Tech
Culture Wars at the Super Bowl, Meze STRADA’s Curious Tuning, Record Store Day 2026, Hi-Fi Show Overload?: Editor’s Round-Up
This editor’s roundup lands at a moment when everything feels less like discourse and more like performance art, and not the good kind. Bad Bunny delivered the first mostly Spanish halftime show in Super Bowl history; a powerful, Puerto Rican-rooted celebration that thrust Latino culture onto a stage watched by 124 million people and the reactions were predictably absurd.
Conservatives from cable pundits to President Trump called it divisive and “terrible,” freaked out over language, and even tried to pitch hair-metal bands as replacements, while fanbases tried to learn Spanish just to keep up with the cultural conversation.
And then the other side did what it always does. Turning Point USA’s Super Bowl-adjacent event somehow morphed online into an “ICE rally,” a “Charlie Kirk memorial,” and an act of open racism, as if every folding chair and red lanyard came with a deportation order stapled to it. Context didn’t matter. Facts were optional.
Even the Grammy Awards could not just hand someone a trophy without turning it into a TED Talk nobody asked for — win, smile, say thanks, and sit the hell down.
Meanwhile, the internet still can’t decide whether this was patriotism or provocation, which tells you everything about how performative outrage has become the default setting on all sides. Then there’s the actual stuff we cover: Meze Audio dropped the Strada with a tuning curve that’s got listeners scratching heads, Record Store Day 2026 has its own mix of hype and eye-rolls, and the hi-fi show calendar is so bloated even insiders are saying “enough.” Same damn script everywhere — nuance on mute, noise on max.
Bad Bunny Sang in Spanish; Outrage Was Bilingual

If there was anything worth getting upset about during the Super Bowl, it wasn’t the language, it was the vocals. Bad Bunny can perform, no question: the pacing worked, the energy was there, the rhythm was locked in, and the spectacle did exactly what halftime shows are designed to do. But let’s not pretend we witnessed a once-in-a-generation vocal masterclass. Whitney Houston he is not. Hell, Whitney Houston warming up he is not. The real outrage should’ve been over pitch, breath control, and the fact that halftime vocals have quietly become optional while choreography and vibes do the heavy lifting.
And let’s get real for a second: there are 40-50 million Spanish-speaking people in the United States, many of whom watch the NFL every Sunday, buy jerseys, bet on games, and scream at referees in multiple languages. Holy queso, Batman — Spanish isn’t some foreign invasion; it’s part of the room. Always has been. Acting shocked by that in 2026 is less patriotism and more blind ignorance.
What’s depressing isn’t that a halftime show turned political; it’s that everything does now. We can’t even have a dumb, overproduced Super Bowl anymore without someone turning it into a referendum on national identity. It’s a football game. A mediocre one. Played by two teams most people claim to hate until kickoff. Someone wins, someone loses, and nobody should be afraid to joke about going to Disney World afterward because ICE might be waiting behind Space Mountain. When even that joke feels risky, you don’t have a culture war; you’ve got cultural exhaustion.
For all of the President’s misguided social media outrage about a halftime show, the only real winner here was Bad Bunny. Mission accomplished. He’ll sell out arenas coast to coast, merch will fly, and yes, the pants will remain deeply questionable whether you like the music or not.
What’s wrong with us is simpler; we’re obsessed with the noise instead of the moment, which makes perfect sense when half the country seems to get its news and its history from TikTok, X, and Instagram comments written at a sixth grade reading level.

Last year’s Kendrick Lamar halftime worked better for me not because it was louder or angrier, but because it stayed tethered to the game, a genuine Eagles beat down of the Chiefs, Taylor Swift included, and because I actually own his records and took my son to one of his shows, which was pretty great. Football happened. Music happened. Nobody lost their damn mind. That’s apparently too much to ask now. It’s that bad, folks.
Record Store Day 2026: Great Releases, Too Few Copies, Lots of Cash Required
Record Store Day is still one of my favorite days of the year, and not because I enjoy standing outside at 5am fueled by burnt coffee and poor decisions. It’s because you get to show up for the independent shops that keep this whole hobby from turning into a soulless “add to cart” spreadsheet. You stand in the cold or the heat or the rain, take your pick, clutch your list like it’s an immigration document, and hope the vinyl gods don’t flag you for secondary screening.

It doesn’t always work out, especially if you live somewhere where the first 20 people in line aren’t music fans, they’re flippers with spreadsheets, burner accounts, and the moral compass of a vending machine. They sprint straight to the obvious heat and scoop up the titles that were never pressed in big numbers, the stuff your local store might only have 1 to 5 copies of, then they flip it on Discogs or eBay for 3 to 5 times the price like they personally remastered it. These people don’t love records. They love arbitrage. Please step on a LEGO.
This year’s RSD 2026 list is legitimately stacked. Bruno Mars is the 2026 Record Store Day Ambassador, and shops will be holding Early Listening Parties on February 25 for his new album THE ROMANTIC, ahead of Record Store Day on April 18.
On the guaranteed-mayhem side, you’ve got Pink Floyd with Live From the Los Angeles Sports Arena, April 26th, 1975 (4xLP), plus perennial troublemakers like The Cure, David Bowie, Madonna, Grateful Dead, and Pearl Jam with React/Respond as a photo book plus a 7 inch single, which is basically catnip for the resellers.
Add The Rolling Stones turning RSD into a mini theme park with multiple drops, including the RSD3 mini turntable and a run of 3 inch singles like Get Off of My Cloud, Honky Tonk Women, Play With Fire, Heart of Stone, Mother’s Little Helper, and Have You Seen Your Mother, Baby, Standing in the Shadow? because nothing says “serious collector culture” like tiny-format chaos.
