’s comments suggest the company is comfortable walking away from creators whose demands don’t align with its business model. That’s a notable shift from earlier years, when Netflix often seemed eager to win over skeptical Hollywood talent at almost any cost.

The Narnia release demonstrates that exceptions can still occur when a project is large enough or a filmmaker has sufficient leverage. But Netflix appears determined to keep those exceptions rare. The company sees its future inside its app, not at the multiplex.

For movie lovers, that may be disappointing. There’s something undeniably magical about watching a major fantasy epic unfold on a giant screen surrounded by strangers. Yet Netflix’s position is increasingly difficult to argue against from a business perspective. If a movie can reach tens of millions of viewers worldwide without relying on ticket sales, the streamer sees little reason to share the spotlight with theaters.

So while Narnia may get its moment under the cinema marquee, don’t mistake it for a revival of Netflix’s theatrical ambitions. According to the executive overseeing the company’s movie division, that chapter was never meant to be reopened.

Anybotics’ Kateryna Portmann discusses growing up in the shadow of a major global disaster and how this impacted her view of security in the robotics sector.

“I was born in 1986 in Ukraine, 100km from Pripyat, the year of Chernobyl,” explained Kateryna Portmann, a senior product manager at Anybotics and a co-lead at the Swiss chapter of Women in Robotics.

“That matters to me. Chernobyl represents a cascade of technical design flaws, human misjudgement and governance failure. It shaped how I think about complex systems,” she said, speaking to SiliconRepublic.com. 

“When I walk into an industrial site and see how much still depends on manual inspection, I think about risk accumulation. Robotics, done properly, reduces dependency on perfect human behaviour in imperfect environments. What excites me most is not the robot itself, it’s prevention. Early anomaly detection. Reducing exposure. Building systems that act before failure escalates.”

For Portmann, regarding the wider landscape, “we are past the ‘wow phase’ of robotics”, wherein it was enough to show that a robot could walk, scan and autonomously navigate. Amid a global shift, now consumers want evidence, such as uptime numbers, integration roadmaps and cybersecurity documentation. 

She said, “That shift changes everything. I believe 2026 will be a filtering year. Many robotics companies ran pilots in 2024 and 2025. This year, those pilots must convert into scaled deployments. If they don’t, funding tightens and consolidation follows. Not everyone will survive. That’s not pessimistic, it’s how industrial markets mature.”

Having spent years working across Asia, Portmann has witnessed what she refers to as hyper-speed scaling, where deployment decisions happen incredibly quickly. However, she warned of the potential dangers when safety frameworks and compliance processes struggle to keep pace with innovation. 

“That’s why I’m genuinely happy to now be building robotics in Switzerland, where engineering rigour, certification and risk management are taken seriously from day one.” 

She added, “I’ve been inside an aluminium plant where the heat radiates through protective clothing within minutes. I’ve stood in a cement facility where dust fills the air constantly; you feel it in your throat hours later. These are not environments designed for long-term human exposure.

“When I hear fears about robots ‘taking jobs’, I think about those places. The better question is, should people be physically exposed to that risk every day? Our robots inspect and pick up thermal deviations, gas concentrations and unusual acoustic signatures. 

“In one facility, early anomaly detection prevented a shutdown that would have cost millions. But equally important, the plant created new internal roles to manage robotics fleets and interpret inspection data. Humans moved up the value chain.”

Robotics transforming STEM

And it isn’t just safety and compliance that is being transformed by advancements in robotics; the entire STEM space is undergoing a reinvention of sorts. Portmann explained that “robotics removes abstraction”.

“In a lab, an AI model performs beautifully. In a power plant, the lens gets dusty. Wi-Fi drops. The floor vibrates. Lighting changes. That’s where theory meets reality.

“This is why robotics forces true interdisciplinary collaboration. Mechanical engineers must understand AI constraints. AI engineers must understand sensor noise and hardware limits. Cybersecurity teams must design for industrial networks, not office environments.”

As a result, education has to evolve to reflect the new reality, Portmann said. She has seen first-hand how unprepared senior leaders can be when making physical AI decisions. She recommended going that little bit further, with structured educational programmes not just for executives, but also for teachers and children.

“We need to teach systems thinking, ethics and human-machine collaboration early, not as an afterthought.”

She finds that “robotics is entering a serious phase” and 2026 is the marker that will test durability. She is of the opinion that many organisations will consolidate and even disappear, with 2027 set to reshape the landscape structurally. 

“But despite the competitive pressure, this is one of the most exciting industries to work in, because the stakes are real,” Portmann said. 

“I’ve felt the heat of aluminium production. I’ve breathed the dust of cement plants. I was born in the shadow of a nuclear disaster. For me, robotics is not about replacing people. It is about protecting them and building systems responsible enough that we can trust them in environments where human error is simply too expensive.”

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High End Vienna 2026 just turned into a very expensive cartridge fight.

