The fine can now potentially hit 99 million AUD, or $68 million.

In this week’s “Sunday Reboot,” Malcolm ponders why Apple TV doesn’t do game shows, and if it ever will properly work competition-based shows into its streaming service.

Anyone paying a subscription expects to get their money’s worth from their monthly outlay, especially when it comes to streaming services. I occasionally look at the collection that I pay for each month, and if I haven’t watched it enough in the last few months, it gets cancelled for a while.

This does help save a bit of money, but the one that I simply cannot do this to is Apple TV. That’s primarily because it’s in my Apple One subscription and I use everything else in the package a lot.

Since getting rid of Apple TV isn’t an option, I have to come up with reasons to actually watch stuff on it. That is surprisingly hard, because I’m not really a narrative-driven guy.

With the exception of Ted Lasso and rare viewings of light sci-fi, I can’t really get into the content Apple TV provides in a major way.

I believe the problem, at least for my particular viewing habits, is that Apple doesn’t do game shows.

It does do sports, certainly, and that would be considered competition in nature. But I’m discounting them as gameshows and reality competition shows are a different thing entirely.

I am very much a trivia nut, and I can get behind people doing tasks and competing in challenges. While I prefer “shiny floor” studio game shows, I’m not against reality competition shows either, and I even seek out the weird and wild ones, too.

My favorite is still Release the Hounds, which had people take on horror-themed tasks before trying to outrun dogs for money. As in real dogs chasing after and taking down the contestants.

A close second is the much lighter and family-friendly “Chef and My Fridge” on Netflix.

This is all stuff that Apple TV shies away from almost entirely. You certainly won’t be able to find an Apple Original trivia show on the service at all.

Three Whammies

Apple has, so far, produced three competition shows in its long-form programming history. Just three, and that’s if you stretch the definition a tiny bit.

None of them was what you could refer to as a smash hit at all.

The earliest, which predates Apple TV, was 2017’s Planet of the Apps. While Apple TV didn’t exist, it premiered on CNBC and was also available on Apple Music and iTunes.

It was a painfully obvious idea. A Shark Tank-esque show promoting app development by making people pitch apps that they thought could make them tons of money.

It was also a pretty bad show to watch, with developers trying to make Gary Vaynerchuk, Jessica Alba, Gwyneth Paltrow, and Will.I.Am care about their “great” idea. Really, the less remembered about it, the better.

Apple’s second real attempt, first for Apple TV itself, was My Kind of Country in 2023, which attempted to take on The Voice. Country singers around the world were gradually eliminated until one person won $100,000 and promotion on Apple Music.

This, again, makes sense for Apple to create, since it does the whole Apple Music thing.

But it evidently wasn’t enough of a hit to warrant a second series. It hasn’t officially been cancelled, but it’s also not been renewed either.

Door number three is Kpopped, which again is music, but barely counts as a competition show. Capitalizing on the K-pop wave, it combined established groups with Western artists, gave them 48 hours, and made them perform to an audience.

There is a vote to determine who did the best, so there is technically a competition aspect at play. But really, it’s an excuse to show established Western artists like Megan Thee Stallion, the Spice Girls, Kesha, and Kylie singing alongside K-pop groups like Billie and Itzy.

It’s basically fluff and an attempt to cash in on a global trend. Again, can’t really fault Apple for trying.

What we can fault Apple for is not trying enough.

Rivals

Pretty much every major streaming service has some form of game show or competition reality show on its current roster. I also don’t just mean shows from their imported back catalogs, but originals commissioned by the streaming services themselves.

Amazon’s got the Mr Beast-fronted Beast Games along with Last One Laughing, the James Bond-themed 007: Road to a Million, and a season of Pop Culture Jeopardy.

Netflix is far more prolific and is also very successful with its own content. You have skill-based shows like Blown Away and Is It Cake?, and physical competition shows such as Physical 100 and Floor Is Lava.

Its more cerebral content includes The Devil’s Plan, Million Dollar Secret, and the service-switching Pop Culture Jeopardy. Offbeat reality competition is also there with the decent Zombieverse, the middling Squid Game: The Challenge, and the throw-away Snowflake Mountain.

Disney+ is a bit of a different story, in part due to it pulling content from TV channels and studios it owns, which typically go on normal broadcast television first. The original programming side of things is a bit thin, but there was Star Wars: Jedi Temple Challenge, which was an attempt at a kids’ gameshow based on the film franchise.

It didn’t really work that well, but at least Disney tried.

