Vornado Box Fan Model 80X for $100: While most people who need a box fan are, frankly, going to run out to Walmart or Home Depot and grab one for 20 bucks, you should be aware that there exists a Rolls-Royce of box fans. “It has 99 speeds,” the brand’s rep told me when it came out. “Yeah, right,” I thought. But, sure enough, this thing actually has 99 speeds, accessible via up and down buttons. I have no idea under what circumstances one might need this many speeds, but there they are. It’s also got a kickstand to reduce wobbling, a digital display, and a 1-to-12-hour timer. Plus, the silver-and-black casing looks good—like you meant to have it in your house, not a remnant from that one summer your AC broke during a heat wave.

Photograph: Kat Merck

Shark TurboBlade (Bladeless) for $250: Though this 2025 blade-less model is billed as a tower fan, it doesn’t look or act like any tower fan I’ve ever seen. It evokes a windmill more than it does a fan, with a horizontal bar that sits on a telescoping base, like a big “T.” The ends of the bar, which are articulated, feature the vents, and each end can be bent straight up, straight down, or at any point in between for fully customizable air direction. The whole bar can also be turned vertically to look more like an “I,” if you’d rather have a tall, thin breeze as opposed to a long, thin breeze. It has all the usual features you’d expect of a fan at this price point, including 10 speeds, oscillation, a magnetic remote, and three settings, including “Sleep,” which makes sense as the TurboBlade, in its “T” configuration, is about the right height for a bed. It’s a great choice if you need airflow in different directions at once, but be forewarned that it makes a fairly loud, jet engine-like whine, which is noticeable even on lower settings. There’s also now a TurboBlade Heat + Cool ($400), which adds a 1,400-watt heater to the middle, but WIRED reviewer Matthew Korfhage tested it and didn’t find the heat feature to be worth the extra $150.

Shark FlexBreeze for $200: This was my favorite misting fan of last year. I love that it’s rechargeable, so it can be used without an electrical outlet nearby, and I love that the head detaches from the pedestal with legs that fold out, allowing it to double as an easy-to-transport floor fan. Shark claims the FlexBreeze can reduce nearby ambient temperature by 10 degrees with the misting attachment. Though I was never able to measure a reduction of more than 6 degrees using multiple thermometers, the difference in air temperature using the FlexBreeze versus without is dramatic enough to make the difference between an unbearable summer dinner outside and a pleasant one. However, the mist deployed by the detachable misting attachment (Shark now makes a version with a tank, but I haven’t tried it) is a bit on the heavy side—it made most of my deck quite wet and dampened the clothes of anyone sitting within 5 or so feet. On the plus side, this meant the mist didn’t immediately blow away, as was the case with the FlexBreeze’s portable sibling, the HydroGo (below).

Photograph: Kat Merck

Shark FlexBreeze HydroGo for $150: I loved the original Shark FlexBreeze (above), but not the fact that it had to be connected to a hose, so I was very excited to see a rechargeable, portable version in fun colors. Shark says it can run for 30 minutes with the mister consistently on, or 60 minutes in “interval mode,” and after testing it at my son’s soccer practices, I found these estimates to be more or less accurate. However, the mist that comes out of the middle is so fine and in such a small stream that it blew away quickly before it had a chance to cool anyone, unless they were sitting just inches from it.

Lasko Whirlwind Orbital Pedestal Fan for $85: This fan looks a lot like Dreo’s TurboPoly 508S, and indeed sports some of the same features—it oscillates vertically 105 degrees or horizontally 150 degrees, it’s quiet (I clocked 27 dB on low), and it’s got a remote. It’s not smart, it doesn’t have RBG lights, and there are some occasional noises from the oscillation, but if you’re looking for a more affordable pedestal fan that offers 3D oscillation, this honestly isn’t a bad option.

Among the global brands at AXPONA 2026, Mimic Audio did not have the biggest booth or the loudest presence, but it ended up being one of the more worthwhile stops in the EarGear section. The Chicago dealer, owned by TJ Cook, was positioned between Campfire Audio and Austrian Audio and only a few steps from the always swamped ZMF booth, which made it easy to overlook in the rush. That would have been a mistake. Mimic first caught my attention before the show when it supplied the AudioByte components for the Von Schweikert pre-event, paired with NUR Audio’s Harmonia.

