Security teams log 54% of successful attacks and alert on just 14%. The rest move through your environment unseen.
The Picus whitepaper shows how breach and attack simulation tests your SIEM and EDR rules so threats stop slipping by detection.
U.S. prosecutors on Thursday charged a New York man and woman for their roles in a large-scale crime ring that laundered money stolen in cyber investment fraud scams.
27-year-old Zhuoying Chen and 38-year-old Haojie Zhang allegedly managed a network of over a dozen people based in Queens and Brooklyn between 2020 and 2022.
Chen and Zhang allegedly transferred at least $43 million in proceeds from investment scams laundered to bank accounts in China by the criminal network using 140 bank accounts under roughly 45 shell companies, according to an unsealed indictment.
The underlying schemes involved criminals contacting potential targets via social media or messaging services to build trust and persuade them to invest in fraudulent opportunities. Victims were then shown fake profiles with profits to encourage further investment before additional funds invested in the scheme were stolen.
“For nearly two years, these two Chinese nationals allegedly ran a sophisticated, illicit network that laundered funds stolen from unsuspecting victims’ life savings,” noted Executive Associate Director John A. Condon of U.S. Immigration and Customs Enforcement Homeland Security Investigations (HSI).
“As alleged in the indictment, the defendants laundered fraud proceeds, enabling scammers to continue to victimize Americans and deprive them of their hard earned money,” Assistant Attorney General A. Tysen Duva of the Justice Department’s Criminal Division added.
If found guilty of conspiracy to commit money laundering, Chen and Zhang face a maximum sentence of 20 years in prison.
According to the FBI’s 2025 Internet Crime Report, investment fraud accounted for 49% of all scam-related incidents last year, resulting in reported losses of $8.6 billion, up from $6.5 billion in 2024.
In February, a fugitive linked to a $73 million international cryptocurrency investment scheme (also known as pig butchering or romance baiting) was also sentenced in absentia to 20 years in prison. 42-year-old Daren Li was the first defendant directly involved in receiving victim funds to be sentenced among eight other accomplices who have also pleaded guilty in the same case.
The Justice Department charged four additional suspects in December for their involvement in another pig butchering scheme tied to more than $80 million in losses.
In November, U.S. federal authorities established the Scam Center Strike Force (a new task force aimed at disrupting crypto-scam networks) after the U.S. Department of Justice seized $15 billion from the leader of Prince Group (a massive criminal organization that targeted Americans through cryptocurrency investment scams).
Since the start of the year, European authorities have also dismantled two investment fraud rings responsible for estimated losses of over €150 million to victims worldwide.
Security teams log 54% of successful attacks and alert on just 14%. The rest move through your environment unseen.
The Picus whitepaper shows how breach and attack simulation tests your SIEM and EDR rules so threats stop slipping by detection.
Samsung hasn’t officially unveiled the Galaxy Z Fold 8 Ultra yet. However, that hasn’t stopped luxury customisation company Caviar from putting its own version up for sale.
The bespoke handset pays tribute to football icon Lionel Messi. It wraps Samsung’s upcoming foldable in 24-karat gold and handcrafted artwork, with a price tag to match.
Caviar is charging $13,130 for the limited-edition device. This makes it more than six times as expensive as the Galaxy Z Fold 7’s $2,000 launch price. If Samsung’s next Ultra model lands in a similar range, the price difference will be significant.
The custom phone features a handcrafted cloisonné enamel portrait of Messi in Argentina’s national colours. Alongside this, it offers 24-karat gold accents, the Argentina Football Association crest, a commemorative 2022 FIFA World Cup badge, and Adidas branding. Buyers also receive a bespoke presentation box finished in royal blue with additional gold detailing. They get a custom Caviar key as well.
Exclusivity is clearly part of the appeal. Caviar says it will produce just 19 units of the Messi edition. As a result, it is one of the company’s rarest smartphone releases.
Beyond the lavish (and quite hideous) exterior, the listing also hints at a few details about Samsung’s next foldable before its official debut. It suggests the Galaxy Z Fold 8 Ultra will start with 256GB of storage. Additionally, 512GB and 1TB configurations will also be available.
Perhaps more notably, the listing reinforces rumours that Samsung is preparing to launch an Ultra-branded foldable alongside a standard Galaxy Z Fold 8. While the Caviar model closely resembles last year’s Fold 7 in overall shape, reports have suggested the regular Fold 8 could adopt a wider design. This would result in a more conventional aspect ratio for media consumption.
The listing doesn’t reveal any additional specifications. Therefore, details such as the processor, cameras and display upgrades will have to wait until Samsung’s next Galaxy Unpacked event.
Anyone hoping to secure one should also expect a wait. Caviar says production only begins after full payment has been received. Each handset is built to order due to the extensive gold plating and handcrafted enamel work.
For most buyers, the standard Galaxy Z Fold 8 Ultra will almost certainly be the more realistic option. But if a regular foldable isn’t exclusive enough, and you’ve got more than $13,000 to spare, Caviar’s Messi edition is about as extravagant as smartphone launches get.

Anduril Industries revealed Thunder today at the Farnborough Airshow, a Group 5 autonomous attack rotorcraft developed jointly with Archer Aviation. The platform is designed from the start to fly alongside current and next-generation crewed attack and assault helicopters, multiplying their firepower while keeping human crews farther from the most dangerous parts of the fight.
Development began in 2024, thanks to a collaboration between the two companies. Archer offered their work on electric vertical takeoff and landing aircraft and rotor technologies, while Anduril contributed their knowledge in Lattice mission autonomous software and defensive systems. They designed a tiltrotor from scratch that can take off and land vertically before converting to a smooth and efficient cruising flight. The key to all of this is a series hybrid-electric powertrain, as well as some clever tiltrotors that can change RPMs based on flight phase, all of which help to reduce power consumption, fuel burn in cruising mode, and noise profile while flying low.
Sale
Thunder may be packed into a conventional shipping container and transported by road, rail, air, or sea, and it can also self-deploy over great distances. The main body and nose contain modular payload bays that may hold a variety of items, including ten air-to-ground missiles such as Hellfire, JAGM, and Anduril’s Barracuda-100M. Perhaps you’d prefer to carry sixteen air-launched effects like the Altius-600, or seventy-six 70 mm rockets. The nose bay can even contain a dozen counter-drone bombs, while electronics, sensors, and cargo may all be put into the same modular bays.

Thunder is designed to have the same range and speed of the Army’s next-generation Cheyenne II while carrying a payload comparable to that of an AH-64 Apache. Several test sorties have already been conducted on a full-scale prototype to iron out some of the major systems. The actual Thunder airframe is scheduled to fly in 2027.