Audio-Technica arrived with the $11,000 AT-MCD1, a new flagship moving-coil cartridge built around an integrated diamond cantilever, Shibata stylus, titanium body, and the kind of engineering brief that makes vinyl diehards start checking credit limits they should absolutely not be checking. Ortofon’s response? The MC Vertex is a $16,999 moving-coil cartridge billed as the most advanced cartridge the Danish company has ever produced. Subtle, it is not. Cheap, it is not. Accidental, it is definitely not.

For everyone not shopping in the $17,000 cartridge aisle, Ortofon also introduced the new MC X series as well. That one will matter to a much larger group of vinyl listeners, and we will get to it shortly.

For 99% of vinyl listeners, spending $11,000 to $17,000 on a cartridge is not an upgrade path. It is a cry for help wrapped in titanium, diamond, and a very small box. But for owners of reference-level turntables, tonearms, phono stages, and systems capable of exposing what happens at the groove wall, Ortofon has earned the right to make a statement like this.

After more than a century in phono cartridge design, the company is not wandering into the ultra-high-end cartridge category looking for attention. It already has the résumé. The MC Vertex is Ortofon reminding Audio-Technica, and everyone else in Vienna, that analog credibility is not built overnight or with a press release and a nice hotel demo. Although a nice breakfast with some herring and coffee never hurt.

The MC Vertex is built around Ortofon’s new Vertex diamond. The stylus has a 4 μm scanning radius and a 110 μm contact radius, giving it an extended contact area along the groove wall.

The goal is more stable tracking, more even pressure distribution, and reduced localized wear compared with more conventional stylus profiles. That geometry should also help the cartridge maintain more consistent contact with the groove during complex passages.

At this level, the diamond profile is not a minor detail. It directly affects tracing accuracy, groove wear, and how much information the cartridge can retrieve before the signal ever reaches the phono stage.

Solid Diamond Cantilever

The Vertex diamond is mounted to a laser-polished solid diamond cantilever, which is one of the more important details here. Diamond is extremely rigid and very low in mass, so the goal is to transfer mechanical energy from the stylus tip to the generator system with less flex, delay, or stored energy than more conventional cantilever materials.

That matters because a cartridge is a mechanical-to-electrical converter. Before anything reaches the phono stage, the stylus and cantilever have to trace the groove accurately and move the coil system without adding their own problems. Ortofon is trying to keep that mechanical chain as short, stiff, and controlled as possible.

The body and internal core are made from SLM titanium with a DLC coating. Selective Laser Melting allows Ortofon to control the body geometry, mass distribution, and internal structure with greater precision than conventional machining.

The goal is a rigid, mechanically stable cartridge body that helps reduce unwanted resonance before it can affect signal generation.

Inside the MC Vertex, Ortofon uses a refined magnetic system with a non-magnetic armature. The purpose is to reduce moving mass and avoid unwanted magnetic interaction inside the generator. That is paired with high-purity silver coils, with Ortofon claiming more stable and linear signal generation, improved transient behavior, and more precise tracking across the audible range.

Ortofon’s Wide Range Damping system is also part of the design. It uses a platinum disc positioned between two dampers made from proprietary Ortofon rubber compounds. The intent is to control resonance across the audible frequency range without overdamping the cartridge or restricting dynamic response.

MC Vertex versus AT-MCD1

The published numbers suggest a very serious low-output moving-coil design: 0.3 mV output at 1 kHz, 5 cm/sec; 30 dB channel separation at 1 kHz; 0.1 dB channel balance; 20 Hz to 20 kHz frequency response within ±1 dB; 19 ohms internal impedance; 9 μm/mN lateral compliance; recommended 2.5 gram tracking force; and a recommended load above 100 ohms.

Compared with Audio-Technica’s new AT-MCD1, the Ortofon MC Vertex appears to be taking a slightly different engineering path to the same ultra-high-end destination. The AT-MCD1 also uses an integrated diamond cantilever/stylus concept and is clearly aimed at the same small group of listeners with reference-level turntables, tonearms, phono stages, and systems capable of exposing microscopic differences at the groove wall.

The Audio-Technica offers higher output at 0.55 mV, 28 dB channel separation, 12 ohms coil impedance, 20 Hz to 50 kHz frequency response, and a recommended tracking force of 1.8 grams. The Ortofon counters with a lower 0.3 mV output, tighter 0.1 dB channel balance, 30 dB separation, the Vertex 4/110 μm stylus geometry, SLM titanium/DLC bodywork, Wide Range Damping, and a 2.5 gram tracking force.

Neither cartridge is for casual vinyl listeners, and pretending otherwise would be silly. These are statement cartridges for systems where the turntable, arm, phono stage, setup, and record collection are already at a level where the cartridge is not being asked to rescue the rest of the chain.

Ortofon MC X50: The MC for the Rest of Us

The MC Vertex is the statement product, but the MC X50 is the new Ortofon cartridge more listeners are likely to consider for a serious high-end vinyl system.

