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Moonshot tells Kimi AI to code away, but leave the hacking alone

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Chinese AI startup Moonshot AI is deliberately limiting the hacking capabilities of its latest artificial intelligence model, highlighting a growing dilemma for the industry: how do companies make AI more powerful without making cyberattacks easier to carry out?

The company introduced Kimi K3.1 Pro on October 24, describing it as a highly capable, open-weight model with around 3 trillion parameters. Unlike conventional AI services that operate entirely through a provider’s servers, open-weight models allow developers to download the underlying model files, run them on their own systems, and modify how they work.

Moonshot said it removed cyber-related data from the model’s training dataset and reinforcement-learning environments to reduce its ability to conduct offensive cyber operations, while retaining its general coding capabilities. The company plans to release the model’s weights on November 4, opening it up to a wider developer community. 

Moonshot reduces hacking capabilities without sacrificing coding

Moonshot’s internal testing suggests the safeguards have made a measurable difference. Kimi K3.1 Pro scored 81% on the company’s cybersecurity benchmark, which involved finding and exploiting software vulnerabilities in a controlled environment. A similar version without the risk-reduction measures scored 90.5%.

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That represents a 9.5-percentage-point drop in the reported score. However, the results have not been independently verified, and the model reportedly still outperformed its predecessor.

The distinction matters because the same AI capabilities can be used for both defence and offence. Security teams could use AI to identify weaknesses in software before criminals exploit them. Attackers, meanwhile, could use models that write code, operate software tools and complete multi-step tasks to automate parts of an attack.

Moonshot argues that open-weight AI can help organisations inspect and secure neglected or older software. But once model files are distributed widely, the original developer has less control over who uses them and whether safeguards remain effective.

AI security concerns are becoming a global policy issue

Moonshot’s decision comes as governments and technology companies worry that increasingly capable AI could make sophisticated cyberattacks cheaper and easier to execute. China has also proposed export controls targeting AI-driven malware-generation technology and certain AI-assisted vulnerability-discovery tools. The proposals remain subject to public comment.

For businesses and ordinary users, the stakes extend beyond individual computers. More automated attacks could increase pressure on organisations responsible for protecting personal information, financial systems and critical infrastructure. At the same time, restricting AI security research too aggressively could leave vulnerabilities undiscovered.

Kimi K3.1 Pro also features a one-million-token context window, allowing it to process large amounts of information in one go. Moonshot has introduced a Highspeed version that it says runs two to three times faster than the standard model.

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The next major test will come when Moonshot releases the model weights on November 4. Developers and security researchers will then have greater access to examine its capabilities, while the industry will face a difficult question: can safeguards remain effective once a powerful AI model is available for independent use?

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Greece Enacts Social Media Ban For Kids Under 15

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Greece has passed a law banning children under 15 from social media platforms beginning January 1, 2027. The legislation requires platforms to implement reliable age verification and parents to use government-backed apps to restrict access, with penalties for noncompliance under the EU’s Digital Services Act. Engadget reports: “It would have been very easy to do absolutely nothing today and wait for the perfect European law. But the challenge is here. Children are sinking into the internet every day, and I believe a responsible government must do what it is obliged to do,” said Greece’s digital governance and AI minister, Dimitris Papastergiou.

The legislation was opposed by Greece’s minority parties, so Mitsotakis used his majority government to pass the bill. The nation previously barred mobile phones in schools in 2024, and opinion polls show that the new social media ban for children is widely supported by Greece’s adult population. Mitsotakis previously said that his government’s “goal is to push the European Union in this direction as well.”

Read more of this story at Slashdot.

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Anthony Toth Spent Decades Recreating a Perfect 1970s Pan Am 747 Cabin Right Down to the Peanuts

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Anthony Toth 1970s Pan Am 747 Cabin Experience
Photo credit: Coolest Thing
A five-year-old boy stepped onto a Pan Am Boeing 747 bound for Europe to visit his grandparents and never quite left that cabin in his mind. Anthony Toth, raised near Cleveland Hopkins International Airport in Cuyahoga Falls, Ohio, began photographing interiors, collecting anything with the blue logo, and building wooden mockups in his parents’ basement by the time he turned twelve.



That one flight had left quite the impression on him, as he had grown to appreciate the airline’s laid-back approach to service, as well as the seating, magazines, and other details that made the journey feel special. Years later, when United acquired parts of Pan American’s network, Toth’s employment as a Global Sales Director gave him a leg start on a wealth of artifacts destined for the dumpster. During his nocturnal trips, he began stocking his Honda Civic with galley gear, glassware, and linens, keeping them until he could utilize them in his own small Pan Am world.