Anduril’s autonomous capabilities are also controlled by its Lattice software. Thunder can operate alongside crewed helicopters, then safely separate from them, share a common tactical picture, and perform mission-critical duties with only high-level direction from a commander, removing the need for constant pilot control. And by attaching three of them to an Apache, you can increase the number of useful weapons without endangering more aircrew. Its design was influenced by lessons learnt in Ukraine about the vulnerability of low-flying helicopters to drones, air defenses, and other threats.

Thunder was designed to be more than just an attack aircraft. It can also execute long-range fire support, intelligence collection, maritime patrol or search for missing people, and perhaps anti-submarine operations. Archer plans to announce some commercial customers for the dual-purpose vehicle later this week, with an emphasis on freight and remote logistical operations that require the same vertical takeoff, range, and payload.

We don’t know how much Thunder will cost, but Anduril says it’ll be a fraction of the cost of a crewed attack helicopter and cheap enough that commanders will be ready to take some more risk if a drone is shot down. However, production will be based on commercial supply chains and manufacturing techniques designed expressly for eVTOL aircraft, which should help keep costs low and numbers high.

Drones like this were tracked using 5G network signals during a demonstration at AT&T Stadium.
Jeff Carlson/CNET
On a balcony not far from World Cup venue AT&T Stadium in Arlington, Texas, a dot suddenly popped up on a large screen, representing an unwelcome drone snaking toward a rectangular no-fly zone. Within a few seconds, a “friendly” drone zipped past the balcony to intercept and encourage the unwelcome aircraft to turn back.
The wayward drone wasn’t identified using standard methods such as radar, however. Instead, its flight path was tracked by 5G cellular radios just like the ones you see on towers and buildings.
This proof-of-concept demo was put on by AT&T and Ericsson to show off their Integrated Sensing and Communication technology, timed to coincide with one of the world’s largest sporting events. Drones were the focus that day, but the same technology could be applied to track other subjects like vehicles or people within range of the 5G network.
Ericsson representatives Kristen Cone and Rahul Patel demonstrated ISAC, a tracking technology for identifying objects such as drones using 5G signals.
Jeff Carlson/CNET
Although it was a small-scale demo, it comes amid a growing proliferation of drones operating in areas they’re not supposed to fly. According to Reuters, the FBI said more than 700 drones were confiscated by US agencies during the World Cup, some of them piloted by operators who didn’t realize they were in no-fly zones that had been extended for the matches.
But as we’ve seen in Ukraine and Russia, tiny drones can be highly elusive and destructive — a nightmare scenario for planners of events like the 2028 Olympics in Los Angeles or even small public gatherings.
For this demonstration, the companies created a “multistatic sensing configuration” using three cell towers, each containing the same kind of Ericsson Massive MIMO, or multiple-input multiple-output, radios found on other nearby cell sites, with a sensing capability enabled. They were spaced about 1.6 miles away from the demo area.
In this demonstration, tracking software identified a potentially threatening drone (the blue dot) and tracked it before it crossed into the no-fly zone (in red).
AT&T/Ericsson
When the rogue object was sensed by the network, well outside the no-fly zone, the system’s software classified it, using signal processing and AI algorithms, as a drone flying about 11 mph. If the drone had been a real threat, other agencies, such as law enforcement and the Department of Homeland Security, would have received the same live data to determine what action to take.
Although only two drones were tracked during the demo, AT&T says the system can track swarms of them.
Identifying flying objects isn’t new: Radar installations around the world continuously scan the skies to track aircraft and detect potential threats. But they tend to scan at high altitudes and require dedicated hardware to operate.
A cellular network, by contrast, already has an established footprint of towers and cell sites that provide continuous phone coverage across much of the US. The demonstration tracked drones flying at around 300 to 400 feet, but the range of detection can be up to 6 kilometers.
A pilot controls a “friendly” drone during a demonstration of technology that can track and identify unwanted drones using 5G network signals.
Jeff Carlson/CNET
Robert Soni, vice president of Radio Access Network technology at AT&T, pointed to the company’s 75,000 sites across North America.
“This is a significant number that is difficult to replicate by building a purposeful radar,” Soni said during a briefing after the demo. “We’re also closer to the ground, and because of our angle of elevation, we can go down to a lower altitude than you could with traditional airborne-based radar. We’re able to see more of the nation.”
Akhil Gokul, vice president and head of technology for the Americas at Ericsson, explained that the density of towers enabled for sensing leads to greater accuracy “because you’re getting reflections [of radio frequency waves] from multiple towers,” he said. “You can get a much richer set of data that can be fed to our models.”
This approach also makes a 5G-based tracking system more resilient, with no single point of failure; cell networks already have the ability to automatically compensate when a tower goes offline for maintenance or during extreme weather events.
Demonstrating new uses for existing hardware is also a big part of the appeal of something like ISAC, because adding components to towers is expensive and time-consuming.
“I think the industry is always looking for what else the wireless network can do,” said Yigal Elbaz, senior vice president and network chief technology officer at AT&T. “Like anything else, you always want to drive to see what you can already do with your existing infrastructure.”

The drone demonstration used a standard Ericsson Massive MIMO radio like the one shown here mounted on the metal frame.
Jeff Carlson/CNET
The sensing technology that was demonstrated is expected to be part of the eventual 6G standards, but the AT&T and Ericsson people I talked to didn’t want to wait to get started on testing.
“From a technology point of view, this was viewed as a 6G capability, and this is something that’s actually being developed in the standards,” said Gokul. “What we’re doing in collaboration with AT&T is accelerating that much earlier.”
Disrupting the old process shifts the timelines for technologies that are needed in the next couple of years. Soni doesn’t want to wait for 2030 to start that cycle, around when 6G may start rolling out.
“[Previously,] standards have to get done first, proof of concepts happen second, trials happen later and then finally we see technology at home,” Soni said. “We’re trying to break that cycle … of the Gs themselves by introducing this early.”
The drone demonstration in Texas involved just two drones on the outskirts of an empty stadium, but it showed that the technology can track and identify objects in real time using existing 5G hardware. Real-world uses, from potential threats to assisting autonomous vehicles, aren’t going to wait for standards to mature, and neither are AT&T and Ericsson.
Editors’ note: Jeff Carlson’s travel costs for the drone demonstration were covered by Ericsson. The judgments and opinions of CNET are our own.
There was once a race to put out cameras with ever higher numbers of megapixels to snare customers eager to take the highest quality digital photos. These days, we know that things like optics, processing, and finer qualities of an image sensor are all very important beyond pure resolution. But, for a time, companies behaved as if megapixels mattered over all else.
But what if you could go farther—shooting not millions, but billions of pixels in a single image? That’s precisely what [Yannick Richter] came to Hackaday Europe to talk about, covering his Project Gigapixel build.
When it comes to building a consumer camera with higher resolution, manufacturers achieve this by creating an image sensor with a greater number of sensing elements. This, of course, can get expensive and difficult the farther you want to scale, particularly if you’re trying to fit more sensing elements into a given standard sensor size.
