FiiO isn’t just busy in 2026, it is borderline relentless. The company has already rolled out close to 20 new products this year, with a roadmap that stretches for pages. DACs, amps, streamers, dongles you name it. But buried in that flood of new gear is something far less flashy and arguably more important: the DARKSIDE PRO.
Because here is the reality most brands do not like to talk about. A lot of entry level and mid tier gear from FiiO, Topping, SMSL, Schiit, WiiM, Eversolo ships with pretty mediocre power supplies. Cheap switching adapters. Lightweight wall warts that get the job done, technically, but do not exactly help performance. Noise creeps in, dynamics flatten out, and the gear never quite sounds like it should.
The FiiO DARKSIDE PRO goes straight at that problem. It is a linear power supply designed to clean up the foundation of your system, not dress it up. And it does not just work with a handful of FiiO products, it is compatible with a wide range of DACs, headphone amps, and streamers from multiple brands, provided the voltage and current match.
At $159, it is also not a major financial leap. Which is why it makes a lot of sense as a first upgrade, often more impactful than swapping cables, and sometimes enough to hold off on replacing the component entirely. I have already got one on order for the K11 R2R and a few other pieces on my desk. That probably tells you everything you need to know.
Advertisement
The DARKSIDE PRO is built to address something most desktop systems overlook until it becomes a problem: power quality. Instead of relying on a standard switching adapter, FiiO uses a linear power supply design, which is inherently better at reducing high-frequency noise and electrical interference that can bleed into sensitive audio circuits. That matters because DACs and headphone amplifiers don’t just amplify music—they amplify whatever noise is riding along with the power.
At the heart of the DARKSIDE PRO is a 75W toroidal transformer paired with a fully discrete voltage regulation stage. Toroidal transformers are preferred in audio applications because they generate less electromagnetic interference and deliver more stable current under load. The discrete regulation stage further refines that output, reducing ripple and ensuring that voltage remains consistent even when the connected device demands more current during dynamic passages.
The unit provides selectable 12V or 15V output with up to 3A of current, which makes it compatible with a wide range of desktop gear. That includes FiiO’s own DACs and amplifiers like the K11, K13 R2R, K7, and other low-voltage components, as well as third-party DACs, streamers, and headphone amps that rely on external DC power. The ability to switch voltage is not just about compatibility—it allows users to match the exact requirements of their gear, avoiding underpowering or unnecessary stress on the circuit.
Performance-wise, the benefit comes down to lowering the noise floor and improving system stability. With less ripple and cleaner DC output, connected devices can operate closer to their intended design limits. That can translate into tighter bass control, cleaner transients, and improved low-level detail—not because the power supply “adds” anything, but because it removes interference that shouldn’t be there in the first place.
There’s also a practical advantage in current reserve. With up to 3A on tap, the FiiO DARKSIDE PRO avoids the bottlenecks that cheaper switching supplies can introduce when a system demands more instantaneous power. That helps prevent compression or softening of dynamic peaks, especially with more demanding headphones or complex music.
Advertisement
What makes the DARKSIDE PRO useful is its role as a system-level upgrade. It doesn’t change your gear—it lets your gear perform the way it was designed to. For users building around FiiO’s growing desktop ecosystem, it’s a logical companion piece. And for anyone running sensitive DACs or headphone amps on generic wall adapters, it’s one of the few upgrades that can improve everything downstream without touching the signal path itself.
FiiO K13 R2R: Architecture, Power, and Real Control
FiiO DARKSIDE PRO under K13 R2R
The K13 R2R has been a long time coming. First announced last September, it took a few extra months to actually land, but now that it’s here, the value proposition is a lot clearer.
Advertisement. Scroll to continue reading.
At its core is something you still almost never see at this price: a true, fully differential 24-bit resistor ladder DAC. FiiO’s four-channel design uses 192 precision thin-film resistors with tight tolerances, which isn’t just engineering flex—it directly improves linearity, channel balance, and low-level detail. The result is a presentation that feels more continuous and less clinical than the usual delta-sigma approach.
FiiO also gives you both NOS and OS modes, so you can choose between a smoother, more analog-leaning sound or something tighter and more technically precise. The DAC feeds a fully balanced amplifier capable of up to 2400mW per channel into 32 ohms, with low output impedance and multiple gain settings that make it flexible enough for everything from IEMs to planars.