Game show economics

Game shows and reality shows have a lot of aspects that studios like. That includes the relatively low per-episode cost to produce a season of a show.

For a studio quiz, you only need one small set, which is really cheap if it’s a long-running show. Reality competition shows need a lot more, but far from the scale of what is needed for a high-budget drama.

Staffing is also relatively cheap compared to scripted programming, as the prize contestants fight over can be less than the total cost of a bunch of actors and extras.

Studio quizzes are also cheaper in terms of crew costs, as you can get multiple episodes in the can in a day. Short production times save money.

The economics of a game show, even one with a big six or seven-figure cash prize, make it that the cost of production is lower overall. If you’re careful, you can create multiple game shows for the same cost as one mid-size dramatic production.

That reality makes it easy for someone like Netflix to churn out multiple competition shows, in the hope that a few become hits. It’s worked for decades on broadcast television, and also for Netflix.

Quality, not quantity

While I can wish for Apple to do some decent game show-like content on its streaming platform, it’s something that probably won’t ever happen.

Since the beginning of Apple TV+, years before losing the plus, it had a remit to offer high-quality programming to viewers. In one early interview, then VP of Software and Services Eddy Cue was adamant that Apple was working on “creating the best” content instead of “creating the most.”

This is a strategy that has served Apple TV very well. Over the years, it has become known as a dramatic powerhouse, winning many awards and accolades in the process.

It even recently led to Cue, now SVP of Services and Health, to be named the 2026 Entertainment Person of the Year at Cannes Lions.

Evidently, he knows what he’s doing.

Apple is not in the business of being cheap with production. It does not believe in the shotgun approach to content, as it strives to make everything that comes through its doors a hit.

Unless there’s a sudden turnaround in strategy from Cue or someone else in Apple’s leadership team, it’s a policy that it will maintain for the foreseeable future.

Game shows, sadly, have no place on Apple TV. No question about it.

Last week’s Sunday Reboot discussed Beats beating FIFA at the advertising game and GymKit on iPhone.

In the past two years, businesses have been trying to fit large language models (LLMs) into support, analytics, development, and internal automation like never before.

Along with the increasing adoption of AI technology, another trend is gaining momentum — cybercriminals are taking advantage of the disconnect between assumptions about LLMs and their actual characteristics.

In 2025 and 2026, several independent sources have highlighted the same trend: Prompt injection remains one of the most impactful and widely demonstrated attack vectors against LLM systems. The OWASP LLM Top 10 (2025) lists prompt injection as LLM01, identifying it as the most critical category of LLM‑specific vulnerabilities, for the second consecutive edition. OWASP’s ranking reflects the fact that LLMs still struggle to reliably separate instructions from data, making them susceptible to manipulation through crafted inputs.

CrowdStrike’s 2026 Global Threat Report — built on frontline intelligence across more than 280 tracked adversaries — documented that threat actors injected malicious prompts into legitimate generative AI tools at more than 90 organizations in 2025. They then used those injections to generate commands that stole credentials and cryptocurrency. The report stated it plainly: “Prompts are the new malware.” AI-enabled adversaries increased their overall attack volume by 89% year-over-year, with prompt injection working as both an entry point and a force multiplier.

Real‑world incidents illustrate the operational impact. In August 2024, researchers at PromptArmor disclosed a prompt injection vulnerability in Slack AI that allowed an attacker to exfiltrate data from private Slack channels they had no access to — including API keys shared in private developer channels — by placing a malicious instruction in a public channel or embedding it in an uploaded document.

In June 2025, researchers at Aim Security disclosed EchoLeak (CVE-2025-32711, CVSS 9.3), the first documented zero-click prompt injection exploit against a production AI system, targeting Microsoft 365 Copilot. By sending a single crafted email, no user interaction required, an attacker could cause Copilot to access internal files and transmit their contents to an attacker-controlled server.

Both vulnerabilities were patched. These incidents underscore the fact that prompt injection is not a theoretical weakness but a practical, repeatable threat organizations must address as they deploy AI systems at scale.

Prompt injection techniques have undergone major evolutions over recent years, now targeting multi-agent architecture, retrieval-augmented generation (RAG) pipelines, model routers, and long-term memory capabilities.

The enterprise challenge: Too much trust

Businesses deploy LLMs to process instructions, summarize information, and trigger automated workflows, but it is difficult for LLMs to tell:

This creates an opportunity for attackers to manipulate and influence the model’s behavior, either directly or indirectly.