My initial listen there was promising, but with the Von Schweikert VR.thrity or Ultra 7 commanding the room and the Harmonia’s open-back design letting all of that noise pour in, it was impossible to draw more than a few early conclusions. That made a return visit at AXPONA essential, where I sat down with all three NUR models on display for a longer listen and a better sense of what this Italian headphone brand is actually bringing to the table.

NUR Audio Headphones: Italian Design, Planar Magnetic Ambitions

NUR Audio is not some legacy brand trading on decades of goodwill. It was founded just northeast of Rome by Angelo De Mattia and feels very much like a passion project finding its footing in a crowded category. Right now, the Harmonia open back is the only model you can actually buy, priced at $3,750, while the Shanti open-back reference and Miah closed back are still listed as coming soon with pricing to be determined. That split matters because NUR is already drawing a line between audiences. The Harmonia is built for listening at home, while the Shanti and Miah mark the start of a professional series aimed at engineers who need precision more than romance.

The two open-back designs share a lot of DNA. Similar materials, similar construction, and very similar planar magnetic drivers. The Miah goes a different route with a dynamic driver inside a closed back design, which should make it the more practical option for studio work or less than ideal environments. All three, however, are physically imposing. Think Audeze LCD-4 sized ear cups and the kind of weight that can turn a long session into a short one if the ergonomics are off. Early impressions suggest NUR understands the problem. The suspension system is well padded, the clamp feels reasonable, and the weight distribution does not immediately raise red flags.

The real test, as always, will be whether that comfort holds up after a few hours rather than a few tracks.

Using the AudioByte stack (more on that soon), I was able to spend time with all three NUR models and come away with a clearer sense of how each is voiced. With both the Shanti and Miah still in prototype form, nothing here should be considered final, but the direction is already apparent.

The NUR Harmonia is a large-format open-back planar magnetic headphone built around a 105mm PEEK diaphragm and a double-sided toroidal magnet system using high-grade N52 neodymium magnets. That combination is designed to deliver fast transient response, low distortion, and wide bandwidth, which is reflected in the rated 8Hz to 55kHz frequency response.

With a 48 ohm impedance and 107 dB/mW sensitivity, it should be relatively easy to drive for a planar of this size, though it will still benefit from a capable amplifier. The dual 3.5mm cup connections allow for balanced operation out of the box, with either 4.4mm or XLR cables included, along with a 6.35mm adapter for single-ended use. At 630 grams, it is firmly in the heavyweight category, making the suspension system and overall ergonomics critical for longer listening sessions.

The Harmonia leans toward a clean, controlled presentation with a touch of warmth that you don’t always get from planar magnetic designs. Bass has solid presence without sounding pushed, the midrange comes across as slightly lush with very good detail retrieval, and the treble extends well past what my ears are willing to admit at this point. It strikes a balance that feels intentional rather than trying to impress on first listen.

The Shanti prototype shifts gears toward a more analytical presentation. It is crisper, more forward in its detail, and less forgiving overall. The name was a bit of a clue, but the tuning confirms it. This feels like the model aimed squarely at those who want to dissect recordings rather than relax into them.

The Miah, as the closed-back option, moves in a different direction. It is warmer and a bit thicker sounding than the two open-back models, which is not surprising given the design. Detail is still present across most of the range, but the top end has slightly less extension and sparkle. That trade-off is typical for closed-back headphones, especially ones that appear to be targeting studio use rather than chasing an artificially boosted sense of air.

The Bottom Line

I came away impressed enough to spend a good amount of time talking with TJ Cook about getting all three NUR models in for proper review once they hit the market. That says more than any quick show impression. AXPONA has no shortage of big names pulling crowds, and it is easy to fall into the trap of chasing logos instead of sound. The problem is that you end up walking right past booths like Mimic Audio and missing some of the more interesting listens of the weekend.

The NUR lineup, paired with the AudioByte components, proved to be far more than a curiosity. It was one of those setups that rewarded anyone willing to sit down, block out the noise, and actually listen. Not perfect, not finished in two cases, but clearly headed somewhere worth paying attention to.

Expect a deeper dive once review samples land. In the meantime, NUR Audio is a brand to keep on your radar, and if you happen to be in the Chicago area, Mimic Audio is absolutely worth a visit.

Where to buy: $3,750 at Mimic Audio

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Most audio brands guard their designs like trade secrets, but Head(amame) showed up at AXPONA 2026 and did the exact opposite. The Vancouver-based company is handing over schematics, specs, and build plans for its 3D printed headphones, inviting users to print and assemble their own at home with a parts kit for what cannot be fabricated on a desktop printer. While 3D printed speakers have been circulating in DIY circles for years, this is the first time I have seen the concept executed this openly and completely in the headphone space.

