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A First Amendment Legend Eviscerates Brendan Carr With Substance And Style

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from the i’d-throw-my-computer-in-a-lake dept

We’ve been covering Brendan Carr’s censorial ambitions for a long time now. When Trump first picked him to chair the FCC, we warned people that the “free speech warrior” branding was a total sham. We later dug into the letter from a massive coalition of 80+ legal scholars, former FCC officials, and civil liberties groups detailing how Carr’s threats fly in the face of the First Amendment. Hell, just this morning Karl wrote about how Carr is still plotting to punish Jimmy Kimmel for mocking President Trump. Meanwhile, Carr has responded to the criticism with smirking emojis and culture-war memes on X, treating the whole thing as performative trolling for an audience of one.

But now, First Amendment lawyer Bob Corn-Revere has published an open letter to Carr that is, frankly, one of the most devastating things I’ve read in years. And you really should go read the whole thing.

While Carr has mostly laughed off or ignored criticism of his many First Amendment violations, a letter from Corn-Revere (beyond the incredible prose of the letter) may hit a bit different given his stature within the First Amendment world. He has famously spent decades fighting in the trenches of the hardest, most politically uncomfortable First Amendment cases in the country. He represented Larry Flynt’s Hustler Magazine in the landmark Hustler v. Falwell case. He defended 2 Live Crew in the obscenity prosecution over As Nasty As They Wanna Be. He was counsel in FCC v. Fox Television Stations, the Supreme Court case that effectively ended the FCC’s broadcast indecency regime. There are many more famous cases on his resume as well. This is someone who has spent his entire career defending speech, including in cases where it was genuinely offensive, deeply unpopular, and legally novel — because that’s what actual First Amendment commitment requires.

Oh, and he served as Chief Counsel to former FCC Chairman James Quello, so he knows how the FCC works from the inside.

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So when this person tells Brendan Carr that he has betrayed his professed values, it carries a weight that Carr’s thumbs-down emojis can’t dismiss. The letter opens by pointing to the cautionary tale of Pam Bondi’s sudden firing as Attorney General:

Pam Bondi’s sudden and ignominious end as Attorney General is an important cautionary lesson about what happens to officials in this administration who over-promise in order to curry favor with the man they see as their boss, but who under-perform because of the limits of their authority.

Bondi promised the President she would prosecute his political enemies and failed miserably. The President rewarded her misplaced loyalty by denying her the graceful exit she sought, and instead fired her during a cross-town limo ride to watch a Supreme Court argument.

You have recently threatened to revoke the licenses of broadcasters who air what you call “fake news,” which apparently includes any skeptical reporting about the war in Iran—something you know you cannot do legally.

My advice? Don’t get into a car with the president anytime soon.

That line sets the tone for everything that follows — a pointed warning from someone who’s been inside the institution and watched Carr’s transformation up close, not someone lecturing from a safe distance.

From there, Corn-Revere walks through exactly how Carr has become the precise opposite of the person he used to claim to be, quoting Carr’s own prior statements back at him:

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As you may recall, shortly after you were named to head the Federal Communications Commission, I offered you some unsolicited advice in the form of an open letter entitled “A Plea for Institutional Modesty.” I suggested you should be circumspect in your assertions of power over broadcasters because “you don’t have as much power as you may think,” and flexing your regulatory muscles would conflict with both the Communications Act and the Constitution.

But as was clear from your initial acts as chairman and statements you made while campaigning for the job, your quest for political advancement overrode any previous commitment to First Amendment values. Gone were the days when, as a commissioner, you said things like “a newsroom’s decision about what stories to cover and how to frame them should be beyond the reach of any government official, not targeted by them,” or that “inject[ing] partisan politics into our licensing process” is “a deeply troubling transgression of free speech and the FCC’s status as an independent agency.”

I never expected you would heed my gratuitous advice, but had no idea how thoroughly you would betray your former (professed) values. Instead, you emerged as a Bizarro World caricature of yourself, threatening owners of broadcast networks with summer stock Don Corleone impressions and devoting much of your social media activity to jawboning. It is as if you set out to prove that the real mental health crisis in America isn’t about teens on Instagram, but public officials on X.