Advertisement
On the digital side, it’s fully loaded: USB with up to 384kHz/32-bit PCM and DSD256 via XMOS, plus optical, coaxial, and I²S inputs, and Bluetooth 5.4 with LDAC for wireless. In other words, it covers just about every use case you’re likely to throw at a desktop unit in this range.
What makes the K13 R2R unique is obvious—the R2R DAC at $319. What matters just as much, though, is everything around it. Because here’s the part most people ignore: no DAC or headphone amp at this level reaches its potential on a cheap switching power supply. A better power source often delivers more meaningful gains than swapping cables—and in some cases, enough of an improvement that you don’t feel the need to upgrade the device at all.
Which is exactly why something like the FiiO DARKSIDE PRO exists in the first place.
FiiO DARKSIDE PRO under K13 R2R
The Bottom Line
The FiiO DARKSIDE PRO is for anyone running a DAC, streamer, or headphone amp on a basic wall adapter and wondering why it sounds a little flat. It makes sense because cleaner, more stable power can unlock performance you already paid for. At $159, it is a low risk upgrade that can deliver real gains without replacing your gear.
schwit1 shares a report from the BBC: A French officer has reportedly revealed the location of an aircraft carrier deployed towards the Middle East after publicly registering a run on sports app Strava. French news outlet Le Monde first reported the officer, referred to as Arthur, logged a 35-minute run on the app while exercising on the deck of aircraft carrier Charles de Gaulle on 13 March. He used a smartwatch to record his run and upload the activity to the app, the paper said, creating a map that showed his location. […] The location of the vessel was said by Le Monde to have been northwest of Cyprus, around 100km (62 miles) from the Turkish coast, with satellite images capturing the carrier and its escort. A representative from the French Armed Forces said the officer’s behavior “does not comply with current guidelines,” which “sailors are regularly made aware of.”
Update: Added that Oracle declined to comment on whether the vulnerability has been exploited.
Oracle has released an out-of-band security update to fix a critical unauthenticated remote code execution vulnerability in Identity Manager and Web Services Manager tracked as CVE-2026-21992.
Oracle Identity Manager is used for managing identities and access across an enterprise, while Oracle Web Services Manager provides security and management controls for web services.
In an advisory released yesterday, Oracle is “strongly” recommending that customers apply the patches as soon as possible.
Advertisement
“This Security Alert addresses vulnerability CVE-2026-21992 in Oracle Identity Manager and Oracle Web Services Manager. This vulnerability is remotely exploitable without authentication. If successfully exploited, this vulnerability may result in remote code execution,” reads the security advisory.
“Oracle strongly recommends that customers apply the updates or mitigations provided by this Security Alert as soon as possible. Oracle always recommends that customers remain on actively-supported versions and apply all Security Alerts and Critical Patch Update security patches without delay.”
The CVE-2026-21992 vulnerability has a CVSS v3.1 severity score of 9.8 and impacts Oracle Identity Manager versions 12.2.1.4.0 and 14.1.2.1.0, as well as Oracle Web Services Manager versions 12.2.1.4.0 and 14.1.2.1.0.
Oracle says the flaw is of low complexity, remotely exploitable over HTTP, and does not require authentication or user interaction, increasing the risk of exploitation on exposed servers.
Advertisement
The fix was released through its Security Alert program, which delivers out-of-schedule fixes or mitigations for critical or actively exploited vulnerabilities. However, Oracle says that patches released through these programs are only offered for versions under Premier or Extended Support, and older unsupported versions may be vulnerable.
Oracle has not disclosed whether the vulnerability has been exploited and declined to comment when BleepingComputer asked about its exploitation status.
In a separate blog post published today, Oracle once again noted the severity of CVE-2026-21992 and warned customers to review the security alert for full details and patch information.
Malware is getting smarter. The Red Report 2026 reveals how new threats use math to detect sandboxes and hide in plain sight.
Download our analysis of 1.1 million malicious samples to uncover the top 10 techniques and see if your security stack is blinded.
