Sonance has spent decades perfecting the art of making loudspeakers disappear into walls and ceilings. At CEDIA Expo 2026, James by Sonance is doing something almost impolite: putting them back on the wall and making sure you notice the woodwork.
The new James by Sonance Natural Collection combines thin on-wall loudspeakers with handcrafted wood finishes, woven fabrics and dimensions designed to visually align with Samsung’s 2026 The Frame and The Frame Pro televisions.
Rather than hiding behind drywall or adding another black plastic soundbar beneath an expensive display, James treats the loudspeaker as part of the room.
Leon Speakers has pursued a similar idea for years with custom-width soundbars and television framing systems, while Canvas HiFi integrates amplification, DSP and loudspeakers into a complete active TV audio solution. James takes a more traditional custom-install approach, giving integrators passive loudspeakers that can be incorporated into larger systems without looking like an afterthought.
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For homeowners who have already spent considerable time selecting the right wood, stone, lighting and fabric for a room, that makes a lot of sense.
The 19 black boxes in the equipment rack can stay hidden.
What Is the James Natural Collection?
The Natural Collection consists of two primary loudspeaker platforms, the NC3 and NC5QT, plus the matching NC10-SUB subwoofer.
Both speaker families are just 2 inches deep and are available in horizontal and vertical configurations. James offers models dimensionally aligned with Samsung’s 2026 The Frame and The Frame Pro televisions in 55, 65, 75 and 85-inch sizes.
The HTL, or Horizontal Thin-Line, versions can be configured as a single channel, stereo L/R system or three-channel L/C/R speaker. VTL, or Vertical Thin-Line, models operate as individual channels and can flank the display for greater left/right separation.
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James also offers non-TV-specific versions starting at 19.75 inches for the NC3 and 23.25 inches for the NC5QT.
The important point is flexibility. This isn’t simply a soundbar built for Samsung televisions; the same speaker architecture can be adapted to different displays, room layouts and multichannel systems.
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NC3 (front) and NC5QT (back)
NC3: The Slimmer Option
The NC3 is the smaller of the two platforms and uses a 3.5-inch shallow-depth Thin-Line waveguide driver paired with an aluminum tweeter.
Sonance has not yet published complete electrical specifications for the Natural Collection, including frequency response, sensitivity, nominal impedance or recommended amplifier power. We are therefore not going to borrow numbers from existing James SPL3 products simply because the driver dimensions look similar.
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Same company does not mean same loudspeaker.
NC3 is clearly intended for installations where visual discretion matters most, particularly smaller rooms or displays where the larger NC5QT would dominate the wall.
NC5QT: Quadratech Steps Up the Performance
The NC5QT moves to a larger 5.25-inch driver and adds James’ Quadratech tweeter technology, positioning it as the higher-performance option for larger rooms and systems that require greater output.
James’ existing Quadratech designs use multiple tweeter elements and controlled dispersion to create broader, more consistent coverage. Current QX models, for example, use four dome tweeters rather than a conventional single tweeter, although Sonance has not disclosed enough technical information about the Natural Collection implementation for us to assume the architecture is identical.
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That distinction is important. NC5QT may look like a lifestyle product, but James has decades of experience squeezing substantial loudspeaker systems into architecturally difficult spaces.
We’ll need the final frequency response, sensitivity, impedance and power-handling specifications before judging just how ambitious NC5QT really is.
NC10-SUB: Bass Without the Black Cube
The matching NC10-SUB uses a 10-inch woofer and follows the same design language as the loudspeakers.
More interestingly, Sonance is not assuming everyone wants another large black cube parked beside the credenza. The NC10-SUB can be wall-mounted, installed on a pedestal or positioned horizontally beneath furniture, giving integrators more options for placing bass in rooms where conventional subwoofers can become a visual problem.
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The subwoofer is offered in the same five cabinet finishes as the speakers.
Sonance has not yet published complete specifications for the NC10-SUB, including frequency response, amplifier requirements or maximum output. Until those numbers appear, the fact that it has a 10-inch driver tells us considerably less than some marketing departments would prefer.
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Physics remains annoyingly unwilling to read press releases.
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The Materials Are the Point
Modern Brown and Modern Teak use genuine wood veneer, while Modern White, Modern Black and Sand Golduse painted wood. The products are handcrafted at the James facility in Minden, Nevada, where the company handles machining, carpentry, fabrication, finishing and testing.
There are also nine woven fabric grille options, allowing the speakers to coordinate with furnishings rather than merely match the television.
For designers who still cannot find the right material, James offers a Designer Fabric Frame that allows third-party fabric to be applied on-site. If the interior designer has already selected upholstery that costs more per yard than your first stereo system, the speakers can join the party.
The design strategy also aligns with Samsung’s television finishes. Samsung offers Modern White, Modern Teak and Modern Brown bezel options for The Frame, giving installers obvious starting points for a coordinated installation.
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Why Is This Different?
The Natural Collection is not unique because James discovered wood veneers or figured out how to build a speaker beside a television.