By the time he reached his forties, his collection had taken up a storage unit and the garage at his Redondo Beach home. Toth found space for eighteen of those lovely first-class seats alternating in red and blue, wired them to work with the original Pan Am headsets, and built a small staircase that led to nowheresville.

Anthony Toth 1970s Pan Am 747 Cabin Experience
When visitors came by, he gave them boarding cards that looked like the ones from the old days, and then he served peanuts in their original package. Everything else, including the bins, ashtrays, napkins, and console between the seats, was either original or meticulously recreated from his own photographs and Pan Am documents. Those early events in the fall of 2007 were fairly casual; people brought their own wine, while Toth took out the green tea and served real Pan American china. His garage layout had already cost him over $50,000, with seat pairs ranging from $800 to $1200 each and bins costing $350.

Anthony Toth 1970s Pan Am 747 Cabin Experience
Toth ultimately ran out of garage space, so he rented a big 3,000-square-foot warehouse in the City of Industry in 2012 and spent $100,000 of his own money to build the set. The new layout was approximately 60 feet long from the nose to the front of the wing and 22 feet high, and he was able to incorporate the upper deck lounge with its bright yellow and orange chairs, a full first-class galley unit (8 hundred pounds of pure awesomeness) brought in all the way from the Mojave desert, and twenty-six snazzy Clipper Class seats in a stunning powder blue.The majority of the shell came from a former Japan Airlines 747, as did the side panels from a DC-10, which he trucked out and built on-site. He added a ticket desk, a short jet bridge section, and an actual aircraft door so that his guests could board as they had in the past. It’s no surprise that the old Pan Am flight attendants started showing up in their old uniforms, and the dinners became much more regimented.

Anthony Toth 1970s Pan Am 747 Cabin Experience
Toth met Talaat Captan, the creator of Air Hollywood, an interesting aviation-themed production studio, through an offhand meeting in 2013. So Toth and Captan ended up licensing the Pan Am name, hijacking the entire interior, and transporting it to the studio’s Los Angeles facility, where it was meticulously reconstructed with far better acoustics, programmable lighting, and, you guessed it, air conditioning. Before and after the “flight,” the Clipper Lounge served beverages to the lucky passengers.

Anthony Toth 1970s Pan Am 747 Cabin Experience
Cut to October 18, 2014, when the Pan Am Experience officially opened its doors to the public at Air Hollywood in Valencia, Los Angeles, and what a night it was, Thirty-two lucky people arrived from all over, some of whom had flown in specifically from other locations. Today, passengers can sign in for a multi-course meal served on trolleys, with actual china. While dining, they can listen to some period-accurate music, watch a movie, and be fully attended after by the cabin crew as they work their way up and down the aisles.

Anthony Toth 1970s Pan Am 747 Cabin Experience
Toth still likes to wander the cabin in a captain’s uniform during many of the events, which is not surprising given how many thousands of pieces of Pan Am memorabilia he has on display, right down to the salt and pepper shakers, the exact carpet color, and even the packaging on the peanuts that started it all. As a parting gift, passengers receive a genuine boarding card and the impression that they have just spent an evening on a 1970s-era airliner that is still flying high.
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How to Find Where a Movie or TV Show Is Streaming

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Find Where a Movie Streams

You want to watch one specific thing tonight, and you have no idea which of the services you pay for actually has it. The fastest reliable answer is a two-part move: search a cross-service aggregator for the exact title, then confirm on the provider’s own page or app before you commit. That second step is not paranoia. Streaming catalogs shift constantly and differ by country, so any single lookup is a snapshot of one moment in one region.

Quick Take

Treat a streaming-search result as a lead, not a promise. Type the full title into a cross-service guide to shortlist candidates, then open the service itself to see what your account and your country actually get. Catalogs rotate and vary by region, so an old result can be wrong by the time you sit down to watch.

Why one search beats opening every app in turn

JustWatch pitches itself as a streaming guide that shows “where to watch movies, TV shows & sports” and lets you skip “going back-and-forth between streaming services” by offering one search across platforms. That is the whole value proposition, and it holds up: instead of opening one app, then a second, then a third, you type the title once and read a list.

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What the aggregator gives you is a starting point, not a verdict. It tells you which services to check. The provider tells you whether the title is really available to you right now. Keep those two jobs separate and you will rarely waste a rental or a sign-up.

Prerequisites

  • The exact title of the movie or show, meaning the full name rather than a nickname or a half-remembered phrase.
  • A web browser or the aggregator’s app, plus the apps or browser access for the services you already subscribe to.
  • Awareness of your own region, since availability is tied to where you are watching from.
  • For the advanced route only: a desktop browser and a TMDB account, because API key registration is not optimized for mobile devices.

Finding a Title’s Streaming Home

This is the consumer workflow. It works the same way for a film and for a series, and it takes about a minute once you know the title.