Morgan Andreychuk explained that Head(amame) gives away the files to 3D print the cups, yoke, and headband whether you buy the finished headphone or build it yourself. The price difference is a big part of the appeal: the completed Head(amame) Pro starts at $369 for Kickstarter backers, while the Head(amame) parts kit sells for $130 through the company’s site. That means buyers can pay more for a finished product with QC and warranty coverage, or spend a lot less on the kit and print most of the structure themselves.

Either way, the open design is the real hook. Owners have the files needed to recreate most of the structural parts if something breaks, wears out, or if they want to tweak the design later. The tradeoff is straightforward: choose the DIY route and you give up the company’s finished-product QC process and warranty, but not its support. Andreychuk and the team were clearly willing to discuss materials, printing options, and possible improvements, which makes this feel less like a sealed consumer product and more like a headphone platform built for people who actually want to tinker.

Head(amame) Pro 3D Printed Headphones

The Head(amame) Pro uses a semi closed back design that will feel familiar in concept to the Fostex T50RP, even if it looks nothing like it. The structure is unmistakably its own. The headband and yoke form a plus shaped frame that dominates the face of the cup, while a series of radial baffles wrap around the perimeter, giving it an almost floral appearance. You do not see the driver from the rear, but each “petal” hides a vent that becomes visible from the side.

Even the cable placement refuses to follow convention, mounted vertically on the rear face but closer to the front. My first instinct was that I had them on backwards. Morgan acknowledged that clearer left and right markings are still a work in progress.

The first real surprise comes when you pick them up. For something this large, the Head(amame) Pro is extremely light. That is not by accident. The goal is to go even further, with plans to swap a brass pin for aluminum and replace another internal component with carbon fiber. It is already more than 100 grams lighter than the AirPods Max and still trending downward.

That kind of weight reduction changes the equation. A non padded headband might raise eyebrows on paper, but here it is not the liability you would expect because there simply is not enough mass to make it one.

The Head(amame) Pro uses dynamic drivers with a glass diaphragm intended to improve speed and clarity, but the platform is not locked down. Builders can experiment with a range of 40 mm dynamic drivers as long as the specifications line up, which reinforces the open, modular nature of the design. Head(amame) shared a booth with Capra Audio, who assisted with tuning the Pro.

That collaboration came after some disagreement over the voicing of an earlier model, prompting Morgan to bring Capra into the process for this revision. Given Capra Audio’s presence in the DIY space with aftermarket parts and headbands, the partnership makes sense and will likely resonate with the community this product is aimed at.

Sound, at least in that environment, leaned close to reference with a slight roll off in the lowest octaves and a bit of lift up top. It is an easy signature to listen to and, more importantly, one that invites experimentation. That matters here because the entire premise is that you are not stuck with a fixed outcome. The reality of a busy show floor limits how far I am willing to go with sonic conclusions, but the early impression was positive enough to warrant a deeper look. If I can get a set printed for review, there is clearly more to unpack.

As a concept, Head(amame) is doing something few others are willing to try. It is a more sustainable approach than most full size headphones, and at roughly 280 grams with plans to go even lighter, it is also one of the more comfortable options for listeners who usually tap out early because of weight.

Where to order: $589 $399 at Head(amame)

Quordle was one of the original Wordle alternatives and is still going strong now more than 1,400 games later. It offers a genuine challenge, though, so read on if you need some Quordle hints today – or scroll down further for the answers.

Enjoy playing word games? You can also check out my NYT Connections today and NYT Strands today pages for hints and answers for those puzzles, while Marc’s Wordle today column covers the original viral word game.

Strands is the NYT’s latest word game after the likes of Wordle, Spelling Bee and Connections – and it’s great fun. It can be difficult, though, so read on for my Strands hints.

Want more word-based fun? Then check out my NYT Connections today and Quordle today pages for hints and answers for those games, and Marc’s Wordle today page for the original viral word game.

European Commission President Ursula von der Leyen says the app is technically ready and will be available to citizens soon.

The European Commission yesterday (15 April) unveiled a digital age verification app aimed at shielding children from harmful content online, with European Commission president Ursula von der Leyen declaring there are “no more excuses” for platforms that fail to act.

Announcing the tool in Brussels on Wednesday (15 April), von der Leyen painted a stark picture of the risks children face in the digital world. “One child in six is bullied online. One child in eight is bullying another child online,” she said, warning that social media platforms use “highly addictive designs” that damage young minds and leave children vulnerable to predators.

