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Best in Show: The Best Audio and Video Tech at CEDIA Expo 2026
What is CEDIA Expo?
CEDIA (Custom Electronic Design and Installation Association) is a trade association for the custom installation (CI) industry and the manufacturers of all the various gear that goes into a smart home or home theater. Each year CEDIA holds a show to provide installers and firm owners the opportunity to learn skills, experience the latest trends and see the very latest gear like LED Walls, speakers, TVs, projectors and more. This year’s CEDIA Expo was held last week in Denver and it showcased some of the best products in custom A/V.

The custom installation market emerged from the pandemic looking very different from the business that entered it. COVID forced millions of people to reconsider how they used their homes, accelerating investment in audio and video gear, dedicated theaters, distributed audio, outdoor entertainment, lighting, networking, and automation. That momentum did not simply disappear when everyone went back outside. If anything, it raised expectations for what a properly integrated home should sound and look like.
The technology caught up rather quickly. Display performance has improved dramatically, with larger and brighter televisions, more sophisticated projection systems, direct-view LED, and increasingly convincing solutions for rooms that were once hostile to serious video. In-wall, in-ceiling, and outdoor loudspeakers have made an equally important leap. The days when architectural audio meant accepting compromised sound in exchange for keeping the interior designer happy are disappearing.
High-end multi-room audio is now a very real part of the conversation. Better amplification, DSP, room correction, networked audio, and loudspeaker engineering have moved the goalposts to the point where a professionally installed system can deliver genuinely high-end performance throughout a home without turning every room into an equipment showroom. That is a rather significant change for an industry that spent decades selling invisibility as its primary virtue.
CEDIA Expo 2026 made that evolution impossible to ignore.
Our Best in Show selections come from a wide range of manufacturers, but they share something important: each is pushing the category beyond incremental upgrades and demonstrating how much more ambitious the CI market has become. Better sound, better video, smarter integration, and fewer compromises are no longer aspirational talking points. They are becoming the expectation.
Senior News Correspondent Robert Silva and eCoustics Founder Brian Mitchell joined me this year in roving the halls at CEDIA Expo to identify the best of the best in A/V technology. Here are our picks for “Best in Show.”
eCoustics Picks for Best in Show at CEDIA Expo 2026
Best Home Theater Room: Alcons Audio’s 13.8.6 Channel System

We sat through 11 home theater demos (some more than once), with systems priced from roughly $20,000 to $700,000 once you account for all of the audio/video equipment, room treatments, and seating. However, such pricing can be deceiving when you consider that more than half of the total cost could be devoted to video alone. Display options ranged from $5,000 UST projectors and $30,000 to $100,000 long-throw projectors to nearly $400,000 MicroLED walls. Depending on your own specific room size and needs, you could probably get excellent results going with many of these same brands on a smaller scale.
Each vendor had carte blanche to use whatever equipment and partners they wanted. Some brought prototypes, others packed the room with anywhere from 11 to 27 speakers, while a few wanted to demonstrate what could be achieved on a more modest budget.
Ultimately, the Alcons Audio CRMS Series 13.8.6 system, supplied by DreamScapes A/V, impressed us most for its total theater experience. It delivered an incredibly detailed and spacious audio presentation, with superb top-end articulation courtesy of Alcons’ pro-ribbon drivers, which were unique among the theaters we experienced.
With its commercial-grade pedigree, it should come as no surprise that the Alcons system delivered a top notch home theater experience with ease and refinement and never seemed remotely close to hitting its limits with 38,000 watts of power on tap. Dialogue remained intelligible and locked in during fast-paced action scenes, keeping us on the edge of our seats, while eight 15-inch infrasonic subwoofers gave the system the ability to dig exceptionally deep when the soundtrack demanded it.
A Trinnov AltitudeCI preamp/processor handled Dolby Atmos processing along with WaveForming for improved seat-to-seat consistency. Amplification was also entirely Alcons, including three Director 6 amplifiers and two Sentinel 10 amplifiers, essentially creating an active system designed to maximize the performance of each speaker along with room tuning by Poes Acoustics.
The $215,000 Alcons system was paired with Christie’s $115,000 Griffyn 4K35 ultra-high-contrast projector with their Variable Dynamic Range (VDR) system, delivering visuals capable of matching the scale and impact of the audio system. It’s important to note that Christie’s VDR system is currently in beta testing and is expected to come to the company’s pro cinema projectors before finding its way to the company’s home theater projectors.
The rest of the video chain included Lumagen’s $9,000 Radiance Pro 5348 video processor and DreamScreen’s $1,500 160-inch UltraWeave CoreX1 acoustically transparent fixed-frame screen with a 0.85 gain. Kaleidescape’s new Strato K media player provided the clips in the company’s new “4K Cinematic” format, which exceeds the quality of even the finest physical media.
Learn more at Alcons Audio.
Best Lifestyle Speakers: JBL Cove X1

JBL’s new Cove wireless speakers for 2026 are available in three sizes, priced from $229 to $449 each. When we heard the largest model, the Cove X1, set up as a stereo pair, it became immediately clear that the Cove lineup has some serious JBL chops. This is not simply a product of some marketing guy (or gal) saying “we need a wireless lifestyle speaker.” This product line has some serious thought behind it and it shows in its operation and sound quality.
These wide-dispersion speakers had no problem filling a massive convention ballroom with a rich, dynamic presentation that sounded much closer to traditional hi-fi speakers than the typical bass-booming Bluetooth competition. Concealed beneath the unassuming exterior are four 1.25-inch (30 mm) tweeters, one of which is up-firing for height effects, and two 90 x 120 mm woofers.
Multi-room setup and pairing is handled through the JBL One app, with connectivity over Wi-Fi or Bluetooth. The Cove X1 supports Spotify Connect, TIDAL Connect and QOBUZ Connect over WiFi. along with native support for Dolby Atmos Music from TIDAL or Apple Music. Amazon Music is also supported, but only in stereo. We hope they’ll add Dolby Atmos support to Amazon music as well, at some point in the future.
Learn more about JBL Cove.
Best Video Wall: Quantum XDR5-8K MicroLED

Simply put, no video display impressed us more, and if cost is not a consideration, the Quantum MicroLED XDR5-8K is what we would recommend without hesitation. Not only can Quantum deliver a pixel-perfect native 8K video wall, but the company has also addressed two of the three biggest challenges facing MicroLED technology: visible seams between panels and heat. Each video wall is comprised of multiple component MicroLED panel modules which Quantum carefully assembles on site at each customer location. Installation can take up to one week as cables are run, the modules are assembled and each panel is painstakingly calibrated to look precisely like the rest, leading to excellent image uniformity and consistency with no visible seams.
The third problem, however, is cost, which currently puts it well out of reach for most people; unless you’re Ben Affleck, who actually owns two: one for his home and another for the office in his production company. Ben, we’ll expect your invitation to movie night. We’ll bring the popcorn.
Quantum’s smallest configuration starts at $175,000, while the 20-foot-wide 8K wall we saw at CEDIA costs around $375,000. Its ability to handle DCP (Digital Cinema Package) format allows directors and other film production professionals to view their “dailies” or works in progress at home in the same format used in the actual movie production houses and digital theaters. Clearly in this case, you get what you pay for.
Learn more about Quantum MicroLED XDR5-8K.
Best AVR: Arcam AVA35