  1. Search the exact title on an aggregator Open JustWatch and type the full title into its search. Use the precise name. For a series, include the season or episode context if the show has spin-offs or reboots with similar names. Checkpoint: you should see a result card for the title you meant, not a lookalike.
  2. Read the results as a list of leads The results show which services carry the title and, where relevant, whether it is included with a subscription, available to rent, or free with ads. Note the top candidate, ideally the service you already pay for if one appears, and note the alternatives in case the first does not pan out.
  3. Confirm on the provider’s own page or app Open that service directly and search the same title there. This is the step that turns a lead into a decision. If the title appears and plays or shows a clear “watch” option for your account, you are done. If it does not, go back to your results list and try the next candidate.

Verify the result

  • The title appears on the provider’s own page or in its app search, not only on the aggregator.
  • The provider shows a clear way to watch: included with your plan, a rental price, or a free-with-ads option.
  • The title is available for the region you are actually watching from.
  • You can start playback (or reach the rental screen) without an error or a “not available in your area” message.

Why a title may not appear: region and time

Two forces explain almost every “it said it was streaming, but it isn’t” moment. The first is geography. Netflix’s own help documentation states plainly that “Netflix content varies by region and may change over time.” That single sentence covers both failure modes: the same title can be on a service in one country and absent in another, and it can leave a catalog without warning.

The second is rotation. Licensing deals expire and get renewed on their own schedules, so a title that was streaming last month may be gone this month, and one that was gone may be back. This is why the confirm-on-provider step matters more than the search itself. The aggregator told you where to look; the provider tells you what is true for you today.

Info

Streaming is delivered through apps on supported internet-connected devices, including smart TVs, game consoles, streaming players, cable boxes, phones, tablets, and computers via a browser. Netflix’s help documentation notes that its app may come pre-loaded or need downloading, and that app functionality can differ between devices. If a title is confirmed available but you cannot find it, check that you are searching inside the right app on the right device.

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Consumer search vs. provider check vs. API lookup

There are three routes to the same answer, and they suit different people. Most readers only need the first two.

How the three lookup routes compare on speed, reliability, and who they suit
Route What it gives you Best for Main limitation
Aggregator search (JustWatch) A cross-service list of where a title is carried, in one search Quick consumer lookups and comparing services A snapshot, not authoritative or permanent
Provider-direct check The service’s own confirmation for your account and region Final verification before watching or paying You must check each service separately
TMDB API lookup Programmatic movie and TV data for your own tools Developers and technically inclined readers Governed by terms, attribution, and rate limits

Advanced option: programmatic lookup with the TMDB API

If you are building something, whether a personal dashboard, a small script, or a hobby app, The Movie Database (TMDB) API v3 exposes methods for movie, TV, actor, and image data. Registration for an API key happens in your account settings, and the docs note the process is not optimized for mobile devices, so use a desktop browser. The API also enforces rate limiting, which you should read up on before you hammer it.

This route is not a shortcut around the consumer workflow. It gives you structured data, not a live guarantee of what a given service carries in your country today. Treat it as a building block, not an oracle.

Warning

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The TMDB API is licensed on a non-exclusive, non-transferable basis and is conditioned on ongoing compliance with TMDB’s Terms of Use and on giving TMDB attribution for all TMDB content. The terms also restrict concealing your identity or the identity of your application. Read the API terms of use and the developer docs before you ship anything, and respect the rate limits.

When the lookup fails

Most dead ends fall into three buckets. Work through them in order before you give up on a title.

The title does not show up in the aggregator at all

Check your spelling and try the full official title, including any subtitle or year. If it still does not appear, the title may simply not be on a tracked service in your region right now. Search the provider you suspect directly, because a provider’s own catalog search is the last word.

The aggregator says it is streaming, but the provider does not have it

This is the classic stale-result or wrong-region case. Confirm you are signed into the correct account and region, then re-check. If it is still missing, treat the aggregator result as expired and move to the next service on your list.

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It was available last month and now it is gone

Catalog rotation. Availability changes over time, so a title can leave a service and return later, or move to a different one. Re-run the search from the top rather than assuming your old result still holds.

You are traveling or watching from another country

Availability is regional, so the catalog you see depends on where you are watching from. Re-check from the region you are actually in, and expect different results than you saw at home.

The bottom line

Search once, confirm at the source. An aggregator like JustWatch saves you from opening every app in turn, and the provider’s own page settles the question for your account and region. If you are comparing what you get for your money, our guide to free vs paid streaming is the natural next read. And once you have found the title, cast streaming apps to a smart TV so it lands on the big screen instead of your phone.