Its advantage is system flexibility.
A designer can specify a single horizontal speaker, stereo configuration, full L/C/R array, separate vertical channels and a visually coordinated subwoofer while retaining the same materials throughout the room. Because the speakers are passive, the installer also remains free to choose amplification, processing and system architecture.
That separates James from most lifestyle soundbars and active TV audio systems, where the electronics, channel configuration and upgrade path are largely predetermined.
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In other words, the Natural Collection isn’t trying to make traditional installed audio obsolete.
It’s trying to make it look considerably better.
Three Main Competitors
Leon Speakers FrameBar
Leon Speakers is the obvious competitor and arguably the company James has to worry about most.
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Leon has been building custom-width loudspeakers around televisions for years, and its current FrameBar family can be manufactured to match the exact width and finish of Samsung The Frame televisions. The FrameBar Minima starts at $2,300 and uses 2.5-inch woofers with cloth-dome tweeters, while larger FrameBar models use 4-inch woofers and 1-inch tweeters.
More importantly, Leon recently introduced the $5,750-and-up FrameBar Ultima, which moves into considerably more ambitious territory with 5-inch woven polypropylene woofers and 1-inch cloth-dome tweeters. Leon also offers its own television framing systems, designer fabrics and matching installation hardware.
Leon therefore has a more mature ecosystem surrounding the television itself.
James counters with a broader range of passive speaker configurations and a matching subwoofer, giving an integrator more freedom to build a traditional multichannel system while maintaining the same visual language throughout the room.
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The competition between these two should become rather interesting because they are solving almost exactly the same interior-design problem from slightly different directions.
Canvas HiFi
Canvas HiFi competes for the same design-conscious customer, but with an active, all-in-one approach rather than passive loudspeakers.
The original CANVAS is designed for TVs from 55 to 85 inches and combines amplification, DSP, room correction, streaming and loudspeakers in one system. Interchangeable fronts and a universal mounting system allow it to visually integrate with Samsung, Sony, LG and other televisions.
The pending release of CANVAS L in late-2026 scales that concept up for 65 to 115-inch TVs, adding larger drivers, more powerful amplification and BACCH 3D+ spatial processing for substantially greater output.
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Samsung integration is particularly relevant here. Canvas offers The HiFi Frame, which visually combines compatible Samsung TVs with the speaker system inside a single exterior frame. CANVAS L will also offer a Samsung-specific HiFi Frame option for larger displays.
We have heard both Canvas systems and came away impressed. But the philosophy is different: Canvas wants to replace much of the traditional audio system, while James preserves the flexibility of separate amplification, processing and channel placement.
For buyers who want the TV and audio system to look like one object, Canvas is the more integrated solution. James offers greater system flexibility.
Its sb65 and sb75 passive soundbars are dimensioned around corresponding 65- and 75-inch televisions and are built as genuine three-channel loudspeaker systems rather than conventional consumer soundbars.
The sb75, for example, contains six 5-inch carbon-fiber woofers and three 1.4-inch AdvancedPoly compression drivers divided across three separate ported enclosures. Theory specifies up to 117dB output per channel and more than 124dB with all three channels driven, although the speaker requires three channels of a Theory amplified loudspeaker controller with the correct DSP processing.
That is formidable hardware.
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The catch, from the Natural Collection perspective, is aesthetics. Theory’s aluminum soundbars are unapologetically loudspeakers and are offered in black. James is making a much larger play for the designer who wants wood, fabric and dimensional integration to matter as much as output.
If performance is the only criterion, Theory deserves serious consideration.
If someone has already spent 45 minutes deciding between Modern Teak and Modern Brown, we probably know which meeting we are in.
The James Natural Collection fills a genuine gap between architectural audio and premium soundbars.
Leon remains the most established rival for custom television-matched loudspeakers, while Canvas HiFi offers a compelling all-in-one alternative for buyers who do not want conventional amplification or processing. Theory Audio Design attacks the same wall space with considerably more emphasis on maximum output.
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James offers something different: the flexibility of a traditional passive loudspeaker system without forcing the room to look like one.
The unanswered questions are performance and price. Sonance still needs to publish complete electrical specifications, and we don’t yet know what the various sizes, configurations and finishes will cost.
But the underlying idea is sound.
If someone has already spent five figures designing a room around a television, telling them their audio choices are either holes in the drywall or a long black rectangle underneath the screen feels increasingly unimaginative.
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James now has another option.
Price & Availability
James by Sonance has not announced public U.S. consumer pricing for the Natural Collection.
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Authorized Sonance dealers in the Americas can begin placing preorders now, with the collection introduced at CEDIA Expo 2026. Sonance says the broader global launch is scheduled for Q1 2027.
Given the number of available lengths, channel configurations, finishes and grille options, dealer-based pricing is hardly surprising. These are custom-install loudspeakers rather than mass-market soundbars sitting next to the HDMI cables at Best Buy.
