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Audio Note Oto SE 35 Integrated Amplifier Debuts: 35th Anniversary Edition of the UK Tube Classic

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Audio Note (UK) has never been the sort of high end audio brand that follows trends. While much of the industry chases new features, streaming platforms, or the latest amplifier topology, Audio Note has spent decades doing the opposite. The British manufacturer designs and builds a remarkable amount of its own parts in-house, from transformers and capacitors to cables, tonearms, cartridges, and even loudspeakers intended to sit in room corners rather than dominate the center of the floor. Their systems rarely rely on brute force volume or flashy demonstrations at trade shows. Instead, they pursue a very specific idea of musical realism and they have never shown much concern about whether the rest of the industry agrees.

Audio Note Logo

That stubborn independence is part of why the Audio Note Oto has endured for more than three decades. First introduced in 1991 and conceived by founder Peter Qvortrup with engineering by Andy Grove, the Oto was the first amplifier fully developed and manufactured by Audio Note (UK). At the time, the company was already known for the legendary Ongaku integrated amplifier, but the Oto proved that the same philosophy of vacuum tube refinement and musical coherence could be delivered at a far more attainable level. Thirty five years later, the amplifier remains a cornerstone of the company’s lineup.

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Now Audio Note (UK) has introduced the Oto SE 35 Integrated Amplifier, the first major technical revision of the design in decades. The anniversary model features a redesigned power supply and a number of bespoke in house components, continuing the company’s long standing belief that the path to better sound starts with controlling every part of the signal chain.

My own history with the brand goes back a long way. One of the strangest and most memorable listening sessions of my life happened in the basement of a Milan hotel during the Top Audio/Video Show in 1999. Late one night, Peter Qvortrup invited a small group of us down to hear one of their reference systems. Alongside me were SoundStage founder Doug Schneider, who I was writing for at the time, and Enjoy the Music’s Steven Rochlin, who somehow has remained my friend for nearly three decades and even attended my first wedding.

The room felt like something out of a Stanley Kubrick film, which became even more surreal when Qvortrup started playing music from the Eyes Wide Shut soundtrack. Kubrick probably would have appreciated the strange atmosphere. What I remember most, however, was the sound of the piano. It was uncannily real. The kind of moment that stays with you long after the show floor noise fades.

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I ended up buying a pair of Audio Note entry level components not long after that trip and kept them for years. But like a lot of people who have spent time around the brand, there was always one amplifier I quietly coveted: the Oto.

Audio Note Oto SE 35 integrated amplifier angle

Audio Note Oto SE 35: A Single Ended Tube Classic Reimagined

The Audio Note Oto SE 35 (starting at $5,950 USD) continues a design philosophy that has remained largely unchanged since the early 1990s, when single ended amplifiers were still considered something of an outlier in the broader hi fi landscape. The new anniversary model is a Class A, parallel single ended pentode design built around EL84 output valves, and it represents the first major technical refresh of the Oto SE platform in decades.

Introduced in February 2026, the Oto SE 35 sits within a wider family of Audio Note integrated amplifiers that includes multiple configurations and component levels, ranging from the P1 SE and P1 SE Signature to the OTO Line SE, OTO Line SE Signature, OTO Line SE Silver Signature, OTO Phono SE, OTO Phono SE Signature, and OTO Phono SE Silver Signature.

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Peter Qvortrup, Audio Note founder

For Audio Note founder Peter Qvortrup, the amplifier represents a continuation of a design challenge first set more than three decades ago. “When I set Andy the challenge to design a single ended pentode version of the Oto in the early 90s, single ended amps were a big outlier,” Qvortrup explains. “The Oto and now the Oto SE 35 stand as a testament to our philosophy on timeless quality audio design. We still maintain and service our customers’ Oto’s, making sure they’re good for years to come. This is what true longevity looks like, and that will never change.”

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Andy Grove Explains the Oto SE 35 Redesign

Design breakthroughs in hi-fi don’t always arrive after months of simulations and late night engineering marathons. Sometimes the circuit simply clicks into place. That was largely the case when Audio Note Chief Designer Andy Grove first developed the original single ended pentode version of the Oto in the early 1990s.

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Andy Grove

Grove recalls that the design process for the P1 SE and Oto SE power amplifier section came together surprisingly quickly. Instead of weeks of modeling or experimentation, the work relied mostly on careful calculations and a close reading of valve data sheets to establish the correct operating points and speaker damping characteristics. Like many creative disciplines—architecture, composition, or songwriting—there are moments when a design simply feels right.

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He still remembers sketching out the concept in 1991 at the kitchen table in his parents’ home in Suffolk, where his workshop was located at the time. The prototype itself was later built with the help of engineer Claus Molgaard, who was working with Audio Note at the time. Despite limited time to assemble the first unit, the team managed to get the amplifier operational quickly and demo it in the listening room soon afterward. For Grove, it was a nerve wracking moment, but the results proved immediately encouraging.