Priced at $1,699, the MC X50 sits at the top of the MC X Series. It uses a Nude Micro Ridge diamond stylus with a 2.5/75 μm stylus tip radius, mounted to a boron cantilever. That combination is intended to provide accurate groove tracing, low moving mass, and consistent tracking behavior.

Ortofon has also developed a rubber suspension compound specifically for the MC X50. The suspension works with the Micro Ridge stylus and boron cantilever to help maintain stable contact with the groove and control mechanical movement during playback.

The MC X50 uses high-purity silver coil wire and a newly developed magnet system for the MC X platform, with a one-piece pole cylinder integrated into a rear magnet yoke. The design goal is stable signal generation and improved magnetic efficiency.

The cartridge body is made from MIM stainless steel with a honeycomb core structure. Metal Injection Molding allows Ortofon to control the body geometry, while the internal structure is intended to balance rigidity, mass, and mechanical stability.

The published specifications include 0.4 mV output at 1 kHz, 5 cm/sec; 28 dB channel separation at 1 kHz; 0.5 dB channel balance; 20 Hz to 20 kHz frequency response within ±1 dB; 14 μm/mN dynamic lateral compliance; 6-ohm internal impedance; 2.0 gram recommended tracking force; half-inch mounting; black finish; and 8.6 gram cartridge weight.

The Bottom Line

The Ortofon MC Vertex is the statement cartridge. It uses the new Vertex diamond profile, a solid diamond cantilever, SLM titanium body with DLC coating, non magnetic armature, high purity silver coils, and Wide Range Damping. What makes it unique is the amount of mechanical control Ortofon is applying from the groove contact point through the generator system. At $16,999, it is for reference turntables, tonearms, phono stages, and systems where setup quality is already at a very high level.

The Ortofon MC X50 ($1,699) is the more attainable high end model. It uses a Nude Micro Ridge stylus, boron cantilever, dedicated rubber suspension, high purity silver coils, new MC X magnetic system, and MIM stainless steel body with honeycomb core. What makes it important is that it brings Ortofon’s current focus on low moving mass, stable tracking, controlled resonance, and precise signal generation to a cartridge that more vinyl listeners can realistically consider.

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Alex Yu set out to build something many makers only joke about. He created a complete CoreXY 3D printer where almost every structural piece came from another printer first. The result carries the name Encore and fits on a desk without dominating the space. The finished machine measures roughly 219 by 221 by 262 millimeters. Its build volume reaches 120 millimeters on each side. That footprint sits smaller than a Voron 0 and matches the size of a standard filament box, yet it still handles practical parts and detailed prototypes with ease.

The machine’s outer casing is entirely composed of printed panels that are only 1.5 millimeters thick yet provide a strong outer shell once all of the pieces are welded together. The horizontal axes are directly mounted to the side panels, eliminating the need for internal frames or elaborate aluminum elements to hold them. And that’s the point: keep things simple and inexpensive while maintaining the stiffness required for quick, accurate movement. All of the printed elements are made on a standard 225 millimeter build plate, so almost anyone with a capable 3D printer, such as an Ender series printer or a Bambu, can create all of the parts without the need for additional equipment or a large bed.

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This design relies extensively on modularity, with the gantry, Z stage, and outside panels all being separate parts. That is, you can simply upgrade or repair one part of the system without disassembling the whole thing, and when new ideas and better components arise, this flexibility becomes increasingly vital. It employs MGN9C linear rails and a CoreXY belt system to move the gantry horizontally. The two drive motors are smooth and reliable, so there is little to worry about in terms of weight and acceleration. The hotend is a small Bambu-style design, while the extruder is a low-cost BMG-style clone that neatly feeds filament through a Bowden tube in the back.

The machine raises and lowers the bed using an 8-millimeter leadscrew and matching linear rods controlled by a pancake stepper motor. The power supply is behind the Z rods, and the main controller board is contained in the base, leaving the machine’s front exposed and short in length. When first tested, it demonstrated some of the typical concerns associated with compact, high-speed machines, such as the hotend not cooling sufficiently, resulting in print issues. So Yu replaced the blower with a stronger one, altered the cooling shroud to allow air to enter from a variety of angles, and added two more blowers to the side of the build area to finish the job, resolving the issue with PLA prints at high speeds.

Another issue that occurred was vibration on the bed at high speeds. So he inserted some stronger Z rods, 8 millimeters in diameter instead of 6, which had a huge influence. The machine now produces clean, consistent parts because layer lines stack up uniformly, and the gantry’s lightweight design keeps ringing under control. As a result of its short travel motions and high acceleration without frame instability, the Encore can rapidly build a wide range of miniature prototypes. It is now being used to accelerate work on a Bambu A1 for rapid iteration projects.

The project files are fully hosted on GitHub, and STLs are available on Printables, MakerWorld, and Thingiverse. If you want to dig deeper, the CAD archives are accessible in Fusion 360 and STEP formats, and the documentation is constantly expanding as he adds assembly notes and the complete bill of materials.
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