The famous cuckoo clock, with its moving, chirping mechanical bird indicating various divisions of time, has been around since at least the 1600s. The most famous of them come from the Black Forest area of Germany, and are still being made worldwide even today. Other clocks with different themes take their inspiration from the standard bird-based clocks from history, and thanks to modern 3D printing and other technologies we can make clocks with almost any type of hour indicator we’d like with relative ease like [Jason]’s golf clock.
While the timekeeping mechanism is a fairly standard analog clock, the hour indicator mechanism in this build is a small figure which putts a golf ball into a hole once every hour. It uses an ESP32-C3 at its core, which controls a pair of servos. One controls the miniature golfer, and the other lifts the ball up into position on the green at the appointed time. Once the ball is in place, the figure rotates, striking the ball towards the hole. Although it looks almost like the ball is guided by a magnet of some sort at first glance, the ball naturally finds its way into the hole by the topography of the green alone.
Almost all of the parts in this build are 3D printed, including the green, the golfer, the frame, and a number of the servo components. There’s also a small sensor that detects if the ball has actually made it into the hole and back to the lifting mechanism, and to that end there’s also a number of configurations that can be made in the software to ensure that the servos controlling everything all work together to putt the ball properly.
The White House has announced a new AI policy framework that calls for Congress to craft federal regulation that overrules state AI laws. The Trump administration has made multiple attempts to overrule more restrictive state-level AI regulation, but has failed so far, most notably in the passing of the “One Big Beautiful Bill.”
The framework focuses on a variety of topics, covering everything from child privacy to the use of AI in the workforce. “Importantly, this framework can succeed only if it is applied uniformly across the United States,” The White House writes. “A patchwork of conflicting state laws would undermine American innovation and our ability to lead in the global AI race.”
In terms of child privacy protections, the framework ask for Congress to require companies to provide tools like “screen time, content exposure and account controls” while also affirming that “existing child privacy protections apply to AI systems,” including limits on how data is collected and used for AI training. The framework also says carveout states should be allowed to enforce “their own generally applicable laws protecting children, such as prohibitions on child sexual abuse material, even where such material is generated by AI.”
The energy-use and environmental impact of AI infrastructure is a going concern, but the White House’s policy proposals are primarily worried about the cost of data centers. The framework suggests federal AI regulation should make sure that higher electricity costs aren’t passed on to people living near data centers, while streamlining the process for permitting AI infrastructure construction, so companies can pursue “on-site and behind-the-meter power generation.” The framework also calls for fewer restrictions on the software-side of AI development, proposing “regulatory sandboxes for AI applications” and asking Congress to “provide resources to make federal datasets accessible to industry and academia in AI-ready formats.”
Advertisement
While a recently AI bill from Senator Marsha Blackburn (R-Ten.) attempts to eliminate Section 230, a piece of a larger law that says platforms can’t be held responsible for the speech they host, the framework appears to propose the opposite. “Congress should prevent the United States government from coercing technology providers, including AI providers, to ban, compel or alter content based on partisan or ideological agendas,” the White House writes. The framework is similarly hands-off when it comes to copyright and the use of intellectual property to train AI. “Although the Administration believes that training of AI models on copyrighted material does not violate copyright laws,” the White House writes, it supports the issue being settled in court rather than by legislation. Though, the White House does think Congress should “consider enabling licensing frameworks” so IP holders can bargain for compensations from AI providers.
The clincher in the White House’s proposal is the idea that federal regulation should preempt state law, specifically so that states don’t “regulate AI development,” don’t “unduly burden American’s use of AI for activity that would be lawful if performed without AI” and don’t punish AI companies “for a third party’s unlawful conduct involving their models.” The idea that AI companies aren’t liable for the illegal or harmful uses of their products is particularly problematic because it lies at the heart of multiple intersecting issues with AI right now, including it being used to generate sexually explicit images of children and allegedly playing a role in the suicide of users.