Over the decades that followed, the Oto SE evolved gradually, with small refinements along the way. A recent special order request from a customer ultimately prompted Grove to revisit the design in a more comprehensive way. The result is the Oto SE 35, which receives a number of meaningful updates intended to bring the amplifier closer to the performance levels of more recent Audio Note designs such as the Meishu.

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One of the most significant changes is a new output transformer designed specifically for the Oto SE and wound in house. While not as physically massive as the transformer used in the Meishu Tonmeister, it is engineered to deliver improved low frequency authority and overall control. The power supply has also been redesigned, now incorporating a choke that is likewise designed and manufactured internally by Audio Note. According to Grove, the updated power supply features optimized time constants and several additional tweaks to the power amplifier board itself.

Taken together, these changes are intended to give the amplifier a more convincing sense of weight and impact in the low end. Grove describes the goal as achieving a realistic “bass kick”—the kind of physical presence you feel when hearing a kick drum or bass guitar in a live performance—rather than the overly damped and flattened bass character sometimes associated with transistor designs.

The phono stage has also been redesigned, with increased sensitivity. Combined with the new power supply board, this allows Audio Note to eliminate the line stage that was previously required in earlier phono versions of the amplifier. The change improves phase integrity while also reducing noise.

Additional refinements include a revised internal wiring loom and improved shielding, along with a new in house designed mains transformer that contributes to improvements across the amplifier’s performance envelope. Grove notes that while the Oto SE 35 may not quite reach the performance ceiling of the company’s Meishu Tonmeister, it offers a level of authority and musical engagement that should surprise listeners accustomed to EL84 based designs.

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In Grove’s words, the amplifier is not merely about delicate detail or midrange sweetness. It remains an all-round musical and easy to live with amplifier, but one that can deliver a serious sense of drive and attitude when the recording demands it.

From a technical standpoint, the Oto SE 35 delivers 8.2 watts per channel into 8 ohms at 5% THD measured at 1 kHz. Line input sensitivity is rated at 205 millivolts for 8 watts into 8 ohms, while the phono stage requires 2mV for the same output level. Phono hum and noise performance is specified at -100 dB A weighted referenced to 8 volts, indicating extremely low background noise for a valve based design.

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The standard Oto SE 35 uses four EL84 output valves and two ECC83 driver valves, while the Signature and Silver Signature versions substitute two E83CC valves in the driver stage. Models equipped with the integrated phono section add ECC83/7025 and 6DJ8 valves to handle the phono amplification duties.

In terms of physical presence, the Oto SE 35 remains a relatively compact integrated amplifier by high end tube standards, though its build quality and transformer mass still give it substantial heft. The unit measures 140 mm (5.5 inches) high, 440 mm (17.3 inches) wide, and 410 mm (16.1 inches) deep, and weighs in at 17 kilograms (about 37.5 pounds), reflecting the heavy transformers and robust internal construction typical of Audio Note designs.

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Connectivity is straightforward and very much in keeping with the company’s minimalist philosophy. The amplifier provides five inputs in total, including multiple line level connections and a dedicated Tape In, along with a Tape Outfor recording or integration with external devices. For loudspeaker connections, Audio Note includes separate binding posts for both 4 ohm and 8 ohm speaker loads, allowing the amplifier to be matched more effectively with a wide range of loudspeakers.

For Grove, the anniversary timing feels fitting. As he puts it, being 35 years old was a good age, and the Oto SE appears to be enjoying it just as much.

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The Bottom Line

With just 8 watts per channel, the Audio Note Oto SE 35 isn’t about brute force. Pair it with the right high sensitivity loudspeakers, however, and that modest output can deliver a surprising level of intensity and presence. Audio Note has long excelled at getting tone, timing, and the natural flow of music right, which means the amplifier can feel alive even at lower listening levels.

If you’re heading to AXPONA 2026, the Oto SE 35 will be available to hear in person. I can’t speak for everyone else, but after spending time with Audio Note gear over the years, I’m damn excited to hear it again.

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For more information: audionote.co.uk/oto-se

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Microsoft is officially killing its Outlook Lite app next month

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Microsoft is shutting down Outlook Lite on May 26, the company confirmed to TechCrunch on Monday. Launched in 2022, Outlook Lite is a lightweight version of the regular Outlook app, designed for Android phones with limited storage and regions with slower internet connections. 

The app had already been scheduled for retirement — Microsoft announced last year that the app would be removed from the Google Play Store in October 2025. Now the company has confirmed that the app will lose functionality for existing users next month.

The news was first reported by Neowin.

“To continue enjoying a secure and feature-rich email experience, we recommend switching to Outlook Mobile,” Microsoft says in an Outlook Lite support page.

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Outlook Lite users will be able to access their existing email, calendar items, and attachments by signing into Outlook Mobile. Users will also be directed to the Google Play Store to download the standard Outlook app.

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5 Of The Best-Looking Mid-Engined Sports Cars We’ve Ever Seen

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If you talk to sports car fans and enthusiasts, you’ll probably hear differing opinions about which is better: front-engined or mid-engined sports cars. Both have their own pros and cons and unique driving characteristics, and the layouts will also impart a certain look, most evident in the radical exterior change the Chevrolet Corvette underwent after its switch from a front-engine to a mid-engine platform.