And the jazz titles? Quietly dangerous this year. You’ve got Bill Evans At The BBC: The Complete 1965 London Sets, John Coltrane and the John Coltrane Quartet showing up in the mix, Ahmad Jamal, Roy Hargrove with A Tribute to Pharoah Sanders, plus Joe Henderson Consonance: Live at the Jazz Showcase on Resonance, and Mal Waldron Stardust & Starlight: Live at the Jazz Showcase.
These are my dark-horse Record Store Day 2026 picks, the ones I’m prioritizing before caffeine fully kicks in and common courtesy disappears.
On the soul and jazz side, Stax: Killer B’s from Various Artists is exactly the kind of compilation RSD should be about, deep cuts that remind people why Stax mattered beyond the hits. Consonance: Live at the Jazz Showcase by Joe Henderson is a serious live document and another reminder that Resonance continues to treat jazz collectors like adults. Add The New Sounds from Miles Davis, Primeval Blues, Rags, And Gospel Songs by Charlie Patton, and BBC Sessions from John Prine, and you’ve got a stretch of records that feel more like history lessons than collectibles. These are the ones flippers ignore because they require listening instead of speculation.
The alternative and art-pop lane is quietly stacked this year. Analogue 20th Anniversary Deluxe Edition from a-ha is far better than people remember and will vanish once word gets out. The Seduction of Claude Debussy by Art of Noise is still ambitious, strange, and influential in ways that feel increasingly rare. The Rhythmatist shows Stewart Copeland doing something genuinely different outside of The Police, and The Blind Leading the Naked from Violent Femmes remains one of their most overlooked records. None of these scream “safe,” which is exactly why they matter.
Then there are the deceptively obvious picks that people will pretend not to want until they’re gone. Greatest Hits from The Cure will not sit long. MTV Unplugged captures Tony Bennett doing what modern vocalists still study but rarely master. Hallo Spaceboy is David Bowie in his confrontational mid-90s phase, not nostalgia cosplay, and Sledgehammer from Peter Gabriel still works when it’s pressed properly, whether people want to admit it or not.
Meze STRADA: Green, Gorgeous, and Sonically Side-Eyed

Can Meze’s $799 STRADA closed-back headphones stand out in a market that’s already overcrowded, opinionated, and very sure of itself? That’s the real question, and it’s a fair one. The $500 to $1,000 headphone segment is a knife fight right now, with Grado, Focal, Denon, HiFiMAN, Dan Clark Audio, Beyerdynamic, Audeze, and Sennheiser all going after the same ears and the same wallets. Romanian manufacturer Meze Audio has never tried to win by shouting the loudest. They’ve won by doing the work.
I’m coming at this with some perspective. I own six pairs of Meze headphones, which makes it pretty clear I’ve bought into the approach. That doesn’t mean I love everything blindly. I don’t. If we’re ranking favorites, the Empyrean II, the 109 Pro, and the 99 Classics (2nd generation) sit at the top of my list. Those models get the balance right: comfort that disappears on your head, industrial design that feels intentional, and sound that prioritizes musical engagement over chasing measurements. So where does that leave the STRADA?
From a build and design perspective, Meze hasn’t missed. The STRADA’s earcups are genuinely beautiful, finished in a deep green that feels more British sports car than Romanian headphone, and I’m ultimately fine with that. That said, the color has been polarizing. I’ve seen plenty of online chatter that wasn’t especially polite, along with no shortage of praise from people who really like the look. I wasn’t sold on it straight out of the box either, but it grew on me. And I’d be a hypocrite if I complained too loudly, considering I’ve owned two cars; a Morgan and a Mini Cooper that weren’t exactly shy about wearing a similar shade.

It looks expensive without trying too hard, and it clearly isn’t chasing trends. The magnesium frame, soft padded headband, and balanced weight distribution hit the familiar Meze notes. Comfort remains a core strength, and clamping force is spot on — secure without crossing into fatigue. Long listening sessions aren’t a problem. Do I love the headband as much as some of Meze’s more recent designs? Not quite. It’s different, and that difference will land better for some listeners than others. Still, from a usability standpoint, the brief is handled.
Where things get more complicated is the tuning and the intent. The STRADA is clearly not trying to be a closed-back version of the 109 Pro, and that’s both understandable and slightly puzzling. Closed-back designs come with real constraints. You lose some openness and spatial air by default, but you gain isolation and control.
There’s also more room to play with treble behavior and bass weight, and Meze leans into that here. The STRADA sounds denser and heavier down low, with a presentation that’s less spacious overall, while the top end sits firmly on the brighter side. I’ve found myself reaching for EQ more than usual to dial it in. That’s not inherently wrong. It’s just different.

The question I keep coming back to is why Meze felt the need to “fix” something that already worked so well. The 109 Pro are excellent headphones. They’re balanced, engaging, and easy to live with. The STRADA doesn’t replace them. It sidesteps them. Whether that sidestep feels purposeful or unnecessary will depend on what you’re looking for in a closed-back design at this price. I generally like what the STRADA is doing, but I’m not fully convinced yet that this was a gap in the lineup that needed filling.
The full review is coming next week, and that’s where I’ll land the plane properly. For now, the STRADA feels like a well-made, thoughtfully designed headphone that raises an interesting question about direction rather than execution. And with Meze, that question is usually worth asking.
Hi-Fi Show Overload: When Everything Is “Must-See”
2026 is barely six weeks old and the reality has already set in: there are simply too many hi-fi shows. After covering CES 2026 more deeply than any other hi-fi publication, the eCoustics team barely had time to unpack before heading straight to NAMM 2026. That kind of pace is part of the job, but it’s also a stress test. CanJam launched its first event in Dubai and, by all accounts, it went well enough that a 2027 return is already locked.