Arcam’s new top-of-the-line A/V receiver for 2026 isn’t actually a receiver because it does not include an FM tuner. So they refer to it as an “AVA” (Audio/Video Amplifier). Whatever you call it, the AVA35 ($6,999) functions much like a traditional home theater receiver – only bigger. It offers 16 channels of audio processing with nine built-in amplifiers for Dolby Atmos, AURO-3D and DTS:X systems up to 7.4.2 or 5.4.4 channels. It can be expanded up to 9.4.6 channels, by adding external amplification.
All amplifier outputs are assignable and bi-amp capable, giving installers greater flexibility to maximize system performance. The AVA35’s key differentiator, however, is its Class G amplification. Without getting too technical, Arcam’s proprietary Class G design combines the sonic advantages of Class A operation with the additional power reserves of Class A/B when required. It’s heavy and it can run a bit warm, so make sure it has room to breathe.
DIRAC Live full-frequency room correction is also included, while Dirac ART is available as an optional upgrade with the purchase of an additional license.
Learn more about the Arcam AVA35.
Best Compact Soundbar: Sonos Beam Ultra

At $699, the Sonos Beam Ultra is a brand-new soundbar for 2026 that joins the company’s multi-room ecosystem. Ideal for smaller rooms and TVs measuring 65 inches or less, this all-in-one soundbar improves upon its predecessor, the Sonos Beam Gen 2, with the addition of two up-firing speakers inside a chassis that is four inches longer.
In addition to delivering a more spacious presentation on its own, the Beam Ultra is compatible with other Sonos speakers that can be added as surrounds, including the Move 2 and Play models. Because the Move 2 and Play speakers are battery-powered and portable, you can simply carry them in from the backyard barbecue and use them as rear channel surrounds if you like. The Beam Ultra also supports the addition of a Sonos subwoofer (which we highly recommend as it doesn’t have much bass on its own). For those primarily concerned with dialogue intelligibility, the new AI-Assisted Speech Enhancement feature helps ensure that voices remain prominent when a scene gets chaotic.
Expect a full review in the coming weeks.
Learn more about Sonos Beam Ultra.
Best All-Around Speakers: Theory Audio Design

Paul Hales, founder of Theory Audio Design, Theory Professional, and Pro Audio Technology, delivers one of the most mind-bending presentations at CEDIA Expo year after year. This year, he showcased Theory’s new 9-inch full-range architectural speaker in a pendant housing, alongside the company’s existing lineup of 5-inch and 6.5-inch architectural speakers and subwoofers.
With the new pendants hanging overhead, one could easily imagine they were listening to Dolby Atmos, only to discover that it was plain old stereo. Like Theory’s smaller architectural speakers, the new pendants have an uncanny ability to deliver an expansive, natural presentation even when positioned overhead. Vocals sound natural, acoustic instruments exhibit exceptional attack and decay, and the overall presentation is remarkably lifelike.
That coherence extends throughout the lineup, with essentially the same driver technologies repackaged in different enclosures for in-wall, in-ceiling, surface-mount, pendant, and weatherproof outdoor applications.
There is one important consideration with Theory: its loudspeakers are designed to work with the company’s external amplification and DSP modules, which they call “Digital Loudspeaker Controllers.” Individual speakers start well below $1,000, but the required DLC components range from roughly $2,700 to almost $12,000, depending on output power and channel configurations. Due to extreme efficiency, you can drive more than one speaker from each amplifier channel, so large multi-room or outdoor systems can benefit from economies of scale. Subwoofer options range from approximately $1,000 to $16,000 for larger sound-reinforcement projects or home theater installations.
Regardless of the scope of the installation, Theory offers solutions for an unusually wide range of applications, including soundbars, two-channel Hi-Fi, multi-channel home theater, whole-home audio, residential and commercial installations, and even live performance. We have heard Theory systems in enough configurations and environments to know that the performance is not unique to individual models. All of it comes highly recommended. Your CI professional will recommend the best fit for your specific needs.
Learn more about Theory’s 9-inch Pendant Speakers.

This year, the TV tech with all the hype is RGB backlighting. Technically, these are still LCD TVs, but by switching from single color backlights to three-element backlight units (one LED lighting element for each primary color – red, green and blue), these TVs can offer better color reproduction as well as brighter, more dynamic images.
Some of the early RGB backlit TVs had significant issues like color crosstalk, where there can be some color bleed when different colors appear adjacent to each other on screen. But Sony’s version, which they call “True RGB” is almost entirely free from these types of artifacts. It also looks remarkably good from off-axis (sides, below or above). The flagship BRAVIA 9 II TV was on display at CEDIA Expo in its largest 115-inch size and it looked stunning even in the brightly lit convention center. At $30,999, the price is no joke, but because it’s a single monolithic LCD panel, it’s much easier to install than a MicroLED wall or a projection system, saving potentially thousands of dollars in installation and set-up costs.
Learn more about BRAVIA 9 II.
Best Premium TV: TCL X11L (75/85/98”)

While RGB TV is taking the spotlight this year, TCL has developed their own alternative technology, which can also achieve wide color gamut coverage, similar to RGB backlit TVs. Instead of using RGB backlights, the X11L TC uses more traditional blue LED backlights, but uses newly developed ultra small quantum dots to reproduce colors. In addition to extending the color gamut, these SQD (super quantum dot) TVs provide the brightest peak luminance we have ever seen or measured on a consumer display – as high as 10,000 nits peak brightness on the 85-inch model.
At CEDIA Expo, TCL showed off their 85-inch X11L against a Samsung Micro RGB TV as well as an LG OLED. In the demo, the X11L clearly offered a brighter image than both contenders and exhibited no trace of color crosstalk or haloing, thanks to thousands of local dimming zones. If you need a big TV for a bright room, the X11L makes a great choice.
Read our full review of TCL X11L.
Best Lifestyle TV: LG W6 Wallpaper OLED TV (77-inch, 83-inch)
While there’s no denying LCD TVs which use advanced backlighting systems like Micro RGB and Mini LED can get brighter than an OLED TV, they can’t get blacker than an OLED TV. While the best LCD TVs may have a few thousand zones of backlighting, 4K OLED TVs have over eight million lighting zones, thanks to their self-emissive pixels. And this makes their black levels and contrast impossible to match on other, non-emissive TVs.

LG offered the US debut of its 83-inch Wallpaper OLED TV at CEDIA Expo, and it looked stunning from all angles (even the back, thanks to its clean finished back design). While most of its competitors have gotten thicker this year, LG’s W6 Wallpaper TV took things the opposite direction with the TV’s depth coming in at under 10 mm (0.35 to 0.39 inches). They’ve done this by moving all of the inputs and outputs to an external wireless “Zero Connect” box, which can be placed up to 10 meters (33 feet) away from the TV itself.