Ultimately, though, the framework might be too contradictory to be useful, Samir Jain, the Vice President of Policy for the Center for Democracy and Technology, writes in a statement to Engadget:
The White House’s high-level AI framework contains some sound statements of principles, but its usefulness to lawmakers is limited by its internal contradictions and failure to grapple with key tensions between various approaches to important topics like kids’ online safety. It rightly says that the government should not coerce AI companies to ban or alter content based on ‘partisan or ideological agendas,’ yet the Administration’s ‘woke AI’ Executive Order this summer does exactly that. On preemption, the framework asserts that states should not be permitted to regulate AI development, but at the same time rightly notes that federal law should not undermine states’ traditional powers to enforce their own laws against AI developers. States are currently leading the fight to protect Americans from harms that AI systems can create, and Congress has twice correctly decided not to pursue broad preemption.
President Donald Trump has attempted to have an active role in how AI is developed and regulated in the US with mixed results, primarily because, as Jain notes, Congress has been unwilling to give up states’ right to regulate the technology on their own terms. Without that, its hard to say how much of the framework will actually make it into federal law.
Somehow, the whole thing got even faster. Earlier this month, Chinese automaker BYD announced that its Flash Chargers, first rolled out a year ago, can now charge some electric vehicle batteries from around 10 to 70 percent in five minutes, and from 10 to full in about nine. That’s more than 600 miles of range in the time it takes to order a cappuccino and leave a nice tip.
The new BYD chargers can add miles super quickly because they deliver up to 1,500 kilowatts (kW) per charge. Compare that to the 350 kW “hyper-fast” chargers seen more typically in the US, which can top up 80 percent of a battery in 15 to 25 minutes, and the full thing in closer to 40.
BYD’s move brings the charging experience closer to the auto industry’s holy grail: comparable to what drivers expect when they fill up their gas tanks. Survey after surveyfinds that potential EV buyers are worried about range and charging; speeding things up might go some way toward alleviating fears and getting more drivers seriously thinking about the plug. BYD, which doesn’t sell in the US because of high tariffs and national security concerns, has built more than 4,000 of the chargers in China so far, with plans to construct some 16,000 more by the end of the year, plus 2,000 in Europe.
There is, naturally, a catch—plus a few reasons to believe that a super fast charger won’t solve all of the world’s charging issues.
Advertisement
Right now, only one car will be able to take advantage of the Flash Chargers’ hyperspeed in Europe: BYD’s Denza Z9GT, due to make its Paris debut next month. That’s because the EV comes with the newest generation of BYD’s Blade battery. Making its own cars, its own chargers, and its own batteries gives BYD a significant leg-up in charging speeds over most global competitors, as the tech works together. (Tesla has also vertically integrated the charging experience.) To charge at such high speeds, the vehicles’ software and wiring need to be built to handle that much electric current.
BYD didn’t respond to WIRED’s questions, but according to Chinese language media, the newest Blade battery uses a lithium manganese iron phosphate (LMFP) chemistry to increase energy density. (The last version used lithium-iron phosphate, or LFP, which trades some energy density for durability and fast-charging capability). BYD says it has redesigned all of its battery elements, including the electrodes that store and release energy, the electrolytes that allow for ion transfer between electrodes during charging and discharging cycles, and the separators that disconnect and then conduct ion flow.
This all ups the battery’s energy density by 5 percent compared to what it touted as the latest and greatest last year. BYD says the Denza Z9GT can hit more than 620 miles per charge. (Real-life ranges tend to be a bit lower than claims by auto companies.)
The charger itself, a slick, teal T-shaped system that evokes—you guessed it—a gas station pump, belies its complexity. Dishing out more than a megawatt from the electric grid is no small feat, both in hardware and construction involved. BYD says it will make the rollout of the new charger a little easier by incorporating them into existing BYD charging banks, so that the infrastructure isn’t starting from scratch. Beyond that, BYD says it will use storage batteries at the charging sites to supplement the electrical grid, so the grid isn’t overloaded.
Advertisement
The Limits
Despite these impressive speeds, don’t expect BYD’s new system to change the game for EVs. “It’s a good, marginal improvement in technology,” says Gil Tal, who directs the EV Research Center at UC Davis’ Institute of Transportation Studies. “It’s not something that changes most people’s daily life.”
The first reason is practical. Today, most US EV owners have access to at-home charging and only use public fast-chargers on the occasional trip that stretches their 250-mile range. For those people, the difference between charging in 20 minutes and in 5 minutes might be close to negligible.