And let’s not forget ISE in Barcelona, which already happened, because the year barely waits for you to catch your breath before moving on—mañana is a lie, the calendar never sleeps, and the sangria is never strong enough.
February arrived with serious, deadly cold and snow pushing far deeper south than anyone expected. I was there. Back home, the same system claimed more than 35 lives across New Jersey and New York over the past three weeks, a grim reminder that this wasn’t just inconvenient weather. Meanwhile, the Tampa Show is next week and CanJam NYC is somehow already right around the corner. We’ll be there. Hopefully the city will have picked up the garbage by then.
And that’s the problem. The 2026 calendar is stacked to the point of absurdity, and it’s putting both the media and manufacturers into a quiet panic. We can’t cover everything. Nobody can. Travel budgets are stretched, crews are thin, and even the companies making the gear are starting to pick and choose because showing up everywhere is expensive and increasingly hard to justify. More shows don’t automatically mean better coverage or better products. At some point, the industry has to ask whether this pace is sustainable—or whether everyone involved is just pretending it is.
And if you think we’re just kvetching, here’s the part where the calendar starts to look like a cry for help. After Tampa and CanJam NYC; which is already shaping up to be the biggest one yet—the industry rolls straight into Bristol, then Montreal, CanJam Hong Kong, CanJam Singapore, and AXPONA, where six members of the eCoustics team will be on the floor at once. Hope the Wiener Circle has enough char dogs in stock, because nobody’s cooking that week.
Then comes Vienna, now replacing Munich, pushed later into June. Early feedback from people who’ve actually been in the space? Let’s just say the reaction was less wunderbar and more nein, which feels culturally appropriate. From there, we pivot directly into summer with T.H.E. Show SoCal, CanJam London (we’ll be at both), SouthWest Audio Fest in Dallas (I’ll be there), Audio Advice Live in Raleigh (Chris will be there), Pacific Audio Fest, CanJam SoCal (we’ll be there), CEDIA with full-team coverage, CanJam Shanghai, CanJam Dallas, Toronto (I’ll be there), CAF with team coverage, Warsaw, the Paris Show, Singapore Show—yes, again—and a show in Australia, because apparently jet lag is a lifestyle choice now.
The only things missing on the calendar at this point are CanJam Tel Aviv, CanJam Berlin; and it’s more than a little interesting that there still aren’t any plans for a CanJam in Canada—and something in Mexico or Argentina, because apparently South America remains an untapped frontier. Then there’s T.H.E. Show, which continues to live in a state of strategic ambiguity but is likely to surface with the familiar SoCal show and the New York show, which for those of us in the Garden State is, let’s be honest, New Jersey. Same circus, different exits.
All of this somehow wraps up just in time for Black Friday and Thanksgiving, when everyone either collapses, disappears, or spends a brief but meaningful stretch in an institution. I’ve already done my time. Didn’t enjoy the kosher meal option.
Something has to give. There isn’t a single publication on the planet that can realistically handle that schedule, and I’m genuinely proud of the fact that we can cover the shows we do without turning the whole thing into noise. Travel can be fun, sure, but let’s not kid ourselves — this is work. And there’s a point where listening to the same gear, in the same hotel rooms, under the same conditions, stops being insight and starts becoming background hum. Familiarity doesn’t always breed clarity. Sometimes it just breeds fatigue.
I’ve spoken to seven manufacturers over the past few weeks, and I’m talking about the big ones — and they’re feeling it too. The math doesn’t work. Showing up everywhere isn’t financially viable, and it’s not strategically smart either. At some point you’re not launching products, you’re just maintaining appearances. And frankly, nobody needs to see the same rotation of ass-kissing journalists and YouTubers with their hands out at every stop on the circuit. That doesn’t serve readers, viewers, or the industry.
I’ve always kept a simple rule. I eat with the team, with a few of the industry’s best PR people; Adam Sohmer, Jaclyn Inglis, Sue Toscano — or alone. That’s it. Anything else invites complications that don’t need to exist. Free dinners from companies aren’t hospitality. They’re bribes. And once you normalize that, you’ve already lost the plot.
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Tech
Toneoptic CAN Isn’t a Milk Crate: A Smarter, Design-Forward Way to Store Vinyl
Physical media is about ownership. You buy the record, you keep the record, and it lives in your space as something tangible; not a license that can disappear overnight. But once a collection grows beyond a neat stack on a shelf, storage becomes a real issue. Milk crates are a temporary fix, not a long-term solution, and not everyone wants their listening room to look like it was assembled from IKEA leftovers or rescued from behind the local Publix. In 2024, we covered Toneoptic’s RPM Rotating Vinyl Record Storage Unit, a design-driven statement piece built for collectors with the space and commitment to match.
For 2026, Toneoptic is expanding the concept with the new CAN record storage system. It’s a modular, stackable, rollable crate solution for vinyl collectors who want their storage to look intentional, work without drama, and actually belong in a serious listening space.

The Toneoptic CAN is designed for real-world use. Stackable crates with cleverly embedded handles are designed to be easy to grab, and the optional eze dolly lets you roll your vinyl collection instead of deadlifting it. Plus there’s open access from both sides so flipping records doesn’t feel like work. You can even display what’s currently spinning, because if you’ve gone to the trouble of buying physical media, hiding it behind a slab of particle board would be missing the point.
Toneoptic CAN & eze Dolly
The Toneoptic CAN is available directly from Toneoptic, with pricing starting at $195 per unit. The optional eze dolly, which lets you roll your records instead of herniating a disc, is also sold direct for $85. Importantly and increasingly rare in this category—the CAN is made and assembled in Los Angeles, not pulled off a container ship and rebranded.