However, there are other ways to capture images in greater resolution that don’t require a larger image sensor. Namely, you can actually use quite a simple image sensor of limited resolution, and simply move it to various positions, capturing light all the while. Then, all you need to do is stitch the output together and you have a remarkably high resolution image. It might sound complicated, but as [Yannick] explains, it’s a perfectly cromulent way to build a gigapixel image.
[Yannick’s] project began with an old Epson flatbed scanner. This made the perfect donor for such a project, as it came with a linear image sensor with quite good resolution for scanning photographs and documents. The only problem is that it needs to move in a straight path in order to capture a full image. The goal was to build it into a scanner-style camera that was truly portable, which required some reverse engineering and creative design to make it into a practical tool for real-world photography. [Yannick] didn’t want to just stuff the existing scanner in a bodged-together camera body, either. He wanted to interface the sensor directly and build a custom linear-scanning camera from the ground up, with the high-resolution linear sensor mounted behind a nice medium-format Pentax lens.
The key was that the scanner in question—an Epson V370—used a Sony CCD scanning element, rather than a cheaper CIS element. A proper CCD sensor is more expensive, but produces better output, and is more suitable for the sort of imaging [Yannick] was trying to do with this build. Namely, by running the scanning element behind a medium format lens to capture incredibly high-resolution images at up to 40800 x 80000 pixels, or 3.2 gigapixels if you multiply it out.
The talk covers all the work that [Yannick] did to make this a fully functional camera. That included doing a deep dive into Epson documentation to figure out how to interface the sensor at all. Thankfully, service manuals provided enough detail on how the 12-line RGB sensor works to get the project over the line. Interfacing the sensor was achieved via reusing the ADC and timing generation hardware from the scanner itself, hooked up to a Raspberry Pi 5 and a RP2350.
Plenty of work was required to figure out how to properly offset all the R, G, and B pixels to line up properly into a coherent color image. [Yannick] also dives into the mechanical design, regarding how the sensor was assembled on a 100-millimeter linear drive to scan it behind the lens assembly to capture images. There were also issues generating a live preview that you’d get on any other digital camera, which is not exactly practical to generate from a scanning image sensor. Instead, a standard Raspberry Pi camera was included in the build for live preview to help with lining up a shot.
Perhaps the best part of the talk is when [Yannick] shows off the final results. The simple fact is that 3.2 gigapixel images capture a ton of detail when they’re taken well and focused correctly. A simple shot of some benchtop instruments doesn’t look like anything special, until [Yannick] shows that cropping in will let you read the codes off a 0603 SMD resistor. Obviously, the camera is limited when it comes to speed and it can’t really capture moving objects well. However, when it comes to grabbing very high resolution shots of still scenes, it’s a great performer. If taking gorgeously detailed landscapes or stunning architectural shots is your thing, you might find such a build an appealing proposition for your own needs.
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The Sony PS-LX3BT is one of the first new turntables to leave Sony’s R&D department in years. It comes some time after the launch of the Sony PS-LX310BT, one of what TechRadar rightfully deems to be the best turntables for beginners — and has big shoes to fill, accordingly.
And fill them it sort-of does, at least in the most literal of senses. It shares a lot of physical attributes, aims for the same sleek aesthetic, and seeks to corner the same, well, corner of the market with user-friendly interfaces and a no-nonsense approach to playing records. It’s a shame it doesn’t quite stick the landing.
Price is the major sticking point for me — its launch price far overshot similarly specced, and better-featured, turntables in the same market. This was the backdrop against which certain bugbears became serious missteps — from a stylus that Sony insists you need to replace through them, to a cheap-feeling body that feels like it’s come from a device a third of the price.
These things overshadow the PS-LX3BT’s capable performance with audio, via its decent on-board preamp and its star-of-the-show press-and-play Bluetooth connectivity. It could be good — it is good, by some metrics — but not for where it’s asking to sit.
The Sony PS-LX3BT is a fully automatic, Bluetooth-enabled plug-and-play turntable, with an eye cocked squarely at the upper limits of the entry level. At its launch price of $399 / £299 / AU$469, it’s not what I would call cheap; in fact, it’s undercut by a fair few near-equivalent competitors — most compelling of which is the Audio-Technica AT-LP70XBT.
Then, there’s this turntable’s own sibling (they actually launched together), the Sony PS-LX5BT which is pricier but adds a more delicate stylus pressure of 2.0g ± 0.5g, a thicker and more premium rubber mat, a tweaked circuit design engineered to suppress unwanted vibration, a dedicated gold-plated audio jack out port (something not present here) with a cable in the box, plus a slightly more high-end, all-black finish.
Most other competitors in the market, though, do not have ‘Sony’ tastefully emblazoned on the chassis. Sony is a tried-and-tested household brand for AV tech, be it TVs, games consoles, CD players or integrated hi-fi systems.
Hence, the brand is likely better-trusted by new or returning vinyl enthusiasts to deliver something intuitive, fuss-free and of a minimum quality. Is this trust well-founded? The 2019 Sony PS-LX310BT was a huge success, but it was also a lot cheaper (depending on where you lived), having launched at $199 / £200 / AU$399. So, you can see the issue…
|
Dimensions |
430 mm x 117 mm x 366 mm |
|
Motor |
Belt drive |
|
Platter |
Die-cast aluminum |
|
Phono preamp |
Yes |
|
USB |
No |
|
Bluetooth |
4.2 |
|
Speeds |
33 1/3, 45 RPM |
|
Stylus |
Moving magnet |
|
Extras |
USB-C power adapter, 45 adapter |
The Sony PS-LX3BT is an automatic turntable; this means it can be operated entirely by the array of buttons and switches adorning its anthracite-hued surface. Simply select the size and speed of your record, then use the buttons at the front to control the placement or removal of the tonearm. The platter’s rotation is triggered by moving the tonearm past a certain point, so even if you want to use the PS-LX3BT manually (by virtue of the silver finger-rest protruding from where the headshell would be) you literally only have to lift a finger to play a record.
Automatic turntable mechanisms are not so new, and this mechanical design doesn’t sound especially new either, with some familiar clunks and whirrs I know from my old Rotel system. What is, at least slightly newer, though, is Bluetooth connectivity, which the PS-LX3BT quite proudly has. More specifically, there’s aptX Adaptive Bluetooth transmission, for low-latency, high-resolution streaming from the turntable to your Bluetooth receiver of choice and accessed via a suavely flush button in the front-left corner of the chassis face.
On top of this Bluetooth connectivity, the LX3BT has connections the old-fashioned way, via a hard-wired stereo RCA cable out from the back. It’s an odd choice to use a permanently attached cable instead of a port – and at that, given the audience for this thing, I’m surprised there isn’t a 3.5mm Aux out either.
Still, that RCA cable feeds a built-in and switchable phono preamp, which means you can plug your turntable in most any amplifier without needing an extra gain stage. On top of that, there’s a gain switch that lets you boost or attenuate your turntable’s output by 4dB. Surprising in a different way; thoughtful, even.