Key Takeaways

  • Use one aggregator search to shortlist services, then verify on the provider itself before you watch or pay.
  • Expect results to differ by region and to change over time, so a lookup is a snapshot, not a guarantee.
  • If a title vanishes, re-run the search from scratch rather than trusting an old result.
  • Developers can use the TMDB API for structured data, but must honor its attribution and rate-limit terms.

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People Are Vibe Coding Their Way to Better TVs

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Frustrated by intrusive ads, sluggish interfaces, and data tracking, smart TV owners are using AI coding tools and open-source projects to strip unwanted software from their televisions and build customized home screens. The Verge reports: Several vibe-coded TV-debloating projects exploded in popularity over the weekend. Cleanyourtv (known as tv-vibehack until the 19th), tv-detox, and dumbtv all claim to accomplish similar things — remove sponsored ads, debloat the TV so it runs faster, and block unwanted data collection that tracks what you’re watching — without hacking, or rooting, the TV. By default, they all also replace the TV’s built-in app launcher with simpler ones. Many users are going a step further and vibe-coding their own replacement launchers, like the Pokemon one below.

Most of the projects we’ve seen so far focus on TVs that run on Android and Google TV operating systems (such as TCL, Hisense, Sony, and older Amazon Fire products), using existing developer modes and the Android Debug Bridge (ADB) to tweak settings and apply (and remove) packages. According to the GitHub pages, they can also work with some Fire TV products that use a custom fork of Android (although likely not on the new Vega-based Fire TV Sticks). Because they use built-in developer tools, they don’t require root access or firmware hacking, and they’re reversible. Even projects that totally change the look of the interface just use Android’s ability to install custom launchers — in many cases with an assist from Claude Code or a similar tool to create the new launcher, too.

Read more of this story at Slashdot.

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Pushing Bluetooth Out To 12 Kilometers

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Bluetooth is a short-range protocol that’s great for peripherals and finding your keys, but it’s limited range is mainly a product of how it’s usually implemented. A recent video from [nktbuilds] demonstrates this by extending its range out to 12 kilometers, or around 7.5 miles.

The secret is twofold: one is the antenna, a parabolic unit that captures far more than the dinky dipole in your phone. The other is a very sensitive receiver with a much lower noise floor. What you won’t see here is any extra power than you get stock out of one of those generic coin-sized Bluetooth tracker tags. It’s kind of obvious, in retrospect: grab more signal, lower your noise floor, and get a better result. Still, it certainly wasn’t obvious it would work out to 1200 m, and it’s an impressive feat by [nktbuilds]. We’re going to have to keep it in mind next time we lose our keys.

Of course this doesn’t mean you should jump to Bluetooth for distance communications. You’re still better off sticking with something like LoRA for that, especially since it’s good to hundreds of miles if you can get line-of-sight — or even tens of thousands with the right setup.

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Exit interview: Microsoft’s comms chief on CEOs, reporters, what he got wrong, and stories that stuck

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Frank X. Shaw in the GeekWire podcast studio.
Frank X. Shaw, Microsoft’s longtime communications chief, in the GeekWire studio. (GeekWire Photo / Todd Bishop)

The name Frank X. Shaw isn’t as well known outside the company as those of Microsoft’s other senior leaders, and that’s the nature of the job. But behind the scenes, the company’s longtime communications chief has shaped its public image for nearly three decades, working for all three of its CEOs and handling its biggest stories along the way, from antitrust to AI.

Shaw announced in September that he’s leaving Microsoft at the end of the year. On this week’s GeekWire Podcast, he sits down for what amounts to an exit interview. We’re joined in the conversation by longtime Microsoft beat reporter Mary Jo Foley, editor in chief of Directions on Microsoft and a GeekWire contributing writer.

Shaw talks candidly about working for Bill Gates, Steve Ballmer and Satya Nadella, and about the situations he’d handle differently. He describes his behind-the-scenes dealings with some of the top reporters in tech, from an executive’s objection to a single word to the heated argument that changed how he saw his job.

He also reflects on how communications and media are changing in the AI era, and explains why trust still comes down to a belief in the person telling the story.

Listen below, and continue reading for highlights.

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On Microsoft’s three CEOs: Shaw says intensity is what the three have in common, expressed differently: “Steve was outwardly intense. Satya is quietly intense, and Bill is cuttingly intense.”

Ballmer was the hardest to explain to the public, he says, because the loud-salesman caricature hid a thoughtful, detail-oriented leader who often played the boisterous public role because Microsoft’s sales force needed it.

On the clarity of hindsight: Big decisions look obvious once they work out, Shaw says. His example is the board’s choice of Satya Nadella as CEO. It’s seen as a no-brainer now, but at the time there was a lot of debate, there were other candidates, and it was a hard, complicated decision.

“When you get a decision right, it always looks easy afterwards,” he says. “If you get it wrong, you were just an idiot all along.”