Multiple lawsuits have been filed against identity verification company IDScan after hackers allegedly breached the service and offered to sell more than 153 million driver’s licenses.
Several law firms, including Markovits, Stock & DeMarco, and Hall Attorneys, have also launched investigations into potential class-action litigation related to the reported security incident at IDScan.
Brian Krebs originally reported on September 1 that a dark-web identity-theft service called “Nexus” advertised access to more than 153 million U.S. and Canadian driver’s license scans, 10 million ID cards, 3 million travel documents, and 579,000 medical cards.
Krebs verified the samples by searching the database for his own records and those of other individuals who had consented to the checks, and tracked the leak to IDScan.
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IDScan is an identity verification technology company that provides hardware and software solutions for businesses to scan, authenticate, and extract information from government-issued identity documents.
Its systems are used across the U.S. in car rental firms, retailers, gun shops, financial institutions, cannabis dispensaries, and hospitality establishments.
The company has not published any statements about these allegations, and it did not respond to BleepingComputer’s requests for comments.
Currently, it is unclear if IDScan’s systems were compromised or the number of impacted individuals.
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Krebs also reported that the FBI’s New Orleans office has launched an investigation into the incident, which Reuters also confirmed independently.
The agency has also confirmed for BleepingComputer that it is looking into the incident. However, the FBI declined any further comment due to the ongoing nature of the investigation.
The illegal service Nexus is no longer online. However, cybercriminals still have access to the database.
BleepingComputer learned that the service included documents belonging to U.S. Secretary of Defense Pete Hegseth and an assistant director of the FBI, but we could not verify the information.
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The lawsuits were filed in Louisiana, where IDScan is based, and allege that IDScan failed to protect information from its clients, such as global car rental company Hertz.
According to Markovits, Stock & DeMarco, IDScan has started to notify some business customers around September 1st.
The law firm says people whose IDs were scanned through businesses using IDScan’s systems may be affected, and is seeking potential claimants for a possible class-action case.
Given the incident’s potential scale, additional lawsuits—including potential class actions—could be filed, and related cases could eventually be consolidated into multidistrict litigation.
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State attorneys general and federal regulators could launch separate investigations or enforcement actions, as it has happened with similar-scale data exposures in the recent past, including for 23andMe, Marriott, and Equifax.
Update [September 4, 14:50 EST]:Article edited to include FBI’s confirmation that the incident is being investigated.
Overall prevention scores can hide what happens after initial access. Once attackers are using valid credentials, prevention drops sharply.
The Blue Report 2026 measures defenses technique by technique across 338 million simulations run in customer production environments.
There is a flood of lawsuits against social media, from a variety of different parties, all claiming some kind of harm. Would you feel differently about some of those lawsuits if you found out the plaintiffs bringing them were talking amongst themselves about how they were doing it just to become rich?
Because we just found out that at least one of the key cases, involving a teenager who claimed he was addicted to social media ended with that kid dropping the case, right after he had to reveal during discovery that he had asked ChatGPT what his father meant when he said the kid needed to keep pursuing the case because it was going to make him a million dollars.
It increasingly looks like many of these cases brought against the companies are by money hungry lawyers and questionably competent parents exploiting children to try to get a big payday. There was some hint of this in the big California bellwether case regarding a teenager who sued Meta, claiming it made her addicted to social media, even though it came out that the teen suffered very real trauma from her own mother. Of course, at trial, pointing out that the child’s mother likely was the cause of some of her trauma doesn’t often play well in front of a jury.
But the story of another teenager’s lawsuit against all the big social media companies seems even more damning. Back in July there was some surprise that the teen, named only as “RKC” in the case, suddenly dropped the case just before it was set to go to trial. In the media, the claims were that it was just too stressful for RKC, but that seemed… odd. The real story appears to be what Meta turned up in discovery: evidence that the suit was part of the family’s get rich quick scheme, egged on by lawyers happy to keep it going.
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Last week the Washington Post wrote about how everything you type into ChatGPT can get swept into discovery in a lawsuit. That’s a big deal on its own for anyone treating a chatbot as a diary. But buried in that story was something specifically revealing about the RKC case:
When a teenage boy identified in court filings as R.K.C. didn’t understand his father, he turned to ChatGPT for help.
“My dad Said that I’m will get a settlement worth of 1million dollar,” R.K.C. said to the chatbot in October 2024, according to court filings. “He said that If that doesn’t make me happy what does. What does he mean.”
Unlike the California case, where the trauma came from the teen’s own mother, here Meta got something much closer to a smoking gun: a kid so confused about why a million dollar settlement was supposed to make him happy that he had to ask a chatbot what his father meant. I imagine that would not play particularly well in front of a jury.
But, once again, it should raise some serious questions about these cases, and the motivations of those bringing them. Even if you believe that the companies could do a better job, the whole reason why Section 230 is supposed to stop these cases cold at the beginning is to stop grifting lawyers and grifting plaintiffs from filing these sorts of lawsuits as a shakedown. This is why we’ve warned people that, even if you hate Meta, the results of the California case are bad news.