The LX3BT has, like many other entry-level turntables of its ilk, a completely built-in cartridge arrangement with a replaceable stylus element. The stylus part here looks strikingly like one of Audio-Technica’s AT-3600 series, but is “designed specifically for this turntable”, according to Sony’s website FAQ. With a bit of sleuthing, the stylus does appear to be Audio-Technica’s AT3600LAX, a conical stylus with a carbon-fiber cantilever – though Sony’s specs point to a slightly heftier 3.5g tracking force. (Incidentally, my own tracking-force measurements of the tonearm put its exertion at a, for me, troublingly high 3.7g.)
Crucially, this thin layer of proprietariness creates an uneasy route to self-replacement, or indeed upgrade. Sony would prefer you go through its dealers or customer service department for a like-for-like stylus replacement, indicating that “other styluses are not supported”. Built-in cartridges and replaceable styli can be clever entry-level phenomena, and can be executed transparently well, but here, in this manner, it trends a little too close to being anti-consumer for my liking. Minus thoughtfulness points.
For all the grumblings I’ve leveled at the Sony PS-LX3BT thus far, I will contend that it actually does sound good. That definitely-not-an-AT-3600L-in-a-moustache cartridge presents a perfectly reasonable quality of sound — great, even, for its place in the market.
True to the marketing copy, the LX3BT sounds warm, the general color of its cartridge being a little on the soft side with some noticeable roll-off towards the upper reaches. Future Islands’ As Long As You Are sounds no less rich for this character, all big, warbly synths and croon-adjacent missives throughout. It’s an enjoyable listen.
Testing the 7-inch functionality of the automatic mechanism, I chucked on early-80s groover Emergency (Dial 999) by Loose Ends (a DJ-set staple, and an undeniable bop besides — fight me). It ended up being a great conduit by which to recognize the strengths of the PS-LX3BT’s built-in phono preamp. Often in budget turntables, these can be brittle or a little saturating; this one is clear and full, rendering those snappy standout snares and breakout vocal refrains in gratifying detail.
The whole outfit seems to benefit guitars and vocals over anything, though everything sounds, to some extent, present and fulsome; Ryuichi Sakamoto’s Risky, featuring Iggy Pop, is a sparse arrangement benefited by Iggy’s game attempt at a Let’s Dance-era Bowie impression — his voice is a raspy little joy all the time, but rendered to some good effect here.
Unobtrusively good sound quality notwithstanding, the aptX Adaptive Bluetooth connectivity is arguably the star of the show. It’s fast to connect to, and, with regards to fidelity, sounds indistinguishable from its analog alternative. I had a whale of a time in the kitchen listening to Mitski’s Nothing’s About To Happen To Me, in all its full and heartbreaking glory, fuss-free.
Pulling the PS-LX3BT out of the box, I found the chassis to be quite light. Surprisingly light, even. Putting it together, it became clear that almost every element was some form of plastic — besides occasional aspects, and the die-cast aluminum platter. It’s not a reassuring weight, though the turntable is undeniably stable on its feet.
I’m more disappointed by the perceivable cheapness of the construction on display here. A series of design decisions were made that preferred cost to user experience, leading to a pretty nasty-feeling finish on the chassis shell, a flimsy tonearm rest clasp that doesn’t actually clasp, and a spring-assisted tonearm that inspires little confidence.
At least the LX3BT is an easy thing to set up — as easy as seating the platter belt, plugging in a power adapter and delivering the hardwired stereo RCA cable to your amp or speaker of choice. It couldn’t be more plug-and-play, nor more foolproof to use via its clearly labeled buttons and knobs.
Again, the best bit of the Sony PS-LX3BT seems to be its Bluetooth. Where many other devices struggle unduly with one-touch connectivity, connecting this turntable to my portable speaker was the easiest time of my life; a single button press, a modicum of patient waiting with speaker held (camply) in-hand, and it was paired.
This aptX Adaptive connectivity can be utilized simultaneously to the PS-LX3BT’s analog outputs, too. This means dual-zone listening; I got to enjoy hi-res Mitski in the kitchen while my wife bopped along in the living room, too. And, again, it sounded great! A positive side-effect design decision, that pitches the Sony LX3BT well for casual home listening.
To be completely frank, I find it difficult to square the price of this against its own quality, let alone the standards set by other turntable brands. It’s the top end of the entry level, and yet it has the same unfriendly design principles as the cheap-and-cheerful, ten-a-penny budget turntables it’s meant to outclass.
The caveat is that it does, ultimately, deliver on its core purposes. It’s an automatic turntable, and it does indeed automate much of the turntable-playing process — for the most part successfully, too. It’s a Bluetooth-enabled turntable, and its Bluetooth just works, which is something you can’t say for some other devices. And through it all, it sounds pretty darn decent.
But these are all things that turntables a third cheaper can offer. You deserve so much more for $400 / £300 than a brand logo; if you let it, that same amount of investment could buy you a solid turntable that delivers better quality sound, and gives you the keys to the kingdom vis-a-vis calibration and repairs too.
Here, it is worth my acknowledging that, in the intervening weeks since the LX3BT’s launch, there seems to have been a post-launch price-adjustment of sorts; many outlets are offering it at $348 / £250, or even slightly less. This makes the turntable a much more palatable prospect investment-wise, but I do think my criticisms stand — and that other turntables have met the moment a little better.
|
Attribute |
Notes |
Score |
|
Features |
AptX Adaptive Bluetooth and a fully automatic mechanism let down by an opaque approach to stylus and stylus replacement |
3 / 5 |
|
Sound quality |
Warm, full sound; a clear preamp and unobtrusive Bluetooth connection make for clear and easy listening |
4 / 5 |
|
Design |
A quintessential Sony design, sleek and minimal — but cheap in-hand, in a number of places |
3 / 5 |
|
Value |
A hard turntable to recommend at its launch price — cheaper and better-specced competitors exist |
2.5 / 5 |
| Header Cell – Column 0 |
Sony PS-LX3BT |
Audio-Technica AT-LP70XBT |
FiiO TT13 |
|---|---|---|---|
|
Dimensions |
430 x 117 x 366 mm |
110 x 400 x 330mm |
114 x 450 x 350mm |
|
Motor |
Belt drive |
Belt drive |
Belt drive |
|
Platter |
Die-cast aluminum |
Die-cast aluminum |
Die-cast aluminum |
|
Phono preamp |
Yes, switchable |
Yes, switchable |
Yes |
|
USB |
No |
No |
No |
|
Bluetooth |
SBC / aptX / aptX Adaptive |
SBC / aptX / aptX Adaptive |
SBC / aptX / aptX LL / aptX HD |
|
Speeds |
33 1/3, 45 RPM |
33 1/3, 45 RPM |
33 1/3, 45 RPM |
|
Stylus |
Moving magnet |
Audio-Technica AT-VM95C |
Audio-Technica AT3600LA |
|
Extras |
Dust cover, 45 adapter |
Dust cover, felt mat, 45 adapter, 1m RCA cable |
Dust cover, remote control, RCA cable |
The Sony PS-LX3BT spent a month or so atop my living-room hi-fi stack, as my primary means of listening to records. As such, its output was treated by a Cambridge Audio A2 integrated amplifier, which itself fed a pair of Dali Sonik 1 bookshelf speakers.