If someone of BCR’s stature said any of that about me, I might log off the internet forever.

The letter is full of these moments where Corn-Revere combines deep legal knowledge with rhetorical skill matched by very few. Take his description of Carr’s reliance on the long-dormant “news distortion” policy — a regulatory zombie that only exists because the FCC never formally killed it off after eliminating the Fairness Doctrine decades ago:

The news distortion policy is like a phantom limb after the FCC amputated the fairness doctrine—it is not really there in substance, but you still seem to feel you can walk on it.

Your smug social media posts about how broadcasters will be held to their public interest obligations “on your watch” ignores this history, but your claim that “the opposition to holding broadcasters accountable to the public interest comes increasingly from those unfamiliar with longstanding FCC precedent” is even worse, because you know it is a bald-faced lie.

The letter also hammers home a point we’ve made repeatedly: the actual, messy consequences of Carr’s performative bullying, and shows how spectacularly it has backfired over and over again. After Carr strong-armed Disney into suspending Jimmy Kimmel Live:

Protesters picketed outside the gates of the Magic Kingdom, and an estimated 7.1 million people cancelled subscriptions to Disney-owned streaming services Disney+ and Hulu over the controversy—at about twice the usual churn rate.

ABC affiliate group owners Sinclair Broadcasting and Nexstar Media Group, who had business before the Commission, and who dutifully followed your demand, also lost money. It turns out that advertisers will not pay as much for spots during reruns of Celebrity Family Feud as during Jimmy Kimmel Live!, and Sinclair revenue dropped a reported 16 percent for the quarter. Nexstar also suffered losses, although the amounts were not disclosed.

The result? The suspension ended a little more than a week after it began and Kimmel triumphantly returned to the air to his highest viewership in over a decade. Kimmel’s comeback garnered 6.3 million broadcast viewers and roughly 20 – 26 million views on social media within 24 hours.

His attempt to manipulate equal opportunity rules to silence Stephen Colbert went even worse:

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In January, you caused the FCC staff to reinterpret whether candidate interviews on certain talk shows were exempt from the equal opportunities rule, reversing decades of precedent.

You apparently were miffed that candidate interviews on certain TV shows did not trigger “equal time” requirements for their opponents under exemptions to the rule Congress adopted in 1959. Yet mysteriously, you said there was no need to apply your reinterpretation to conservative talk radio interviews.

But your main target of this move, Stephen Colbert, outsmarted you. He ridiculed your reinterpretation of the equal opportunities rule on air, and gleefully transmitted his interview with Texas Senate candidate James Talarico on The Late Show’s YouTube channel, which is beyond the FCC’s jurisdiction. The interview got over seven million views overnight (more than three times the on-air viewership), Talarico immediately received $2.5 million in campaign contributions, and won his primary.

Carr’s tactics are unconstitutional and tactically stupid. He keeps creating the very outcomes he’s supposedly trying to prevent — even as some less strong-willed news orgs buckle under his threats or pre-censor themselves to avoid his performative wrath.

But the part of the letter that really sticks with me is the section on Carr’s legal knowledge — specifically, the massive gap between what Carr actually knows and what he pretends to believe. Corn-Revere lays out the full chain of Supreme Court precedent cutting back on the FCC’s assumed authority over broadcast content — and then lands this:

But you know all this. Just as you know the FCC eliminated the fairness doctrine four decades ago, which is the regulatory progenitor of the “news distortion policy” you now love to cite (but only against broadcasts you perceive as critical of this administration).

This matters because it removes the escape hatch of ignorance. When politicians misstate the law, you can at least entertain the possibility they just don’t know better. Carr has been an FCC commissioner for nearly a decade. He practiced communications law. He knows what he’s doing is legally indefensible, and he knows his smug social media posts about “the law is clear” are, as Corn-Revere puts it, “a bald-faced lie.”

The letter ends by looking at what all of this does to Carr’s legacy, and it lands with a quiet brutality that no amount of trolling can deflect:

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Your recent appearance before the Conservative Political Action Conference is a prime example, where you explained the president is “winning” against the media by listing several media personalities who have left their jobs, including (as you put it) “sleepy eyed Chuck Todd.” I should not have to remind you of this, but it is a poor and pathetic leader who measures “winning” by what he thinks he has destroyed rather than by what he has managed to build.