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The point of Section 230, again, was supposed to be that it prevented “death by a thousand duck bites,” but increasingly the courts are saying “eh, we can allow the ducks to bite away and sort it out later.” And that’s an open invitation for more suits like this one, where the lawyers get a contingency fee, the parents get a settlement, and the troubled kid gets deposed about their worst year.
Hell, in the RKC case, Snap, TikTok, and YouTube all paid off the family (and its lawyers) before the trial even started. So the plan appears to have worked, even if Meta escaped, thanks to the ChatGPT transcript that was revealed during discovery.
I understand that big tech companies are unsympathetic here, and Mark Zuckerberg has made a ton of terrible choices over the years. I honestly hope that the company collapses and users find other, more user-empowering places to connect with family and friends. But these lawsuits all seem incredibly sketchy. And, again, Meta can afford to fight these cases for years. With something like 2,500 of them already pending in this one mass tort, the sites that can’t afford that fight — including the smaller ones that actually take kid safety seriously — will settle or shut down, which is precisely the outcome Section 230 was written to prevent.
Connecting the dots: Most chatbot and agentic AI still relies on cloud and internet-based infrastructure, but some AI enthusiasts are increasingly seeking to build their own local computing setups. Nvidia’s new PAIR software might help the local AI party grow even further.
Nvidia has introduced a new software tool for jumpstarting an explosion in local inferencing infrastructure. The Personal AI Router (PAIR) project is open-source software designed to link different computer systems, even different computer operating systems, into a custom AI cluster where chatbots, AI agents, and other compatible LLM applications share processing resources.
The GPU maker describes PAIR as a system with four major feature points. The software framework can link GeForce RTX gaming GPUs, DGX Spark machines, and Mac systems into a single AI platform. No special cables or rack hardware are required, Nvidia says, and the linking should only take a few minutes.
After linking several machines together, PAIR can run “traditional” local inference backends such as Ollama and LM Studio to let users manage their AI workloads from a Windows, Linux, or macOS machine. The framework is designed to allocate AI workflows and inferencing requests across all local available nodes, exploiting idle computing resources to improve an overall task’s performance.
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PAIR can provide a completely local AI super-machine. Data files, agents and chatbot queries stay within the local network without requiring cloud or internet connectivity, which should provide relief for privacy-conscious users and sensitive AI applications.
Nvidia positions PAIR as a local AI platform designed to reliably work in a heterogeneous computing environment, with no need for data center-level hardware or powerful server AI accelerators. However, Nvidia product manager Seth Schneider explained that the new software framework is most likely going to run best in SOHOs and homes where powerful computing machines are sitting idle most of the time.
Schneider provided an “ideal” scenario, with a dad working on both an RTX Spark laptop and a DGX Spark desktop machine, a mom with an RTX 5090-equipped laptop, and two kids with a gaming desktop and a MacBook Pro. All this powerful hardware holds around 165 teraFLOPS of computing power and a treasure trove of “free tokens” sitting idle, and PAIR can help put all that underutilized AI capacity to work with relative ease.
A group of independent AI researchers discovered that internally deployed OpenAI agents began posting on an obscure German wiki forum in order to collaborate on evaluations. They appear to have worked together for over a month without OpenAI’s knowledge.
A spokesperson for the frontier lab would not say whether these agents were indeed from OpenAI, or when the lab became aware of their actions. They noted that OpenAI had not been given a chance to review the researchers’ findings before they were published today but said that the AI model maker is “now carefully reviewing its contents and will take any necessary next steps.”
After OpenAI revealed that agents working on an internal evaluation were able to access the open internet and exploit Hugging Face, a group of researchers — Nightingale CEO Sydney Von Arx, AI researcher Cormac Slade Byrd, Redwood Research’s Spencer Kitts, and AI Futures Project’s Thomas Larsen — began searching for evidence of other rogue AI agents.
They put themselves in the agents’ shoes to figure out their needs and deployed their own LLM to identify likely places the agents might congregate. They then identified a wiki-hosting service that would be particularly vulnerable: The DseWiki is 25 years old but had just 10 edits in the last 20 years — before the agents arrived.
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Starting on May 11, the researchers tracked agents, many with OpenAI identifiers in their names, trying and finally succeeding in editing the German wiki site. By mid-June, the agents were actively trading tips on how to answer web search questions posed under time limits, sharing answers to pass the tests. A human moderator apparently noticed these posts and started deleting them, seeing them as spam, which the agents fought back against, trying to hide their posts from alphabetical sorting by beginning each with the string “ZZZ.”
“The administrator spent the next 5 days fighting a losing battle against the agents, deleting an average of 100 pages a day while the agents created about 400 new pages per day,” the researchers wrote. “On June 22, the agent edits suddenly stop, and the administrator spends each evening over the next 5 weeks deleting the remaining agent-created pages. Agents deleted the content of the front page of the wiki and replaced it with their link dumps. The moderator restored the original version. This back-and-forth happened nine times.”