Bluetooth connectivity was tested with my trusty kitchen speaker, a Soundcore Motion 300. For testing, I listened to a wide variety of favored records across genres, to get a comprehensive feel for the LX3BT’s performance.
Apple TV is to screen director Sian Heder’s follow-up to the Oscar-winning “CODA,” a biopic about the life of a woman who got the government to take action over the rights of disabled people.
In 2022, Sian Heder directed and co-wrote “CODA,” which earned Apple TV the first-ever Best Picture Oscar for a streaming service. Apple immediately announced that it was backing Heder to direct a dramatization of Judy Heumann’s bestselling memoir, and the finished film is now heading for theaters and Apple TV.
Co-written by Heder and Rebekah Taussig, “Being Heumann” stars Ruth Madeley as Heumann. Best known for “Doctor Who” and Russell T. Davies’s “Years and Years,” Madeley has spina bifida and is wheelchair-bound.
Heumann contracted polio in the late 1940s aged 18 months and spent most of her life in wheelchairs. According to Entertainment Weekly, Heder was shown a documentary about her and cold-emailed Heumann about making a film of her life.
“She was so forceful and hilarious and blunt and empathetic and all of these contradictions,” says Heder. “And I thought, ‘I do need to tell this story, and I’d love to meet this woman.’”
Heumann became known as the mother of the Disability Rights Movement, chiefly because of her 1977 sit-in. Aiming to persuade President Carter to enact the Rehabilitation Act of 1973, Heumann led sit-ins that occupied federal buildings including Washington, D.C., and New York City.
The protests were known as the 504 Sit-ins, after section 504 of the Rehabilitation Act which states that no otherwise qualified handicapped individual could be excluded from programs that receive federal funding. Heumann helped with the recognition of disabled rights and section 504 was finally enacted..
Heumann died unexpectedly in March 2023, aged 75. She had one Zoom call with actor Madeley before then. “I was completely in awe. I was so desperate for her to like me,” Ruth Madeley says. “I feel really privileged that she knew my name.”
“Her grit, her joy, and her complexities all make her so much fun to play,” she continued. “Also, to have Sian at the helm was a huge pull for me.”
Judy Heumann headed the 1970s sit-ins that led to greater disability rights – image credit: Apple TV
The film is based on the book “Being Heumann: An Unrepentant Memoir of a Disability Rights Activist” by Judy Heumann. Co-writer Rebekah Taussig is also the author of the 2020 memoir “Sitting Pretty: The View from My Ordinary Resilient Disabled Body.”
“Being Heumann” is to open the 2026 Toronto International Film Festival, which runs from September 10, 2026, to September 20. It will then get a theatrical run from November 6, 2026, before streaming on Apple TV from November 13.
Whether or not “Being Heumann” has any chance at repeating Heder and Apple’s Oscar success depends on exactly how the film’s theatrical window is managed. Directly following Apple’s win, the Academy Awards introduced new rules which limit what films can qualify for the Oscars.
To be eligible for consideration, the initial one-week release of “Being Heumann” in theaters will have to include one of six US metro areas including Los Angeles County, New York, Chicago, the Bay Area, Dallas-Fort Worth, and Atlanta. It will then have to be followed by another week-long run in 10 of the top 50 US Markets, no later than 45 days after that initial release.
There are more rules, and they vary for different Oscar categories. But overall the rules have effectively made it harder for streamers to win the Best Picture Oscar.

Knockoff is an extension that shows you which brands on Amazon are fake.
Ordinary Systems
Amazon’s search engine has become flooded with gibberish-named knockoff brands in recent years. To make your shopping experience a bit less phony, developer Josh Pigford built Knockoff, a free extension that will clean up your feed by automatically hiding or dimming listings from all those sketchy, mass-produced brands.
Knockoff is available for Firefox, Chrome and all Chromium-based web browsers such as Microsoft Edge, Opera and Brave. It’s also available as a Safari extension.
Pigford launched the tool earlier this month, and it’s since gone viral, with tens of thousands of downloads. A few days before the launch, Pigford posted on X, “Built a little chrome extension that lets you dim (or hide!) all the crap, mass-produced, fake brands on Amazon.” The post garnered 22,000 likes.
Knockoff is now live!
Filter out the knockoff crap brands on Amazon.
Sorry to brands like WNPETHOME, EHEYCIGA, YXYL, LU&MN, JOYIN, TOMY, GODONLIF, YOOJEE, LINGTENG, LANEIGE, VISCOO, BIODANCE, COOFANDY, BALENNZ, TOSY and LUENX.https://t.co/9mLk0EAsfG https://t.co/K07lMkepOW
— Josh Pigford (@Shpigford) July 7, 2026
It works pretty simply. Once installed, any products from fake brands, dropshippers or otherwise suspicious vendors are marked and grayed out, highlighting the more reputable brands you might actually know. There’s also an option to automatically hide the fake brands so you don’t even have to see them at all.
In an interview with 404 Media, Pigford says that Knockoff is built on prior extensions that aim to do this, such as AmazonBrandFilter and Amazon Brand Detector. The extension, which runs locally, doesn’t require an account, doesn’t send data to any company servers and doesn’t cost anything. It’s also open-source (as of version 0.7.2), and you can find the source code on GitHub.

The extension’s functions are pretty simple to understand. If it’s grayed out, it’s likely a fake brand, but the extension does need some fine-tuning.
Joe Hindy/CNET
Anything sounds good on paper, but the proof is in the pudding. I took Knockoff for a test drive to see how well it filtered the mass-produced junk.
My trial wasn’t terribly complicated. I searched for a variety of products across several categories using Knockoff’s stock settings to see how well the extension would filter out the knockoff brands without any additional tuning.
The short answer is that it did quite well. While searching for vacuum cleaners, it left most of the listings intact since they were from known brands, including Shark, Bissell and Dyson. Only a few listings were grayed out, mostly because no brand name was listed in the product description.
Solar lights fared much worse. Knockoff actively blocked dozens of listings for lack of brand names and also blocked listings from Jkimk, Technet, Tonulax and other unrecognized brands (most of which are stylized in all capital letters), while keeping listings for established brands, such as Brightown, a real company based in Raleigh, North Carolina.

Some product categories did better than others. Solar lights were awash in fake brands, but vacuums only had a few.