Modern prompt injection

Cross-model prompt injection

LLM use is a common practice among enterprises. Attackers corrupt the output of a particular model, knowing well that other models would be processing the content. Hence, the corruption propagates through all AI systems.

RAG supply chain poisoning

Attackers create malicious information — documentation, blog articles, GitHub READMEs. Then they wait until this malicious information is ingested in enterprises’ RAG pipelines, then use it as an attack vector.

Agent hijacking

AI agents have evolved to the point where they can send emails, modify cloud infrastructure, execute code snippets, and interact with internal corporate systems. It takes just a single instruction to make agents act differently in a harmful manner.

Context overflow attacks

With the help of million-token context windows, attackers place malicious code within the document and hope that an LLM will stumble upon it and execute it, thus overriding all previous instructions.

Memory poisoning

Due to the implementation of long-term memory in LLMs, attackers can inject instructions that permanently reconfigure their state.

Model‑router manipulation

Enterprises increasingly use model routers to select between multiple LLMs. Attackers craft prompts that force routing to the weakest or least‑guarded model.

Why this matters for business leaders

Prompt injection is not a theoretical problem. It directly affects:

• Customer‑facing systems (chatbots, support agents)

• Internal copilots (developer tools, security assistants)

• Automation workflows (ticketing, cloud operations, HR processes)

• Data governance (RAG pipelines, knowledge bases)

The risk is no longer limited to “the model said something it shouldn’t.”

In 2026, prompt injection can:

• Trigger unauthorized actions

• Leak sensitive data

• Corrupt internal workflows

• Manipulate analytics

• Alter business logic

• Compromise multi‑agent systems

The attack surface has expanded dramatically.

What enterprises should do now

1. Constrain model permissions

Limit what the model can do, not just what it should do.

2. Segment untrusted content

Treat all external data — including RAG sources — as potentially hostile.

3. Monitor tool invocation

Require human approval for high‑impact actions.

4. Validate content provenance

Ensure RAG pipelines don’t ingest poisoned external content.

5. Harden model routers

Prevent attackers from forcing routing to weaker models.

6. Treat LLMs as untrusted components

This mindset shift is the foundation of modern AI security.

The bottom line

Prompt injection remains the most effective way to compromise enterprise AI systems because it exploits the fundamental way LLMs interpret text. Until organizations treat LLMs as untrusted interpreters — not autonomous decision‑makers — prompt injection will continue to dominate the AI threat landscape.

Julie Brunias is an AI Security Architect.

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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.

Today’s Wordle puzzle came together fairly quickly for me. If you need a new starter word, check out our list of which letters show up the most in English words. If you need hints and the answer, read on.

Read more: New Study Reveals Wordle’s Top 10 Toughest Words of 2025

Today’s Wordle hints

Before we show you today’s Wordle answer, we’ll give you some hints. If you don’t want a spoiler, look away now.

Wordle hint No. 1: Repeats

Today’s Wordle answer has no repeated letters.

Wordle hint No. 2: Vowels

Today’s Wordle answer has two vowels.

Wordle hint No. 3: First letter

Today’s Wordle answer begins with C.

Wordle hint No. 4: Last letter

Today’s Wordle answer ends with E.

Wordle hint No. 5: Meaning

Today’s Wordle answer can refer to something constructed in a basic or rough way.

TODAY’S WORDLE ANSWER

Today’s Wordle answer is CRUDE.

Yesterday’s Wordle answer

Yesterday’s Wordle answer, June 28, No. 1835, was EMCEE.

Recent Wordle answers

June 24, No. 1831: QUEER

June 25, No. 1832: UNITY

June 26, No. 1833: ACUTE

June 27, No. 1834: SCOOP

Streaming ads might be getting a lot quieter this week.

A California law banning streaming services from showing ads “louder than the video content” that they accompany is set to take effect on Wednesday, July 1. (Existing legislation already imposes similar volume restrictions on broadcast and cable TV commercials.) 

Ars Technica notes that streaming services have not shared additional details about how they plan to comply with the law. While the volume limitations only apply to California for now, it seems likely that any relevant changes would be deployed more broadly, especially with a similar bill set to take effect in Illinois next year.

When the law was passed in 2025, its sponsor, State Senator Thomas Umberg, said it was inspired by “every exhausted parent who’s finally gotten a baby to sleep, only to have a blaring streaming ad undo all that hard work.” 

Industry groups including the Motion Picture Association of America and the Streaming Innovation Alliance opposed the bill, claiming streamers were already working to address the issue, and noting that they have to deal with a variety of output devices, including TVs, tablets, and phones.