And:

As I wrote in my first open letter, selling out your (professed) values represents short-term thinking. I noted that “officials who have tried to muzzle the press for short-term political gain have not been treated well by history,” and “if I were your adviser, this is not how I would want history to remember you.” Now, to the extent you will be remembered at all, it will most likely be mainly as a South Park character.

I wish you had listened.

Carr will likely ignore this, much like he brushed off the coalition letter, his own past statements, and basically every legal guardrail he’s encountered since taking the chair. That’s his whole game — the threats, the memes, the emojis, the audition tape for whatever comes next.

Still, the record is there now, written by someone whose First Amendment track record makes Carr’s look like a cheap Halloween costume. And unlike Carr’s social media posts, this letter will age well.

There’s a lot more in the letter. Go read the whole thing. You won’t regret it, even if Brendan Carr would likely wish to censor it like he wishes to censor Jimmy Kimmel.

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Filed Under: 1st amendment, bob corn-revere, brendan carr, donald trump, fcc, free speech, jimmy kimmel, news distortion

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Klipsch OJAS kO-R2 Speaker Debuts at Milan Design Week 2026: Only 600 Pairs, Don’t Expect Them to Last Long

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Klipsch is returning to Milan Design Week 2026 with something that goes beyond another product launch; it’s a continuation of one of the more interesting collaborations in modern hi-fi. Following the limited-run kO-R1 in 2024, Klipsch and OJAS have officially unveiled the kO-R2, a new loudspeaker created with Devon Turnbull, the artist and acoustic designer behind OJAS, as part of Klipsch’s 80th anniversary.

That matters more than the usual show-floor debut. The first kO-R1 wasn’t just a speaker, it was a statement about where heritage audio could go when handed to someone outside the traditional engineering echo chamber. Turnbull approached Klipsch’s horn-loaded DNA with a minimalist, almost gallery-first mindset, and the result landed somewhere between serious hi-fi and functional art. It sold out quickly and didn’t need a stack of Audio Science Review graphs to justify itself. Turns out art and musical enjoyment still carry more weight than rigid objectivism.

The kO-R2 builds directly on that foundation. Klipsch and OJAS describe it as a blend of minimalist design, advanced acoustic thinking, and bespoke materials, with an emphasis on form that’s meant to live as comfortably in a design exhibition as it does in a listening room. There are no performance specifications or pricing details yet, which feels intentional. This isn’t being positioned as a spec war product; it’s being framed as a continuation of an idea.

ko-r2-loudspeaker-oak
Klipsch OJAS kO-R2

And that’s the real story. At a time when much of the industry is chasing incremental upgrades and feature checklists, Klipsch is doubling down on a collaboration that prioritizes identity, experience, and cultural relevance. Bringing the kO-R2 to Milan Design Week instead of a traditional audio show makes that point clear: this is as much about design language and audience expansion as it is about sound.

Whether the kO-R2 ultimately delivers on the acoustic side will come later. For now, Klipsch and OJAS have done something more difficult; they’ve made people outside the usual audiophile bubble pay attention. 

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Unveiled at Milan Design Week 2026

Set against the backdrop of the Fondazione Luigi Rovati, in partnership with USM Modular Furniture and Karimoku, Klipsch and OJAS are hosting curated, appointment-only listening sessions during Milan Design Week through April 26, 2026. Those who get access are encouraged to bring their own music, turning the kO-R2 preview into something more personal than the usual show-floor demo.

After its debut in Milan, a broader launch for the kO-R2 is expected in June 2026.

“Working with Klipsch continues to be an exploration of how we can strip audio down to its most essential, emotional core,” said Devon Turnbull. “With the kO-R2, we focused on creating something that feels immediate and human—where the technology disappears, and the listener is left with a pure, physical connection to the music.”

kO-R2 Design Concept

The kO-R2 is a two-way, sectoral horn-loaded loudspeaker positioned as the next step in the Klipsch x OJAS collaboration. It’s handcrafted in Hope, Arkansas, by the same team behind Klipsch’s legacy designs, and features an OJAS-developed multisectoral horn paired with Baltic birch cabinetry. The goal is clear: deliver the dynamic, low-distortion traits horn systems are known for, while presenting something that looks just as considered as it sounds.