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On speaking up: A communications leader should weigh in when a decision could damage the brand, Shaw says, and he learned that the hard way.

When Mary Jo asks how he decides when to push back on executives, she raises the Kin as an example. Shaw says he thought the phone would fail. It was late to market, and it would cost more than people expected because it required a data plan. Engineers he talked to had their doubts, too.

But when Ballmer went around the table asking whether to launch it, Shaw stayed quiet, unsure a communications executive had standing to weigh in. Microsoft pulled it within weeks.

In hindsight, he says, framing it as a brand risk would have given him standing to speak: if the Kin failed, it would cause significant brand damage and hurt Microsoft with the younger audience it was trying to reach. He doubts speaking up would have changed the decision, but says he would have felt better about it.

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On underestimating a story: A story that doesn’t get much initial attention can still define a company for years. Shaw’s example: Vanity Fair’s 2012 “lost decade” story.

As he recounts it, reporter Kurt Eichenwald told him, “If you don’t give me Steve and Bill, I’m just going to write a hit piece,” and then did. Shaw says he should have escalated to Vanity Fair sooner, and he underestimated how a story that got little immediate pickup would shape how reporters described Microsoft for the next four years.

On narratives: Continuing on that theme, Shaw says facts can be disputed but “narratives are sticky,” and a company can only change one by changing its own behavior. In the 2000s, he says, every story described Microsoft as “a convicted monopolist,” and ending stack ranking was part of how the company moved past the lost-decade image.

On what makes a good story: Shaw recalls having a shouting match with Rob Guth, then a Wall Street Journal reporter, over an article Shaw no longer remembers. It got heated enough that Shaw pulled his car over in Madison Park to keep arguing. (Guth now works as a writer and researcher for Bill Gates.)

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Guth told him he was bad at his job because he thought the job was getting positive stories. What Shaw should want, Guth said, were interesting stories that showed something real about the company. Some would be less flattering, but they would be more memorable.

Shaw told him he was wrong. But after thinking it over, he concluded Guth was exactly right. A story about a product built perfectly that everyone loves is boring, he says. “That’s like the plane landed safely. Nobody cares.” The coverage worth hoping for illuminates part of the company in a memorable way, and that always comes with tension.

On taking risks with reporters: Cooperating on a story you can’t control is a risk worth taking when the result shows something real about the company, Shaw says. Asked by Mary Jo for an example, he points to The New Yorker’s long piece on Microsoft’s relationship with OpenAI, featuring Kevin Scott, the Microsoft chief technology officer.

Microsoft agreed to it knowing that the writer, Charles Duhigg, would talk to many people and test a thesis along the way, so there was no telling what would come out. Then Sam Altman’s brief ouster from OpenAI happened right before the story went to press. It was a risky story, Shaw says, but it captured the company at a revealing moment.

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On corrections: Shaw’s test is whether something is “irritating” or “damaging.” Only factual errors that matter are worth pursuing, he says.

His example is a Bloomberg story by Dina Bass that described an executive as having “wooed” customers. The executive hated the word and wanted it changed, so Shaw made what he calls the run up the hill, pressing Bass on the exec’s behalf and asking her to check with her editors.

She pointed out that she hadn’t quoted the executive using the word, and the editors left it alone. The executive didn’t like it, Shaw says, but it wasn’t wrong.

On speaking with one voice: Shaw says a big part of his job was trying to ensure that a company of Microsoft’s size made sense to the world.

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He recalls a Seattle Times reporter who got 26 pitches from Microsoft in one week and asked him which ones Microsoft thought were important. Sending pitches indiscriminately was a mistake, he says. The company needed to decide what three or four things mattered most and focus its messaging on those.

On building in public: Asked about recent internal memos pointing Microsoft toward more voices and less central messaging as he departs, Shaw says the company already has many employees talking about its products on LinkedIn, X and Reddit, and that’s a good thing.

Someone from Microsoft answering questions in a Reddit Excel thread doesn’t need to be babysat by the communications team, he says. He sees it as a continuation of what Microsoft did with Channel 9 and thousands of MSDN blogs.

At the same time, he says, there are moments, such as a big event or a major launch, when the company needs to break through.

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“Every once in a while you want the world to know Microsoft had something to say today,” he says. That’s hard, it takes real effort, and it can’t happen every week or even every month, so the company has to pick those moments and do them right.

On AI and the media: AI can help spokespeople prepare, Shaw says, but asking it what Mary Jo will ask, for example, produces “generic Mary Jo questions.” The best interviewers, he says, deliberately avoid the predictable question.

On reporters’ styles: Preparing a spokesperson means knowing how a particular reporter works, Shaw says, and that comes from people who have sat through many of their interviews. His example is Steven Levy, the veteran tech journalist and Wired editor at large, who Shaw says can lull you with 10 minutes of easygoing conversation, then hit you with one sharp question after another.