T.H.E. Show SoCal 2026 was not overflowing with affordable hi-fi or easy, impulse-buy review candidates. The strongest rooms were largely dealer and distributor showcases built around each brand’s newest, most ambitious, and usually rather expensive gear. That made for some excellent demonstrations, but also raised the obvious question: which component was actually responsible for making each system sound so special?

The ATC EL50 Anniversary Edition certainly made an impression again, but it is not on this list because a pair is already planned for review later this summer; the Costa Mesa system was also more of a continuation of the excellent AXPONA demonstration than a new reveal. We are also covered with the Atlantis Lab AT 23 PRO and Neoson Evolution, both of which Will Jennings is already reviewing. No need to have three people circling the same runway.

Every product on this list came from one of the show’s best sounding rooms. That does not automatically mean each was the star of the system. Great rooms are the result of careful matching, setup, source material, and enough expensive supporting gear to make a small nation nervous. These are the eight products we most want to get into a proper listening room to determine whether they were truly the reason those systems stood apart, or simply fortunate passengers in a very good hotel-room ride.

Audio Note OTO Phono SE 35 Silver Signature (U.S. pricing on request)

The Audio Note OTO Phono SE 35 Silver Signature was the amplifier that stood out in the Audio Note room at T.H.E. Show SoCal 2026, driving the AN E SPe HE loudspeakers. It is not the base OTO SE 35 covered in our March launch report, and it should not be priced as one. The $5,950 figure applies to the entry-level OTO SE 35 range, while the standard OTO Phono SE 35 begins at $6,790. The Silver Signature shown in Costa Mesa sits at the top of the phono-equipped OTO hierarchy, with U.S. pricing available through authorized dealers.

Like every OTO SE 35, it is an 8-watt-per-channel, Pure Class A, parallel single-ended EL84 integrated amplifier with an onboard MM phono stage. The 35th Anniversary update adds a redesigned in-house output transformer, revised choke-regulated power supply, new mains transformer, updated power amplifier board, and improved internal wiring and shielding. The phono stage was also reworked so Audio Note could remove the additional line stage used in earlier phono versions, reducing noise and preserving phase integrity.

The Silver Signature version goes considerably further than the standard amplifier. It adds upgraded selector switches and internal cabling, copper-foil signal capacitors, Standard, Seiryu, and Kaisei electrolytic capacitors, non-magnetic Tantalum and Silver Niobium resistors, an I HiB-core mains transformer and choke, and S HiB-core output transformers. That is not a cosmetic anniversary package. It is the fully developed version of the new OTO platform, and the obvious review question is whether those upgrades make it meaningfully more compelling than the standard and Signature versions once it leaves the carefully matched Audio Note room.

E.A.R. 88PB Phono Preamplifier ($6,295)

The E.A.R. 88PB was part of the PranaFidelity room, feeding the company’s purna/ma amplifier from a Merrill-Williams R.E.A.L. 101.3 turntable fitted with a Breuer Dynamics tonearm and OTTA Theorbo moving-coil cartridge. The Satmata loudspeaker itself remains a prototype, which removes it from review consideration for now. The 88PB does not have that problem. It is a real product, available now, and one of the more interesting phono stages at the show because it offers enough flexibility to serve as the centerpiece of a very high-end analog system rather than another expensive box chained to a preamp.

For $6,295, the E.A.R. provides two RCA inputs: one MM-only input and one switchable MM/MC input with internally adjustable moving-coil gain and loading. It also includes a volume control, a buffered output stage, transformer-coupled balanced and single-ended outputs, and a mono switch. That means it can run directly into a power amplifier in a one-source vinyl system. The E.A.R. name still carries weight because Tim de Paravicini designs were never about turning vinyl playback into a laboratory experiment. The 88PB deserves a review because it could be both an exceptional phono stage and a genuinely useful control center for analog-first listeners.

Prodigio Audio WR2 Electrostatic Loudspeakers ($38,000/pair)

Formerly known as Popori Acoustics, Prodigio Audio’s WR2 Arrabona electrostatic loudspeakers were among the most visually and sonically memorable products at the show. The Hungarian-made panels were demonstrated with AGD electronics, REL S/850 subwoofers, and Theoretica’s BACCH-SP adio processing. That is not a casual supporting cast. It was one of the show’s more carefully assembled systems, and the point of a proper review would be determining how much of that stunning transparency and spatial scale came from the WR2 itself rather than the processing, amplification, and very effective bass reinforcement.