With their engines mounted behind the cabin, mid-engined sports have a distinct profile that often brings to mind high-end, exotic European supercars. It’s a look that survives even when scaled down to less expensive, more mainstream-oriented cars, resulting in some beautiful vehicles. So with that in mind, we’ve rounded up five of what we think are the best-looking, most handsomely designed mid-engined sports cars of the modern era.

Now, there are countless beautiful (and incredibly expensive) mid-engined exotics that we could include on a list like this, but we’ve left some of the obvious choices out to keep things interesting. Thus, no exotic Ferraris and Lamborghinis here. Even so, we have a diverse mix of machinery that includes mid-engined offerings from Japan, the United States, and Europe, with engines ranging from modest, low-power four-cylinders to fire-breathing V8s.

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Toyota MR2 (second generation)

Along with the front-engined Mazda MX-5 Miata, the Toyota MR2 is one of the most popular lightweight sports cars to come out of Japan. The MR2 debuted in the early 1980s and was built over three distinct generations before being discontinued in the mid-2000s. Each generation of the MR2 has its own personality and following, but from a design and performance standpoint, it’s the second generation that represents the MR2 at its peak. 

The second-generation MR2 debuted in Japan in 1989 and was on sale around the world shortly after. With its wider profile, its flip-up headlights, and distinct side vents, the second-generation car had a more aggressive look that, to some eyes, looks a lot like a scaled-down version of the Ferrari 348. The second-gen MR2 also had the performance to back up its look. Thanks to the 3S-GTE engine under the hood, Car and Driver got the MR2 Turbo to 60 mph in just under six seconds — very impressive by early ’90s standards.

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To do all this at a relatively affordable price — $20,000 or so for the Turbo in 1990 — shows just how powerful Toyota was during this time. Today, along with the Supra it shared showrooms with, the second-gen MR2 is considered one of the most desirable Toyotas of its time, and especially in turbocharged form, one of the most desirable Japanese sports cars of the ’90s.

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2004-2006 Ford GT

When Ford designers started working on the automaker’s mid-2000s Ford GT revival, they had a pretty big head start in creating a beautiful car. That’s because the design of the Ford GT was heavily inspired by the attractive and legendary Ford GT40 race car of the 1960s. Still, retro design isn’t always as easy as it looks, and it doesn’t take much for retro cars to veer into the tacky, but the GT’s designers absolutely aced their mission.

The modern road-going Ford GT is a much larger car than the GT40 it’s based on, but the lines are so good that you don’t realize that until you actually see the two cars side by side. The GT’s attractiveness carries over to the interior as well, with a wonderfully executed modern interpretation of 1960s design. Of course, it also doesn’t hurt that it’s got a mid-mounted supercharged 5.4-liter V8 mated to a manual transmission. 

Because the initial design was executed so well, the 2000s Ford GT has never felt dated in the way other cars from its era might. Design-wise, it almost feels like a remastered car from the ’60s rather than a product of the 2000s. All of these are reasons why, despite only being a little over 20 years old, the value of the mid-2000s Ford GT has climbed tremendously, with the car now becoming a highly desirable modern classic in its own right.

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Lotus Elise

A sports car’s appealing design need not be tied to its physical size or amount of horsepower. Case in point: the Lotus Elise. The Elise is considered one of the purest sports cars of the modern era, with a platform and design that stretches back to the mid-1990s. While some could argue that the Elise isn’t a traditionally beautiful sports car, much of the Elise’s beauty comes from its focus on simplicity. The Elise evolved significantly between its mid-’90s debut and the end of its production run in 2021, but the car never strayed from its mission of delivering lightness and response over all else. 

The later variants of the Elise sold in North America use modestly powered Toyota four-cylinder engines, with the Elise’s light weight meaning it didn’t need massive amounts of horsepower to offer a fast and highly enjoyable sports car experience — part of why drivers love this car. Design-wise, the Elise is all about compact minimalism, and its svelte body lines and distinct round tail lights helped give the Elise its signature look.

Its attractive looks and go-kart-like handling are just a couple of the reasons why both the Elise and its closely-related counterpart, the Lotus Exige, have emerged as genuine modern classics. With its focus only on the essentials, the Elise is the antidote to the high-horsepower, overweight, and often overstyled modern performance car.

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Alpine A110

Like the reto-styled Ford GT, the modern Alpine A110 is a modern, mid-engined sports car that might technically be cheating with its good looks. That’s because, like the Ford, the A110 is a modern reinterpretation of an iconic 1960s design — and one that happens to be done very well. 

The modern Alpine A110 (which is built by Renault) debuted in the late 2010s to wide acclaim as a rival to the Porsche Cayman. Boasting a mid-mounted turbocharged four-cylinder engine and a low curb weight, the A110 took its design inspiration from the original, rear-engined Alpine A110 of the ’60s and ’70s. Among the styling traits that carried over to the new A110 are the original’s quad front headlights and wrap-around rear window.