Other reporters always sound negative in interviews but write straightforward stories, he says, and an executive who reads too much into the tone risks getting knocked off their game.

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Asked to name the toughest reporter he has dealt with, Shaw pushes back on the label. Good reporters are tricky to work with because their job is to find things out and surprise you with what they know, he says. That doesn’t make them tough. What makes a situation difficult is usually a story with real conflict and tension, not the reporter.

On Microsoft in the AI era: Shaw sees AI in a transitional moment, moving away from a constant focus on the models themselves. Right now, he says, every new model release or manifesto makes everyone stop and look.

He hopes the attention will shift from new models to whether AI is actually useful, and he says that’s where Microsoft has historically been strongest.

Acknowledging that he’s still on the payroll and rooting for the company, he offers an analogy that will resonate with anyone who learned to drive a stick shift. The AI model companies want to drop a bigger, more powerful engine into businesses, and the result is often a lot of grinding of gears.

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“We’re the clutch,” he says. Microsoft’s infrastructure, in his telling, lets companies absorb that power and get moving without the disruption of a new engine and a demand to go 110 miles per hour.

On journalism: “People trust what they hear because they trust the people,” Shaw says. Deep knowledge of a beat becomes more valuable as the world gets more transactional, he says, even as the business behind it becomes less sustainable.

On what’s next: Shaw plans to take some time off and isn’t making any big decisions. People have suggested consulting, another big communications job or board seats, he says, but he doesn’t want to rush into anything.

Mary Jo has a suggestion: run PR for OpenAI, “because man, they need somebody to help.” Shaw’s characteristically dry reply: “That would be such a low-stress job.”

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Edited and produced by Curt Milton; Music by Daniel L.K. Caldwell. 

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Switching to Apple, Garmin, or Google Fitbit? Here’s how to switch fitness trackers without losing your old health and workout data

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When an ageing fitness tracker finally needs to be replaced, sometimes you’re tempted to switch brands — for example, trading in your ageing slim Fitbit for a bigger running watch. You might be getting a new running watch in the Black Friday sales, or hoping for one under your tree — but a new tracker sometimes that means losing years of data about your workouts, sleep, heart rate, and general activity.

Your historical health data is useful for more than just flexing on your Strava contacts or keeping those fitness rings closed. Changes in your resting heart rate or sleep pattern, for example, can contribute to a fuller picture of your health. That’s why in 2026, many of the best options like the Apple Watch, Google‘s Fitbit lineup and the best Garmin models have made transferring your data remarkably simple – or at least easier than ever.

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Audio-Technica is calling these $3,800 wooden headphones its finest ever

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Audio Technica ATH AWX7000 headphones

Audio-Technica, a brand well known for making some of the best studio and professional headphones on the market, has just come out with the ATH-AWX7000, which the company itself claims to be its “finest headphones ever.” The new flagship closed-back headphone has debuted at an eye-watering price of $3,799. It combines hand-finished Japanese woodwork with a newly developed 58mm driver.

The earcups are made from Kiso cypress, a prized wood historically used for Shinto shrines and Buddhist temples. Each housing is finished by hand with traditional Echizen lacquer, which brings out the grain and is expected to darken over time. The frame and sliders are finished in a deep navy kachi-iro shade traditionally associated with samurai.

There is a new driver inside all that wood

The ATH-AWX7000 is the first Audio-Technica headphone to use its new Hybrid Matrix Diaphragm, or HMD, technology. The 58mm diaphragm combines a polymer film with a metal dome instead of relying on a single material.

Audio-Technica says the design helps the diaphragm hold its shape when dealing with high air pressure inside the closed-back earcups. It is paired with the company’s HXDT molding process, first used on the ATH-ADX7000, which is designed to make the diaphragm move more uniformly.

In practical terms, Audio-Technica is promising stronger and cleaner bass, better dynamics, and a wider soundstage. The company describes the sound as warm and lush, although those are claims that will ultimately need to be heard rather than taken at face value.

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Nothing else about them is particularly ordinary

There is no Bluetooth or active noise cancellation here. The ATH-AWX7000 is a fully wired pair of audiophile headphones, and Audio-Technica includes two detachable eight-braid cables using its A2DC connectors. One is a 2.5-meter balanced cable with a four-pin XLR connector, while the other is a 3-meter unbalanced cable terminating in a 6.3mm plug.

The magnesium frame and aluminum sliders help keep the weight to around 353 grams, while Japanese deerskin covers the headband and earpads. Every pair is manufactured in Tokyo and comes with a hard carrying case. The ATH-AWX7000 is available now for $3,799.