The WR2 is specified at 91dB sensitivity, with a minimum impedance of 2.5 ohms, a claimed 35Hz to 22kHz frequency response, and a substantial 0.45-square-meter electrostatic panel. At almost six feet tall and 37 kilograms per speaker, these are not small-room ornaments, although Prodigio positions them for small to medium-sized rooms. Electrostatics can produce startlingly clean midrange and transient speed, but they can also expose weak amplifier matching, room placement, and limitations at the frequency extremes. At $38,000 per pair, the WR2 needs to prove that its appeal extends beyond the calibrated center seat and a very expensive hotel-room ecosystem.

Zesto Athena DAC ($15,000)

The Athena DAC was the newest and most obvious review candidate in the Zesto and YG Acoustics room. It was joined by the Leto Ultra II preamplifier, Eros 500 Select monoblocks, and YG Sonja 3.2 loudspeakers, a chain that had more than enough resolution to reveal whether the DAC was pulling its weight. The sound was not the usual tube-system caricature of softened transients and overripe warmth. It was focused, controlled, detailed, and tonally composed, which made the Athena more interesting than another component sold on the promise of “analog-like” digital playback.

At $15,000, the Athena uses a ROHM conversion chip with a Class A dual-mono tube output stage, transformer-balanced XLR outputs, RCA outputs, and Zesto’s external ESP power-supply architecture. It accepts PCM to 32-bit/384kHz and DSD512 through seven digital inputs, including USB, AES/EBU, coaxial, optical, and I2S. The design operates without upsampling, uses no negative feedback in its output stage, and offers selectable filter behavior. The show demonstration also made an interesting case for restraint: the move from DSD128 to DSD256 was less dramatic than the step from DSD64 to DSD128. That is precisely the sort of claim worth testing in a real system rather than accepting because the rack costs more than a decent home.

Odyssey Meilenstein Monoblocks ($12,900/pair)

Odyssey Audio’s new Meilenstein monoblocks were central to one of the show’s most memorable rooms, driving Odyssey Lorelei loudspeakers in a setup that ignored almost every conventional hotel-room placement rule. The speakers were positioned close to the side walls and well into the room, yet the system produced unusually convincing depth, image focus, and scale. The room treatment clearly mattered, and the loudspeakers were not innocent bystanders, but the Meilensteins were the obvious component to investigate because they appeared to bring a different level of control and dimensionality to the system.

The published information is still limited because these are genuinely new products, which is all the more reason to review them properly. Pricing has been listed at $12,900 per pair, with output reported at roughly 160 to 180 watts per channel in monoblock form. Odyssey has positioned Meilenstein as a more ambitious line above its established Stratos and Kismet products, with revised power-supply regulation, new boards, different transistors, upgraded German transformers and capacitors, and a more luxurious build approach. That all sounds promising, but it also means the review has to look beyond a good show result: noise floor, thermal behavior, long-term reliability, speaker compatibility, and whether the performance justifies a serious jump in price.

REL Carbon Special Black Label Subwoofers ($4,999 each)

The REL Carbon Special Black Label six-pack was the surprise of the Acora and VAC room because it did not behave like a six-subwoofer bass demonstration. Three units were stacked behind each Acora MRC-3 loudspeaker, creating a $29,994 low-frequency array that added scale, weight, and authority without turning the system into a self-parody. The subs did not call attention to themselves. They expanded the apparent size of the system, increased the solidity of images, and allowed the Acoras to sound more like genuine full-range loudspeakers without sacrificing speed or clarity.

Each Carbon Special Black Label uses a 12-inch carbon-fiber active driver, a 12-inch down-firing passive radiator, and a 900-watt Linear Class D amplifier. REL rates low-frequency extension to 19Hz at minus 6dB, and the subwoofer supports high-level Speakon connection, low-level RCA, LFE RCA, and XLR. More importantly, it is designed for stereo pairs and vertical line arrays. Most listeners will not be stacking six $5,000 subwoofers behind their speakers unless the accountant has left the building, but the show demonstrated why REL’s multi-sub approach matters. A review should determine how much of that scale and coherence remains with one subwoofer, a stereo pair, or a more realistic system built around normal human finances.