Looking for the most recent Wordle answer? Click here for today’s Wordle hints, as well as our daily answers and hints for The New York Times Mini Crossword, Connections, Connections: Sports Edition and Strands puzzles.
Some movies age gracefully. Others age into prophecy. Network did the latter and then some. When Sidney Lumet released this ferocious satire in 1976 from a venomously brilliant script by Paddy Chayefsky, audiences didn’t laugh it off as some cute exaggeration about television news. They squirmed. The film landed like a brick through the newsroom window; biting, unnerving, and uncomfortably close to the truth even then. Nearly fifty years later it feels less like satire and more like a documentary with better lighting. Cable news shouting matches. Personality driven commentary replacing journalism. A nonstop outrage cycle designed to keep viewers emotionally hooked. Chayefsky didn’t just understand television. He understood America’s appetite for spectacle long before the algorithms figured it out.
The story kicks off when aging news anchor Howard Beale, played with electrifying intensity by Peter Finch, learns he’s about to be fired because the ratings stink. Instead of fading quietly into retirement, Beale cracks on live television and promises to kill himself on the air during the next broadcast. Not exactly the sort of programming decision that wins industry awards. But something strange happens. Viewers tune in. Ratings spike. Suddenly the breakdown is good television. Enter Diana Christensen, played with ice-cold ambition by Faye Dunaway, a programming executive who sees Beale not as a problem but as a product. Soon he isn’t a journalist anymore. He’s a spectacle. A televised rage prophet urging viewers to open their windows and shout, “I’m mad as hell and I’m not going to take this anymore!” America listens. The ratings explode. The network cashes in. If this all feels familiar, it should, we’ve been living inside that feedback loop for decades.
The emotional backbone of the film belongs to William Holden as Max Schumacher, a veteran newsman clinging to the dying belief that journalism should still mean something. Poor Max. He’s the last adult in a room full of ratings addicts. One of the film’s most devastating scenes arrives when Max confesses his affair with Christensen to his wife, played by Beatrice Straight. Straight detonates with decades of frustration and heartbreak in a performance so raw it feels almost invasive to watch. The scene lasts only a few minutes but it anchors the film’s wild satire in something painfully real. Straight won an Academy Award for it, and rightly so.
Advertisement
For a moment the movie stops being about television and becomes about the collateral damage people leave behind while chasing ambition; the spouses ignored, the families sacrificed, the human wreckage left behind while the ratings climb. We’ve seen the modern version enough times: star anchors imploding, cable personalities flaming out on air, influencers chasing the next outrage clip while the cameras keep rolling. Careers burn, reputations collapse, and the audience moves on before the next commercial break. Lumet and Chayefsky knew the truth the media machine still pretends not to see or care about: behind every viral moment there’s usually someone paying the bill while the network or platform counts the clicks.
Then comes the speech that still rattles around in your skull long after the credits roll. Corporate executive Arthur Jensen, played with thunderous authority by Ned Beatty, summons Beale to a dimly lit boardroom and calmly explains how the world actually works. Nations are illusions. Democracy is window dressing. The real power belongs to multinational corporations. In 1976 Jensen name-checked IBM, Exxon, and AT&T. Today you could easily swap those out for Apple, Amazon, Google, Microsoft, and Meta and the speech would land even harder. Chayefsky understood that television news wasn’t simply reporting events anymore, it was becoming part of the corporate machine that shaped them.
And that’s where Network starts feeling downright uncomfortable in 2026. The film predicted the outrage economy decades before anyone put a label on it. Turn on the television today and it’s emotional theater twenty four hours a day. Panels yelling. Personalities performing. Headlines engineered to keep viewers angry enough to stay glued to the screen. The business model is simple: outrage drives engagement and engagement drives revenue. Diana Christensen figured that out in about thirty seconds. Calm reporting doesn’t trend. Anger does. Journalism slowly mutated into entertainment, and entertainment eventually became politics.
Watching Network today is like opening a time capsule that contains tomorrow’s headlines. It remains wickedly funny, brutally intelligent, and powered by one of the sharpest scripts ever written about American media culture. But what really hits is how little of it feels exaggerated anymore. Chayefsky saw the trajectory clearly: once outrage becomes profitable, it becomes irresistible. The cameras keep rolling. The ratings still rule everything. And somewhere in the digital noise of modern media, Howard Beale is still shouting into the void, mad as hell, begging the rest of us to wake up before the show consumes everything.