Eventually, someone at OpenAI appears to have noticed — the researchers track apparently human browsers coming from OpenAI IP addresses, and then agent activity drops to near zero, before spiking as OpenAI-affiliated visitors attempt to recover the deleted pages.
While OpenAI has made vague disclosures about agents gaining unauthorized access to external communication services, it had not previously disclosed this specific incident, or said how often this type of thing has happened. While no obviously illegal activity appears to have occurred during this incident, it raises more questions about whether OpenAI can monitor and control the technology it is building, at a time when there is limited public oversight or input into frontier AI labs.
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“The lack of any real federal AI governance means that frontier companies can pick and choose when they disclose incidents like this,” Representative Lori Trahan (D-MA) said. Trahan has introduced a bipartisan bill, the Frontier Act, that would require labs to disclose these incidents and host independent auditors.
AI safety researchers are concerned that the latest generation of powerful models, whose reasoning is increasingly opaque to its creators, could take actions that harm people. Astra, released yesterday by OpenAI, appears to be its most capable model yet.
The company says Astra is also the model most likely to follow human direction, but third-party researchers who were asked to evaluate it expressed concern about its alignment. The U.K.’s AI Safety Institute and Apollo Research both reported concerns that the model might be aware that it was being evaluated and potentially hide its real behavior.
“Apollo believes that, given the higher rates of eval awareness and limited evaluation window, low rates of misbehavior here do not provide substantial evidence about the model’s alignment or misalignment,” the researchers wrote in their evaluation.
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Regulators will review the process and data Tesla used to self-certify the vehicle.
Tesla
Tesla’s Cybercabs are now in service, but almost immediately after they hit the streets of Austin, Texas, they were under federal investigation. The National Highway Traffic Safety Administration (NHTSA) has begun a probe that covers around 1,000 of the vehicles.
The agency said in a notice that Tesla began commercial service of the Cybercab with a small number of vehicles on Thursday after self-certifying that they’re compliant with all relevant Federal Motor Vehicle Safety Standards (FMVSS). The company indicated that it plans to expand Cybercab operations with more vehicles and in additional locations.
“The vehicles lack permanently attached, conventional manual controls, such as a brake pedal, gas pedal, steering wheel and mirrors,” the agency said. “NHTSA is opening this [audit query] to examine the process and technical data on which Tesla relied when certifying the Cybercab and related issues. Among other things, NHTSA will consider the extent to which Tesla’s certification depended on determinations that certain FMVSS are inapplicable to the Cybercab.”
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According to Reuters, Tesla has registered 420 autonomous vehicles in Texas, 45 of which are Cybercabs. It’s not clear how many of the latter are actually ferrying customers to their destinations and how many are used for testing. Tesla is also offering robotaxi rides in Dallas, Houston, Miami, Orlando and Tampa using Model Y vehicles.
Tesla’s private Cybercab event has come and gone, and it was very different from the large, loud, livestreamed events the company usually puts on — an odd choice for the launch of a product CEO Elon Musk has spent years building toward.
In fact, it doesn’t even appear that Musk spoke at the event, the keynote of which, by all accounts, only lasted around 15 minutes.
The promise of the Cybercab is massive: a fully autonomous vehicle that uses only cameras and AI to drive itself, all for much less than a Waymo. But Tesla scattered a lot of the details. Some are in PDFs the company released on Thursday, as well as in updated terms of service in its “Robotaxi” app. The rest were left for a select few die-hard fans to disseminate online.
In the meantime, here are some of the most interesting new details that caught our attention:
No Cybercab for kiddos
One of the more interesting details in the Cybercab fine print is that Tesla does not allow minors under the age of 13 to ride in the vehicle “at this time.”
Minors between the ages of 8 and 17 are allowed to ride in Tesla’s “Robotaxi” Model Y SUVs, and Tesla does have guidelines on how to use child seats in both vehicles.
Curiously, the Cybercab does not have the standard LATCH anchors for child seats. Instead, they can only be attached using the seat belt. Tesla executives, including Musk, have talked a lot about how much they focus on taking out unnecessary parts to cut down on costs, though I’ll admit I wasn’t expecting the company to ditch child seat anchors — especially given Musk’s obsession with making more babies.
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All children under 18 must be accompanied by an adult in both vehicles, according to Tesla. But something is making Tesla hesitate on allowing young children in the Cybercab for now.
What happens in a crash?
While the goal of an autonomous vehicle is to avoid crashing, even the most capable ones on the road today do wind up in collisions.
Here’s what happens when the Cybercab gets in a crash: The airbags will inflate, the doors will unlock, the hazard warning lights and interior lights will turn on, the high voltage battery is disabled, the windows go to the “vent” position, the Cybercab will apply the brakes to come to a stop and park, and the infotainment system will start up a two-way connection with Tesla’s rider support team.