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Klipsch OJAS kO-R2 Loudspeaker in Hammertone Silver.

The core of the latest speaker design is the OJAS 1506 multisectoral horn, fabricated from heavy cast aluminum and finished with electrophoresis and a flat black powder coat.

The exponential horn pulls from classic Western Electric and Altec Lansing design cues, but it’s not a straight throwback. The square, isosceles trapezoidal mouth is doing real work here, controlling dispersion in both planes rather than just looking the part. The result should be more even frequency distribution and a wider, more stable listening window, which is exactly what these older horn concepts were chasing in the first place.

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The kO-R2 leans into a restrained, material-first design without skimping on the hardware. It uses a high-quality compression driver, anodized aluminum binding posts, and anti-vibration feet—nothing flashy, just components that make sense for a horn-loaded design like this.

Details like the laser-engraved metal ID plate add a layer of exclusivity without turning it into a gimmick, and the five-step high-frequency attenuator is there for a reason: dialing in top-end energy to match the room and placement, which matters more with horns than most speaker types.

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Calling it a “museum piece” isn’t entirely off base, but the real goal here isn’t to redefine audiophile expectations. It’s to bridge two worlds that don’t usually overlap this cleanly: serious acoustic design and industrial design that people actually want to live with.

The kO-R2 represents a powerful intersection of heritage and forward-thinking design. Partnering with Devon allows us to honor Klipsch’s 80-year legacy while pushing into new creative territory—delivering a product that is as culturally relevant as it is acoustically exceptional,said Vinny Bonacorsi, COO of Klipsch.

Klipsch OJAS Logo

The Bottom Line 

This isn’t a typical brand crossover. Klipsch is working within its core strength—horn-loaded design—while Devon Turnbull brings a different perspective on how these systems look and live in real spaces. The kO-R2 builds on the kO-R1 with a larger, more complex horn and a move to a floorstanding design, which should translate into greater scale and output.

There are still no detailed specifications or pricing, but the context matters. The kO-R1 launched at $8,498 per pair and sold out quickly. For the kO-R2, production is expected to be limited to around 600 pairs, so availability is going to be tight from the start.

It’s aimed at a specific buyer: someone who values both the design and the underlying acoustic approach, and who is comfortable buying into the concept without a full data sheet upfront. Between the prior pricing and limited run, this won’t be a mainstream Klipsch product—and that’s the point.

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Klipsch OJAS kO-R2 Loudspeakers
Klipsch OJAS kO-R2 Loudspeaker in Red Oak veneer.

Price & Availability

Once released (expected to be June 2026), 600 pairs of the kO-R2 will be available worldwide in either Red Oak veneer or Hammertone Silver with a powder-coated, matte-black horn. Price has yet to be announced

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Who Owns Carroll Gas Stations?

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Two entrepreneurs, Benson Phelps and Carroll Faye, teamed up to open a small coal and wood delivery company in Baltimore in 1907. The business saw success in its early years, expanding rapidly over its first couple of decades. Faye decided to move on to other ventures and sold his stake in the business to Phelps, but the company continued to use Faye’s first name as its brand. The Carroll Independent Fuel Company began selling oil in the 1930s under the guidance of Phelps, and it never stopped. Today, drivers can still buy fuel from the same company, although they’ll now recognize it as Carroll Motor Fuels.

The Carroll network of gas stations might have grown significantly over its century-plus of trading, but its ownership structure has remained consistent. It’s still an independent, family-owned business, with various members of the Phelps family at the helm. John Phelps serves as the company’s CEO and President, while Richard B. Phelps III holds the title of Executive Vice President alongside C. Howard Phelps. Several more Phelps family members hold leadership roles.

Carroll isn’t the only gas station chain that has remained family owned since its inception. The Love’s chain of gas stations is also still owned by members of its founding family, and it has risen to become one of America’s largest privately owned companies.