While LG officially recommends a line of sight connection between the box and the TV, an LG rep told me they had theirs in a closet at the opposite side of the room with no ill effects. If your closet or cabinet has fabric or mesh doors, or standard sheetrock walls, you can likely keep your connections completely out of sight.
Even with that wireless connection, the TV supports a native 4K signal at up to 165 Hz with full lossless audio support, making it an excellent match for next generation gaming consoles or gaming PCs with ALLM (auto low latency mode) and VRR (Variable Refresh Rate).
While it may not reach the peak brightness of this year’s flagship LCD TVs, the W6 does use the same panel as LG’s G6 flagship OLED which has been measured at over 3,000 nits on a 5% full white window. This, along with its Reflection Free Premium screen coating, makes it perfectly suitable for viewing in a reasonably bright room, while still producing those deep inky OLED blacks we love so much.
Learn more about LG Wallpaper TVs.
Best 8K Projector: JVC DLA-NZ900 D-ILA Projector

While 8K sources remain few and far between (Kaleidescape has exactly one 8K title available for download), the extra pixels available in an 8K display can come in handy on a projector when you’re blowing the image up to fit a 10-foot wide (or larger) screen. And while JVC is one of the few consumer projector makers to offer actual native 4K imaging chips (Sony being another), the company also offers a true 8K mode on its higher end projectors thanks to 8K e-shiftX technology. With this, JVC can accept a native 8K input and display every one of those 33 million+ pixels on screen by quickly shifting the imaging engine to display 4 pixels for each one on the trio of D-ILA chips.
The company had this tech on display with their flagship DLA-NZ900 D-ILA projector. In the demo, they were showing both native 8K signals and upconverted 4K content on a 12-foot wide (165 inch diagonal) multi-masking StreamPro screen by Stewart Filmscreen. Even sitting in the front row, just a couple of feet from the screen, I could see no visible pixel structure and the image was ultra-detailed and colorful. Shadow detail was strong and overall specular highlights weren’t bad either, thanks to its BLU-Escent laser light source and triple D-ILA light engine.
Learn more about JVC DLA-NZ900.
Best High-End Projector: Christie Griffyn 4K35-RGB Pure Laser Projector

While high-end consumer grade home theater projectors from Sony, Epson and JVC are more than up to the task of lighting up a medium sized home theater, a larger system, with a larger screen, may need something a little extra. The Christie Griffyn 4K35-RGB has more than a little extra with a rated 35,000 Lumens of peak light output and triple chip native 4K DLP light engine.
Because it uses a separate chip – and a separate laser light source – for each primary color (red, green and blue), it does not suffer from the RBE (Rainbow Effect) that we see on single-chip DLP projectors. This gives it the ability to light up a huge projection screen with bright, vivid images with minimal image artifacts. But this performance comes at a cost – $116,500 (MSRP). It’s also fairly massive, weighing in at 179 pounds (81.2 kg) and measuring 25x15x36.3 inches (635x380x922 mm). Most CI guys recommend a separate projection room or at least a custom cabinet to provide adequate cooling and proper noise reduction.
The 4K35-RGB projector at CEDIA Expo produced practically flawless moving images, with excellent peak brightness and contrast, thanks in part to its use of the company’s new VDR (Variable Dynamic Range) software, which enhances dynamic range based on the on-screen content. VDR is currently in beta testing on the company’s professional line of projectors. It is expected to be rolled out to select home projectors some time in the future.
Learn more at Christie Digital.
Best Lifestyle Projector: XGIMI XWALL Titan Noir Ultra

The word “Lifestyle” in front of the word “projector” used to mean that the projector sacrificed performance for the sake of good looks or a compact form factor. But around 18 months ago, the Valerion VisionMaster projector rewrote that script, proving that good things could indeed come in smaller, more elegant packages. That trend has been taken to the latest extreme with XGIMI’s XWALL Titan Noir Ultra. While it would look just fine sitting on a coffee table, you’ll be best off mounting it to the ceiling where it’s out of the way. XGIMI offers a heavy duty ceiling mount for this, which can support the unit’s 17.9 pound (8.1 kg) weight.
The Titan Noir Ultra features a whopping 8,000 Lumens of peak brightness and a native 12,000:1 contrast ratio, which is respectable even on far more expensive dedicated home theater projectors. The Titan Noir Max also features a motorized lens with a wide 0.98 to 2.0:1 zoom range, motorized focus, and motorized horizontal and vertical lens shift for ease set-up without having to rely on resolution-killing digital keystone adjustments. Also, unlike the VisionMaster projectors, the Titan Noir Ultra includes a custom “lens memory” feature that allows you to store custom presets for different aspect ratios. This is one feature I love as it allows me to zoom in to fill my entire 2.4:1 screen when watching ultra wide CinemaScope content at home.
Learn more about XGIMI XWALL Titan Noir Ultra.
Best Media Player: Kaleidescape Strato K

While we’re big fans of physical media here at eCoustics, there are some aspects of “disc collecting” that we don’t enjoy: the requirement to have shelves and shelves full of discs to house our movie collections and the occasional disc glitch that requires us to eject the movie, wipe it on a clean cloth to remove a smudge or a fingerprint and wait for the disc to re-load so we can (hopefully) continue our viewing. This is even more problematic if you happen to look for bargains on used discs as sometimes seemingly minor scratches can lead to serious problems in playback.
Kaleidescape has always offered a movie playback experience that can match (or even beat) the best physical media but now they’ve gone beyond what physical media can do with their new Strato K movie player ($4,995). While the Strato K is their first player to support 8K content, it’s what they can do with 4K content that is even more exciting. They’ve developed a new content format called “4K Cinematic” which offers a significant improvement in color reproduction and milder use of video compression which can reduce or eliminate common forms of video artifacts and distortion.
While 4K Blu-ray Discs typically use a bandwidth of about 50 to 80 Mbps, Kaleidescape uses a much wider 110 Mbps pipe to deliver the picture and sound. This means the 4K Cinematic content that Kaleidescape creates from the studio’s raw mezzanine files use less compression than UHD Blu-ray (and much less compression than streaming services) in order to deliver a pristine, artifact-free image.
This year, close to 60 different booths and demo rooms at CEDIA Expo used a Kaleidescape player to show their systems in the best possible light, and it translated into powerful demos throughout the Exposition hall. If you’re into movies, and have the means, the Strato K would make an excellent entry-point into the Kaleidescape ecosystem. Its built-in storage has room for five or six 4K Cinematic titles at a time and it’s fully compatible with the company’s Terra Servers for larger collections.
Learn more about Kaleidescape Strato K, or buy for $4,995 at Best Buy.
Best Physical Media Player: Magnetar Ultima Universal Disc Transport