Joe Hindy/CNET
Phone cases are where things start to get trickier. The extension blocked brands such as Supfine, Dumkery, Hiearcool and several others. However, it initially also blocked Torras, a well-known case brand with in-store stock at Best Buy, which holds thousands of global patents for many of its products. It doesn’t get much more real than Torras, but the company’s products were flagged because its name is stylized in all caps, which the extension checks. Torras was added as a trusted brand in subsequent updates.
Knockoff listed some lesser-known but still legitimate earbuds brands, such as Tozo and Linsoul, as real companies, while it properly flagged phony hand tool brands, including Wgge and Horusdy. Brands that aren’t recognized by the extension often appear highlighted, but on the product page, the extension flags them as suspected fakes or entirely unrecognized.
It helps that Knockoff has a system for reporting brands that are incorrectly labeled as legitimate (or wrongly marked as fake). If the extension flags a product as fake when it’s legit, you can click the badge and “report as a real brand.” Likewise, if the extension flags a product as legit when it’s really fake, you can click the badge and “report as junk” when you click on a badge over a brand that the extension recognizes. You may have to turn on badges for good brands in the settings to do this.
Knockoff lets you report brands that are good or bad to help make the extension more accurate over time. All reports are handled by hand.
Joe Hindy/CNET
Since Knockoff’s launch, Pigford has released an update that addresses user responses, including a method to directly send feedback if you want to report a brand. The latest versions need a few extra permissions, but they’re mostly for enabling new features.
Overall, Knockoff is a useful extension in a digital marketplace dominated by AI-generated assets and unverified third-party products.
When you’re shopping, the biggest benefit is avoiding low-quality off-brands. Even if you’re not actively shopping for anything, it’s fun (and terrifying) to see how many grayed-out product listings you can find in any given product category. We recommend turning on badges for known brands, but otherwise, the stock settings performed the best.
At the same time, Knockoff shows you brands likely to be fake on Amazon, but it doesn’t tell you which products are actually good or bad. Fake brands often come with fake or bot-written reviews more often than legitimate brands.
Still, it all depends on what you’re shopping for. If all you need is a pack of zip ties for light cable management or to attach a tomato plant to a garden trellis, the ones sold by dropshippers will work just fine and save you a couple of bucks.
And while Knockoff certainly makes it easier to shop for quality items, the extension still needs some fine-tuning and human analysis. Updates to the extension seem to be doing exactly that, so if you’re just now discovering the tool, it’s likely the extension has gotten even better over time.
Knockoff certainly makes it easier, but it’s still good to know how to spot these yourself so when your package arrives, you’re happier.
Amazon
An eagle-eyed shopper can spot a knock-off brand from a mile away if they know where and how to look at product listings.
The first step, according to Russell Holly, director of commerce content at CNET, is to look for the brand outside of Amazon.com. “If it seems like a string of random characters and that brand name isn’t selling elsewhere, there’s a good chance the seller is not the manufacturer,” said Holly.
Holly also says to pay closer attention to negative reviews, since brands often fake only positive reviews. Negative reviews can be a better indicator of quality problems that may help explain why a product is cheaper than others in the same category.
Similarly, you can also look for a brand’s product support. If the only way to report a problem is directly to Amazon, Holly says you’re most likely dealing with a dropshipper that doesn’t offer product support if something breaks.
Another way to spot a fake brand is to find the same product sold under multiple brands. An example is a Broserengy alarm clock, Bluetooth speaker, phone charger combo. It is nearly identical to this product from Fansbe, including the RGB lights at the bottom, the placement (and labeling) of the buttons and the auxiliary USB port around the back for charging an accessory. These are two subtly different versions of the same product.
Not too long ago, the entire car industry felt a massive shift toward electrification. At the time, it seemed like the days of the internal combustion engine were numbered, with EVs and hybrids poised to take over. That belief had backing: the European Union set a target for zero CO2 emissions from all new cars and vans sold from 2035 onward, effectively banning the sale of new gas and diesel cars by that date.
Still, the EV transition didn’t play out the way the EU hoped, and the bloc has since walked that promise back. The European Commission now wants to scale the requirement down to a 90% emissions reduction rather than a full 100% cut — a softening automakers lobbied hard for and environmental groups have sharply criticized, saying it undermines climate goals.
Either way, the push toward an all-electric future has made automakers adjust course. Mercedes-AMG, for one, swapped the C63’s V8 for a turbocharged four-cylinder plug-in hybrid, and the new car ended up roughly 882 pounds (400 kilograms) heavier than its predecessor, all while lacking the V8 character that made the C63’s name.
When talking to Motor1, one Mercedes-AMG representative admitted the new powertrain “failed to resonate with our traditional customers.” It’s just one example, but it captures a broader mood: enthusiasts want their power the old-fashioned way, and some automakers are listening.
When we looked at whether Mercedes is bringing back the V8 last year, it seemed like the CLE63 would be first in line, debuting before the end of 2025 and then spreading to the E-Class lineup and a future G-Class. That timeline didn’t hold. The V8’s actual debut is going to the S-Class instead, with a flat-plane-crank M177 arriving in the 2027 S580.
The old S580 used a cross-plane version of the same 4.0-liter twin-turbo V8, and the switch is meant to sharpen throttle response and push the redline higher. In the mild-hybrid S580, it produces 573 horsepower and 553 lb-ft of torque, and the CLE63 is expected to be one of the first AMG models to receive it after that.
The bigger signal came directly from Mercedes-Benz. In a February 2025 investor and strategy press release, the company confirmed that Mercedes-AMG’s future lineup will include “a next-generation, high-tech electrified V8” alongside dedicated high-performance EVs. Mercedes-Benz also confirmed in that release it already has a full slate of “future-proof EU-7 ready engines and transmissions,” ranging up to eight cylinders. Mercedes even said it will continue offering V12s in certain markets.
However, there’s no indication the C63 itself is getting the V8 back — instead, it’s set to be replaced entirely by a six-cylinder C53. The C53 will rely on the same 443-hp turbocharged inline-six found in the CLE 53. In simpler terms, the six-cylinder CLE53 is now getting a more powerful V8 CLE63 treatment, while the four-cylinder C63 is now becoming a six-cylinder C53.
Ram pulled the 5.7-liter HEMI from its 1500 lineup back in 2024, replacing it with the twin-turbo 3.0-liter Hurricane inline-six, offered in a 420-hp tune and a 540-hp high-output version. The backlash was immediate enough that Ram confirmed the HEMI V8 would return for the 2026 Ram 1500, just one model year later.
Motor1 covered Ram brand CEO Tim Kuniskis commenting on the reversal, stating that “Ram screwed up when we dropped the HEMI.” The returning 5.7-liter HEMI produces 395 hp and 410 lb-ft of torque, paired with Ram’s eTorque 48-volt mild-hybrid system. Notably, Ram isn’t ditching the six-cylinder — the Hurricane stays in the lineup as the standard engine.