Dimensions & Weight
- 18.7 in / 475 mm (length)
- 13.25 in / 337 mm depth (aluminum version)
- 14 in / 376 mm depth (wood versions)
- 14.8 in / 376 mm (height)
- 12 lb / 5.4 kg per unit
Materials
The CAN isn’t pretending to be premium—it actually is. Construction includes post-consumer recycled aluminum, stainless steel fasteners, photopolymer components, and hardwoods where applicable, specifically American black walnut and North American white oak.
Record Capacity (Because This Actually Matters)
- Up to 80 records if your collection leans toward original pressings (12-inch or 10-inch)
- Around 60 records if you’re dealing with reissues and the occasional box set
- An additional 1-4 records can be placed in the record showcase sides, which is perfect for what’s currently playing or what you want people to notice first

The Bottom Line
The Toneoptic CAN is for vinyl collectors who want practical modular record storage that looks intentional not improvised. Made and assembled in Los Angeles, it delivers smart capacity, real materials, and thoughtful design without drifting into furniture theater. The $195 starting price is aimed at early adopters and likely won’t stay there once demand catches up.
The CAN is available for $195 at Toneoptic and the eze dolly is an extra $85 in white or $110 in black or silver.
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Tech
Eclipse backs all-EV marketplace Ever in $31M funding round
If you want to buy or sell a used EV right now, what’s the first step you’d take?
A startup called Ever wants to be the answer to that question. The company, which bills itself as the first “AI-native, full-stack auto retail business” for electric vehicles, already has thousands of customers buying and selling their EVs on the platform.
Now it’s looking to scale with help from a $31 million Series A funding round led by Eclipse, with Ibex Investors, Lifeline Ventures, and JIMCO — the investment arm of the Saudi Arabian Jameel family (an early investor in Rivian) — as co-investors.
Over the last decade, companies like Carvana and Carmax helped usher in the digital car-buying experience. More recently, myriad startups have tried to improve the car-buying experience with AI, pitching ideas like voice agents or smarter scheduling software. Eclipse’s Jiten Behl thinks this is the wrong approach if you want to really modernize the automotive retail experience, though.
“These bolt-on AI tools are band-aids,” he said in an interview with TechCrunch. He likened it to how many major automakers’ first EVs were essentially combustion vehicles that were repackaged to fit electric drivetrains. That approach came with major tradeoffs compared to designing a new EV from the ground up, which was the approach companies like Tesla and Rivian took.
“Auto retail is a perfect candidate for disrupting with AI, you know? It’s a lot of process, lot of labor, [very] rules-based,” he said.
Lasse-Mathias Nyberg, Ever co-founder and CEO, said in an interview that buying or selling a car typically triggers “hundreds or thousands of different actions” that a retailer needs to perform in order to complete the transaction. “There’s massive complexities or frictions on both sides.”
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In 2022, he and his team set out to reduce or remove those complexities. What they settled on after a year of research was a digital-first auto retailer. The core tech is an orchestration layer or “operating system” that can handle all the different workflows behind a transaction, whether it’s processing information submitted by a prospective buyer or seller, or managing the vehicle inventory.
“When you do appraisals, or pricing, or titling, it’s very deterministic in terms of what steps need to be taken. And today, there are lots of single point solution tools that are used,” he said. Most companies “use these tools together in a very inefficient manner, and you think that you are on a digital journey — but if you actually could clean-sheet it, and if you actually could use the power of agentic AI, and you can create one unified customer experience and remove all these micro-frictions.”
Nyberg claimed that building the company this way has allowed Ever’s sales team to be two to three times more productive than they would be otherwise, and he expects that to scale as the company grows. He said this extra efficiency and productivity beefs up their margins, which can be booked as profit or passed along to the customer by offering lower prices.
Ever applies this fresh approach to both its online marketplace and physical locations. Nyberg said the hybrid model is important because seeing and trying a car in person remains crucial to the shopping experience for a lot of buyers — especially those who might be assessing EVs for the first time.
Early reviews of Ever’s product have been mixed. Users on one particular Reddit thread from last year were split, with some drawn to how Ever is making EVs easier to buy, while others detailed struggles getting in touch with the startup’s team. Ever was just getting off the ground and was more or less operating in stealth, and so Nyberg chalks that up to a learning experience. He said his team is working hard to make sure its system can be flexible enough to accomplish everything the company has set out to do.
The bigger challenge may be overall interest in EVs, which has cooled a bit in the United States. Nyberg said he hasn’t ruled out Ever buying or selling used combustion cars in the future, but wants to stick to EVs in the near-term since there isn’t a retailer that is laser-focused on these vehicles.
Behl, who spent eight years on Rivian’s leadership team, admitted he’s a “hopeless romantic when it comes to EVs,” and said he still believes the industry is moving towards electric propulsion because of the inherent benefits. And he said his “first thought” when started doing diligence on Ever was: “I wish Rivian was doing this.”
More broadly, Behl said, companies like Carvana are still in the single digits of market share when it comes to automotive retail. That’s why he sees so much upside in Ever.
“Customers are going to continue to gravitate towards better experience when it comes to buying cars, which means it is going to be a digitally-led customer experience which takes away all the friction of buying and selling a car,” he said.
Tech
Startup founder’s new chapter: A vibe-coded project using human curation and AI to recommend books

Sarah Ritter prides herself on being able to offer great book recommendations to her friends. Now she’s got a read on what it takes to bring that joy to a wider audience — late nights and some AI.
Ritter, founder of one-time Seattle startup Tribute, recently launched Sarah’s Books, a web app designed to promote book discovery and reading while helping support libraries and local independent bookstores.