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The Carroll network operates under multiple brands

Alongside its own-brand gas stations, Carroll Independent Fuel also operates stations under various other names. The East Coast chain’s network includes stations that use Sunoco branding, which is most famously associated with the NASCAR Cup Series. Other locations are branded as BP gas stations, with Carroll working with the British-owned oil company since 2006.

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In 2012, Carroll Independent Fuel also acquired High’s, a Baltimore-based chain of convenience stores. In an interview with the Baltimore Business Journal, Executive Vice President Howard Phelps said that the company realized that “competition on the gasoline retail side was transitioning to convenience,” and that Carroll wanted to “to go toe to toe” with rivals like Sheetz and Wawa.

The Carroll network continues to grow, with the company acquiring seven new sites in 2022. The new locations helped develop its network outside the company’s home state of Maryland, with Delaware, New Jersey, and Pennsylvania all seeing new Carroll-operated locations launched.

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Fluidic Contact Lens Treats Glaucoma

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We’ve always been interested in fluidic computers, a technique that uses moving fluids to perform logic operations. Now, Spectrum reports that researchers have developed an electronics-free contact lens that monitors glaucoma and can even help treat it.

The lens is made entirely of polymer and features a microfluidic sensor that can monitor eye pressure in real time. It also has pressure-activated drug reservoirs that dispense medicine when pressure exceeds a fixed threshold. You can see Spectrum’s video on the device below.

This isn’t the first attempt to treat glaucoma, which affects more than 80 million people, with a contact lens. In 2016, Triggerfish took a similar approach, but it used electronic components in the lens, which poses problems for manufacturing and for people wearing them.

Naturally, the device depends on 3D printed molds to create channels and reservoirs in the lens. A special silk sponge in the reservoirs can absorb up to 2,700 times its weight. One sponge holds a red fluid that is forced by pressure into a serpentine microchannel. A phone app uses a neural network to convert the image of the red fluid into a pressure reading.

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Two more sponges hold drugs that release at a given pressure determined by the width of the associated microchannel. This allows the possibility of increasing the dose at a higher pressure or even delivering two drugs at different pressure levels.

It is fairly hard to hack your own contact lenses, although we’ve seen it at least once. But smart contacts are not as rare as you might think.

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‘Han Solo Wants to Be Me’: Artemis II’s Victor Glover on Flying the Orion

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Even if you’re 250,000 miles from Earth, sleep is important. However, for all the life-sustaining accoutrements aboard the Orion spacecraft, the capsule lacked bedrooms, leaving the four-person Artemis II crew with a truly bizarre sleeping arrangement.

“I slept really close to an air conditioning vent. And so I’d wake up and I just see this big hunk of metal,” Glover told CNET during a video call. “And it was like, ‘Oh, I’m in space. I am weightless.’”

Sleep wasn’t just a means for the astronauts to recharge; it also grounded them during their historic journey. Glover explained, “What really resonated with me is we’re also humans. It’s like camping, and this is a very important part of this journey.”

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Watch this: Artemis II’s Victor Glover Chats With CNET

Artemis II was the first crewed mission to the moon in over 50 years. It followed Artemis I, a 2022 uncrewed mission that was the first for NASA’s new Space Launch System rocket and Orion spacecraft. The goal for Artemis II was to have a crew test the spacecraft, life support systems, the SLS rocket and the procedures needed for future lunar missions that will involve landing on the moon and eventually building a base there.

Glover, the Orion’s pilot, along with commander Reid Wiseman and mission specialists Christina Koch and Jeremy Hansen, made up the Artemis II crew. The mission made a lot of history. It’s the first time a woman, a Black man or a Canadian has journeyed to the moon. The four Artemis II astronauts traveled 252,756 miles from Earth, farther than any other human being, surpassing the record set by the 1970 Apollo 13 mission.

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Artemis II's Orion capsule in deep space

This image of NASA’s Orion spacecraft was taken with a camera mounted on its solar array wings.

NASA

This wasn’t Glover’s first time in space. In 2020, with a Falcon 9 rocket for liftoff, he piloted the Crew Dragon capsule to and from the International Space Station for NASA’s SpaceX Crew-1 mission, spending over 167 days in space. But Artemis II gave Glover the opportunity to be the first to fly the Orion, a new vehicle designed for Artemis missions. For the majority of the nearly 10-day journey, Orion was on autopilot. But Glover had several opportunities to take manual control of the spacecraft to test its handling.