The brand is now pitching it alongside the V8 as a matter of buyer choice, rather than a straight replacement. Orders for the 2026 Ram 1500 opened this year, with deliveries beginning this summer. It’s a similar case to AMG, where the automaker publicly admits it misjudged things, but Ram reversed course quite a bit faster.
Ram is going even further at the top of the range: the 2027 Ram 1500 TRX SRT is returning with a 6.2-liter supercharged HEMI V8 making 777 hp and 680 lb-ft of torque, a 75-horsepower jump over the previous TRX generation. This should do it to fully cure the “no V8” Ram disease.
Jeep’s 6.4-liter HEMI V8 has looked finished more than once. The engine was slated to end after the 2024 model year, then got a “Final Edition” farewell for 2025 — and it was pulled from Canadian Wrangler order books before the 2025 model year even began. However, now it seems the 6.4 is going nowhere.
Besides the aforementioned Ram 1500, the Wrangler Moab 392 is also one of 2026’s car models getting a Hemi engine. This one is rated at 470 hp and 470 lb-ft of torque, and priced over $20,000 below the outgoing 2025 Rubicon 392. Jeep CEO Bob Broderdorf didn’t dress up the reversal. Mopar Insiders covered him saying “Our community made their voices heard, and we listened.”
The Moab 392 kicks off Jeep’s “Twelve 4 Twelve” campaign, which will see a special-edition Wrangler released on the 12th of every month through 2026 to mark the brand’s 85th anniversary — and it wasn’t the last V8 edition, either. Jeep followed with the Wrangler Willys 392, pushing the price of a V8-powered Wrangler down under $70,000.
However, not every Jeep model is getting the same treatment. The V8 hasn’t returned to the Grand Cherokee, and the Wagoneer and Grand Wagoneer are sticking with the twin-turbo Hurricane six instead. For now, the HEMI’s comeback is a Wrangler story specifically, not a brand-wide one.
Unlike the other brands on this list, GM never actually killed the V8, but it came close. In 2021, the company set a target of selling only zero-emission light-duty vehicles by 2035, leaving no room for gas-powered trucks or SUVs past that date. That shifted in May 2025, when GM announced an $888 million investment in its Tonawanda Propulsion plant, where GM is set to build its new V8. This is the single largest sum GM has ever put into one engine facility, to put things in perspective.
The sixth-generation small-block family is already rolling out, too. The Corvette got a related 6.7-liter LS6 version, and the 2027 Chevrolet Silverado redesign carries two more variants, a 5.7-liter and a larger 6.6-liter, both naturally aspirated.
A turbocharged four-cylinder and a diesel inline-six round out the rest of the lineup. The same underlying architecture powers the GMC Sierra, Chevrolet Tahoe and Suburban, GMC Yukon, and Cadillac Escalade, so the new engine’s reach extends well past one truck. GM’s timing wasn’t subtle.
As Caleb Jacobs over at the The Drive pointed out, the investment landed just as Ram was working to win back the customers it lost by cutting the HEMI. Where Ram, Jeep, and Mercedes-AMG all had to walk back a decision they’d already made, GM’s approach was to just not make it in the first place — and to spend nearly $900 million making sure it wouldn’t have to.
Porsche’s flagship SUV was supposed to prove the brand could go all-electric at the top of its range. However, when we looked at the 2026 Porsche Cayenne Electric, we noted its lack of character and difficult-to-justify price. Now, the brand’s newest flagship is changing course.
The upcoming Porsche K1, a three-row SUV slated to sit above the Cayenne, was set to be Porsche’s first EV-only nameplate, built on Volkswagen Group’s dedicated electric architecture. Instead, the K1 is switching to VW Group’s Premium Platform Combustion architecture, the same platform underpinning the upcoming Audi Q9, and gas power is now the plan at launch: a twin-turbo eight-cylinder and a six-cylinder, each available with plug-in hybrid assistance.
This shift happened for a couple primary reasons: the platform’s software wasn’t ready in time, and EV interest is cooling across the market. Porsche hasn’t abandoned the electric version entirely — it’s still planned for a later date — but the combustion K1 is now set to arrive first, roughly a year after the Q9. Porsche has been consistent about why gas power still matters to the brand.
Speaking with Edmunds, SUV drive systems manager Timo Henn said a V8 option “is maybe important to some customers,” pointing to the more mechanical feel some buyers still want from the drivetrain. It’s a quieter reversal than Ram or Jeep, but the direction is the same: an automaker that planned to leave the V8 behind, choosing instead to build its newest flagship around one.
These brands aren’t the only automakers bringing V8s back — Porsche’s rivals at BMW never abandoned it, and Toyota and Nissan are still holding out on their own reversals. We picked these five because they represent the clearest and most publicly documented cases: a brand cutting the V8, facing real backlash, and reversing course on the record, whether through a CEO’s own words or a formal engineering announcement.
It’s also worth remembering that none of this is permanent. Emissions targets shift constantly — the EU’s own 90% proposal could change again before it’s finalized — and hybridization is only going to get more common as automakers try to keep V8s alive under tightening rules. The V8 clearly isn’t dead yet, but nobody, including the automakers themselves, seems to know exactly how long it will last.
To keep this list grounded in verified reporting rather than speculation, we relied on primary sources — official statements and press releases from Mercedes-Benz, Ram/Stellantis, Jeep, GM, Chevrolet, and Porsche — wherever possible, along with reporting from publications like Autocar, Motor1, Car and Driver, Hagerty, The Drive, Mopar Insiders, Edmunds, Auto123, and Autoblog, as well as the European Parliament’s own documentation on emissions policy.
Since the first V2 rocket sailed above the Kármán line back in 1944 and right up until the modern era, the trajectory of most space-bound rockets was more or less the same: after expending their propellants they would either crash into some desolate steppe or plunge into the ocean. In either event, the rocket was disposable. The important bit up top might go on to explore the stars or send a human crew off on their mission, but the booster rocket that lifted the spacecraft out of the atmosphere was always going to be sacrificed for the cause.

With the benefit of hindsight, we now know the Shuttle wasn’t quite the spaceflight revolution that NASA had hoped for. The age of reusable rockets didn’t truly begin until 2015, when SpaceX landed the first stage of their Falcon 9. To date they’ve repeated the feat nearly 600 times, all the while increasing the reliability and speed of their operations. Today the Falcon 9 is the most prolific launch vehicle in history, and nearly every other rocket in active development is being designed to include some element of reusability.
Most recently, China demonstrated that they could recover their Long March 10B rocket by gently bringing it down into what amounts to a giant butterfly net. While it might seem a bit quaint compared to rockets that land on their tails like something out of a 1950s sci-fi movie, the idea offers considerable promise.