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Malcolm Gladwell: Cops Are Violent Because The US Doesn’t Have Enough Cops

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One of America’s foremost thinkers hasn’t done enough thinking. Instead, he’s delivered a handful of thoughtful-sounding stuff that simply doesn’t hold up the minute readers start actually thinking about what he’s saying.

Malcolm Gladwell has a new book about gun violence in the United States. I haven’t read it, so I can’t comment on the entirety of his latest work. I have, however, read a particularly atrocious excerpt — one that was published by The Atlantic because even Slate has moved on from Slatepitches.

In this excerpt, Gladwell argues that the reason US law enforcement officers are so violent is because there just aren’t enough of them. You may think I’m paraphrasing. I assure you: I am not. Here’s the headline and subhead from his Atlantic piece:

America Has a Police Shortage

Many Americans have decided that their country’s problem is that it has too many police officers. In fact, it has too few.

That’s a wild conclusion to reach. It’s especially wild when the only outside support you have to offer for your theory are: one (1) study that agrees with your foregone conclusion, and one (1) police official who agrees with your foregone conclusion.

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He starts by comparing US cops per capita with European cops per capita. Most people would think the Los Angeles PD is larger than the Berlin (Germany) police force. They’d be wrong.

Berlin has about 18,000 police officers, making its police department twice the size of Los Angeles’s.

American police departments, compared with their counterparts around the developed world, are tiny. Phoenix has 2,500 police officers. Munich—which has a population of roughly the same size—has nearly two and a half times as many. Dallas has 3,100 officers. The Brussels metro area, comparable to Dallas in population, has 6,700.

But would they actually be wrong? Maybe, but not by much. These comparisons only mean as much as Gladwell is willing to share. He doesn’t look at everything else that factors into this, including police spending as a percentage of national/local budgets.

Despite this objective lack of accountability for policing practice, public levels of trust in police remain among the highest in the EU only behind Scandinavian countries and Switzerland.[179] This allows Germany to maintain one of the lowest levels of public order and safety spending in the EU, at 1.5 percent of gross domestic profit, compared to the EU average of 1.8 percent.[180] As a result, Germany has a police force of only 300 officers per 100,000 of its population.

The US has about 243 officers per 100,000 people. That is a smaller number but it’s not so much smaller that it should immediately raise eyebrows, much less overwhelming support for Gladwell’s preferred narrative.

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Here’s where Gladwell decides 2+2 equals whatever number he needs it to be.

In 2020, an African American man in Minneapolis named George Floyd was killed by a rogue police officer, setting off an extraordinary wave of protests around the country. The motto of many of the protesters was “Defund the police.”

If the police were badly behaved, the thinking went, it was because there were too many of them.

[…]

Following the [George Floyd] protests, city after city saw their police force shrink. Of the 15 largest police departments in the United States, 12 had a markedly smaller police force in 2025 than in 2019. Philadelphia lost 23.1 percent of its police force during that period; Washington, D.C., lost 21.4 percent; San Francisco, 17.5 percent; Phoenix, 15 percent; and on and on. The reformers won the day. But what they did not understand is that there is a trade-off between certainty and severity: When criminals think they can get away with crimes, policing and punishments need to be more severe to achieve the same deterrent effect. Severity is not something that comes from lots of police. It’s something that comes from having too few police.

First off, Gladwell refuses to call Floyd’s killing a murder, which is extremely fucking strange since the officer who murdered Floyd (Minneapolis police officer Derek Chauvin) was convicted of murder. Calling Chauvin “rogue” is just plain insulting to everyone’s intelligence, considering a handful of other officers were on the scene and not a single one did anything to stop Chauvin from murdering George Floyd.

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Second, the sudden disappearance of cops had nothing to do with any “defunding” efforts. While lots of politicians made loud noises about defunding the police, very few of them actually did anything about it. No defunding of the police has taken place. In a few instances, some police funding has been rerouted to mental health professionals, allowing them to respond to incidents cops are poorly trained (if they’re trained at all) to handle.

The drop-off in police staffing is due to the cops themselves. Lots of cops who got into the business for its high octane blend of maximum power and minimum accountability decided they’d rather exit the force than improve or subject themselves to whatever bare minimum of accountability might be inflicted on them as a result of this widespread (but wholly ineffectual) “defund the police” movement. If cities were spending less on cops, it was due to attrition, rather than any funding restrictions enacted by local legislators.

But the most noxious conclusion Gladwell draws from these stats is that the George Floyd protests and the “defund the police” shouting that accompanied it generated police violence. That statement ignores that fact that decades of police violence (a lot of it racist) led to the nationwide protests that greeted George Floyd’s murder. And this was preceded by several other large protests against police violence that were far more severe and violent than those provoked by Officer Derek Chauvin’s actions.