“It was such a treat and a joy,” Glover said about flying the Orion. “It was a test pilot’s dream to fly a new spaceship for the first time by hand.”

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Even after spending time training to fly in a simulator back on Earth, he was surprised by how responsive the Orion’s hand controller was and by the clarity of the cameras, used to maneuver the craft around the Interim Cryogenic Propulsion Stage that holds the fuel for the upper stage of liftoff. He said the view from the cameras and monitors was like “looking out a window.”

Artemis II's Victor Glover looking off to the side

Artemis II astronaut and pilot Victor Glover wears an orange flight suit.

NASA

When I asked Glover if he felt like Han Solo when piloting the Orion, he retorted, “Han Solo wants to be me when he grows up!” Throughout my interview, Glover was gracious, passionate and funny.

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“I get to do stuff that’s cooler than Han Solo. I mean, just the fact that it’s real, it’s better.”

While landing on the moon wasn’t in the cards for this trip, the Orion crew traveled about 4,000 miles beyond the moon, allowing them to see parts of the moon that had never been seen before. For comparison, Apollo missions flew about 70 miles above the moon to make landings, limiting how much of it they could actually see.

Earth seen as a bright blue and white crescent just over the dimly lit brown surface of the moon

Earthset captured through the Orion spacecraft window at 6:41 p.m. EDT, April 6, 2026, during the Artemis II crew’s flyby of the moon.

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NASA

The images that Glover and the crew took of the moon were stunning. Shots like the Earthset were a reminder of how beautiful our planet is and our place within the solar system. The astronauts even witnessed a total solar eclipse as they rounded the far side of the moon. But none of the photos they took compares to what they saw, according to Glover.

“I could see the curvature of the moon. Depth is just one aspect that you cannot see in the pictures. But here’s the other thing, the pictures lack scale.”

The moon, half in light, half in dark

When the Artemis II flew over the terminator, the crew said that this boundary between day and night was “anything but a straight line,” according to NASA.

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NASA

For the lunar flyby, the Orion was moving fast: 60,863 mph relative to Earth, but only 3,139 mph relative to the moon, according to NASA. The speed meant the shadows across the surface were constantly morphing into different shapes. Glover was particularly enamored with the moon’s terminator, where the light and dark sides of the moon meet. The terminator isn’t fixed and depends on the moon’s position relative to the sun. As Orion moved, it transformed into various shapes that looked like letters of the alphabet.

“People know, I fell in love with the terminator when I got to see the real one up close. I watched the terminator go from a letter C to a letter D, which means there was a point when the moon was half light, half dark. It was pointing right at me.”

Four astronauts huddled together wearing eclipse glasses.

The Artemis II astronauts take a selfie of themselves wearing eclipse glasses using an iPhone 17 Pro Max.

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NASA

Artemis II’s lunar flyby was a highlight of the journey for many of us on Earth, in part because we could watch it in real time on streaming services like Netflix. Nearly the entire mission was streamed live on NASA’s website and YouTube channel, making it feel like a reality show. One minute you’re watching the crew eat, work out, take photos of the moon; the next, there’s a random jar of Nutella floating by one of the cameras. I asked Glover whether it felt like he was on a TV show while on the Orion.

“It did not feel like a reality show on my end,” said Glover. “For you to see the science and hear us describing the moon, and to see us flying the spaceship by hand, and to see bedtime and bath time and teeth brush time, that’s what it’s like. The mission was all of those things.”

Glover was ecstatic to hear how I and others felt so connected to the crew during their mission. He said it was important to NASA to let the world in on everything it took to send four people a quarter of a million miles away.

“I think that maybe one of the really, most special things about this mission is how much you were able to see,” Glover said with a smile. “It makes me feel good that you felt like you were there.”