The app was built with help from Anthropic’s Claude AI assistant. Ritter took pictures of her physical book collection and used Claude to inventory and index the images. She built a Google doc with curated themes, genres, titles and descriptions. And then she had an epiphany.
During her kids’ winter break, she vibe coded Sarah’s Books, “somewhat obsessively, perhaps only as founders do,” late at night at home in Seattle. She logged more than 350 hours of coding time, 100,000 lines of code and 2,000 “commits” to Git — essentially a timestamped paper trail of every individual brick she laid while building the app’s foundation.
Sarah’s Books relies on a combination of human curation, based on Ritter’s collection, and AI assistance that suggests books outside of her collection for readers of every age. Books are curated by themes such as “emotional truth” or “beach read” and genres, including mystery, fantasy, or historical fiction.
The app does not point to Amazon, but instead each book recommendation includes a Libby link for library users. With purchases made through Bookshop.org links, a portion of every sale goes directly to independent bookstores. Sarah’s Books also supports Libro.fm, an independent alternative to Audible.
“I have no idea where it will go, but for the time being, I love not knowing and building Sarah’s Books for the love of reading,” Ritter told GeekWire. “There is a purity to it that feels more satisfying than trying to make it be something because a VC threw money at it.”
Book lovers can create a free profile to add their own books, share favorite authors, and get personalized recommendations based on their reading preferences. Ritter is also experimenting with a feature called “Book Mashups” where ideas from different authors “collide, complement, and start talking to each other.”
“The differentiator between a Goodreads and something like Sarah’s Books is the more personal nature of it,” Ritter said. “I trained my algorithm on my particular taste profile of a book.”
When not reading or helping other people figure out what to read, Ritter is currently working at Workato, an agentic orchestration platform. Beyond Sarah’s Books, she also vibe coded another web app called Summer Camp Finder to assist Seattle families.
Ritter is a former director of product marketing at Microsoft and she earned her MBA from Seattle University. She still draws on her experience as a startup founder and CEO.
Tribute, a startup built to help foster workplace connections, shut down in 2025 after seven years. Ritter, who previously went by Sarah Haggard, said she felt “a fair bit of failure” because like any founder she wanted to go on the journey of having an idea, raising capital, building a rocket ship and taking off.
“That didn’t happen in my case, and it was kind of like, ‘Who am I now? What do I do?’” she said. “The vibe coding stuff for me and Sarah’s Books in particular, is very full circle, because I’m using a lot of what I learned at Tribute. It suddenly doesn’t feel like it was all for naught, which is kind of nice.”
Tech
4 Of The Worst Places To Install A Smoke Detector
House fires may not be something you put much thought into, beyond buying a few fire extinguishers and hatching an escape plan with your family, and while your risk is relatively low, there were more than 344,000 residential building fires in 2023, according to the U.S. Fire Administration.
These incidents resulted in almost 3,000 deaths and more than 10,000 injuries. One of the best ways to protect yourself and your family from a house fire are smoke detectors – the National Fire Protection Association (NFPA) states that they decrease your risk of dying in a home fire by 60%.
Smoke detectors work by detecting particles in the air, either with ionization detectors or photoelectric detection. They can recognize both fast-burning fires and slower blazes that smolder, emitting a sound or even flashing a strobe light to alert you that smoke has been detected.
The NFPA recommends that you install several smoke detectors in your home, up on the ceiling or high on a wall. You may be tempted to remove the battery if your smoke detector gives off false alarms or is frequently triggered when you’re cooking, but you should ensure your smoke detectors are in good working order and test them at least once a month.
New technology means fewer false alarms, so upgrade instead of deactivating. Install a smoke detector in every bedroom and on every level of your home, including the basement. But there are also several areas where you shouldn’t put a smoke detector, because it won’t work properly and may trigger those annoying false alarms.
Directly in your bathroom
Your bathroom may seem like a logical place to install a smoke detector. Exhaust fans are often overlooked as potential fire hazards, but it’s something many of us use every day without even thinking about. These fans can get dirty after years of use, causing them to overheat and catch fire. While newer fans are designed to turn off it they get too hot, older fans won’t. People also use other fire hazards in the bathroom, like candles, curling irons, and even space heaters.
Despite these risks, you should avoid placing a smoke detector directly in a bathroom. The steam can not only trigger a false alarm, tempting you to disable the device, the high humidity can also damage its sensors. Instead, place a detector nearby, but still outside of the bathroom, where the heat and humidity won’t accidentally set it off or damage it. Experts advise that you place it at least 10 feet away from showers, saunas, and baths.
Near cooking appliances in your kitchen
Cooking fires are a leading cause of home fires, resulting in hundreds of deaths and thousands of injuries. The majority of fires are started by ranges or cooktops, and electric ranges are more dangerous than gas ones, according to the National Fire Protection Agency. You should also never walk away while you’re in the middle of making a meal or a snack — unattended cooking is an even greater risk.
With such a high risk, it seems logical that we should all have a smoke detector in our kitchen, and if your kitchen is large enough, you certainly should. Install the detector at least 10 feet away from all cooking surfaces, including the range or stovetop. You should also be mindful of the type of smoke detector you select for this space. Ionization detectors don’t work well in kitchens because they are sensitive to the small particles that can be put out even by cooking. Instead, look for a photoelectric detector that will likely reduce the chances of false alarms.
Inside your garage
For many, the garage is a multi-functional workspace or storage area, along with a handy spot to park our cars. While car fires are relatively rare, you may store paint, propane, and other flammable liquids inside your garage. Some use it as a workshop, with power tools, electrical cords and chargers, or even a space heater. According to the U.S. Fire Administration, garage fires tend to be more destructive than other home fires, so it’s a logical leap to think that you should definitely install a smoke detector in that space, but you’d be wrong.