Advertisement
Criterion gives Network the kind of restoration treatment the film has long deserved. The new 4K digital restoration presents the movie in Dolby Vision HDR on a dedicated 4K UHD disc, with the film’s original uncompressed monaural soundtrack preserved intact. Lumet never intended this to be a sonic spectacle. This is a film powered by dialogue, and the restored mono track keeps Paddy Chayefsky’s machine gun script front and center where it belongs.
The restoration comes from a new 4K scan of the original 35mm camera negative and is presented in the film’s original 1.85:1 aspect ratio. Dolby Vision improves contrast and shadow detail, but the image still looks like film from the mid 1970s should look. Grain is intact. The newsroom lighting remains harsh and clinical. The endless televisions scattered around the sets finally reveal more texture and depth than older transfers ever managed.
Audio stays faithful to the original theatrical presentation. The uncompressed mono track is clean and focused, which matters because this movie lives and dies by the rhythm of Chayefsky’s dialogue. From Howard Beale’s televised sermons to Arthur Jensen’s thunderous boardroom lecture, every word lands with the bite Lumet intended. Criterion did not try to reinvent Network. They cleaned it up, respected the source, and delivered the sharpest home video presentation this film has ever had.
Criterion also includes a strong slate of supplemental material. Director Sidney Lumet provides a feature length audio commentary that offers insight into the film’s production, the performances, and the controlled chaos of Chayefsky’s dialogue heavy script. The set also includes Paddy Chayefsky Collector of Words (2025), a feature length documentary by Matthew Miele that explores the legendary screenwriter’s life and influence. For those who want deeper historical context, The Making of Network (2006), a six part documentary by Laurent Bouzereau, takes viewers inside the writing, casting, and cultural impact of the film.
Advertisement. Scroll to continue reading.
Advertisement
Movie Details
STUDIO: United Artists
FORMAT: Ultra HD 4K Blu-ray (February 24, 2026)
THEATRICAL RELEASE YEAR: 1976
ASPECT RATIO: 1.85:1
HDR FORMATS: Dolby Vision HDR
AUDIO FORMAT: LPCM Mono (48kHz, 24-bit)
LENGTH: 121 mins.
MPAA RATING: R
DIRECTOR: Sidney Lumet
STARRING: William Holden, Faye Dunaway, Peter Finch, Robert Duvall, Wesley Addy, Ned Beatty, Beatrice Straight
Gamers who remember sliding cartridges into their old Game Boy Color will feel right at home when they pick up the PicoPal. Its clear plastic shell displays all of the internal components while maintaining the classic shape and button layout of old. The small LEDs illuminate the directional pad and action buttons with customizable brightness, making them ideal for late-night gaming sessions when all you want to do is keep playing. And a 2.6-inch screen front and center displays lovely crisp colors on games that used to seem tiny on vintage Game Boys.
Hold the PicoPal and you’ll be surprised at how light and easy it is to slip into your pocket; it doesn’t feel like it’s going to bulge anytime soon. The buttons seem exactly right, with the firm tactile reaction that many players used to enjoy back then. The speakers are angled forward for good sound, but you can also use headphones if you prefer to be alone. A simple USB-C port on the side allows you to easily update and charge your device.
At the center of it all is a Raspberry Pi Pico 2 microcontroller. Some creative developers have managed to overclock it to 300 megahertz, allowing it to run through Game Boy and Game Boy Colour titles without lag. There’s a spare ESP32 chip ready for future wireless connections to be resolved. Games load directly from a microSD card, which can hold up to two terabytes if properly formatted, and the emulation software is based on some of the open-source projects available and appears to run everything just fine with a few tweaks to ensure it all works together smoothly across a wide range of titles.
It’s simple to navigate the menu and select a game, or to load up the last one right away, and you can even store your progress at any time and resume where you left off even if you turn the device off and on again. The deep sleep option preserves the last position you were in ready to go with little to no battery consumption. If you click one button when you turn it on, it can even function as a full-fledged MP3 player, streaming tunes directly from the same card with nice audio.