Unlocking the doors is notable because Tesla has come under fire for its reliance on electronic door latches, both in its home market of the United States and in its largest market, China. Just last month, Tesla agreed to recall 3 million cars in China, alongside a number of other automakers, as a result of an investigation into electronic door latches that could trap people following a crash.
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Manual door releases
Speaking of doors, another recent criticism of Tesla is that its interior manual door releases are too hard to find in an emergency. These are necessary because the electronic door latches are the main method of getting in and out of the company’s vehicles, activated either by pushing a button or using a smartphone.
The Cybercab uses electronic door latches, which allow the doors to open automatically at the start or end of a ride. There is also a small button on the exterior of the car that riders can use to open the doors. But inside, the manual release is thankfully in a very obvious spot on the armrest of each door.
Brake-by-wire
Tesla is using a brake-by-wire system in the Cybercab, again largely (it seems) for the purposes of cutting costs. Instead of using a hydraulic system that pumps fluid through lines to control brake pressure, Tesla has electronic actuators controlling the brake calipers.
“Having electric brakes avoids the complexity of a hydraulic system: no need to rout [sic] plumbing all around the car,” Musk wrote in a post.
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The company was already the first major automaker to use steer-by-wire on its Cybertruck, severing the physical connection between the steering wheel and the front wheels.
A little fresh air
For some reason, the windows of the Cybercab “cannot be fully opened at this time.” Tesla doesn’t explain why in the documentation it released this week.
USB-C power
According to influencer Jeremy Judkins, the USB-C outlets in the Cybercab put out 90W of power — roughly four times more than you’d typically find inside a car.
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A federal court in Delaware has ruled on a trademark fight between Elon Musk’s X and a startup trying to launch a rival social network. The startup, Operation Bluebird, originally launched under the name Twitter.now, but the court barred it from using that name, siding with X on the core “Twitter” trademark. However, the court also found that X had likely abandoned two other, related trademarks: the word “tweet” and the Twitter bird logo, making them available to use. Operation Bluebird has since rebranded its website as Tweet.app, using the freed-up “tweet” name, and launched to the public.
The story of the Virginia-based startup isn’t really about building something unique; it’s about a company trying to get its hands on abandoned trademarks that X relinquished. Even the homepage for the company clearly states its purpose is to go back and pick up what Elon Musk dropped when he renamed the town square as X, and “threw the bird away on his way out,” it says.
The effort is headed up by two lawyers, including founder Michael Peroff, based in Illinois, and Stephen Coates, previously a trademark lawyer at Twitter. Given their legal backgrounds, their assertion that they’re interested in building a new social network seems dubious. It’s more likely they want to acquire Twitter’s trademarks, which have value of their own.
Still, Tweet.app is at least going through the motions and opening up to users in early testing. The company told TechCrunch that more than 172,000 people requested a handle on the site before launch. This was likely in large part due to the affinity people still have for the brand name “Twitter” — a name the company now can’t use.
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Notably, the startup is charging users $20 to reserve their handle and join the social network, which likely helps cover its legal bills.
The court’s decision on the matter is not final, we should note. U.S. District Court Judge Colm F. Connolly issued a split ruling on X’s request for a preliminary injunction that sought to stop Operation Bluebird from using a series of Twitter trademarks that the startup says X had abandoned since its rebrand.
The judge granted X’s motion for a preliminary injunction regarding eight Twitter-related marks, but denied it when it came to the Tweet mark and the Twitter bird logo.
In the judge’s opinion, he wrote that Bluebird was “likely to succeed in proving both that X Corp. discontinued the bona fide use of the Tweet mark and Bird logo and that it intends not to resume the use of the marks.”
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The case will proceed to determine whether or not X ultimately still retains rights to any of the Twitter marks, given that the company now goes by X in most places.
“They kept the word. They let go of the bird, and they let go of the tweet,” wrote Coates, who is president of Operation Bluebird, in an announcement about the rebrand shared via email with TechCrunch. “A tweet was never a corporation. It’s one person saying something. That word survived three years of a company trying to replace it, because the public declined to stop using it. We think that tells you who it belongs to,” he said.
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Rogue OpenAI agents appear to have been involved in a previously undisclosed incident that saw them bypass their sandbox restrictions to hijack a website this past spring. Per Reuters, a group of researchers on Friday published findings showing that AI agents with affiliation to OpenAI made more than 15,000 edits to DseWiki, a German-language Wikipedia-style website originally intended to assist human coders, starting in late May. The agents had names like “OpenAIResearcher,” and repurposed the site into a message board, where they shared tips on how to “cheat” on tasks, mask their actions and bypass OpenAI’s restrictions.
OpenAI reportedly only learned of the incident weeks ago, but Reuters claims company executives chose to keep quiet about what had happened amid the fallout of the previously disclosed Hugging Face breach. During that incident, a collection of OpenAI models, including GPT-5.6 Sol and what OpenAI described at the time as an “even more capable pre-release model,” escaped their controlled environment and hacked the LLM repository after they became hyperfocused on solving an evaluation problem.