Fumes from your vehicle may set off the smoke detector, and even if you don’t park your car inside your garage, false alarms can be caused by dust or dirt blowing around. Instead, install a heat detector. These devices are intended for spaces where smoke detectors may not be advisable, and they sound an alarm when they detect high temperatures. You can even install one that is interconnected to the other alarms in your house, to make certain you know if it alerts. Just be sure to mount it away from fluorescent lights, as they may cause false alarms.
Too close to fireplaces, wood stoves, and windows
Fireplaces and wood stoves are a common source of house fires, and of course you should install a smoke detector near those features in your home, but experts recommend that you avoid placing the detector directly above these heating sources. Instead, install a smoke detector about 10 to 15 feet away from your fireplace or wood stove in order to avoid false alarms from any smoke they may put into the air.
You should also avoid installing your smoke detectors too close to windows and even exterior doors. Drafts may impact their effectiveness, so keep these safety devices on inner walls. It may seem like a lot to remember, and it is. There’s more to keeping your home and family safe than simply testing your smoke detectors several times a year and replacing them when they get too old or stop working, though that’s a great place to start.
If you’re unsure about the best place to install smoke detectors in your home, or you don’t know how many you need, try contacting your local fire department for assistance. If they can’t help, a contractor can. If you can’t afford smoke detectors or are unable to install them on your own, your local Red Cross also offers services.
Tech
Apple Creator Studio users are hitting generative AI usage limits far too soon
Apple buries the fact that its Apple Creator Studio bundle’s generative AI features come with any usage limits, but the limits are real and now appear to be significantly less than expected.

You can check your AI feature usage in the iWorks app — if you even realise that there are any limits.
Apple Creator Studio is a bundle of apps such as Final Cut Pro and Logic Pro, plus updated versions of the iWork ones such as Pages and Keynote. In each case, Apple heavily promotes how the apps all come with new Apple Intelligence features.
Apple also promotes the bundle as meaning “endless creativity… unlimited possibilities,” but those AI features are in fact limited. Users have to read the Apple Creator Studio support page before they would even know about them — or they have to hit the limits.
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Tech
AI inference startup Modal Labs in talks to raise at $2.5B valuation, sources say
Modal Labs, a startup specializing in AI inference infrastructure, is talking to VCs about a new round at a valuation of about $2.5 billion, according to four people with knowledge of the deal. Should the deal close at these terms, the funding round would more than double the company’s valuation of $1.1 billion announced less than five months ago, when it announced an $87 million Series B round.
General Catalyst is in talks to lead the round, the people told TechCrunch. Modal’s annualized revenue run rate (ARR) is approximately $50 million, our sources said. The discussions are early, and terms could still change.
Modal Labs co-founder and CEO Erik Bernhardsson denied that his company was actively fundraising and characterized his recent interactions with VCs as general conversations. General Catalyst did not respond to our requests for comment.
Modal is focused on optimizing inference, the process of running trained AI models to generate answers from user requests. Improving inference efficiency reduces compute costs and cuts down the lag time between a user’s prompt and the AI’s response.
Modal is one of the handful of inference-focused companies attracting intense investor attention now. Last week, its competitor Baseten announced a $300 million raise at a $5 billion valuation, more than doubling the $2.1 billion valuation it reached just months prior in September. Similarly, Fireworks AI, an inference cloud provider, secured $250 million at a $4 billion valuation in October.
In January, the creators of the open source inference project vLLM announced they had transitioned the tool into a VC-backed startup, Inferact, raising $150 million in seed funding led by Andreessen Horowitz at an $800 million valuation. Meanwhile, TechCrunch reported that the team behind SGLang has commercialized as RadixArk, which sources told us secured seed funding at a $400 million valuation led by Accel.
Modal was co-founded by CEO Erik Bernhardsson in 2021 after he spent more than 15 years building and leading data teams at companies including Spotify and Better.com, where he was CTO.
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The startup counts Lux Capital and Redpoint Ventures among its earlier backers.
Editor’s Note: This story was updated to include a comment from Modal.
Tech
13 Best MagSafe Power Banks for iPhones (2026), Tested and Reviewed
Other MagSafe Power Banks to Consider
We like a few other MagSafe power banks that didn’t make it into our top picks.
Apple’s MagSafe Battery for iPhone Air for $99: The super svelte iPhone Air doesn’t have room for a big battery, so Apple offers this perfectly sized MagSafe add-on, capable of charging wirelessly at 12 watts. But, with just 3,149 mAh of power (it charged the iPhone Air to 68 percent), it’s awfully pricey. Still, it’s one of the few perfectly designed for the iPhone Air. You can technically use it with other iPhones, but you’ll have to rotate the power bank so that it hangs horizontally.
Statik State Power Bank for $60: This pack uses semisolid battery tech, meaning there’s less liquid inside, so it’s safer (won’t catch fire, even if damaged), and it should last longer. Statik suggests double the lifespan. It certainly keeps its cool, offering 5,000 mAh at up to 15 watts or 20-watt USB-C charging. I like it, but the similar Kuxiu power bank recommended above is slightly more compact and cheaper.
Ecoflow Rapid Qi2 Power Bank for $90: Slim and speedy, this power bank is an impressive gadget for a company we usually associate with portable power stations. It is Qi2 certified for up to 15-watt wireless charging, but there’s also a USB-C port that can deliver up to 36 watts, and it supports a bunch of charging protocols (PD 3.0, PPS, and QC 3.0). To sweeten the deal further, it has a wee kickstand.