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To this point, the biggest problem with the A110 is that, like other French models, it’s not offered in North America. In fact, it might just be the coolest modern performance car that’s not currently sold here. There have been rumors and serious speculation that the A110 will eventually make its way to the United States, although we don’t yet know whether it will be as a gasoline model or as a next-generation electric Alpine sports car

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Honda/Acura NSX

Sometimes a sports car is a hit from the moment it debuts; other times, it ages nicely and becomes a favorite for a new generation of enthusiasts. In the case of the highly unique Honda (or Acura) NSX, it’s both. When the NSX first debuted in 1989, the car was a game-changer. It wasn’t just an impressive Japanese sports car; instead, it was a bona fide, homegrown Japanese exotic laced with Honda’s racing DNA.

Thanks to design choices like an all-aluminum construction and a mid-mounted, naturally aspirated VTEC V6 engine, the NSX had the performance and feel of a Ferrari — but in a more affordable and more reliable package that could be serviced at your local Honda or Acura dealer. In comparison tests, it edged out its more established performance car competitors. Design-wise, the original NSX was somewhat restrained, but its clean lines have aged extremely well, making it a favorite even among those born too late to experience its original run. 

When new, the NSX had a relatively affordable price tag for what it delivered, but values have climbed substantially in recent years, with certain examples crossing the $300,000 mark at auction. While many subsequent Japanese sports cars have eclipsed the original NSX’s performance benchmarks, its aura is still unmatched.

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Meta is building an AI version of Mark Zuckerberg

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The photorealistic digital character is trained on Zuckerberg’s mannerisms, tone, and his own thinking on company strategy. He is personally involved in testing it. The effort, described by four people familiar with the matter, is separate from a ‘CEO agent’ that handles tasks for Zuckerberg directly.


Meta is building a photorealistic, AI-powered version of Mark Zuckerberg that can interact with employees in his place, the Financial Times reported on Monday, citing four people familiar with the matter.

The character is being developed by Meta’s Superintelligence Labs and is trained on Zuckerberg’s mannerisms, tone, and publicly available statements, as well as his own thinking on company strategy, so that employees, in the words of one person familiar with the project, ‘might feel more connected to the founder through interactions with it.’ Z

uckerberg is personally involved in training and testing the animated version of himself.

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The effort is at an early stage and is separate from a different project, first reported by the Wall Street Journal, in which Meta is building a ‘CEO agent’ designed to help Zuckerberg himself retrieve information faster, a tool that assists him rather than stands in for him.

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The AI character project is part of a broader push within Meta’s Superintelligence Labs to develop lifelike, AI-driven digital figures capable of real-time conversation. The technical challenge is substantial: achieving realism and preventing perceptible delays in conversation requires enormous computing power.

The project reflects a significant escalation of Zuckerberg’s own involvement in Meta’s AI work. According to people familiar with the matter, he has been spending five to ten hours a week writing code on various AI projects and attending technical engineering review sessions, an unusual level of hands-on engagement for a CEO running a $1.6 trillion company.

He has committed publicly to developing what he calls ‘personal superintelligence’ as Meta works to close the gap with OpenAI and Google. On a January earnings call, he said Meta was ‘elevating individual contributors and flattening teams’ through AI-native tooling.

Meta has a history with AI characters. In September 2023 it launched a range of celebrity-based chatbots, among them personas modelled on Snoop Dogg, Tom Brady, Kendall Jenner, and Naomi Osaka, all of whom licensed their likenesses, but these were discontinued in the summer of 2024 after failing to gain meaningful traction.

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Meta then opened an AI Studio allowing users and creators to build their own AI characters, but ran into controversy when users began generating sexually explicit personas. Since January, Meta has restricted teenager access to AI characters. Zuckerberg’s interest in the format was reportedly sharpened by the success of AI companion startup Character.AI, particularly with younger users.

Meta is not the only company exploring AI versions of its leadership. Uber CEO Dara Khosrowshahi said during a podcast interview earlier this year that his employees had built an AI clone of him.

But the Zuckerberg project has a different scale and institutional purpose: it is being designed as a mechanism for a $1.6 trillion company’s 79,000 employees to feel a sense of connection to a founder who is, by any measure, difficult to reach.

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Bremont Is Sending a Watch to the Moon’s Surface

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A multifaceted decahedral black ceramic bezel and sandwich-style three-piece case—a reworking of Bremont’s signature Trip-Tick construction—house a chronometer-rated automatic chronograph movement made by Sellita, with a 62-hour power reserve.

The watch will be a passenger aboard the FLIP rover, due to launch as part of Astrobotic’s Griffin Mission One (Griffin-1), expected to land at the lunar south pole at some point in the second half of this year.

It’s a one-way mission: The rover will remain permanently on the lunar surface, with the watch ticking away as it roams the landscape. FLIP’s objectives include reaching elevated positions on the lunar terrain, gathering data on lunar dust accumulation, testing dust-mitigation coatings, and surviving a two-week lunar night in hibernation (which would be a first for a US rover).