Does anyone really need to spend $12,000 on a Blu-ray Disc player? Maybe not. But for those who want the best, there is the Magnetar Ultima. Unlike a traditional disc player, with analog and digital outputs, the Magnetar is technically a disc “transport” – it includes no built-in DAC of its own. But what it does include is a separate power supply housed in its own chassis and powered by a pair of automotive grade lithium ion batteries manufactured by EV and battery maker (and darling of Berkshire Hathaway), BYD. By using a highly stable DC power source, the unit can eliminate any hint or noise or distortion from the signal chain.
Without its own DAC, the ULTIMA offers only digital outputs, including HDMI, coax and AES/EBU. It even includes a separate clock output for elimination of jitter in the signal. The player supports virtually every form of silver disc, including CD, DVD, DVD-Audio, SACD, Blu-ray Disc, Blu-ray 3D and 4K UHD Blu-ray Disc (sorry, no LaserDisc). It also includes network access and a USB 3.0 port for playback of additional media formats on the home network or on an attached USB drive.
Learn more about Magnetar Ultima.
Best Hidden TV: Vanish Designs
Sometimes a big screen TV just doesn’t fit in with the design aesthetic of your living room. Sure, it may look amazing when you’re watching it, but the rest of the time, it’s just a huge black rectangle hanging on your wall or sitting on a credenza. There are multiple options. Get a TV with a stylish design like the LG W6 Wallpaper TV or Loewe Stellar TV. Or you could get an “Art TV” like Samsung’s “The Frame” which can pass as real artwork when not in active use. But what if you could make your huge TV truly disappear when not in use? That’s what a company called “Vanish Designs” can do for you.
Vanish Designs is a custom furniture maker that specializes in making stylish cabinets, tables, dressers and consoles that hide a big screen TV (from 80 inches up to 120 inches) with minimal effort. Concealing a UST (Ultra Short Throw) projector, a motorized screen and a soundbar or component sound system within an elegant piece of furniture, Vanish Designs let’s you decide when the screen takes center stage and when it literally disappears into the woodwork.

To bring one of these systems to life, all you need to do is open a drawer and a top panel on the unit, to expose the projector and speaker, then press a single button on your remote for the screen to appear from within. Because UST projectors can project a huge image from just inches away, the cabinet itself can be fairly shallow. And with recent advancements in light-rejecting screens and brighter UST projectors, you can get a nice bright colorful picture, even in a bright room.

Every piece of Vanish Designs’ custom cabinetry is made to order in the United States. Material and workmanship are exceptional and measurements are precise so your chosen projector, screen and sound system will fit perfectly within each unit with no wasted spece. Prices start at $18,000, not including projector, screen and soundbar.
Learn more at www.VanishDesigns.com.
Best Budget Home Theater: SVS Ultra Evolution 5.2.2 System
While we didn’t see any systems this year that quite hit (or went over) a million dollars, there were plenty of rooms in the high six figures. But as usual, SVS scoffed at this excess with their own 5.2.2-channel home theater system, ringing in at just under $12,000 (for the speakers only) and comprised of speakers from their flagship Ultra Evolution line and a pair of new subwoofers from their R|Evolution line.

The system included The Ultra Evolution Pinnacle tower speakers for left and right, an Ultra Evolution Center, a pair of Ultra Evolution Bookshelf speakers for surrounds and two of the Ultra Evolution Elevation speakers for height effects. These elevation speakers are great as they can be mounted on a ceiling or at the top of the wall, on the sides or front of the room, requiring no cutting of the walls or ceilings and no wire inside the wall. Because they’re direct (not up-firing and reflective), they produce realistic height channel effects without requiring low, flat reflective ceilings.