Wolf von Langa WVL 11620 ORGANIC Loudspeakers ($39,995/pair)

The Wolf von Langa WVL 11620 ORGANIC loudspeakers arrived in one of the show’s most elegant rooms. Paired with Cinnamon’s Malabar VLF bass system, SW1X electronics, and a formidable analog front end, the German field-coil loudspeakers delivered natural vocal presence, tonal color, low-level detail, and an almost disarming sense of musical flow. It was not a room trying to bludgeon listeners with dynamics or treble extension. The system had finesse, which was refreshing after too many rooms that confused volume with authority.

The ORGANIC is unusual because Wolf von Langa’s energized field-coil transducer is designed to operate in a mechanically decoupled or suspended arrangement within a purpose-built acoustic labyrinth. The company’s goal is to reduce unwanted energy transfer into the cabinet and preserve a more natural sense of depth and detail. That is an ambitious claim, and the nearly $250,000 show system makes it impossible to declare the speakers solely responsible for the result. Still, the ORGANIC is a serious candidate for review because field-coil loudspeakers are rare, low-power tube compatibility remains a major attraction, and the show suggested that Wolf von Langa may have created something more than another expensive statement piece for people with German sports-car money.

Tonian Labs Oriaco D6 Loudspeakers ($6,300/pair)

The Tonian Labs Oriaco D6 loudspeakers were the outlier on this list in the best possible way. At $6,300 per pair, they were one of the few products from a Best in Show room that did not require a trust fund, a hedge fund, or a spouse with very poor eyesight. Tony Minasian paired them with Denon’s PMA-3000NE integrated amplifier and a vintage Marantz CD player, creating a system that still reached five figures once stands, cables, and source components were included, but that was comparatively sane at an event dominated by six-figure stacks.

The D6 is a bass-reflex stand-mount with a 6-inch Fostex full-range driver, a front-mounted 1-inch Lavoce soft-dome tweeter, and a top-mounted 1-inch SB Acoustics soft-dome ambient tweeter in a shallow horn. It is specified at 91dB sensitivity, 8-ohm nominal impedance, and 57Hz to 30kHz. The combination is unconventional, but the appeal is easy to understand: the D6 delivered fast transients, natural decay, convincing vocal placement, and a sense of ease that made it sound larger than its compact cabinet should permit. The review question is straightforward: can the Oriaco D6 retain that balance of speed, tone, and image specificity in a normal room with normal recordings, or was Tony’s room simply one of those rare show setups where every piece landed exactly right?

Related Reading:

Electronics prices keep climbing, which makes it harder than ever to find a capable 4K drone that feels worth the money. The DJI Neo priced at $139 (was $199), stands out by offering stabilized video, smart flight modes, and true ease of use at a starting price near two hundred dollars, with frequent sales bringing it even lower.

Weighing just 135 grams, this drone fits conveniently into a jacket pocket or small bag without the need to fold it. Its built-in propeller guards protect the blades from damage while also keeping people’s heads and confined places safe from collisions. People love this device because it’s small enough to carry anyplace, can be launched from the palm of your hand, and shoots straight up into the air with a quick push of the mode button. After the flight, simply catch it with the same hand you released it with, no need to set up large drones and controls like you normally would.

Sale

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• Lightweight and Regulation Friendly – At just 135g, this drone with camera for adults 4K may be even lighter than your phone and does not require FAA…
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The camera on this little machine is rather impressive, with a 1/2-inch sensor recording some seriously good 4K video at 30 frames per second. The electronic stabilization, along with the single axis gimbal, does an excellent job of keeping pictures stable even when the camera is moving. It works well for social clips, trip vlogs, and simple landscape photos, albeit it falls short in low-light settings when compared to larger models.

With the QuickShots feature, you can achieve the pro-cinematic look without having to learn how to fly the thing manually first. Simply tap on one of the choices in the DJI fly app and you’ll be able to circle a subject, rocket straight up, or perform a dolly zoom effect. If you want to follow someone or something around, the subject tracking feature makes it simple, making it ideal for solo aerial selfies and action photos.

When everything goes to plan, the battery lasts roughly 18 minutes, but most users plan shorter flights based on what they are doing. Internal memory can hold approximately 40 minutes of 4k video, so transfer your files to your phone via the app after each journey, as there is no memory card port to insert one. Don’t worry about control, since the regular package works through the phone app over wifi for basic flights and tracking; throw in an optional RC-N3 controller and you get a bit more range and more precise control, and some settings even allow you to conduct gestures for completely hands-free.

This drone, with level 4 wind resistance, can withstand a gentle breeze without breaking a sweat. It also features GPS and downward vision sensors to ensure that it hovers steadily and comes home when instructed, and it weighs less than 250 grams, eliminating the need to register it anywhere.