In terms of serious timekeeping data for Bremont, the mission is frankly symbolic. The watch will be positioned vertically in a specially designed housing within the FLIP’s chassis, between its front wheels. Only the watch head, weighing 107 grams, is included, glued in place using a specialist composite, its face visible to FLIP’s HD cameras. But the hibernatory periods will mean the watch (whose mechanical movement is driven in normal circumstances by the motion of the wearer’s arm) will stop running once its 62-hour power reserve runs down.

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When the FLIP is on the move again, its motion should—in theory—jolt the mechanism into action once more. Despite the gravitational pull that’s a sixth of the Earth’s, the acceleration, pitches, and tilts of the rover should swing the winding rotor, if with less torque and efficiency than on Earth.

“My guess is that the watch will function from time to time, but for short periods,” Cerrato says. “We will learn along the way. But that’s what is exciting—it projects us into a thinking process that is absolutely out of the box. Just the fact of having it there is inspiring.” However, there is little doubt that Bremont will, just like other brands with any ties to the cosmos, mine its new space connection for all it is worth.

FLIP itself, which weighs just 1,058 pounds and carries a mix of commercial and government payloads, four HD cameras, and a deployable solar array, is fundamentally a technology demonstrator for Flexible Logistics and Exploration (FLEX), Astrolab’s much larger SUV-sized rover destined to support NASA’s Artemis program. The firm developed the FLIP from scratch after NASA’s equivalent vehicle for which the Griffin-1 mission was contracted, the VIPER, was put on pause in 2024. This left Astrobotic seeking a stand-in in short order. Astrolab, which signed the contract within a month of hearing about the opportunity in the fall of 2024, took the FLIP from blank sheet to finished rover in roughly a year.

Its standout feature is its hyper-deformable wheels, minutely structured from silicone, composite, and stainless steel, which create a soft, enlarged contact surface with the terrain. “It’s like if you’re off-roading in a Jeep or Land Rover where you let some air out of the tires to go softer and spread the load over a larger area,” explains Astrolab’s founder, Jaret Matthews. While the moon’s nighttime temperatures of around -200 degrees Celsius (around -328 Fahrenheit) would cause conventional rubber tires to become glass-like and shatter, Astrolab’s solution is intended to keep the rover from sinking into the unconsolidated lunar dust—or regolith—that covers the environment.

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The Most WIRED Watches at Watches and Wonders 2026

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The case is white zirconium oxide ceramic with a Ceratanium bezel and back, rated to handle temperature swings from 100 to -100 degrees Celsius (212 to -238 Fahrenheit). Indeed, the whole piece has been shaken to 10 g’s at Vast’s Long Beach facility, exceeding forces astronauts experience during ascent, and came out the other side running just fine. Price is still up in the air.

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TAG Heuer Monaco Evergraph (From $25,000)

Watch brands love finding ever more recherché areas to reinvent, and the precise “snick” of a chronograph’s stop/start/reset buttons is the latest micro-battlefield in which R&D teams are duking it out. Last year, Audemars Piguet took the feel of an iPhone button as the inspiration for its Royal Oak RD#5; now TAG Heuer has its own take on push-button ergonomics.

Normally, chronograph buttons involve a cluster of levers, springs, and cams that click into place with varying degrees of precision. TAG Heuer has thrown most of that out with the Calibre TH80-00, five years in development between its TAG Heuer LAB innovation department and movement maker Vaucher Manufacture Fleurier. It replaces the traditional architecture with two flexible bistable components—essentially shape-shifting parts that snap between positions—produced via high-precision LIGA fabrication, a micro-manufacturing technique that includes lithography, electroforming, and molding.

The result? Crisper actuation that, crucially, doesn’t degrade. According to TAG, the 10,000th press feels identical to the first. Paired with TAG’s incredibly high-tech TH-Carbonspring oscillator (magnetism-resistant, 5-Hz, 70-hour reserve, COSC-certified), it’s housed in a reworked 40-mm titanium Monaco with the crown back on the left where Steve McQueen’s 1969 original had it. You get two versions: brushed titanium with blue accents or black Diamond-Like Carbon (DLC) with red. The dial is transparent acrylic, so you can watch the compliant mechanism do its thing.

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Vacheron Constantin Overseas Dual Time Cardinal Points (Price on Request)

Vacheron Constantin’s Overseas line, among the most celebrated examples of Switzerland’s dominant “sports-luxe” genre, leans heavily into the sports side with a full-titanium, GMT-treatment across four references. Each dial is color-mapped to a compass point: white for north, brown for south, green for west, blue for east, contrasting with a bright orange, Rolex-style GMT hand for the time zone at home.

The lineage traces to a 2019 prototype built for explorer Cory Richards to wear up Everest—probably the most luxurious timepiece that has been to such places. The 41-mm case, integrated bracelet, and folding clasp are all in titanium with a matte anthracite finish on the bezel and crown. Inside is the in-house Calibre 5110 DT/3, a self-winding GMT with home-time am/pm indicator, local-time date pusher, and 60-hour reserve. Classic sports watch attributes, but here certified with the Geneva Hallmark, the highest official benchmark of fine watchmaking and hand-finishing.