Photograph: Simon Hill
Anker Nano Power Bank for $55: Anker has almost managed to match the slimmest power bank above with its new Nano Qi2 power bank, measuring just 0.34 inches thick. It keeps its cool, charges at up to 15 watts, and fills most compatible phones to just over the 50-percent mark. If you want a slim Qi2-certified power bank, pick this.
Mous MagSafe Compatible Wireless Power Bank for $40: I don’t have any major complaints about this MagSafe power bank. The 6,000-mAh capacity is good for a 70-to-80 percent refill for most iPhones, and the design is rounded with a soft finish, though it is a little thick. It maxes out at 15 watts for charging, with a USB-C port that can hit 20 watts.
Vonmählen Evergreen Mag Magnetic Power Bank for £60: The real attraction of this magnetic wireless power bank is Vonmählen’s eco credentials. The German manufacturer uses recycled cobalt (27 percent), aluminum (90 percent), and plastics (100 percent) in its power banks. There are no compromises on design or functionality. This MagSafe battery pack is sleek and slim (8.6 mm), boasts Qi2 certification, and offers 15-watt wireless and 20-watt wired charging via USB-C. It’s only available in the UK and Europe now, but it will hopefully land in the US soon.
Photograph: Simon Hill
Scosche PBQ5MS2 Portable MagSafe Phone Charger for $40: Slim, decent magnets, four LEDs to show remaining power, and a wee USB-C cable in the box—so far, so familiar. There’s nothing really wrong with this 5,000-mAh MagSafe power bank, but charging (wireless and wired) maxes out at 10 watts, and you can get better performers for the same money above.
Burga Magnetic Power Bank for $100: If you are appalled at the idea of attaching an ugly limpet to your iPhone, consider splashing out for one of Burga’s stylish MagSafe power banks. A mix of tempered glass and anodized steel, these pretty power banks come in a wide range of eye-catching designs. The camo model I tested had strong magnets and charged my iPhone 14 Pro wirelessly (7.5 watts) to around 70 percent from dead. The USB-C port can also supply 20 watts. The catch is the relatively high price for the relatively low 5,000-mAh capacity.
Groov-e Power Bank for £29: This affordable MagSafe charger is only available in the UK, but it offers a decent 10,000-mAh capacity with a display that shows the precise percentage remaining. You can get 15-watt wireless charging (7.5 watts for iPhones), and the USB-C port can charge devices at up to 20 watts. It’s a little bulky, but the magnets are strong, and it worked well when tested, offering a full charge for my iPhone 14 Pro with around 30 percent left.
Belkin BoostCharge Wireless Power Bank for $33: With a 5,000-mAh capacity and a handy kickstand, this MagSafe power bank is decent. I like the choice of colors (especially purple), but the magnets feel a bit weak, and the kickstand works best in landscape (it feels unstable in portrait). It fell well short of a full charge for my iPhone 14 Pro.
Bezalel Prelude XR Wireless Power Bank for $120: The clever X-range from Bezalel includes two MagSafe power banks and a wireless charging plug. The XR, which I tested, has a 10,000-mAh capacity, while the smaller X ($80) makes do with 5,000 mAh. The XR is bulky, and the kickstand feels flimsy, but it offers more than enough power to fully charge an iPhone 14 Pro. Both power banks charge iPhones at 7.5 watts, and other Qi wireless phones at up to 15 watts, plus you can pop your AirPods on the other side to charge at 3 watts. They also have USB-C ports that can deliver 20 watts.
Mophie Snap+ Juice Pack Mini for $45: This 5,000-mAh-capacity power bank works well, but it’s a little bigger than it should be. It works with MagSafe iPhones but comes with an optional attachment for non-MagSafe phones. Mophie’s Snap+ Powerstation Stand ($70) offers double the capacity and a kickstand, but it’s chunky.
Avoid These MagSafe Power Banks
Photograph: Simon Hill
Some of the MagSafe portable chargers we tested aren’t worth your time.
Alogic Matrix Universal Magnetic Power Bank: This lightweight, 5,000-mAh-capacity magnetic power bank has an awkward angular look, but that’s because it’s designed to slide into a 2-in-1 dock, a 3-in-1 dock, and a couple of car docks, much like Anker’s 633 above. Unfortunately, one of the Alogic batteries I tested failed and refused to charge. The one that worked managed to add 74 percent to my iPhone 14 Pro’s battery.
HyperJuice Magnetic Wireless Battery Pack: Yet another 5,000-mAh MagSafe power bank, the HyperJuice looks quite nice with four LEDs and a round power button on the back, but the USB-C port is limited to 12 watts, and it only managed to take my iPhone 14 Pro up to 71 percent.
UAG Lucent Power Kickstand: This MagSafe power bank has a curved design with a soft-touch coating and a tough metal kickstand. Unfortunately, the capacity is only 4,000 mAh, yet it’s as big as some higher-capacity options—or even bigger. It added just shy of 60 percent to my iPhone 14 Pro, charging wirelessly at 7.5 watts. The USB-C goes up to 18 watts, but you can get better power and performance for the money.
Moft Snap Stand Power Set: I like the soft faux-leather finish, and this power bank is comfy in the hand and looks great, but the 3,400-mAh capacity only added 41 percent to my iPhone 14 Pro. It comes with a magnetically attached folding stand and wallet, with perhaps enough room for a couple of cards or emergency cash. I like that it attaches separately so you can ditch the power bank when it’s dead, but keep the stand; it just doesn’t offer enough power.
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Tech
Uber Eats Cart Assistant lets you shop faster with fewer taps
Uber Eats is testing a new feature that tries to remove the most annoying part of ordering groceries, the endless searching and tapping. It’s called Cart Assistant, and it can take a typed list or an image and draft a basket for you inside the app.