Gladwell wants to connect the dots between calls for defunding police and the understaffing that now plagues many police departments — something that is wholly due to cops not wanting to be cops if it meant a modicum of accountability might be applied to their actions. But cops have been violent for years, and there’s nothing on the record that even slightly suggests having more cops and bigger budgets makes these officers better than those working for departments with less funding and staffing.

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While we’re still on the subject of “more cops = better cops,” let’s go back to Gladwell’s quoting of German police staffing stats as evidence of his theory. I mean, I guess? He just dumps this comparison of Berlin to Los Angeles into the mix and then hustles past it to an interview with a Colorado law enforcement official who claims having more officers would somehow make all of these officers better.

But having more cops hasn’t exactly made German cops better.

As law enforcement is vested solely with the states of Germany, each state’s police force (or “Land” police) follows a different system of law. Accordingly, there is an absence of a federal comprehensive register, compiling and publishing regular, uniform, and comprehensive figures on complaints about police ill-treatment.[170] Even though Germany is bound to obligate its many international treaties and conventions, Amnesty International (2002) highlights the authorities failed to protect a range of human rights as guaranteed by international human rights law and standards.[170] A study conducted in 2019 on police brutality in Germany found that it led to complaints in only 9%, and trials in only 13% of the cases. The study was conducted by the Ruhr-University of Bochum and was the biggest study at the time to be conducted on police brutality in Germany. The study found that the low number of complaints was likely due to a low expectation of success.[174] Furthermore, most German states do not require their police force to carry identification, making it difficult for victims to lodge complaints against individuals.[175][176]

Having more officers doesn’t make policing in German better. In fact, the lack of accountability seems to be on par with the United States. The only reason we don’t hear more about this (and I’m speaking for Gladwell as well) is because we don’t live in Germany. What is different is how we train and arm our cops, which means US law enforcement will almost always kill more people than their counterparts in other parts of the Western world.

And, as if this butchering of logic weren’t damning enough, Gladwell is out there digging his own hole while promoting his book:

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Evoking the parable of the blind men and the elephant he promises: “chapters on the trunk and the leg and the tusk, and at the end my hope is that by seeing all the parts in one place you will finally get a sense of the whole elephant – and understand that what seems from the outside like an intractable problem need not be intractable at all”.

If that’s the defense for his cherry-picking and attempting (and failing) to work backwards from his preconceptions, it’s time for a meme. And not just any meme, but one that hits Gladwell right in his presumptions twice:

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The headline — “Defense: Chauvin did what he was trained to do” — points to the origin of a lot of our police violence problems. Adding more cops just means adding more cops trained to treat violence as a first option, no matter how many of them are actually patrolling the streets.

The second part is for Gladwell: you do get how that’s worse, right? Using this parable as a selling point for your book is an incredible self-own. If your best hope is that people will convert your own writing into an Aesopian game of telephone and then still come to the conclusions you want them to draw from this, you’re no longer in the non-fiction game. You’re just telling people what you believe and expecting them to fall in line simply because they might have heard your name somewhere before.

Again, I have not read Gladwell’s book. But if this is the promotional vehicle he’s chosen to drive, I’d rather walk.

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Singapore Boffins Weave a GUI Into Fabric

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Researchers at the National University of Singapore have developed a machine-washable electronic fabric that can turn clothing into an interactive graphical user interface. The prototype reportedly survived 50 gentle machine washes and 1,000 bending cycles, though it still relies on external batteries and controllers. The Register reports: The development could lead – at some point – to a “future in which clothing functions as a pervasive, multimodal human-computer interface,” according to the study published in peer-reviewed science journal Nature this week. The paper shows someone interacting with computing devices using the sleeve of a wool sweater (no jokes about the Windows ugly sweater please, this is serious). The researchers, led by Singapore National University research engineer Fu Heng, claim this is a big leap forward.

“This fiber-centric approach shifts wearable electronics from flexible panels toward truly textile-native architectures, laying the groundwork for fabrics that visualize, sense, communicate and compute as naturally as the garments they inhabit,” the paper says. The researchers claim to have developed a scalable process to make millimeter-thick fibers. Using lasers to strip the insulation from specific spots on the thin copper wires, they attached light-emitting chips to the exposed sections, creating electrical connections to the chips. Thousands of chips were connected to the wires with extreme precision using this process.

The fibers were then fed into a transparent plastic tube, and made pressure-sensitive by adding two strips of a compressible, conductive polymer into a second longitudinal channel in the tube. The paper says they could make fibers 10 meters long using this method, and that they are thin and flexible enough to be woven into or attached to fabrics. The researchers were also able to add “peripherals” such as a microphone, a speaker, a temperature sensor and a light sensor.

Read more of this story at Slashdot.

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