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iOS 26 boarding passes now available for American Airlines flights

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American Airlines has now become the latest company to take advantage of the revamped boarding pass system in the iOS 26 update.

Two smartphones displaying colorful airline boarding passes and live flight tracking apps against a bright blue gradient background, emphasizing digital travel details like departure, arrival, gate, group, and QR code.
American Airlines now supports the revamped iOS 26 boarding pass system.

At WWDC 2025, Apple revealed that upgraded boarding passes, with support for Live Activities and real-time flight information, would make their way to the Apple Wallet app with iOS 26. Improved support for tracking luggage with AirTags and Find My, along with maps data for airports, was touted as well.
Since then, United Airlines and Southwest Airlines have rolled out support for the iOS 26 boarding pass system, and now American Airlines has followed suit. The American Airlines iOS app was recently updated, and its release notes detail the upgraded boarding pass experience.
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Nevada Court Latest To Say Mandatory Detention Of Migrants Is Illegal

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from the can’t-pretend-rights-just-don’t-exist dept

More of the same for the Trump administration — one that seems incapable of achieving its goals without breaking the law or disregarding the Constitution.

Hundreds of judges handling thousands of cases have already told the administration it can’t do the things it thinks it can when it comes to satisfying its anti-migrant bloodlust/Stephen Miller’s 3,000-arrests-per-day quota (they’re the same thing!). And, outside of the Fifth Circuit, where the majority seems to believe Trump should get whatever he wants, this steady stream of judicial rejections continues.

Yet another class-action suit alleging the wholesale violation of Constitutional rights has resulted in a ruling siding with the Constitution. This case is one of several being handled by the ACLU. This particular one originates in Nevada, which at least keeps it out of the hands of the Fifth Circuit. (Unfortunately, the administration knows who’s buttering its bread, which is why detainees are often shipped immediately to detention centers in Texas and Louisiana.)

The administration has only a single argument to present in its defense of its unconstitutional mandatory detention activities. It involves selectively quoting two related (yet distinct!) immigration statutes and pretending that 1+1=whatever the fuck we say it does.

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One of the most concise explanations of the administration’s deliberate misreading of these statutes was delivered by Judge Dale Ho of the Southern District of New York last year. The government wants to pretend people who encounter immigration agents while crossing the border are indistinct from migrants who have already been in this country for weeks, months, or years. They’re not the same thing, but the administration insists they are, despite having only convinced the Fifth Circuit that the laws don’t actually say the things they say.

Given that detention under § 1225(b)(2) is essentially mandatory and that detention under § 1226(a) is largely discretionary, it follows that whichever statute Mr. Lopez Benitez is subject to is potentially dispositive here. That is, if Mr. Lopez Benitez was detained as a noncitizen “seeking admission” to the country under § 1225(b)(2) (as Respondents argue), his detention would be mandatory. If, instead, he was detained as a noncitizen “already in the country” under § 1226(a), then his detention is discretionary and he would be, at a minimum, entitled to an appeal before an immigration judge.

To be sure, the line between when a person is “seeking admission” as opposed to being “already in the country” is not necessarily obvious. For instance, someone who has just crossed the border may technically be “in” the country but is still treated as “an alien seeking initial entry.” Thuraissigiam, 591 U.S. at 114, 139 (holding that a noncitizen detained “within 25 yards of the border” is treated as if stopped at the border). But there is no dispute that the provisions at issue here are mutually exclusive—a noncitizen cannot be subject to both mandatory detention under 1225 and discretionary detention under § 1226, a point that Respondents conceded.

These are not the same thing. Section 1226 deals with people already in the country, who are given Constitutional protections. Section 1225 deals with people crossing the border who are met immediately by immigration agents, who don’t have access to the same due process rights.

As the court points out in this case, the language of the statutes makes it clear Section 1225 is “temporally and geographically limited to the border” by other language contained in the Immigration and Nationality Act (INA). The government, however, wants to pretend it’s indistinct from Section 1226, which deals with people who are already in the country and have been there for a significant amount of time.

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The only way the government can present its defense of indefinite detention of migrants without bond hearings is to twist the wording of both statutes. The Nevada court [PDF] isn’t going to let that happen. It calls out Trump’s DOJ for its cut-and-paste antics.

The government contends that the plain language of § 1225(b)(2) requires DHS to detain all noncitizens like Plaintiffs, who are present in the U.S. without admission or parole and subject to removal proceedings, regardless of how long they have been in the country or how far from the border they are apprehended. But this Court finds that the government reads § 1225(b)(2 (A) as a fragment of statutory text in isolation.

Context matters. The government knows this, which is why its arguments remove the parts of the law it wants to use from the context that indicates its actions are illegal.

The Court finds the government’s reading of the statutory text inapposite for severalreasons. First, the government distorts the statutory text, including terms of art specially defined by Congress. Second, the government isolates and abstracts the phrases it favors in § 1225(b)(2)(A) from their context within § 1225 and the statutory scheme, while rendering language it finds inconvenient within § 1225(b)(2)(A) both contrary to ordinary meaning and needless surplusage. Finally, the government’s interpretation unnecessarily renders provisions of § 1226(c) superfluous in all but the rarest cases, unjustifiably construes Congress’ addition of § 1226(c)(1)(E) through the 2025 Laken Riley Act to be utterly ineffectual, and creates unnecessary tension between the relevant provisions, §§ 1225 and 1226.