To put some boom in the room, they added a pair of their new SVS PB-3000 R|Evolution Subwoofers. These ported subs are relatively compact, but can reach down to 16 Hz for that gut-thumping bass we love. The subs were tuned for the room with SVS Auto EQ, a new feature of the company’s subwoofer control app.
The system was powered by a Marantz Cinema 30 AV Receiver, with a Pioneer UHD Blu-ray Player spinning the silver discs. Video came from an AWOL UST Projector and screen. Playing the usual clips from “No Time to Die” and “Sinners,” this little budget system rocked the demo room with clear dialog, excellent dynamics and deep yet articulate bass. After spending so much time in $500,000+ rooms, it was refreshing to hear a system that got the essentials right for a much more reasonable price.
Learn more about SVS Ultra Evolution Speakers.
Continue reading more stories from CEDIA Expo 2026.
Tech & AI
Japan’s Keio confirms ransomware attack disrupted business systems
Keio Corporation (Keio), a major private railway operator in Japan, said its network was hit by a ransomware attack over the weekend, disrupting some of its business systems.
Following a system failure in the early hours of Saturday, the company confirmed the attack and shut down its network to prevent additional damage.
The company said it is investigating the extent of the impact and whether the attackers accessed any customer or business partner information.
Keio is a large Japanese railway operator with 85 km of track and 69 stations, as well as a separate hospitality business of 25 hotels. The company has over 2,200 employees and a reported annual revenue of about $2.6 billion.
“In the early hours of September 26, 2026, we confirmed a ransomware attack on our group’s servers. We have reported the incident to the police and are conducting an investigation into the attack’s route and damage with the cooperation of external experts,” Keio says.
The incident appears to have affected only the hospitality side of Keio’s business, not train operations.
A separate announcement published on the company’s Keio Plaza Hotel Tokyo website is warning of possible delays on some customer-facing services.
Local media outlets have reported that the cyberattack disrupted the firm’s payment systems.
At the time of writing, BleepingComputer could not find a ransomware group claiming the attack on Keio.
BleepingComputer has contacted the company to request more information about the incident, and we will update this post with their response once it reaches us.
Tokyo Metro has also disclosed a cyber incident over the weekend in which attackers gained unauthorized access to its systems and accessed 59,000 member email addresses.
Although both Keio and Tokyo Metro are Japanese railway operators, it is unclear if the organizations were targeted in a coordinated campaign by the same threat actor.
Tokyo Metro is a major transit operator that runs nine subway lines covering 195 km and 180 stations, carrying an average of 7 million passengers daily.
The company said the breached systems contained only email addresses and that it has already identified and closed the security weakness the attackers used in this case.
Tech & AI
Microsoft may have just pushed Copilot into a completely different phase of its AI ambitions
- Home puts chats, delegated work, and Office documents inside one interface
- Code lets non-programmers describe software and have Copilot build it
- Autopilot can continue recurring work without waiting for another instruction
Microsoft has introduced a redesigned version of its Copilot AI platform which claims to combine chat, delegated work, and coding tools into a unified application experience for users.
The company says the update is meant to let individuals and organizations scale artificial intelligence across everyday tasks and long-term projects.
Three new capabilities anchor this release, including Home, Code and Autopilot, each aimed at a different kind of work.
Latest Videos FromTechRadar
Home brings Chat and Cowork together
The Home tool brings together two existing modes, Chat for quick questions and Cowork for tasks users delegate entirely, under one shared starting point.
Word, Excel, and PowerPoint now operate inside this same interface, letting users draft documents, budgets, and presentations without switching applications.
In these documents, Copilot is now grounded in Fabric IQ, pulling context from more than 20 million semantic models built in Power BI.
Edits made by colleagues or by the assistant itself appear in real time, so progress stays synchronized across a shared file.
A new plugin registry will let organizations manage Microsoft, partner and custom-built plugins from one central catalog starting this month.
Independent developers and partners can also publish plugins once for use across multiple Copilot surfaces under the new registry arrangement.
The Code tool allows non-programmers to describe an app, tracker or dashboard in plain language and have it built automatically.
This feature runs on the same underlying technology used in GitHub Copilot and can be hosted within a company’s own systems.
Autopilot operates without constant prompting
Autopilot, the third addition, is a persistent agent capable of completing recurring work without needing a new instruction each time.
It can run supplier reviews or similar multi-step processes, build schedules, contact stakeholders, and follow up on outstanding items independently.
Because it operates continuously in the cloud, work can continue late at night or whenever a person’s attention shifts elsewhere.
A related feature called Today, entering private preview in October, will summarize missed messages and pending tasks across mail and chat.
Microsoft is also tying spending controls to these tools through a system it calls FinOps for AI, letting administrators track usage.
Administrators can set spending limits, approve credit requests and restrict which AI models different teams are permitted to use each month.
Everyday tasks like quick answers or first drafts run on a fixed-price subscription, while agentic features use usage-based billing.
Code, Cowork and Autopilot all fall under this usage-based pricing model, alongside frontier models Microsoft refers to as Astra and Fable.
Home and Code are set to roll out through Microsoft’s Frontier program within weeks, and Autopilot enters private preview by month’s end.
Microsoft has not released independent data showing how widely the three features are being adopted, how accurate they are, or how much time they actually save.
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Tech & AI
How To Get Started With Shortcuts On Your MacBook
Automate your Mac with ease using Shortcuts and Apple Intelligence.
Shortcuts has been available on Mac since macOS Monterey, but it’s one of those utilities many Mac users have never explored. At first, it can seem too complicated. You have to know which actions to choose and how to connect them, then hope it all works.
But macOS 27 Golden Gate changes that with Describe a Shortcut, which lets you type exactly what you need and have Shortcuts do the heavy work for you with AI. It doesn’t always work, but it makes the app much easier to use — especially if you’re not an expert.
If you’re not familiar with Shortcuts, it’s an automation tool where you create scripts to handle tasks on your devices. Apple’s own example is a shortcut that texts your spouse with an estimated arrival time based on traffic when you’re leaving work. But you can get much more complex, like a shortcut that checks your calendar and the weather to give you a summary of what to expect today.
There are many possibilities, and now with macOS 27, it’s much easier to master the app.
Creating shortcuts on your Mac is easy
Creating a new shortcut takes a few seconds. Open the Shortcuts app on your Mac and click the Plus button to enter a prompt. The more details you provide, the more likely the app is to get your shortcut right. A command like “Clean up my Downloads” might be too vague for the app to understand what you really want. Instead, try something like “Every Friday, move anything in my Downloads folder older than 30 days into a folder called Archive.” You’re more likely to end up with a working shortcut when you provide clear details.
This is a good example of how Shortcuts are helpful for tasks you often forget to do; no one really cleans out their Downloads folder unless they’re trying to free up space. Plus, you can check the result right away by opening the folder and looking at what moved. If the shortcut moved too much, re-enter the prompt with even more specific details.
A shortcut can also be great for summarizing long text with Apple Intelligence. Try something like “Take the text on my clipboard, summarize it in three sentences and save it to a new note.” Then copy a long article or an email, run the shortcut and you’ll have the short version in Notes.
Make your shortcuts easier to reach
If a shortcut isn’t part of your normal routine, chances are you’ll forget about it after a while. Thankfully, you can assign a keyboard combo to a shortcut, or pin it to the menu bar, so you’ll never forget it.
Choose the shortcut you want to adjust and click Edit. Go to the Shortcut Details menu (the one with the information icon) and select Add Keyboard Shortcut. To add it to the Control Center or menu bar, open Control Center on your Mac (at the top-right) and select Edit Controls. There, all you have to do is add the action from the Shortcuts app, and you’re all set. Exploring the Automation tab is also a good idea for creating a seamless workflow of shortcuts that run on their own when you need them.
Shortcuts isn’t the only element in macOS 27 that acts on your behalf. Visual Intelligence has its own key combo: Shift + Command + Space. After pressing this, select a window on-screen and have Siri answer questions about it or take action, like adding an event to your calendar. Try it on an email with a date buried in it, for example. Siri can also run your shortcuts via voice, speaking of which.
Shortcuts and Siri AI require Apple Intelligence, which means you need a Mac with an M1 chip or later — Intel Mac users are out of luck. Also, some limits may apply when using Apple’s AI models in Shortcuts. More complex prompts could reach a limit faster.
Tech & AI
Peak XV ups Surge seed investment ceiling to $5M, unveils 18-startup cohort
Peak XV Partners, one of the largest venture capital firms investing in markets including India and Southeast Asia with more than $10 billion in assets under management, has increased how much it invests per startup through Surge, its seed-stage investing platform, as it unveils a new cohort of 18 companies.
At least three of the companies in this cohort had already raised outside funding, in some cases from Peak XV itself, before joining Surge.
The new batch, called Surge 12, is the first to operate under Peak XV’s higher investment ceiling of up to $5 million per company, up from $3 million previously. The venture firm invested more than $50 million across the cohort, which has collectively raised over $90 million in seed funding, according to Peak XV. Its median investment per company has also increased, though the firm declined to disclose the figure.
“The bar to raise a Series A has gone up pretty significantly,” Rajan Anandan (pictured above), managing director at Peak XV, said in an interview. He added that the firm is also seeing more capital-intensive companies, particularly in deeptech, that are raising larger rounds at the seed stage.
Surge has become more global with each cohort, Anandan told TechCrunch, with its latest group spanning founders and companies from San Francisco to Sydney. Just five of the 18 startups in Surge 12 are focused on the Indian market, while more than half of the companies are based in India. The remaining 13 target global markets, highlighting the difference between where the companies are built and where they expect to find customers.
Since its launch in 2019, when Peak XV operated as Sequoia Capital India and Southeast Asia, Surge has backed more than 180 startups founded by entrepreneurs representing more than 18 nationalities. Peak XV says the 10 largest companies to emerge from those cohorts now generate more than $1 billion in combined annual revenue.