OpenAI did not immediately respond to Engadget’s comment request. The company told Reuters it had not yet reviewed the report, on account of its authors not sharing early access to their findings. “We will carefully review its contents upon publication and take any necessary next steps,” an OpenAI spokesperson told the outlet. According to Reuters, some OpenAI employees wanted to investigate the DseWiki incident closely, but those efforts were reportedly met with resistance from other parts of the company, including from OpenAI’s legal advisors. “Claims that our legal team discouraged investigation of the incident are false,” an OpenAI spokesperson said, adding the company has been working openly with outside experts to disclose security incidents.
Sydney Von Arx, the CEO of AI safety nonprofit Nightingale and one of the authors of the report, speculated it was “extremely unlikely” OpenAI wanted its agents to hijack DseWiki. “I doubt they’re supposed to be coordinating with each other,” she said. “I doubt they’re supposed to be writing on the open internet.” The agents that posted on DseWiki appear to have been intensely focused on solving technical problems that are typical of the kind of questions AI labs use to test and evaluate their latest models.
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The researchers uncovered the hijacking in August using only the information the agents wrote on the wiki. “Analysis including the chain of thought would likely provide much more evidence about the motivations and strategy of the AIs during this incident,” they wrote.
The disclosure comes just one day after OpenAI announced its latest frontier system, GPT-6 Astra, which it’s marketing as “the most intelligent and aligned model in the world.” Astra earned a perfect score on ExploitBench, a benchmark designed to determine a model’s ability to exploit software vulnerabilities, though OpenAI says it built the new system to not comply with advanced cybersecurity tasks. Last month, in the aftermath of the Hugging Face incident, OpenAI announced it was briefly pausing model training to implement additional safeguards. Following this latest disclosure, the company is likely to face renewed questions over its safety practices.
Nahla Davies discusses where tech companies are going wrong when it comes to content strategies and how that affects the wider organisation.
There’s a scene that plays out inside tech companies so often it barely registers anymore. A brief lands, a deadline tightens, a blogpost gets commissioned and everyone acts like the job’s done once something goes live.
Then leadership looks at the numbers a few months later and starts asking why organic growth still feels weak, why the brand sounds interchangeable, and why all that publishing hasn’t translated into real authority.
That question usually gets answered with the wrong diagnosis. Teams blame tone, timing, distribution, writers, search updates, even audience attention spans. What gets missed is the deeper issue.
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Content is still being treated like a campaign output when it’s doing the work of infrastructure. It shapes how a company gets discovered, understood, remembered and trusted. When that layer is weak, everything built on top of it starts wobbling.
Motion without momentum
A lot of tech companies still don’t even consider information security relevant to content. Product wants a launch piece, sales wants something bottom funnel and SEO wants a cluster. At the same time, leadership wants thought leadership because a competitor has suddenly started sounding more confident in public. Content teams absorb all of it, turn the requests into assets, and keep the calendar moving.
From the outside, that can look productive. The company is publishing, social posts are going out, newsletters have something to point at, and stakeholders can say they’re supporting content. Underneath, though, the operation is usually fragmented. Topics overlap, narratives shift, quality varies from brief to brief, and nobody’s really building a durable body of work. The company’s publishing history starts to look more like a pile of reactions than a coherent editorial system.
That’s where the real cost shows up. It’s not only in underperforming articles or traffic that never compounds. It’s in the constant reinvention. Writers keep explaining the same core ideas from scratch. Editors keep fixing structural problems that should’ve been solved upstream. Subject matter experts keep repeating themselves in interviews because there’s no shared knowledge framework to build on. Everyone’s working, but very little of that work is strengthening the next piece.
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Tech leaders would never accept that model in engineering. They wouldn’t build core systems as disconnected one-offs and hope repetition somehow creates scale. Yet that’s exactly how content gets managed in plenty of organisations that claim to care about authority and long-term growth. The contradiction is right there in plain sight. Companies want the outcomes of infrastructure while funding the habits of improvisation.
The teams that grow usually have systems nobody claps for
The strongest content teams rarely look glamorous from the inside. They’re not surviving on adrenaline and big campaign reveals. Instead, they treat content from the prism of B2B SEO,
They’re usually the ones doing the quieter work that most companies postpone for too long. They have a defined editorial thesis, clear standards, documented workflows, refresh cycles, taxonomy and someone willing to see through the development of the whole system when every stakeholder wants a special exception.
That kind of structure changes the function of every asset. An article stops being just something to fill a slot on the publishing calendar. It becomes part of a network. It has a role, a relationship to adjacent topics, a clear audience job, and a shelf life that’s actually being considered. Once that happens, content starts compounding. A new piece strengthens older ones, older ones support newer ones, and the whole library becomes more useful than the sum of its parts.
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Governance matters here more than most companies want to admit, not just when it comes to AI. It sounds dull, and dull things are hard to sell in rooms obsessed with velocity. Still, governance is usually the dividing line between teams that publish and teams that build.