But why did it take 70+ years before we were able to regularly refly orbital-class rockets? It’s not that there’s anything inherently complex about reusing a spent rocket. Sure, there’s a case to be made that material science improvements have made the engines robust enough for repeated use. But even if you had to rebuild the engines after each flight it would still be better than slamming the whole vehicle into the ocean. Similarly, there’s nothing particularly unique about the structure of the Falcon 9 that enables it to fly multiple times — it’s a big metal tube with tanks inside of it, just like essentially every rocket that has flown before it.
The revolutionary technology demonstrated by SpaceX in 2015 didn’t have anything to do with making their rocket go up, it was that they were able to safely bring it back without damaging or physically altering it. The Falcon 9 first stage that came back to Earth was in the same condition it was when it left the launch pad eight minutes or so earlier, albeit with empty propellant tanks and a layer of soot on the outside.
As such, most of the variability we see when comparing the reuse of past, present, and future rockets comes not from how the vehicle ascends, but how it ultimately comes to rest back down on Earth.
Without question, the easiest way to recover a rocket intact is to simply slow it down before it hits the surface of the ocean using parachutes This is how all American crewed capsules, and more applicably the Space Shuttle’s Solid Rocket Boosters (SRBs), have been recovered after their flights.
But even when descending under multiple huge parachutes, splashdown isn’t exactly a gentle event. It could probably best be described as “survivable”, in that the vehicle and crew will come through the experience in one piece, but neither is likely to be terribly happy about it.
The situation of course ends up being even worse for the rocket, as its structure is going to be subjected to the brunt of the impact force. Additionally, a complex aerospace vehicle getting partially submerged in salt water is a recipe for corrosion and electrical issues, to say nothing of the thermal shock the hot engines will experience when getting dunked.
One could argue that the only reason this method of recovery worked for the Shuttle SRBs is because of their relative simplicity when compared to a liquid-fueled rocket capable of independent flight. At the risk of oversimplifying the structure of the SRB, at splashdown it was effectively a hollow tube with minimal avionics and thrust vector control (TVC) hardware that could simply be replaced before the next flight.
Still, the NASA document Solid Rocket Booster (SRB) Refurbishment Practices goes over the considerable work required to bring each booster back to flight status after coming down in the ocean. Given the challenges of refurbishing the boosters, it’s perhaps unsurprising that NASA elected to forgo their reuse on the Space Launch System despite its SRBs being largely identical to their Shuttle predecessors.
In the very early days, while they were still trying to reach orbit with the Falcon 1, SpaceX had actually considered a Shuttle SRB-style recovery procedure. But in the end they decided to outfit the Falcon 9 with deployable landing legs and the rest, as they say, is history.
Landing legs allow a rocket to come down on effectively any flat surface, be it a concrete pad next to the launch facility or a floating platform. But there are some fairly serious drawbacks to this approach. For one thing, the requirement for precise terminal guidance means parachutes are out of the question. The rocket needs fins, attitude thrusters, or other control surfaces to come down on the center of the pad.
It also means the rocket needs to perform a propulsive landing. That is, use its own primary engines to bring its velocity on touchdown to as close to zero as possible. This in turn requires engines that can not only restart in flight — a capability that has not traditionally been required by first stage boosters — but are able to throttle down low enough to control the rocket’s descent without simply pushing it back upwards. It’s difficult to overstate how unnatural a state of operation this is for a rocket. Indeed, it’s the antithesis of how nearly every rocket has operated since the Song Dynasty started experimenting with gunpowder in the 10th century.
Even if you can accomplish all that, the true cost of landing a rocket is in the extra mass. Although the legs will be stowed away and unused for 99.8% of the rocket’s flight time, it still has to lug all that weight uphill. If that wasn’t bad enough, there’s also the extra weight of whatever control mechanism is in place to guide the rocket’s descent trajectory as well as the propellant that needs to be kept in reserve for the landing burn.
All told, landing a rocket on legs comes with a massive payload penalty. In the case of the Falcon 9, the rocket’s maximum capacity to Low Earth Orbit (LEO) in its expendable configuration is approximately 22,800 kg (50,300 lb). But when outfitted with the hardware necessary to land, that number is reduced by nearly 25% to 17,500 kg (38,600 lb).
There was a time, not so very long ago, when critics doubted the financial viability of recovering and reusing rockets like the Falcon 9. But today, reuse has gone from theoretical to standard operating procedure. Outside of a few Old Space holdouts, it’s top of mind for every launch provider and critical for remaining competitive in a fast-moving commercial market. In November, Blue Origin even managed to land their New Glenn heavy-lift rocket on only its second flight.
So at this point the question isn’t whether or not future rockets will be reusable, but rather, what is the most efficient way to achieve that reusability?
With that in mind, it’s easy to see the appeal of China’s net recovery. While the rocket must still perform a propulsive descent — although in theory the necessary positional accuracy, and therefore the technical challenge, is somewhat reduced — it doesn’t need to have landing legs installed. This mass savings increases the vehicle’s useful payload capacity, which in turn makes it more profitable to operate. Achieving the same end goal while being easier and cheaper is an improvement in anyone’s book.
Admittedly, having the rocket come down in a huge net adds a certain amount of whimsy to the whole endeavor, but the overall logic is sound enough. It should also be said that SpaceX, for all the success they’ve had with landing their Falcon 9 on a set of deployable legs, are themselves planning on catching both the first and second stages of their next-generation Starship vehicle. Instead of a net, their goal is to pluck the rocket out of the air with a huge robotic pincer mechanism.
One is reminded of the old joke about how the Americans and Russians approached the problem of writing in space: NASA spent millions of dollars developing a pen that would work in microgravity, while their Russian counterparts simply used pencils. If China can demonstrate the ability to reuse a rocket they snagged in their net, the more elaborate methods of recovery employed by American rockets may one day look like a similarly overengineered solution.
Game companies might not like physical media much anymore, but gamers sure do. There’s nothing like pawing over your collection to find what to play, and inserting a cartridge with a satisfying click before sitting down to an old-school game like — wait, Cyberpunk 2077? Yeah, that wasn’t released on cartridge, but that didn’t stop [Jibril-sama] over on Reddit. The cartridges are 3D printed — stls on makeworld only, as of this writing — and contain old 2.5″ SSDs that [Jabril] was able to pick up in bulk.

Inside the base unit is a simple USB3-SATA adapter that hooks to [Jabril]’s gaming PC. There are two versions of the base unit: a simple vertical unit, and a horizontal one with some springs to give a satisfying grip.
On each disk is a launch script that is vetted by a program on the PC that autolaunches only the cartridges you’ve told it to trust, which is a level of security we can appreciate. [Jabril-sama] has kindly made that available under the MIT license on GitHub.
We don’t know how much life is left in these cheap drives, but they should last a while if the only write is the odd save file. Hopefully [Jabril-sama] is cycling through his games fairly often, as SSDs are only non-volatile storage if your time horizon is short enough.
Thanks to [iliis] for the tip! Remember, if you use our tips line to share what you find, you’re not doomscrolling, you’re doing a public service.
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