This is what it looks like when you know you can’t win on the merits. This is the government pretending the law says what it wants it to say and hoping to slip it past a judge and under the skirts of Lady Liberty.

Courts aren’t as dumb as the Trump administration hopes. Let’s look at the statutes, the court says, but the whole thing rather than just the things the government thinks might be usable.

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The Court cannot accept such a fraught interpretation when a reading devoid of such conflict, which gives each statutory phrase and section independent meaning and force, is far more plausible.

What follows is a few dozen pages making everything summarized above granular and specific. And if Trump doesn’t like it, he can always ask the legislators he treats as extraneous to rewrite the law in his favor. Take it up with Congress if you don’t like the way the law is actually written, the court says without actually saying it:

[E]ven with regards to removal proceedings as opposed to custody determinations, Congress explicitly reflected its understanding of longstanding due process precedent that recognizes the more substantial due process rights of noncitizens already present and residing in the U.S. compared to the minimal rights of noncitizens seeking to enter.

Even a Congress loaded with MAGA bitchboys isn’t going to be able to erase Constitutional protections for migrants no one really seemed to have a problem with until white Christian nationalists took over the West Wing (on two non-consecutive occasions). The current Congress is merely an afterthought in service to Federalist Society theories of unitary executive power — something that surely won’t come back to haunt them when America decides it’s time to hand the reins to the opposition party.

And that’s not all of the bad news for Trump and his enablers. The due process thing is already a known issue and one that has resulted in hundreds of losses for the administration’s lawyers. This court also points out the Fourth Amendment implications of its actions. While this doesn’t necessarily create the sort of precedent that would shut down the DHS’s extremely creative interpretation of the Constitution, it will provide plenty of citation pull-quotes for litigants challenging ICE’s warrantless arrests and home entries.

[N]o administrative warrant requirements exist in the text of § 1225(b)(2)(A) or its implementing regulations. The government’s interpretation of that provision as geographically unlimited is thus in tension with the application of the Fourth Amendment within the country’s interior, which “requires that immigration stops must be based on reasonable suspicion of illegal presence, stops must be brief, arrests must be based on probable cause, and officers must not employ excessive force.”

I’m sure this quotation of Justice Kavanaugh’s concurrence in Trump v. Illinois is deliberate. The guy behind “Kavanaugh stops” (TL;DR: looking foreign is probable cause when it comes to immigration enforcement) is being directly quoted to reject the government’s reliance on administrative warrants to bypass the Constitution. [Chef’s kiss gesture.]

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Great stuff. But, as always, tempered by the realization that this administration will not stop doing illegal things just because a court has directly told them these actions are illegal. The old equation — asking forgiveness > asking permission — doesn’t really apply. This administration will do neither. It will simply DO until it becomes impossible to continue.

Don’t let that discourage you, though. Even if the co-equal branches don’t seem to be living up to the “checks and balances” hype, we’re a nation of millions spread across a considerable number of square miles. They can’t take us all at once.

Filed Under: 14th amendment, bigotry, dhs, due process, ice, mass deportation, nevada, trump administration

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Oh God: RFK Jr. Unveils Plan To Be First Sitting Cabinet Secretary To Host A Podcast

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from the oh-no dept

With all that RFK Jr. has done, and failed to do, as the Secretary of HHS, he should be terribly busy cleaning up mess after mess. The measles outbreak that is going to cause America to lose its elimination status is still ongoing and on pace to quadruple last year’s case total, so he could work on that. He could be busy finding a CDC Director, a position left vacant well beyond the federally mandated limit of 210 days. Or a Surgeon General. Or he could be working to undo the harms and effects of the misinformation that he and Trump have been pumping into the media ecosystem.

But it seems that, despite reporting that the White House wants to rein him in so he doesn’t get the GOP murdered in the midterms, Kennedy has instead decided its time to make history as the first sitting cabinet secretary to host his very own podcast.

The show, titled “The Secretary Kennedy Podcast,” will launch next week and feature Kennedy, a longtime anti-vaccine crusader who has reshaped the country’s health policy, in conversation with doctors, scientists and agency staff, U.S. Department of Health and Human Services officials told the AP ahead of the launch. In the teaser video, in a slick HHS-branded studio with ominous music playing in the background, Kennedy bills it as a new way to expose corruption and lies that have made Americans sick.

“We’re going to name the names of the forces that obstruct the paths to public health,” Kennedy says in the nearly 90-second clip.