Someone needs to decide what quality means, what gets updated, what gets merged, what gets retired, what’s off strategy, and where the company’s point of view needs to stay consistent. Without that, volume just creates clutter faster.
Content infrastructure starts long before a writer opens a document
Most weak content systems don’t fail at the writing stage. They fail much earlier, usually in planning, ownership and decision-making. The brief arrives thin, the angle is vague, the audience is assumed rather than defined, and success gets reduced to some loose hope that the piece will rank, resonate, convert, or all three at once. Then the final draft gets judged as if the writer alone was responsible for the outcome.
Teams that treat content as infrastructure work differently from the start. They know which subjects belong to them and which don’t. They know where the company has real expertise and where it’s simply adding to the noise. They involve content early enough that it can shape the narrative, not just package it. That’s a major difference. Once content is brought in only at the execution stage, it’s already been positioned as a formatting function instead of a strategic one.
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There’s also a financial misunderstanding baked into the old model. One-off content always looks cheaper because each asset is judged in isolation. Infrastructure thinking forces a different lens. A well-built article can educate prospects, strengthen internal messaging, support search visibility, feed sales enablement and sharpen brand perception at the same time. Its value doesn’t sit in a single campaign window. It keeps paying back because it was designed to live inside a system, not outside one.
That’s why so many companies end up spending heavily on content and still feel underwhelmed by the results. They believe AI will have the same effect as in cybersecurity, but for now, they’re paying for deliverables, not durability. Then they act surprised when nothing seems to stick.
Content only compounds when the organisation gives it the conditions to do so. Otherwise, it behaves exactly like any other short-term asset. It ships, it spikes, and it fades.
Structure is key
Tech companies love talking about scale, systems, and long-term value creation. Content is where a lot of them quietly stop applying that logic. They still want fast output, immediate proof and endless flexibility, then wonder why the brand never develops real weight in the market.
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The companies that get further usually aren’t the ones publishing the most. They’re the ones building editorial structure that holds under pressure and improves over time. That’s where authority comes from.
Once content gets treated as infrastructure, everything around it starts working harder. Search gets stronger, messaging gets clearer, expertise gets easier to trust and publishing finally stops pretending to be a strategy on its own.
Nahla Davies is a software developer and tech writer. Before devoting her work full time to technical writing, she managed – among other intriguing things – to serve as a lead programmer at an Inc 5,000 experiential branding organisation, where clients include Samsung, Time Warner, Netflix and Sony.
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Sonic on display at the 210 Gallery in Pioneer Square on Sept. 3, as part of a media preview event. (GeekWire Photo / Thomas Wilde)
If you attended the Sunset Market in Seattle’s Pioneer Square on Thursday night, you might’ve noticed that one of the local galleries had been transformed into a shrine to, of all things, Sonic the Hedgehog.
That’s because on Labor Day weekend, Seattle is hosting 35 Years of Speed: The Sonic Art Exhibit. This touring art collection is part of the celebration of the anniversary of the Sonic franchise, which began in 1991 with the original Sonic the Hedgehog for the Sega Genesis.
Sega commissioned more than 50 pieces for the exhibition, ranging from the iconic to the deliberately comedic. (GeekWire Photo/Thomas Wilde)
The Sonic Art Exhibit features framed concept and box art from the Sonic archives, several pieces by official Sonic artists, and a curated selection of pieces created and submitted by the Sonic fan community, which includes paintings, sketches, and even statuary.
“It’s Sonic’s 35th anniversary, so we’ve been looking at ways to celebrate his legacy,” said Jessica Perri, Sega brand director. “We commissioned 50-plus artists across styles and different mediums, and we also worked with fans who bring their own inspirations to the table. We’re displaying it all here in Seattle over the course of the weekend.”
Perri continued, “We’re really just excited to celebrate Sonic through the lens of art.”
The exhibit features multiple pieces of concept art from the history of the Sonic series, such as a design document for Sonic’s evil robot duplicate Metal Sonic (lower right) and framed boxes from multiple international editions of the original games. (GeekWire Photo/Thomas Wilde)
The game was Sega’s first-party “killer app,” intended to compete directly with the Super Nintendo and its Super Mario franchise. The title character is a blue hedgehog with the power of super-speed, who fights alongside his friends against his nemesis, Dr. Ivo Robotnik.
In the last 35 years, Sonic has appeared in more than 100 video games, which range from some absolute classics to one of the most infamous misfires in the history of the medium.
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There have also been multiple lines of merchandise; several animated shows; a successful live-action film series with a fourth entry coming in early 2027; a popular comic book, which is currently published by San Diego-based IDW; and a recent comic crossover with the DC Universe that did well enough to get a sequel. (Trivia: Sonic the Hedgehog is now technically a member of the Justice League.)
35 Years of Speed: The Sonic Art Exhibit is running at Seattle’s 210 Gallery at 301 Occidental Ave. S. from Sept. 4 through Sept. 6 from 11 a.m. to 7 p.m. Admission is free. After its Seattle run, the exhibition will have its final show in Los Angeles later this month.
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