Battery life varies, however it can last anywhere from two to seventeen hours depending on screen brightness, volume, and whether the button lights are turned on or off. Most users appear to get approximately nine hours with the settings adjusted down slightly. There’s a decent solid DAC and amplifier combo that produces clean sound with no hiss or shaky bass. There’s even an IMU kicking around that can measure motion, possibly for future games or simply to show your G-forces during a vehicle journey.
Other nice touches include preserving screenshots as little files on the card and a fast-forward tool for sections that become repetitious. You may also choose from thirteen various color palettes or go with a lovely plain greyscale. With a rapid button combination, you can access the on-screen menu and change the brightness and other settings on the fly. The cartridge slot is now dormant, but there is plenty of area for future additions; you never know what they may come up with next.
For the truly dedicated makers, there are even more freebies, like a full open-source schematics firmware and a comprehensive bill of materials, allowing you to study the design, tweak the code, or even construct your own version. With future updates, you may expect the ESP32 to come to life for wireless connectivity and the like. Real-time clock support ensures that the time is kept accurate even after long interruptions.
If you’ve ever unlocked your iPhone at midnight, looking for a sleep playlist while already half asleep, Apple’s iOS 26.4 can make life easier for you.
The iOS 26.4 release candidate is here, and among several additions, it introduces something called Ambient Music widgets. These are mood-based playlists that you can play with a single tap on your home screen (on the widget).
9to5Mac
What moods can you choose from?
So, from now on, you don’t have to open the app, search for the required playlist, and go through the three-step journey through Apple Music’s menus. The widgets cover four broad mood categories: Chill, Productivity, Sleep, and Wellbeing.
You also get two widget sizes to pick from: the smaller widget features just one playlist (of your choice), while the larger version gives you one-tap access to all four moods at once. Both widgets are built on the Ambient Music feature, which first appeared in the Control Center.
However, now it rests front and center on your home screen, where it’s hard to miss.
Advertisement
Rachit Agarwal / Digital Trends
Can you customize what plays?
Yes, and Apple has made the process quite seamless. Apple includes built-in playlist presets for each mood. Sleep, for instance, offers options like Sleep Sound, Bedtime Beats, Sound Bath, and Plano Sleep.
However, if the curated options aren’t your thing, you can set your own custom playlists by long-pressing the widget and tapping “Edit Widget.” And before you even ask, the Ambient Music widget only works with Apple Music; it won’t benefit Spotify users.
The Ambient Music widgets are just a tiny part of the new iOS 26.4 update. The release candidate also brings a Playlist Playground feature, eight new emojis, urgent reminder flagging in the Reminders app, and a Purchase Sharing update for family users.
Microsoft is starting to rethink how much AI it really needs inside Windows 11, and that rethink includes dialing back Copilot. As part of its broader push to improve Windows quality, the company is reducing the number of Copilot entry points across the OS and its apps.
Microsoft
According to Microsoft, this rollback will begin with apps like Photos, Notepad, Widgets, and the Snipping Tool, where Copilot integrations had started to feel excessive. The change is part of a wider shift in Microsoft’s strategy of moving away from aggressively embedding AI everywhere and toward integrating it only where it actually makes sense.
Why is Microsoft pulling back on Copilot?
Let’s be honest, most users weren’t exactly thrilled with Copilot integrations. Over the past year, Microsoft has pushed Copilot into almost every corner of Windows, from the taskbar to system apps and even experimental features like notifications. But that approach hasn’t landed well with everyone.
Critics have pointed out that Copilot often felt forced, difficult to remove, and not always useful, especially when it showed up in places users didn’t ask for. Even internally, Microsoft seems to be acknowledging the feedback. The new statement suggests the company is now aiming to be more “intentional” about where Copilot appears, focusing on genuinely helpful experiences instead of everywhere by default.
This doesn’t mean Copilot is going away. Instead, the company wants it to feel more like a useful assistant rather than a constant presence. In practical terms, that could mean fewer pop-ups, fewer forced integrations, and more optional AI features. Recent updates also show Microsoft stepping back from automatically pushing Copilot into places like the Start menu or system notifications, signaling a broader course correction.
You must be logged in to post a comment Login