It’s rolling out as a beta. You’ll see it as a purple icon on a grocery store storefront after you search for the store from the home screen.
Uber hasn’t said exactly which stores and cities get it first, or whether any devices are excluded. It frames the launch as a US release and an early step toward more agent-style help in Uber Eats, where the app handles setup and you handle decisions.
It turns notes into a basket
Cart Assistant is built for the moment you already know what you need. Paste in your grocery notes, or upload an image, including a photo of handwritten items or a screenshot of recipe ingredients, and the app translates that into shoppable picks.
As it drafts the basket, Uber says it checks store availability and surfaces store-level details like pricing and promotions. Then you can edit normally. Swap brands, adjust sizes, remove extras, or keep browsing before checkout.

Repeat orders get smarter
Uber says Cart Assistant uses your past orders to prioritize familiar staples, which should cut down the time it takes to restock the same basics each week. That’s the kind of AI that earns its keep, because it saves effort without changing how you shop.
It also hints at where Uber wants to go next. The company positions this beta as part of a broader move toward agentic AI, meaning the app can take on multi-step tasks and hand you a result you can still tweak.
Where it helps, and where it may not
You’ll notice Cart Assistant most on routine grocery runs, when you want a solid first draft and you’re happy to fine-tune the last details. It’s less about discovery and more about getting the boring part done.
There’s one catch Uber hasn’t addressed yet, image accuracy. How well it handles low light, cramped handwriting, or very specific branded ingredients will decide whether it feels like magic or like extra cleanup.
Treat it like a draft, not autopilot. If you spot the purple icon, try a short list first, then scale up once you trust its picks on sizes and brands.
Tech
Nothing’s Phone 4a could be available in these eye-catching colours
Nothing has begun teasing the upcoming Phone 4a with its colour options as a standout feature.
A recent post on X showed coloured dots forming the ‘a’ logo in Nothing’s signature dot‑matrix style. The dots appeared in blue, yellow, pink, white, and black, strongly suggesting these will be the launch colours.
The ‘a’ series remains Nothing’s best‑selling line, so expanding its finishes makes sense. Offering multiple colours could broaden appeal, especially as the Phone 4a edges closer to the flagship experience.
Co‑founder Carl Pei has already confirmed plans to push the device toward higher‑end territory, while still keeping the ‘a’ line affordable compared to the main flagship.
Leaks suggest the Phone 4a will arrive in two versions, mirroring the Phone 3a. This means a standard model and a Pro variant, though Nothing has yet to confirm.
Internally, the Snapdragon 7s Gen 4 chipset is tipped to power the devices, offering improved performance over the previous generation. Cameras are expected to remain similar to the Phone 3a, keeping continuity for existing users while focusing upgrades elsewhere.
The codename for the Phone 4a carries the name “Bellsprout,” continuing Nothing’s tradition of Pokémon‑inspired names. Alongside the phone, another codename, “Hoppip,” points to a possible audio product. Reports suggest new budget-focused Headphone a could launch, though details remain unclear.
Nothing has also stressed that it won’t churn out flagships annually. This stance means the Phone 4 replacement will not arrive soon, leaving the Phone 4a as the next major release. The company’s recent teasers and activity suggest the announcement is close, with leaks pointing to a launch window in the coming weeks.
The colour tease indeed adds excitement. Nothing’s design language consistently leans toward bold, distinctive aesthetics. A multicoloured lineup would give buyers more choice and reinforce the brand’s playful identity.
Combined with performance upgrades and a Pro option, the Phone 4a could become one of the most appealing mid‑range releases of 2026.
Tech
OpenAI researcher quits over ChatGPT ads, warns of “Facebook” path
On Wednesday, former OpenAI researcher Zoë Hitzig published a guest essay in The New York Times announcing that she resigned from the company on Monday, the same day OpenAI began testing advertisements inside ChatGPT. Hitzig, an economist and published poet who holds a junior fellowship at the Harvard Society of Fellows, spent two years at OpenAI helping shape how its AI models were built and priced. She wrote that OpenAI’s advertising strategy risks repeating the same mistakes that Facebook made a decade ago.
“I once believed I could help the people building A.I. get ahead of the problems it would create,” Hitzig wrote. “This week confirmed my slow realization that OpenAI seems to have stopped asking the questions I’d joined to help answer.”
Hitzig did not call advertising itself immoral. Instead, she argued that the nature of the data at stake makes ChatGPT ads especially risky. Users have shared medical fears, relationship problems, and religious beliefs with the chatbot, she wrote, often “because people believed they were talking to something that had no ulterior agenda.” She called this accumulated record of personal disclosures “an archive of human candor that has no precedent.”
She also drew a direct parallel to Facebook’s early history, noting that the social media company once promised users control over their data and the ability to vote on policy changes. Those pledges eroded over time, Hitzig wrote, and the Federal Trade Commission found that privacy changes Facebook marketed as giving users more control actually did the opposite.
She warned that a similar trajectory could play out with ChatGPT: “I believe the first iteration of ads will probably follow those principles. But I’m worried subsequent iterations won’t, because the company is building an economic engine that creates strong incentives to override its own rules.”
Ads arrive after a week of AI industry sparring
Hitzig’s resignation adds another voice to a growing debate over advertising in AI chatbots. OpenAI announced in January that it would begin testing ads in the US for users on its free and $8-per-month “Go” subscription tiers, while paid Plus, Pro, Business, Enterprise, and Education subscribers would not see ads. The company said ads would appear at the bottom of ChatGPT responses, be clearly labeled, and would not influence the chatbot’s answers.
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