We all know where this is going. Before entering into government, Kennedy hosted his own podcast previously. It covered such sane topics as:

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  1. Google and Mind Control
  2. Vaccines During Pregnancy (featuring anti-vaxxer Lyn Redwood)
  3. EMR, Cell Phones, & Cancer
  4. IRS: Pro-Pharma Anti-Health
  5. Censorship & Twitter Files with Matt Taibbi

So, you know, a conspiracy theory podcast, featuring all of Kennedy’s favorite topics. Anyone looking at this podcast as a source of information is clinically insane. This is just another megaphone through which to growl his anti-science, anti-medicine conspiratorial views. That he is making history in doing so when he has far better things he could be doing is simply the rotten cherry on top of this shit sundae.

Tyler Burger, HHS digital communications manager and the producer of the new podcast, said while Food and Drug Administration Commissioner Marty Makary has a podcast, officials believe Kennedy’s will be the first to be hosted by a sitting cabinet secretary.

“We’re kind of bringing podcasting into the government as an official form and arm of our messaging,” Burger said. He said the set for the show was pieced together largely with items the agency already had, and has the capacity for a total of four people to sit in conversation together.

While I appreciate Kennedy for giving me what will surely be much, much more about which to write, there is danger in this. You can be sure that Kennedy will not be inviting dissenting viewpoints onto his show. Anyone coming across it, with the imprimatur of a sitting Secretary as its host, may fall victim to thinking that what is being presented is official federal policy, the viewpoints of real doctors and scientists, or… you know… sane.

It won’t be any of that. I sincerely hope someone in the White House catches wind of this and puts a stop to it. Sadly, I doubt that is forthcoming.

Filed Under: donald trump, podcast, rfk jr.

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Sony Is Making a Bloodborne Animated Movie With YouTuber JackSepticEye

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At CinemaCon in Las Vegas, amid plenty of insider film industry news, Sony announced that it’s making an animated film adaptation of Bloodborne, a cult classic horror action game from the makers of Dark Souls and Elden Ring

Sony didn’t reveal much about the animated film, keeping plot details under wraps and offering no information about its release date. It’ll will be produced by PlayStation Productions and Seán McLoughlin, better known to the world as the YouTuber JackSepticEye, though Sony didn’t elaborate on the extent of his involvement. McLoughlin has racked up millions of views for his videos playing Bloodborne and other games made by FromSoftware.

The only other hints about the Bloodborne film come from its other named producer, Lyrical Animation, the studio formed last November from adult animation firm Line Mileage. That production company had previously announced a Death Stranding feature film after its lead partners worked on animated series for adults, including Tomb Raider: The Legend of Lara Croft and Castlevania.

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Bloodborne, released in 2015 on the PlayStation 4, is a gothic horror game that follows FromSoftware’s formula of high-difficulty action popularized by the Dark Souls series. In Bloodborne, players take on the role of a monster hunter who descends on the cursed city of Yharnum on the night when nightmares roam the streets. 

An instant classic upon release for its tough but rewarding gameplay, iconic bosses and mysterious lore, Bloodborne has built a cult following over the years. That legacy has been complicated by the fact that publisher Sony Interactive Entertainment has neither released the game on other platforms nor remastered it. Fans remain hopeful for an update to modern consoles and PC, especially since the original PS4 release was limited to a now-archaic (and inconsistent) 30 frames per second and HD (1080p) resolution.

When I interviewed FromSoftware president Hidetaka Miyazaki — creator of Demon’s Souls, Dark Souls, Bloodborne and Elden Ring — I asked which of the games he worked on was his favorite. He said the first Dark Souls and Bloodborne “left a very big impression on me.”

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Sony Pictures and PlayStation Production also announced that the Helldivers film adaptation, directed by Justin Lin (The Fast and the Furious, Star Trek Beyond) and starring Jason Momoa, will be released on Nov. 10, 2027.

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Today’s NYT Mini Crossword Answers for April 14

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Looking for the most recent Mini Crossword answer? Click here for today’s Mini Crossword hints, as well as our daily answers and hints for The New York Times Wordle, Strands, Connections and Connections: Sports Edition puzzles.


Need some help with today’s Mini Crossword? Read on for all the answers. And if you could use some hints and guidance for daily solving, check out our Mini Crossword tips.

If you’re looking for today’s Wordle, Connections, Connections: Sports Edition and Strands answers, you can visit CNET’s NYT puzzle hints page.

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Read more: Tips and Tricks for Solving The New York Times Mini Crossword

Let’s get to those Mini Crossword clues and answers.

completed-nyt-mini-crossword-puzzle-for-april-14-2026.png

The completed NYT Mini Crossword puzzle for April 14, 2026.

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NYT/Screenshot by CNET

Mini across clues and answers

1A clue: Word after “lily” or “launch”
Answer: PAD

4A clue: “That criticism makes total sense!”
Answer: FAIR

5A clue: Apology after a 1-/4-Down
Answer: SORRY

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6A clue: Two in a double play
Answer: OUTS

7A clue: Sneaky
Answer: SLY

Mini down clues and answers

1D clue: With 4-Down, spilling wine on the carpet or bringing uninvited guests
Answer: PARTY

2D clue: Puts on TV
Answer: AIRS

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3D clue: Like summers in a Mediterranean climate
Answer: DRY

4D clue: See 1-Down
Answer: FOUL

5D clue: Castaway’s call for help
Answer: SOS

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