Users set up the app using a passport or ID card, after which they can confirm their age anonymously. The free app, which the Commission says is technically ready and will soon be available to citizens, allows users to verify their age when accessing online platforms “without revealing any other personal data”, according to von der Leyen. “Users cannot be tracked,” von der Leyen stressed, adding that the app is fully open source and compatible with any device.

Drawing a comparison with the EU’s Covid certificate – adopted in record time and used across 78 countries – von der Leyen said the age verification tool follows “the same principles, the same model.” Seven member states, including France, Italy, Spain and Ireland, are already planning to integrate the app into their national digital wallets.

The announcement comes ahead of the second meeting of the Commission’s Special Panel on Children’s Safety Online, which is due to deliver its recommendations by summer. Von der Leyen was unambiguous about the Commission’s direction of travel on enforcement. “Children’s rights in the European Union come before commercial interest. And we will make sure they do.”

Platforms were put on notice that voluntary compliance alone will not suffice. “We will have zero tolerance for companies that do not respect our children’s rights,” she said, adding that the Commission is “moving ahead with full speed and determination on the enforcement of our European rules”.

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Jeff Bezos’ space company Blue Origin successfully re-used one of its New Glenn rockets for the first time ever on Sunday, but the company failed at its primary mission: delivering a communications satellite to orbit for customer AST SpaceMobile.

AST SpaceMobile issued a statement Sunday afternoon that the upper stage of the New Glenn rocket placed BlueBird 7 satellite into an orbit that was “lower than planned.” The satellite successfully separated from the rocket and powered on, the company said, but the altitude is too low “to sustain operations” and will now have to be de-orbited — left to burn up in the atmosphere of Earth.

The cost of the loss of the satellite is covered by AST SpaceMobile’s insurance policy, according the company, and there are successive BlueBird satellites that will be completed in around a month. AST SpaceMobile has contracts with more than just Blue Origin, and the company said it expects to be able to launch 45 more to space by the end of 2026.

But this represents the first major failure for Blue Origin’s New Glenn program, which only made its first flight in January 2025 after more than a decade in development. This was the second mission where New Glenn carried a customer payload to space, after launching twin spacecraft bound for Mars on behalf of NASA last November. The company did not immediately respond to a request for comment.

The apparent failure of New Glenn’s second stage could have wider implications beyond Blue Origin’s near-term commercial ambitions. The company is pushing hard to become one of the main launch providers for NASA’s Artemis missions to the moon and beyond. The space agency — and the Trump administration — has put pressure on Blue Origin and SpaceX to be able to put landers on the moon by the end of President Donald Trump’s second term, before advancing to returning humans to the lunar surface.

Blue Origin CEO Dave Limp has even said his company “will move heaven and Earth” to help NASA get back to the moon faster.

Blue Origin recently completed testing its first version of its own lunar lander, which the company is expected to try and launch at some point this year (without any crew). Blue Origin had suggested last year that it was considering launching this lander on New Glenn’s third mission, but ultimately decided to launch the AST SpaceMobile satellite instead.

The third New Glenn launch seemed to start just fine on Sunday, with the the mega-rocket lifting off at 7:35 a.m. local time from Cape Canaveral, Florida. It was the first time Blue Origin re-used a previously-flown New Glenn booster — the same one that flew during New Glenn’s second mission. Roughly 10 minutes after liftoff, the booster came back down and landed on a drone ship in the ocean, just like it had last November. Jeff Bezos even shared drone footage of the booster’s landing on X, the social media site owned by his rival Elon Musk. (Musk offered congratulations.)

Roughly two hours after the launch, though, Blue Origin announced in its own post that the New Glenn upper stage placed AST SpaceMobile satellite in an “off-nominal orbit.” The company has not released any more information since that post.

Blue Origin spent a long time developing New Glenn, and it has been taken as a sign of confidence in that process that the company decided to start launching commercial payloads during these early missions. By comparison, SpaceX has spent the last few years flying test versions of its massive Starship, but has stuck with using dummy payloads as it works out the rocket’s kinks.

SpaceX did lose payloads deeper into its Falcon 9 program. In 2015, on the 19th Falcon 9 mission, the rocket blew up mid-flight and lost an entire International Space Station cargo spacecraft. In 2016, a Falcon 9 exploded on the launch pad during testing, causing the loss of an internet satellite for Meta.