Anandan described Surge as one way Peak XV invests at the seed stage, alongside its standard seed investing, while the firm still remains an investor as companies progress through later funding rounds. The founders it backs typically include repeat entrepreneurs, experienced operators, and highly specialized technical founders, he said, with about 50% to 60% of a typical cohort made up of people coming from operating roles at established technology companies.
This cohort’s startups span AI, robotics, space, consumer products, healthcare, music, and fintech, ranging from AI safety and personal computing to autonomous robots built for underground pipes and satellites designed to detect radio-frequency signals from orbit.
The Surge 12 cohort
Alma — founded by Nischith Shadagopan M N and Vinod Ganesan — is building a personal computing platform focused on making computer use faster and more affordable. Its founders previously worked at Microsoft Research and were founding engineers at Sarvam AI, a Bengaluru-based startup building AI models for Indian languages.
August AI — founded by Anuruddh Mishra, an IIT-BHU alumnus who started the company in 2022 after a personal medical misdiagnosis — provides a healthcare platform that combines AI with physician-led care, reaching over 9 million users across 160 countries.
Ditto — founded by UC Berkeley dropouts Allen Wang and Eric Liu — works as an AI dating matchmaker inside iMessage, aimed at helping college students turn digital introductions into in-person connections. (TechCrunch wrote more about this one last month.) The company had already raised $9.2 million in a Peak XV-led seed round announced earlier this year.
GameStock — founded by Antoine Mistico, Easton Dana, and Vivek Indlebele Narasimha Prasad — brings competition mechanics to financial markets, turning investing and trading into a more competitive experience. Mistico is a two-time founder and former professional baseball player.
HiLoop — founded by Jad Ghalayini, Karan Brar, and Thomas Boser — helps AI companies adapt general-purpose open-weight models for specific applications using its post-training platform. Its founding team includes former Reducto engineers and a Cambridge computer science PhD who completed his doctorate at 24.
Hoola Health — founded by Deeksha Senguttuva — focuses on care for children and their families, providing consultations, vaccinations, medicines, diagnostics, developmental therapy, and dental services on a single platform. Senguttuvan grew up around healthcare, as her family built and operated a hospital group.
Kello — founded by Mona Gandhi and Subramanya Jingade — is building an AI-powered talent-discovery platform focused on identifying a candidate’s potential and trajectory rather than relying primarily on conventional credentials. Gandhi says she was Airbnb’s first female engineer and she previously founded Upraised, while Jingade previously co-founded AmbitionBox.
Kindling — founded by Adam Miller and Sachin Shah — is building what it calls a “storytelling operating system” for technology startups, using AI to help companies develop and produce their communications and content.
Puralink — founded by Harrison Crowe-Maxwell, Shyeon Delnawaz, and Thien “Long” Tran — is developing autonomous robots that can navigate underground pipe networks. Crowe-Maxwell has been building robots since childhood and turned university research into the patented drive technology behind the startup.
Reinforce Labs — founded by Anish Das Sarma — is developing tools to evaluate, red-team, and remediate enterprise AI systems. Sarma previously founded a company acquired by Airbnb and later served as a director at Google, where he led AI and machine-learning teams.
Riffle — founded by Anurag Choudhary and deo — is building a browser-based platform where musicians can create, collaborate on, and share music, reducing the need to move between separate tools during the creative process.
Rosella — founded by Chris Dwyer and Sean Stuart — is building an AI-native commercial insurance brokerage for U.S. businesses, using AI to automate parts of the traditionally manual process of finding and placing business insurance. Rosella raised a roughly $2.5 million pre-seed round led by Peak XV and Intact Private Capital earlier this year.
Tribe Money — founded by Himanshu Arora and Nikhil Shanker — gives an AI-powered personal finance platform that helps users track their money, research investments and make investing decisions.
ULOOK — founded by Adheesh Boratkar and Siddhesh Ravindra Naik — is building autonomous satellite systems for radio-frequency sensing and spectrum intelligence, targeting customers globally. Its founders have worked on more than 12 satellite missions. The company had already raised roughly $2.3 million in seed funding from growX Ventures and InfoEdge Ventures before joining Surge.
Wingit — founded by Nikunj Kothari and Saksham Khandelwal — is building a beauty platform aimed at India’s growing premium-consumer market. It is focused on how consumers discover and shop for higher-end beauty products.
Three other startups in the cohort have yet to publicly reveal their names or products. Peak XV said they are working in education, applied AI, and medical products.
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Tech & AI
The Metric Is Not The Mission: When The Maps Became The Territory
The Metric Is Not the Mission is a ten-part examination of how Big Tech moved from building and expanding the open internet to increasingly shaping it around its own metrics, incentives and assumptions. Across the series, the argument follows the evolution of the platform economy—from the optimism of the early internet to the growing tensions around power, prediction, geopolitics, accountability and the future of digital life.
The series will be published in two parts each week over five weeks, with each installment building on the one before it. At the end of the series, the complete essay will be brought together in a single PDF edition, providing the full argument in one place.