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Watch this: Getting Personal With the Crew of Artemis II | Tech Today

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GoPro’s Mission 1 camera series will start at $600

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We heard all about GoPro’s new action camera series last week, but the company is now unveiling the pricing across its Mission 1, Mission 1 Pro and Mission 1 Pro ILS cameras. The entry-level Mission 1 ($600) features GoPro’s new 50-megapixel 1-inch sensor, which the company says will offer a major leap in image quality and low-light performance over the Hero 13 line. While largely looking the same as the Hero series (and still waterproof), the Mission 1 can record 8K video at 30fps and 4K at 120fps. It lacks the higher frame rates of the other Mission 1 cameras, but supports 10-bit GP-Log2 color and 32-bit float audio.

The Mission 1 Pro ($700) is the flagship fixed-lens model this year, aimed at the professional (or semi-pro) videographer. It has upgraded frame-rate capture to 8K at 60 fps and 4K at 240 fps, along with an extreme “burst” slow-motion mode that hits 960 fps at 1080p. It also captures 4:3 “Open Gate” recordings at 8K/30fps and 4K/120fps, covering the entire sensor area, enabling more versatile editing and cropping across different screen sizes, including vertical video.

GoPro Mission 1 camera series

Steve Dent for Engadget

Then there’s the beastly Mission 1 Pro ILS (Interchangeable Lens System). It swaps the standard GoPro lens for a Micro Four Thirds (MFT) mount lens. It otherwise shares the same 1-inch sensor and high-speed 8K/60fps video specs as the Pro model. It also matches the Pro model’s $700 price, with an additional $100 discount for GoPro subscribers. However, it won’t be launching until Q3 2026.

All of the Mission 1 Series accessories will be available on a rolling basis beginning May 28, with GoPro’s own wireless mic system (take note, Rode and DJI) priced at $160. If you preorder a Mission 1 or Mission 1 Pro directly from GoPro now, you’ll get the point-and-shoot grip bundled for free. The company still doesn’t have an official release date for the cameras.

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These are rumored to be the four iPhone 18 Pro colors

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The rumor mill is still churning on the iPhone 18 Pro colors, with a new leak showing what the colors may be.

Row of modern Apple smartphones in black, white, light blue, and rose colors, showing rear triple cameras and sleek design, with one phone on the right displaying a glowing abstract screen pattern
Four possible colors of iPhone 18 Pro

The iPhone rumor mill has been on a bit of a color kick lately, with multiple rumors claiming to know which Apple will use in 2028. For the iPhone 18 Pro, it seems that there could be four colors on the way.
The image shared by Weibo leaker Ice Universe shows what appear to be rear camera plateaus for the iPhone 18 Pro. It is unclear where they were sourced from, but they may be shots gathered from an accessory maker, rather than the actual Apple supply chain.
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Flagship Rematch: Ryzen 7 5800X3D vs. Core i9-12900K

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Four years on, we revisit the Ryzen 7 5800X3D vs Core i9-12900K with modern games and DDR4 vs DDR5 configs. The result: still neck and neck, but memory choice now makes a real difference.

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The first CD recorder was shockingly expensive – guess how much

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Before CDs went mainstream, recording one cost a small fortune. Made by Denon in 1991

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I Was Cooking Bacon Wrong for Decades, and You Probably Are Too

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Stop fighting a losing battle with a grease-spattered stovetop. If you’re buying high-end bacon, you want a perfect crunch without the 20-minute cleanup. The real problem with a frying pan isn’t the taste, though. It’s all that popping and the errant grease spots that mark your skin and kitchen walls. 

Home Tips

In an effort to find the best, cleanest way to make bacon for a Sunday brunch or BLT, I tried several methods, including the stovetop, oven and air fryer.

It turns out I’ve been doing it all wrong. 

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A frying pan

  • Cooking time: 10 minutes
  • Hassle: 8/10
  • How much bacon: 7-8 strips
Strips of bacon cooking in a greasy black pan on the stove.

I grew up on pan-fried bacon but my test revealed there’s a better way. 

Mike Mackinven/Getty Images

This is the way I grew up cooking bacon and it’s perfectly fine. There isn’t much skill needed to fry bacon in a pan, although just about every batch I’ve ever made sends a healthy splatter over the stove. In more unfortunate instances, that infernal grease lands directly on my skin or clothes, presenting two distinct but equally aggravating problems.