Part III: When the Maps Became the Territory
In Part II, the story turned on a crucial distinction: measuring behavior is not the same as understanding people. Part III takes that idea further, examining what happens when the platforms’ representations of the world begin to substitute for the world itself.
There is a curious tendency among successful technologies to disappear. Not physically, of course, but cognitively. Once they become sufficiently embedded in everyday life, they cease to be experienced as technologies at all. Electricity is no longer a marvel of engineering but an expectation. We do not admire the plumbing each time we turn on a tap, nor do we reflect on the extraordinary complexity of global logistics every time fresh fruit appears on supermarket shelves in the middle of winter. The greatest infrastructures become invisible because they succeed so completely that we mistake them for part of the natural order.
The internet reached that point sometime during the second decade of the twenty-first century. Yet something else happened along the way that proved far more consequential. As the network itself faded into the background, the platforms through which most people experienced it moved decisively into the foreground. Increasingly, users no longer spoke about “going online.” They spoke about opening an app.
That linguistic shift deserves more attention than it usually receives. Language often reveals structural change before statistics do. To “browse the web” implied movement across an open landscape whose boundaries were undefined. One followed links, discovered obscure websites, stumbled upon ideas that had not been recommended by anyone, and occasionally became gloriously lost. The experience resembled wandering through an unfamiliar city with no particular destination in mind. Serendipity was not a flaw in the architecture; it was one of its defining virtues.
Applications altered that relationship almost without anyone noticing. They replaced geography with destination. Instead of entering a network whose possibilities remained unknown, we entered environments that had already been organized on our behalf. The internet did not disappear, but it became increasingly hidden beneath layers of interface, recommendation and curation. Like passengers traveling through an airport without ever seeing the city beyond the terminal, we continued moving through digital space while encountering only the carefully managed environments that had been prepared for us.
This transformation is often described as an inevitable consequence of convenience. While accurate in its own right, this explanation offers an incomplete narrative. Convenience was certainly the language through which the platforms justified many of their design choices. Friction was treated as the great enemy of the digital age. Every additional click became an obstacle to be eliminated. Every decision that users might otherwise make for themselves could instead be anticipated by software. Recommendation replaced search. Autoplay replaced choice. Infinite scrolling replaced endings. The future, we were told, belonged to experiences so seamless that they would feel almost effortless. And they did.
It is difficult to criticize convenience because convenience is genuinely valuable. Few people wish to return to an internet in which finding information required memorizing obscure web addresses or navigating labyrinthine directories. The platforms did not succeed by forcing people into inferior experiences. They succeeded because, for many years, they built better ones.
Yet convenience has always carried an intellectual cost. Every technology that removes friction also removes moments of deliberation. The elevator spares us the staircase but also the awareness of distance. Satellite navigation ensures that we rarely become lost, while quietly diminishing our ability to construct mental maps of the places through which we travel. Streaming services relieve us of searching for entertainment, but in doing so they also shape the boundaries of what we are likely to discover. Every act of technological simplification transfers a small measure of agency from the individual to the system.
The internet had originally been built on a different assumption. Its underlying protocols did remarkably little. They did not decide which website deserved prominence, which ideas should travel furthest, or which communities ought to flourish. Their genius lay precisely in their restraint. They created conditions under which others could innovate without first requesting permission. The web itself functioned less like a product than like a constitutional order: a simple framework within which extraordinary diversity could emerge.
Platforms gradually adopted the opposite philosophy. They did not merely provide the rules of the game; increasingly, they became active participants in every interaction taking place within it. They selected what deserved attention, inferred what users might prefer before users themselves knew it, prioritized certain relationships over others and determined, through millions of microscopic computational decisions, the contours of everyday experience. The architecture became less constitutional than managerial.
There is an illuminating parallel here with the history of cities. The most enduring cities are rarely the ones that have been planned in every detail. They are those that accumulated layer upon layer of human activity over centuries, adapting continuously to changing needs without ever fully surrendering their unpredictability. One finds unexpected bookshops beside cafés, workshops hidden behind apartment blocks, public squares appropriated for demonstrations one week and festivals the next. Their vitality emerges not from perfect organization but from the freedom they grant people to appropriate space in ways that planners never anticipated.
Shopping malls operate according to an altogether different logic. They are meticulously designed environments in which every entrance, corridor, sightline, and seating area has been carefully considered. Music, lighting, and architecture work together to produce an experience that feels spontaneous while being anything but. There is comfort in their orderliness. They are clean, efficient, and reassuringly predictable. Yet no one mistakes a shopping mall for a city. Its purpose is not to cultivate civic life but to optimize a particular set of behaviors within a privately governed space.
The analogy is imperfect, as all analogies are, but it captures something essential about the transformation of the internet. The early web invited participation because it remained fundamentally unfinished. It assumed that users would contribute to shaping it. Today’s dominant platforms present themselves as complete worlds. Participation still exists, but it takes place within boundaries established elsewhere. Users generate the content while the architecture remains firmly in corporate hands.
Perhaps this is why the language of “community” has begun to feel strangely hollow. Communities, in the classical sense, are rarely designed. They emerge through shared experience, mutual obligation, and a degree of unpredictability that no algorithm can fully reproduce. Platforms, by contrast, increasingly treat community as an engineering problem to be optimized. They recommend friendships, suggest conversations, rank relevance, suppress friction, and amplify interaction according to models whose objectives are necessarily commercial because the organizations that develop them are commercial enterprises.
None of this should be understood as an accusation of bad faith. Many of the engineers responsible for these systems genuinely believed they were improving people’s lives. The difficulty lies elsewhere. Every large institution eventually begins to confuse the optimization of its own internal metrics with the fulfillment of its original purpose. Universities sometimes mistake publication counts for scholarship. Hospitals occasionally confuse efficiency with care. Governments become preoccupied with administrative process rather than public service. Technology companies are no different. The indicators that make sense within an organization slowly become proxies for the world outside it. The metric is not the mission. This is the point at which the maps begin to replace the territory.
The extraordinary quantities of behavioral data collected by digital platforms produce an understandable confidence. When one can observe billions of interactions each day, it becomes tempting to believe that society itself has become legible. Human behavior appears measurable, predictable and, increasingly, governable. The platform begins to resemble reality because so much of reality passes through the platform.
Yet the map is never the territory. It captures what can be measured, not everything that matters. A map records roads but not the reasons people travel. It identifies cities without conveying the lives unfolding within them. Likewise, recommendation systems observe behavior with astonishing precision while remaining largely indifferent to experience itself. They recognize patterns without necessarily understanding meaning.
That distinction mattered little while the platforms continued solving the problems that had made them indispensable. It becomes far more consequential once they begin confronting a world that no longer resembles the one for which they were originally designed. Because societies have changed; politics has changed; and, the internet has changed. The question is whether the companies that grew powerful by interpreting one era have noticed that another has already begun.
Konstantinos Komaitis, PhD, is a veteran of developing and analysing Internet policy to ensure an open and global Internet.
Filed Under: behavior, big tech, metric not mission, open internet, optimization, platforms, understanding
Tech & AI
Boox Announces the Picco, Its Smallest E-Reader Ever (2026)
While smartphones won’t stop getting bigger, e-readers seem to be getting smaller. Boox has been at the forefront with one of the most popular small e-readers, the Boox Palma, and now it is adding an even smaller model.
Boox announced the Picco, with preorders opening today. Its screen is just under 4 inches (3.97 to be exact), making it about the size of a playing card. It’s even smaller than the Xteink X4 Pro I tested earlier this year, which has a 4.3-inch screen (but just slightly larger than the 3.7-inch Xteink X3), and considerably smaller than the upcoming Boox Palma 3’s 6.19-inch screen. I liked the size of the Xteink in my hand, but navigating the interface and getting books were challenging, so I’m excited to see another option in that smaller size from a maker with more accessible ebooks (though still not as convenient as a Kindle or Kobo with their built-in stores).
The Picco will cost $100 and is expected to ship in November. I’ll be testing it soon, but in the meantime, here are the details if you’ve been eyeing a tiny e-reader.
An E-Reader for Productivity
Courtesy of Boox
The Boox Picco has a monochrome screen with a resolution of 235 pixels per inch and an adjustable front light that switches between warm- and cool-toned lighting. The microSD card slot supports up to 2 TB of flash memory storage (a 16 GB card is included). There are both a touchscreen and physical page-turning controls, thanks to the buttons on the side of the device. The case has a magnetic ring so you can attach it to the back of a smartphone, though I’ll have to see how well it fits when I test it, as I had mixed results attaching an Xteink to my phone due to both fit and magnet strength.
Courtesy of Boox
Boox says the Picco will have a streamlined operating system focused on reading and digital utility tools. It’s also the first in what Boox calls its Tiles lineup, which is how you’ll access ebooks on this device. You can also use web and USB-C file transfers (the Picco has Wi-Fi and Bluetooth connectivity) to get ebooks onto the Picco. The Picco also has the Pomodoro, Todo, and Countdown apps, so you can use it as both an e-reader and a productivity gadget—handy, and a bigger motivation to keep it attached to the back of your phone even when you aren’t reading.
I’m intrigued to see it in action. Boox’s most popular e-reader could become the Picco over the Palma 3, but we’ll have to wait for both devices to become available to see which is the better buy. Stay tuned for my reviews of both when they come out.
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Tech & AI
Discord Is Testing A Lightweight Mode To Free Up Resources While Gaming
But a Chromium-based design means it can only be so efficient.
Discord is working on a new mode for its social platform that it says might be less resource-intensive. Screenshots of an option called Game Mode began circulating on social media over the weekend. The description shown for the Game Mode toggle states that it will “Reduce Discord’s CPU and GPU usage while a game is running.” By making the chat platform less resource-intensive, concurrently running software should be able to run more smoothly.
Today, the company confirmed on X that this experimental mode will begin rolling out to its users next week. The brief official announcement about Game Mode added that Discord is “aiming to add more resource-saving features over time.”
Discord is based on the Electron web app framework, which uses Javascript and Chromium for creating software. The open-source Chromium, which is the basis for Google’s Chrome and several other browsers, is not known as the most efficient tool for web development. A feature like Game Mode could offer some performance improvements, especially while also running a beefy AAA game on the same machine, but there may only be so far that Discord will be able to streamline on its current architecture.
Tech & AI
Meta-Led Anti-Terrorism Group Faces Mass Resignation of Expert Advisers
Six of the nine independent experts on the advisory board of the Global Internet Forum to Counter Terrorism—a consortium run by several of the biggest US tech companies—resigned on Monday, according to a letter seen by WIRED and interviews with three of the people.
The tensions between the independent advisory committee and the GIFCT date back to an email the counterterrorism and free speech experts received in July from Meta’s Nell McCarthy, a vice president overseeing content policy. For years, the group had advised the GIFCT on how to prevent platforms from becoming havens for the radical organizations and individuals blamed for some of the world’s worst mass violence.
But McCarthy wrote that while the consortium welcomed the experts’ insights on violent trends, it no longer desired their scrutiny on the effectiveness of Big Tech’s efforts to curtail violence. Meta and other leaders wanted to “refresh” the 6-year-old independent advisory committee the experts sat on, she wrote. Meta currently serves as chair of GIFCT’s operating board, giving it outsized influence over policy changes, though other companies on the panel must ultimately approve.
New additions to the rotating advisory committee had previously been elected by current members; under the plan laid out in July, they would instead be picked by tech companies. The committee would be barred from weighing in on key topics such as the consortium’s performance and making recommendations together as a group. Its role as a watchdog would be neutered, advisers believed.
In their resignation letter, the departing members of the committee wrote that their appeals against the plan had been “ignored” and that, in turn, they had “lost confidence in the GIFCT’s ability to deliver effectively on its founding mission” to prevent terrorists from exploiting online services. “We all know that a body that cannot scrutinise, take a position, or evaluate is not an advisory body at all,” the letter stated. “It is decoration and accountability theatre.”
Meta deferred comment on the resignations to the GIFCT. An unsigned statement sent to WIRED by a GIFCT spokesperson on behalf of the consortium’s leadership and the Meta-chaired operating board says the proposed changes have been “informed by several rounds of feedback” and are not yet final. They came out of discussions on “how to more effectively engage civil society and governments for substantive input” as “multi-stakeholderism is a core principle” for the GIFCT.
The consortium has about 35 members; other long-time board members include Microsoft and YouTube. A small staff alerts members to violent content, helps them exchange threat intelligence, and commissions research on countering extremism. While the coordination has helped some platforms combat problematic content, critics believe the group isn’t living up to its potential.
A WIRED investigation in 2024 uncovered several issues with GIFCT, including Meta delaying TikTok’s membership bid and poor relations between the companies at the helm and the unpaid independent advisory body. It also revealed failures in the tip-sharing database the consortium oversees to coordinate takedowns of problematic content.
The dismantling of the advisory group threatens to deteriorate the organization’s work further at a time when balancing free expression and online safety has become more challenging. Generative AI tools have simplified content creation but imposed limited guardrails.
Extremist content, including some that is now AI-generated, that promotes organizations such as Islamic State remains a persistent issue. Newer nihilistic collectives have turned to AI-supported scams such as sexploitation to coerce young victims into carrying out violence and abuse. Several AI chatbots have been accused of facilitating violence.
“A Shame”
The experts who resigned include university researchers and representatives of civil society organizations. They had agreed with McCarthy on the need for changes to improve the results of the decade-old anti-terrorism consortium. But they believe the proposal, which could be finalized soon, amounts to a step backward.
“There won’t be critical voices raising concerns about what GIFCT is doing or is not doing,” one of the departing experts says. “It may seem politically convenient for them to abolish the independent advisory committee, but they are going to regret it in the longer term.”
Tech & AI
SpaceX’s Latest Starship Mission Reached Low-Earth Orbit
The successful mission also deployed 26 of SpaceX’s latest Starlink satellites.
For its 14th flight, SpaceX’s Starship powered by its Super Heavy megarocket has entered low-Earth orbit for the first time. SpaceX kicked off this major undertaking early Monday morning but had to deal with some hiccups on the way, including losing one of its six Raptor engines. Ultimately, SpaceX decided to push on with the mission and successfully reached orbit albeit with some compromise.
SpaceX originally planned to have Starship orbit Earth six times over a span of nearly 10 hours for the Flight 14 mission. With one of the engines offline, the plan changed to only spend approximately three hours in orbit before reentering the Earth’s atmosphere and landing in the Pacific Ocean. As part of the same mission, SpaceX managed to deploy 26 of its Starlink V3 satellites into orbit. SpaceX said that its Starlink team has made contact with all newly-deployed 26 satellites in orbit, which will eventually be used to improve Internet speeds for customers. While previous Starship missions also carried several V3 satellites, they only remained in suborbital space and served as test flights to see if the new satellites would connect to the existing Starlink constellation.
While Starship’s flight 14 marked a major milestone of reaching orbit, the mission also served as a test of the reusability of its Super Heavy rocket. After providing the necessary boost to Starship, Super Heavy landed in the Gulf of Mexico, where it will eventually be retrieved, but not by a launch tower‘s “chopsticks” as previously demonstrated.
Tech & AI
Jet Megatextures Demo For ESP32-S3
Mipmapping is a good way to add a lot more detail to a 3D scene without overburdening the rendering hardware with detail that won’t be seen by the user. This level-of-detail rendering technique was demonstrated on the N64 console hardware a few years ago by [James Lambert] with [Michael Biggins], also known as [PhonicUK], now demonstrating it on the ESP32-S3 using his own Jet rendering engine.
Although level-of-detail rendering really speeds things up, it does also require far larger texture sizes, with [James]’s N64 demo taking up 40 MB of a 64 MB cartridge. To fit it on an ESP32-S3 with 16 MB of PSRAM and no SD card expansion or such the textures were further compressed to use 8-bit indexing, resulting in a mere 5.01 MB of textures.
There’s a demonstration video over on the associated Reddit thread, which shows the camera moving through the scene. Even if not as exciting as the Wipeout port by [Michael] that we previously covered, it does make clear that even without a proper 3D GPU the ESP32-S3 is already a pretty capable gaming machine that can go toe-to-toe with some 1990s consoles.
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