Pan-fried bacon soaks up a ton of grease, which is why many turn to paper towels to drain it after cooking.  Pan-frying these strips of pork belly also tends to curl them into little bacon balls. While that has no impact on the taste, it can make for a suboptimal presentation.

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bacon in a frying pan

I can feel the splatter bombs just looking at this photo.

David Watsky/CNET

Another drawback of cooking bacon in the frying pan is its limited capacity. A 10-inch frying pan can hold only about 7 average-sized strips of bacon at a time, although you can add more as they shrink during cooking. 

Then there’s the matter of cleaning said pan after use. It’s not recommended to put most cookware in the dishwasher, so you’ll have to manage that grease-soaked surface yourself.

The oven 

  • Cooking time: 18 minutes
  • Hassle: 6/10
  • How much bacon: 10-12 strips
9 strips of bacon on a cooking tray.

Oven bacon is best for cooking large batches. 

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While it requires more prep, oven-cooked bacon has clear advantages over pan-frying. For one, there is little concern about capacity, as a standard cookie sheet or baking tray can hold nearly a full package of bacon, making the oven ideal for cooking large quantities.

Using a baking tray and rack allows grease to drip off. That makes for crispier, less greasy results, but it does present a headache when it’s time to clean. Cookie sheets and baking trays don’t fit well in the sink, and there’s typically enough grease that you don’t want to run them through your dishwasher.

You can line the baking tray with aluminum foil, but it takes a lot of foil, and most of the time, bacon grease finds its way under or through it anyway.

Oven-cooked bacon takes longer than bacon cooked in a frying pan — about 18 minutes — but if you’re planning to cook a whole package and don’t want to tend to the stove while it cooks, your oven is the best bet.

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The air fryer

  • Cooking time: 7 minutes
  • Hassle: 4/10
  • How much bacon: 6-7 strips
bacon in an air fryer shot from above.

Thanks to its quick cooking time and hassle-free execution, the air fryer is my new go-to for making bacon.

David Watsky/CNET

There’s almost nothing I won’t try to make in the air fryer but, astoundingly, this is my first attempt at bacon. I anticipated a quick cook, because air fryers sizzle most food about 25% faster than a standard oven. 

The air fryer proved to be my favorite way to make bacon, with one big caveat (more on that later). My favorite glass-bowl air fryer cooked those strips in about 7 minutes at 375°F — faster than the oven and the frying pan. Because air fryers include a crisping rack, grease naturally drips into the vessel below, so there was no need to nestle it in a paper-towel lasagna. 

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air fryer shot from the side with bacon on crisping tray

The crisping tray drained excess fat while the bacon cooked.

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The bacon turned out perfectly crispy and kept its shape better than when fried in a pan. 

And the mess was minimal. Because the air fryer cooking chamber fits easily in my sink, I was able to wash it in seconds with a sponge and soapy water. My glass bowl air fryer chamber is also dishwasher-safe so another option would have been to wipe the grease and stick it all in the dishwasher.

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air fryer bacon

Air fryer bacon is really crispy, y’all.

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The big caveat: Capacity

I use a modest 4-quart air fryer so I can only fit about six strips in at a time. That’s plenty for my partner and me but if I were making bacon for a group, I would have had to cook in batches or invest in a larger model.

That said…

Not having to keep watch over a sizzling, splattering pan or negotiate a grease-filled baking tray pulled from the oven is worth running it back another time to feed a group. There’s also no preheating needed, unlike with an oven, and the sheer speed and cleanliness gave the air frier the edge over the other methods I’ve tried. 

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Sky Smart Home vs Ring: how much can you save with Sky’s new smart doorbell bundle?

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Sky has mastered all things TVs and broadband, and now it’s stepping into the world of smart home with its latest venture, Sky Smart Home — a service that could challenge rivals such as Ring and Blink.

The Smart Home Plan is Sky’s entry-level package, which unlocks advanced features including cloud storage for recordings, Smart Alerts, Activity Zones, and more. There’s also the new Smart Home Plan+ that allows you to add extra devices including the Indoor Camera, Leak Pack, or Motion Pack — taking your smart home ecosystem to the next level.

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